These featured selections of Enamel Art are from our Members.

NOTHING TO SNUFF ABOUT

A few months ago, a tiny Chinese Enamel Snuff Bottle measuring just 1.6” (4cm) high which had been owned by China’s Emperor Qianlong in the 18th century sold at auction in Hong Kong to an anonymous collector for £821,383 (approximately $1.25 million US). This prompted me to do a little digging into the subject of Snuff and Snuff Containers.

What is Snuff?

Snuff is formed from fermented tobacco mixed with various combinations of perfumed oils, herbs or spices into a compressed block, which is then grated to make a fine powder ready for inhalation.

The Snuff Box in the West

By historical accounts, snuff-taking by natives in the Caribbean Islands was observed by a monk named Ramon Pane on Columbus’ second journey to the Americas during 1493-1496. In 1561, Jean Nicot, the French Ambassador in Lisbon, Portugal sent snuff to Catherine de’ Medici to treat her son’s persistent migraines. Her belief in its curative properties helped to popularize snuff among the elite. By the 1600s, some began to object to snuff being taken. Pope Urban VIII threatened to excommunicate snuff-takers, and in Russia in 1643, Tsar Michael set the punishment of removal of the nose for snuff use. However, elsewhere the use persisted. King Louis XIII of France was a devout snuff-taker.

By the l8th century through the middle of the 19th century, the snuff box became an indispensable accessory for every man of birth and breeding. Since prolonged exposure to air causes snuff to dry out and lose its quality, pocket snuff boxes were designed to be airtight containers with strong hinges, generally with only enough space for a day’s worth of snuff. English painted enamel boxes with hinges linking lids to bases were a phenomenon of the 1740’s. The hinged enamel box came about because of the demand for a box which could be held open in one hand while taking a pinch of snuff with the other.

(Snuff box, hinged, unknown, West Midlands, England, 1765-1775)

Artisans, such as the jeweler and enameller, bestowed infinite pains upon this object, producing boxes of gold, diamonds, and fine enamels with hand-painted vignettes and portraits. For the less advantaged consumer, snuff boxes were made from silver, copper, mother-of-pearl, tortoise shell, and lastly cheap wood and potato pulp.

(A Russian gold snuff box that is attributed to the celebrated Swiss craftsman Jean-Pierre Ador who immigrated to Russia in 1760. The box was made for Baron Nicolaus von Korff (1710-1766) who was the archetypal l8th century soldier of fortune. Each side is decorated with engraved sunbursts around an enameled order or coat of arms recording his commendable military career.
Russia - 1762-66)

(This snuff box is unique as it is designed to hold three different types of snuff. It was made in Meissen, Germany from hard paste porcelain and is painted in enamels. The gold mounts appear to be original and were probably made by a Dresden goldsmith. Germany, 1750)

Even after snuff-taking ceased to be popular in general, the practice lingered among diplomats. Monarchs retained the habit of bestowing snuff boxes upon ambassadors and other intermediaries as a form of honor. At the coronation of George IV of England, Messrs. Rundell and Bridge, the court jewelers, were paid £8,205 for snuff boxes for gifts to foreign representatives.

(Oblong Snuff box of gold, diamonds, enamels, engraved - Unknown artist - Berlin, Germany, C. 1710)

Today snuff boxes are collected at many levels-–at the top of the market they tend to be euphemistically called “gold boxes.” The most expensive are French and German 18th century examples, and the record auction price for a German box is £789,250 (about $1.3 million US) bid in 2003 at Christie’s in London.

The Snuff Bottle in the East

(Baroque Pearl, crystal, glass, Imperial gold Snuff bottle attributed to Guangzhou, 1760-1797)

Tobacco was introduced into China by the Europeans near the end of the l6th century and was smoked in pipes. When the Quing dynasty was established in 1644, smoking of tobacco was forbidden, but the use of snuff was acceptable and valued for its medicinal qualities. Considered an effective remedy for colds, stomach disorders and other illnesses the powdered tobacco was dispensed in a bottle as were most other medicines in China.

At first confined only to the elite of the new dynasty, the popularity of snuff and the snuff bottle was firmly established in and around the court at Beijing by the end of the 17th century where it remained throughout most of the 18th century, continuing to be a social ritual among the upper classes. These small bottles became an active acquisition for their fine art and quality. Snuff bottles became the new currency for the purchase of favors, positions and advancement in government.

