In my capacity as Editor of the UKJC website I frequently review books relevant to the world of jewellery; sometimes the connection is, shall we say, tenuous - I don't need too many excuses to go out and buy a book.
I thought I might share some of the reviews here - after all, content is content and not everybody belongs to the UKJC...
Overview
Beautifully illustrated throughout, this distinctive collection will give an insight into the work of an English, twentieth century master goldsmith.
So says the ‘blurb’ on the fly-leaf of this beautiful book – and I couldn’t have put it better myself.
Audience
If you have any interest whatsoever in fine craftsmanship, beautiful objets d’art, and Faberge style Easter eggs; or if you would simply like to trace the journey of an old-style guild apprentice, you will find this book fascinating.
Content
This is a ‘crown royal’ (roughly A4) sized book printed on high-quality gloss paper. As such, it is one of those volumes that you can’t help but linger over – the pages actually ‘ask’ you to stroke them!
The contents are divided into five sections as follows:
- James Miller FIPG – An English Goldsmith’s Work History
- Items made while James Miller was employed at Padget & Braham 1961-76
- Items made by James Miller while employed at McCabe McCarty 1976-85
- Items made by James Miller after forming his company James Miller Design in August 1985
- Technical Terms and Notes
There is just a small amount of text, mostly confined to Section 1, which details James’ progress from an unqualified school leaver to master goldsmith producing work for Middle Eastern royalty and Crown Jewellers, Garrard & Co.
Illustrations
The middle three sections of the book are devoted mainly to full-colour photographic images of Mr Miller’s work. There are a few black and white images of him at work in various workshops, together with some black and white detail images. The photographs, which I believe were taken by James himself, are of excellent quality.
About the Book
It would be very easy to dismiss this volume as a coffee-table book but the more I looked at it the more fascinating it became.
The obviously interesting part is the story of James’ journey to the undoubtedly fine craftsman he is today. For me it brought home the value of ‘old-fashioned’ indentured apprenticeships. These are still offered by The Worshipful Company of Goldsmiths, more commonly known as the Goldsmiths' Company, one of the Twelve Great Livery Companies of the City of London, which received its first royal charter in 1327.
I have no idea if other trades and professions still offer this type of training but I’m moved to say that, if the result is craftsmen and women of this incredible standard, they should.
There were, however, other less apparent aspects of this book that intrigued me. For instance, I was completely unaware how many separate craftsmen or women could be involved in the production of one piece. I suppose I assumed that one person was responsible for the piece from beginning to end. Not a bit of it! I knew of enamellists of course, but I had never heard of metal spinners, had given little thought to engine turning (although I do possess a beautiful example of engine turning), and it simply hadn’t occurred to me that polishing of these pieces was a trade in itself!
By the way, a metal spinner spins metal at high speed, I imagine on a lathe type machine, to produce a symmetrical object.
So, I marvelled over the delicacy of the piercing, the beauty of the enamelling, and the sheer cost of materials. But there was something else to interest me too – as James progressed in his career, his work, as is to be expected, went through changes; some of them not so subtle.
And it was by looking at these changes that I came to realise that James is not just a master goldsmith, he has other skills too, one of which is to understand his market.
The phenomenal value of James’ later pieces meant that his market was limited – not many people can afford to spend £20,000 on a pair of table lamps! However, there is a group that not only has the necessary wealth but also likes to demonstrate that wealth. I’m thinking of Middle Eastern royalty and potentates.
Much of James’ later work is very Eastern in influence; we see Byzantine arches and the repeating geometric forms that typify arabesque artistic motifs. Many of these pieces would look very out of place in the typical British semi but put them in a Moorish palace and they would be completely at home. That is understanding your market!
My personal preference is for the shields and insignia of James’ early days at Padgett & Braham but I can’t help but be blown away by the craftsmanship of his later table centrepieces.
Summary
This is not a cheap book but then work of this quality would somehow be demeaned if printed on cheap paper and presented in a flimsy binding. The packaging suits the contents.
I think that, whether you are interested in traditionally crafted objects of the highest quality, simply appreciate fine books, or have a burgeoning art collection, this book is a must. Even at its recommended retail price of £70 the book is probably more within your reach than one of James’ stunning pieces – and you can actually acquire it for a whisker under £39.00 at Amazon. A must for any self-respecting art collector.
No comments:
Post a Comment