Made in every material know to the Chinese-–glass, porcelain, jade, hard stones, ivory, coral, lacquer, amber, wood, bronze, copper and silver–-the snuff bottles were produced in enormous quantities and of varying quality to supply the increased demand. By the end of the 18th century, snuff-taking and the collecting of snuff bottles had become a nationwide habit among all classes. Although the high point of manufacture of most types of bottles was the 18th century, a great many beautiful bottles continued to be produced throughout the 19th century.

After the revolution in China and the establishment of the Republic in 1912, snuffing died away. What remains are these exquisite objects and the growing number of collectors who spend fortunes to possess them.





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INSTRUCTORS WANTED

Enamel Guild: West is looking for instructors for two upcoming workshops to be presented in Southern California. Most of the attendees will be experienced enamellists who are very interested in new enameling processes or established techniques with a new twist. The class may focus on either a specific enameling technique or something that works in conjunction with the enameling process. In the past we have had etching, creating decals, torch firing, die forming. The workshop dates are Nov 12, 13, 14-2010 and Jan 14, 15, 16-2011. For more information please contact me off line and submit an image example of your technique. Karla Maxwell, Email - karlamaxwell@cox.net ---------------------------------------------------------------------------------------------

THE ENAMEL WORKS OF KARL DRERUP

The Enamelist Society is proud to announce that we are co-sponsoring an exhibition of renowned 20th century enamelist Karl Drerup with the McGowan Fine Art gallery in Concord, New Hampshire. The exhibit "Masterworks: Enamels, Paintings and Drawings" runs through September 3, 2010. The McGowan Fine Art announcement of the exhibit is included below.

On August 28th at 11:00 AM, The Enamelist Society Board member, Rick McMullen, will be giving a slide presentation called "Unveiling the Mystery of Enamel" at the McGowan Fine Art gallery which we invite you to attend.

The Enamelist Society is a non-profit organization with national and international membership whose mission is the promoting the art of enameling through activities such as education, workshops, conferences, and exhibitions.

In addition, the New Hampshire Plymouth State University has a concurrent exhibit entitled: Karl Drerup: Drawn to Life at their Karl Drerup Art Gallery. Karl Drerup was a faculty member at Plymouth State University for many years, and the university also has links to their 2007 exhibit of Drerup's work entitled "Enchanted Garden: Enamels By An American Master". The link http://www.plymouth.edu/gallery/collection/drerup/ will take you to more information including the Exhibition Catalog, and information about Karl Drerup's life and art.

KARL DRERUP

Masterworks: Enamels, Paintings and Drawings


McGowan Fine Art announces the opening of "Masterworks: Enamels, Paintings and Drawings" featuring the art of Karl Drerup. The show will run from August 10 to September 3, with an opening reception on August 13 from 5 to 7 PM. This show is co-sponsored by The Enamelist Society, an organization committed to the education and recognition of the art of enameling.

Born in Germany in 1904, Karl Drerup originally studied drawing and painting after leaving monastic life. While pursing advanced studies in Italy, he was drawn to the traditional craft of majolica - brightly colored earthenware, a passion that would influence his later work.



McGowan Fine Art will also host noted enamel authority, Rick McMullen, for a slide presentation on enameling techniques called "Unveiling the Mystery of Enamel." The presentation will be on August 28 at 11 AM in the gallery and will address techniques such as plique-a-jour, basse-taille, cloisonné and more. Mr. McMullen's professional knowledge will be edifying for antiques dealers, jewelry specialists and appraisers but enthusiasts of any level will find his clear explanations rewarding.

KARL DRERUP
A Modernist Drawn to Life
Plymouth State University
August 14-October 23

Karl Drerup: A Modernist Drawn to Life is the third exhibition in a series focusing on Drerup's work. Exhibitions of his paintings in 2005 and enamels in 2007 presented opportunities for visitors to explore Drerup's subject matter, careful craftsmanship, and rich iconography in different media. Karl's innate ability as a draftsman, the focus of this exhibition, serves as a foundation to all of his work. The masterful drawings on display reflect both his talent and the rigors of his European education.

As a master artist, some of Karl's achievements are outlined on the New Hampshire State Council on the Arts website. Academically trained in Europe, Karl exhibited works in the U.S. as a painter and a ceramic artist. After seeing the radiant enamel on metal pieces exhibited in the Ceramics National at New York's Whitney Museum Karl taught himself the techniques that would make him the most renowned and collected enamel artist in America from the 1940s through the 1960s.

Drerup specialist Jane Port, M.A. is curating the exhibition, there is an essay by scholar Diana Collecott and the Plymouth State University gallery director Dr. Catherine Amidon is serving as project director.


For further information about The Enamelist Society, or if you do not wish to receive further e-mails, contact http://www.enamelistsociety.org/.


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WHO CAN LEND A HELPING HAND?

Hello Fellow Artisan,

Chris Hierholzer and Patsy Croft are putting together a fund for the families in Louisiana who have been directly affected by the Oil Spill. I know you have seen what is happening here in our neighborhoods. Many people are in need of help.

We’ve organized a Charity Auction on eBay Giving Works that will take place during the months of September and October for which a number of jewelry artists have already donated one of their pieces to be auctioned off. We are looking for more artists to contribute pieces to the auction.

Here are the details:

All pieces must be donated. 100 percent of the proceeds from each auction will go to Louisiana’s Second Harvest Food Bank, which has seen an increase in patrons since the oil spill first happened.
If you would like to participate, please send us a quality photograph of a jewel you would like to donate, attach your name to the image file, send a description of your item and retail price with a link to your website (if applicable) asap.  If you have a mini bio, please send that as well, since many consumers like to “meet the artist” that they are purchasing from.
There will be little hassle for your involvement, and all listings will mention the generous donations from each participating artist, which will likely drive traffic back to your website. We can also provide a “Giving Works” badge that you can put on your site to point people to your auction item.
Once your item has been bid on and the auction closes, all you’ll have to do is ship the item to the highest bidder. eBay Giving Works will take care of handling all payments. I will contact you with shipping details.
We will be promoting the auction through various PR activities to generate consumer interest in the auction items and recognition for all of the artists who donate.

We have received a lot of media interest in this project there is some top tier planning to shine a spotlight on this action when it goes live Sept 1.

Please let us know if you have any questions.

Thanks for your consideration,
Patsy Croft
“Jewelers for the Gulf”
Patsy@patsycroft.com 205 478 9977

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DO YOU HAVE THE PHOTOGRAPHY BLUES?

If your like me, once the fun of enameling is over, its time to get down to the dirty work of taking a good photo and that's when the hair pulling begins.
Even if you think you have a good camera, the light becomes your enemy and the shiny surface of the enamel reacts in mysterious ways. As novices to the fine art of photography, we struggle with the right backgrounds to give our work that artsy look. We try the garden, the countertop, a necklace stand, our heads, our hands, cardboard, fabric, wood, plastic and the list goes on. How do we get that professional look without paying the price?

This month's issue of Lapidary Journal/Jewelry Artist Magazine (August, 2010)
has the answer. "Cyber Shots" written by Cathleen McCarthy is a very informative article on how to take great photos with advice and tips from several successful artists, and the cameras they suggest.
For those of you who do not have a subscription to Lapidary Journal/Jewelry Artist Magazine, you can shop online and order this particular article at www.interweavestore.com.

I contacted Cathleen McCarthy and she has offered several other articles that she has written and the links to them and given me permission to reprint her article "Cyber Shots" once it has come back from the copyright office.

http://thejewelryloupe.com/how-to-photograph-jewelry-tips-from-the-pros/

http://thejewelryloupe.com/how-to-photograph-gems-tips-from-the-pros/

http://thejewelryloupe.com/how-to-photograph-jewelry-photoshop-tips-from-the-pros/

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THERE'S A NEW BOOK ON THE RACKS

Enamels of the World 1700-2000

by Haydn E. Williams A worldwide survey of the art of enamelling during the past three hundred years, featuring over 300 pieces from the Khalili collection. Includes examples from Europe, America and the Orient, with essays on patronage, historicism, regional developments, and workshops such as Faberge and Cartier. The book includes a CD describing and illustrating all 1200 pieces from the collection. 450p, col illus, CD-ROM (The Khalili Collection 2009) www.amazon.com

www.oxbowbooks.com __________________________________________________________

GOING LARGE IN AUSTRALIA

Artist- Debbie Sheezel

...This wall mural was commissioned to represent the Daintree Rainforest in North Queensland, Australia. It has over 300 panels each of different sizing and is two dimensional. The mural was 2 years in the making from design, construction and installation. The kiln had a very large internal area and specially constructed trivets and such had to be made. I did not want to make the mural to realistic or contemporary. I included seed pods, palm fronds, fungi, butterflies and eucalypts.

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The Master Enamellers of “Belle Horlogerie”

I can’t tell you how many collectable enameled watches are produced in one year, but I can tell you how many Master Enamellers are actively applying their skills to the limited edition watches produced by the famous houses of Patek Philippe and Jaeger-LeCoultre. “You can count them on the fingers of one hand,” claims Dominique Bernaz, head of the 251-year-old Swiss watch company, Vacheron Constantin.

Since the l7th Century Geneva has been the center of “belle horlogerie” or beautiful watchmaking. During the Reformation the influx of French Huguenots brought many talented watchmakers to Geneva. The enamel and goldsmith artisans of Calvinist Geneva were no longer allowed to produce “baubles” and instead they turned their efforts to functional timepieces. Geneva’s gold and enameled watches were sought by wealthy collectors all over the world. Painting on enamel was at its height in the 18th Century and the beginning of the 19th Century. Both the French Revolution and the loss of the aristocratic client base as well as the cutoff of the Chinese market during the Opium War saw an end to the Golden Age of Enamel in the mid 19th Century. Today there are no formal training schools for enameling left in Switzerland, and the few artists remaining seldom share their secrets.

Our first Master Enameller, Suzanne Rohr, has earned the reputation as one of the world’s finest enamel miniaturists. She was the only student admitted to the enameller’s course at the Geneva School of Decorative Arts. She then went on to apprentice under the celebrated Carlo Poluzzi and in 1967 was hired by Henri Stern, then president of Patek Philippe. A reclusive Swiss painter who works from home and whose enamels are sold long before she lifts her brush, Rohr will only complete approximately one commissioned pocket watch a year. Fans of her work eagerly pay for the privilege of waiting sometimes four years to own one of her works of art. Ms. Rohr’s specialty is the “Geneva Technique,” which means she reproduces renderings of Old Masters, portraits, religious icons and Impressionist paintings on metal surfaces no bigger than a compact mirror.

In 1839, two Polish immigrants to Geneva, businessman Antoni Patek and watchmaker Franciszek Czapek, joined forces to establish Patek, Czapek & Cie. In 1844, Mr. Patek met the French watchmaker, Jean Adrien Philippe who pioneered the stem winding and setting system, which was the first to not require a separate winding key. Czapek eventually left the company, Philippe joined, and the company became Patek Philippe & Cie. In 1932, the company was purchased by two brothers Charles and Jean Stern, owners of a fine dial manufacturing company in Geneva. Patek Phillippe has remained a family owned firm. “We have always been involved in enameling,” says Henri Stern. His grandfather was passionate about collecting fine enameled pocket watches and the passion was passed down to his father, who amassed over 2,000 watches which are now displayed in the company’s Geneva museum.
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Of the major brands, Patek Philippe is the only Swiss firm making enamel watches in any number. A small group of enamel artists produce these high quality artworks. Thanks to a resurgence in the popularity of enamel timepieces, they are now working at capacity. They recently introduced the Birds of Paradise, Tigers and Venetian Masks collections.

Their cloisonné dome solar clocks, introduced in 1955, have been in increased demand. Last year at Sotheby’s, a l969 solar clock featuring a sailboat scene sold for $101,500. Working with less than a dozen craftspeople who are capable of enameling the clock’s challenging curved surfaces, Patek Philippe expects to complete about 15 to 20 clocks per year, each one unique and many of them as commissions with custom designs.

The second Master Enameller is Anita Porchet, renowned for the paillonée dials she makes for Vacheron Constantin. She credits Patek Philippe with keeping the Art of Enamel alive in the l970’s when most watch houses were barely staying in business. Ms. Porchet also works from home in the countryside between Geneva and Lausanne. Her early knowledge of enameling came from her godfather, and later she set out on an endless pursuit of retired enamel artists from whom she sought techniques.

For the house of Vacheron Constantin’s 250th anniversary, Porchet did the enameling on the Metiers d’Art watch set. There were 12 of these collector’s sets made, each housing four wristwatches. Detailed engravings of Apollo’s chariot and his team of horses were represented in each of the four seasons. A set of 4 watches sold for $340,000 and individually, each watch was valued at $95,000.

The third Master Enameller in this elite group is Hungarian born Miklos Merczel, a master watchmaker and now the star enamel artist for the house of Jaeger-LeCoultre. In 1973, at age 17, Miklos fled his home country with little more than a passport and the skills his watchmaker father had taught him. Over the years he taught himself to enamel and paint in miniature, and finally made the decision to take his career in watchmaking to another level. Now with the help of an apprentice, Merczel produces 26 enamel watches annually, concentrating on Art Nouveau interpretations of Alphonse Mucha, works that complement the company’s Reverso watch. It took four years for Merczel to develop and perfect his own enamel techniques. “The most difficult thing,” Merczel states, “is how long it takes to learn what happens to enamels and colors while they’re in the oven. You can consult old books, but the best way to learn is experimentation.”

How do these artists prepare their art?

One or both sides of the metal watch case is covered with white or colorless enamel and placed in an 800˚C kiln. Layers of colored enamel powder mixed with essential oils are then applied with a fine paintbrush. Because each layer requires a separate firing, the plate is placed in the kiln up to 25 different times. Finally, a clear flux composed of fine layers of transparent enamel is applied as a protective coat for the miniature painting and also gives the piece an exceptional vibrancy by enhancing the depth and intensity of the colors. The colors become more brilliant with each firing and give the painting the full measure of its final radiance. This last step, performed at a temperature of over 800˚C, is extremely hazardous, since each firing operation could ruin many hours of patient and meticulous work.

According to Dominique Bernaz from the house of Vacheron Constantin, “The bigger the diameter of the piece, the more risk we have. The problem is that we cook the enamel on a gold base. Very often the base is not flat but concave. When we put it in the oven, the shape changes and the enamel can crack. If it happens in the early stages of the process, it’s bad but not so bad. But if it happens in the later stages of the process, it means we can lose an entire year.”

At the 2002 Antiquorum sale in Geneva, a Patek Philippe platinum World Time watch sold for $4,026,524. This was the most ever paid for a watch at auction. The model displays the times of 24 time zones, its bezel is engraved with world locations and the enameled dial features a cloisonné map of the continents. In 1940, Patek Philippe began producing a small number of these watches with cloisonné dials featuring different motifs. Two such pieces from 1949 and 1953 are among the 10 most expensive vintage watches ever sold, commanding $1,678,963 and $2,899,373 respectively.

Because most watch houses do not have access to experienced traditional artists, some are beginning to create their own modern departments, like Jaeger-LeCoultre and Miklos Merczel, to preserve the art of enameling. Recently, Roger Dubuis opened a new Geneva factory that includes an enamel department of three. The chief painter, Dominique Baron, was recruited from a decorative art school in France. He now oversees the production of a new limited series of map-themed dials with a modernistic style. In 2009, Jaeger-LeCoultre proclaimed it the “Year of Enamel” with the brand presenting a stunning array of exceptional creations.

Still, there is nothing to compete with the Geneva Technique if you ask the connoisseurs of enamel watch collecting. Although beautifully done, the watches of Jaeger-LeCoultre and Roger Dubuis are less labor intensive and more suited to serial production than the year-long work of the masters. However, they have brought the art of enamel painting to the wristwatch and to a much larger number of appreciative clients.

According to Osvaldo Patrizzi, chairman and chief executive of Antiquorum, a watch auction house based in Geneva, “The techniques are not lost.” He cited as evidence a 2005 Bovet watch bearing a replica of Raphael’s “Madonna and Child” which he said “was the finest example of modern miniature enamel painting he had ever seen.”

Cloisonné, like miniature painting, is practiced by independent artists who reside throughout the French-speaking regions of Switzerland.

But unlike enamel painting, this technique can be used to produce larger numbers, often in series rather than as unique pieces, making them much easier to obtain. Cloisonné is also more readily adapted to wristwatches than to miniature painting. Ulysse Nardin began producing enamel wristwatch dials in the late 1980’s, initially using the simpler champlevé technique (made famous by Fabergé) under the direction of Master Enameller Michel Vermont. Nautical themes followed in all cloisonné with remarkable enamel color displays.

Over the years, more firms have added painting enamel techniques to expand their detail. Christian Thibert of Patek Philippe, a master engraver, has mixed engraving, cloisonné and enamel painting to create highly original pocket watches.

Perhaps that’s progress and a saving grace for the very fine Art of Enamel Painting where the craft master has become a dying breed and the techno world of electronics and cyberspace have captured everyone’s imagination.

_____________________________________________by Trish White






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IT'S BACK FROM SPANISH to ENGLISH to FRENCH!

Núria LOPEZ-RIBALTA / Eva PASCUAL MIRÓ: El Esmalte, al fuego sobre metales.
Parramón Ediciones S.A. Barcelona, septiembre 2008
160 pàgines / páginas / pages.
Format/o: 30 cm. x 23 cm.
Idioma: castellà / castellano / in Spanish language.
Enquadernació/n: cartoné tapa dura / Hardback.
Colecció/n: Artes y Oficios.
Profusament il·lustrat a tot color / Profusamente ilustrado a todo color / Profusely illustrated with colour photography.
Preu / Precio / Price: 31 €
Disponible botigues especializades o demanar a llibreries / Disponible en tiendas especializadas o pedir en librerias: ISBN: 978-84342-3385-0
Online: www.parramon.com


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Lopez Ribalta, Nuria / Pascual, Eva Photografer: J. Soto Enamelling on metal
N. York, Barron's Educational Series, inc, 2010
ISBN 13.978-0-76416297-8
ISBN 10-0-76416297-7
http://focgallery.com/Noticies.aspx

This work compiles the diverse techniques, classic and modern, of fire enamel over metals, rigorously explained in a clear and amusing way.
With a very broad content over materials, tools and techniques, including a wide chapter on enamel history by Núria López-Ribalta especialist in the subject and professor in the Llotja school of Barcelona, since 1978.
Includes a last chapter of step by step exercises, fully photographed, of various recognised especialists like R. Arroyo, A. Vilasís, M. Mainar i G. Moles, of great help both for those just initiated in this art as well as the most seasoned professional.

MAINTENANT DISPONIBLE EN FRANÇAIS ! Prochainement à Tutti-Frutti. ÉMAUX de couleurs et de feu - Tuttifrutti ed, 2010 - ISBN: 978-2-915667-49-3

The info, pics, and Amazon link (publisher’s link for the French) is here:
http://focgallery.com/Noticies.aspx






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................. ENAMEL BIBELOTS.....................

What Are They and Do you Have One?

by Trish White

Knowing that I am an avid Treasure Hunter, my friends are always on the hunt to find something unusual for me. Then one day at a lunch get-together I was handed a worn silk green box with a bone clasp. Inside was a very small artfully enameled teapot, like many of the thousands of enameled objects produced in China. The top flipped over revealing a cup and saucer and an array of fish swam along its sides. Cute – Very Cute! With thanks, I lovingly added it to the rest of the burgeoning collection of keepsakes that surround my workspace.

It wasn’t until days later, when I was arranging my tools, that I picked up the teapot and began to examine it. Much to my surprise, I noticed a very small paper tucked inside the bottom of the pot. It was either the price tag or, with a little luck, something of mystery. I unfolded the tiny pamphlet and read, “Enameled Bibelot” followed by a fascinating history, and so began my investigative journey.

BIBELOT – French (beeb loh)
A small art object of curiosity and beauty, a collectible

FRANCE - The first enamel miniatures are attributed to Frenchman Jean Toutin of Chateaudun in the mid l7th century. During this time, goldsmiths and enamellers produced miniature works of art on snuff boxes, watch faces, jewelry pendants and brooches and small decorative bibelots.

CHINA - During this same period, the European traders introduced China to the French art of enameled miniatures. Emperor Kang Shee was so taken by their beauty that he asked Jean Baptiste Gravereau, a French master craftsman from Limoges, to come to the Imperial Court in the Forbidden City to oversee the production of European-style miniature enamels. China continued creating miniature enamels within the confines of the Royal court until the arrival of communism in the l950’s, when traditional skills of all arts were almost lost.

BRITAIN - In the 1740’s, miniature enamels were introduced to Britain. The trinket boxes, or bibelots, became extremely popular collectable luxuries among the high society of mid-18th century Georgian England. The areas of South Staffordshire and Bilston became a famous enameling center, filled with French enamellers serving the King, his court, and the Georgian society.

But by the l840’s England’s economy took a downturn as a result of the Napoleonic Wars and with the surge of the Industrial Revolution the enamel trade ceased to exist. Britain’s once famous enameling business lasted just 100 years.


TODAY- In l992, a young British woman named Charlotte di Vita had become well known for raising money for economically disadvantaged countries. She decided to start an organization called “Trade plus Aid.” The goal would be to raise and diversify local incomes in developing countries by promoting trade of environmentally-sustainable handicrafts by marketing these products internationally.

By l997, with several countries successfully aided, Charlotte traveled to China to revive the l7th century enameling technique lost to the communist regime. Inspired by her grandmother’s collection of antique Bilston boxes and the collections of enamels in the Victoria and Albert Museum, London, her aim was to create employment for villagers in a region of Northern China that traditionally had suffered from harsh poverty and unemployment. Charlotte di Vita traced a master craftsman who had been trained by court masters of the Forbidden City and together they designed a range of handcrafted and hand-painted miniature enamel collectable teapots.

Setting up a factory in a Chinese village was not exactly a cup of tea. During a planning meeting with local dignitaries who wanted to first check her horoscope, Charlotte was asked what animal she was. She said she didn’t know but gave them her birth date. One man scurried away to check the charts and returned looking as if he had seen a ghost. It seems there is an animal, the fire horse, which occurs once every 60 years. A fire horse female child was traditionally killed because she would be totally unconventional and not subject to authority. The men then argued for hours about whether they should allow a fire horse woman to build a factory in their village.

In l998, Charlotte launched the first collection of miniature enamels made in that Chinese village into the UK collectibles market. They were an instant success. Demand for the product immediately exceeded supply and created secure employment and fair working conditions for over 300 Chinese artists and craftspeople, as well as providing a national platform for Trade plus Aid’s Fortune & Mason, and Saks Fifth Avenue supported this first fair trade program in China by promoting the miniature enamels. Among her numerous other awards, Charlotte di Vita was invested as a Member of the Order of the British Empire (MBE) by Her Majesty The Queen at Buckingham Palace. She was awarded this honor for her work with Trade plus Aid.
A unique aspect of the efforts of the charity is that the communities are set up to trade directly and independently with commercial customers. The original Chinese village is now operating its enameling facility without assistance and many villagers are now gainfully employed. Over the years Trade plus Aid has brought the equivalent of $5,500,000 US to villagers selling handicrafts they have made in 21 countries in Africa, Asia and South America.

For more information on Charlotte di Vita and her Trade plus Aid charity, go to the website tradeplusaid.org.

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There are l85 different teapots in the collection. Most of them are a little over 3 inches high. They are hallmarked on the bottom with a "T" and they have a brass hangtag and come in a presentation box. Production stopped in 2002, and a check of recent prices on Ebay shows that the more available ones go for $30 to $40 and the harder to find ones bring over $100.

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So in closing, I would like to add that my teapot doesn’t have the T hallmark on the bottom. This little guy is a knock off, a tourist souvenir that you can buy in Chinatown for a few dollars. Nevertheless, it sits prominently on my desk, as a reminder of its history, the artists who originated the technique, the survival of people who depended on its creation to feed themselves and their families, and a lost art that was revived by a woman named Charlotte di Vita. _______________________________________________________

A GLIMPSE AT THE WORK OF THE LATE:

FRED BALL

..............................................................contributed by Barbara Pelowski These are photos of a work by the late Fred Ball. The title is "The Way Home" and from a distance evokes the scenery in the Sacramento Valley of California. The building is a parking garage located in downtown Sacramento. It is visible as you pass by on I-5 if you look to the East. I like it if traffic is heavy and slower so I can have a longer look. I took these several years ago. A full image of the work used to be on the back cover of the Thompson Enamel Co. catalog. ______________________________________________________ __

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