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40 ORNAMENT 33.2.2009 B IGN THE RIDGING lnae Photographby Kiyoshi Togashi. Glendale. eye Lengthofcenter horned beadis2.8centimeters. cane tocreatehismasterful glassbeads. andtwisted furrowing, doublefolding, Hollandusestechniquesof lampworking, 1995. WARRING STATES NECKLACE, TOM HOLLAND, Europe. Shell beads are still coveted throughout Africa. The protective The valuesaccorded to eye motifsonthird Shell beads are stillcoveted throughout Africa. Europe. moved northward alongtheeastern Mediterranean coast (theLevant)and thenspread into Western Asia and Paleolithic modern humans from andeastern southern asthey Africa themovement Shellbeadstrack of boundaries. physical tangible. thatmake objects theabstract culture: material are Beads the essence of feelings. innermost andasguidepostsinhuman relationships andexpressions of world, We are simultaneously reminded how have people usedbeadsto their peoplevalued. organizewhat andsymbolize tell beads us andintheways are inwhich they joined, craftsmanship, forms, colors, Throughtheirmaterials, beliefs. ideasand of communicating range awide beadshave language, asavisual served From Paleolithic timesuntiltoday, I paleo-archaeological research in providing essential information on the origins of symbolic or abstract thinking. orabstract symbolic paleo-archaeological research of in providing on theorigins essentialinformation afocusonbeads—iscurrently atthecuttingedgeof personal adornment—with thestudy of most significantly, And worldwide. appear in all cultures, They s there any human-made objectmore than beads? Ithinknot. primal Beads link the past to the present. Dating to at least 100,000 B.C., beads reach beads across temporal andgeographic Datingto atleast100,000B.C., Beads linkthepastto thepresent. almost primitivequalitiesthat have beenconsistent factors throughout thecenturies. Thepurposesfor whichpeople human creativity. At thesametime, itindicates thebasic, adorn themselvesmay vary, buttheunderlyingaimsare C to ourown agereveals theextraordinary breadth of A historical overview of beadsfrom earlypeople constant—be they amuletic, politicalorsexual. P ONTEMPORARY S N THE AND AST B J ASAND EADS EWELRY Lois Sherr Dubin Collection of The Bead Museum, F UTURE 33.2_HistoryofNABeads6a 1/13/152:45PMPage37 twenty-four and eighteen karat yellow gold, fine and sterling silver, opal, and glass enamels. Length of centerpiece is6.4centime Lengthofcenterpiece andglassenamels. opal, fine silver, andsterling twenty-four andeighteenkarat yellow gold, Necklace is enameled gold and silver, 2001. AND ADULTS NECKLACE, EGGS, STUDY OF NEWBORN Right: DAVIDWHITE CROWN SPARROWS, FREDA, Photographby Kiyoshi Togashi. Arizona. Glendale, Collection of The Bead Museum, Lower left: Top left: collection. Photograph by Barry Blau. Photograph by Barry collection. interest in the subject matter), the book sold very well over thebooksoldvery interest inthesubjectmatter), asIknewthere wasapassionate (butnot to me, initial surprise to thePresent my book, version of original to update the Abrams, N. Harry asked by thepublisher, invented inancientwestern Asia. area—builds upon numerous techniques and concepts initiated byoriginally Northwest in the Coast Seattle artisans beadmovement— glass Theworldwide contemporary gold. frequently valuedmore than status throughout West Africa, Glassbeadwork was—andremains—a of symbol world. eye beads produced evil the blue glass throughout the Islamic Mesopotamian stone beadscontinues with millennium B.C. All of this has been very much thishasbeenvery onmy mindsince being All of LR OK PCRMNCLC,20.Daee,26.7 centimeters. Diameter, 2004. SPECTRUM NECKLACE, FLORA BOOK, IRVUKS OYE LYBA RCLTwt niiuluiseoigsalsel,19.Typical beadlengthis1.8centimeters. 1995. withindividualunitsevoking snailshells, POLYMER CLAY BEADBRACELET PIER VOULKOS, HryN bas 97.To the publisher’s 1987). Abrams, N. (Harry The History of Beads: 30,000 Beads: B.C. of The History Present been retitled thebook—which hasnow chapterslast (contemporary) of As I rewrote the first (prehistoric) and about connections. about theearliestandlatest beads—joggedmy thinking years. thepasttwenty during which have artform become extraordinary theirown beads, andthere on contemporary wasnoinformation 108,000 B.C. since thedate thetimespectrum fortheearliestbeadsis of to thePresent—became inaccurate onbothends 30,000 B.C. edition— theoriginal Thesubtitle of the book. parameters of update andexpand information the to correct mistakes, republishing gave usanopportunity Nonetheless, the years. This uniquecoupling—adding themostinformation Private collection. Photograph courtesy of Photograph Flora courtesy Book. Private collection. Iwspoonl oe,asexpressed to meby the —I wasprofoundly moved, H ITR FBAS 0,0 ..tothe THE HISTORY OFBEADS:100,000B.C. ters. Private

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42 ORNAMENT 33.2.2009 Catherine’s Island inGeorgia St. beads recovered atMission SantaCatalinedeGuale, bead is 1.9 centimeters cubed. 1.9centimeters bead is Center wires in various weaves and set with opals and diamonds. andgreeneighteenkarat gold yellow, pink, using loom-woven white, FIVE PATCHY Fabricated STUART PUFFY CUBES NECKLACE,1998. GOLDER, textures such asteeth andmother-of-pearl. possiblyto represent othershiny natural shiny, of quality polishedsurface luster ahighly towith attainthecoveted France were producing tiny beads ivory Dordogne of region in the ancient artisans By 31,000 B.C. shiny adornment. there istheneartimelessappealfor For example, humanity.” ashared a with “sense of Randall White, archaeologist Dr. oh utr ed rmSpn Peru, Moche culture beadsfrom Sipan, exquisite Thediscovery of Paleolithic andNeolithic beads. oetEedr,William Each HarperandJan Yager. Robert Ebendorf, their work include made this philosophy a foundation of c how materials of A materials. found andassorted fabric, acrylic, copper, brass, paper, steel, stainless bone, glass, employed incombinationswood, with and otherprecious and semiprecious are materials frequently silver Gold, used. andmaterials forms no limitto concepts, There is rare and precious materials. of worth monetary thanthe ideasrather to andtheexpression craftsmanship of Value is related innovativehighly beads and beadwork. this article. focus of thatisthe representative from culled many, illustrations accompanied by some And it is their art, ongoing bead story. these pasttwoto the decadesisequallysignificant created by beadandbeadwork during contemporary artists thework being Nonetheless, beadtimeline. the historic a-oe Mayer Bar-Yosef ed,remains invariable world. even inourcontemporary beads, including shiny glass glistening materials, of The popularity included shiny and silver brass beads. ornaments and glass goods that captured and reflected the sacred sun’s luminosity trade imported European/Native contactAmerican period, Contemporary artist-craftsmen are currently creating artist-craftsmen Contemporary The recent research of Drs. Randall Randall White Drs. The recent research of shared seems to sensibility bethereevaluation ould and should be used. Artists who have who Artists used. ould andshouldbe 3 has led to fascinating insights regardinghas ledto fascinatinginsights Photograph by MichaelSchneider. 5 adds valuable information toadds valuableinformation 4 and theSpanishglass 1 During theearly During 2 and Daniella Photograph by Kiyoshi Togashi. 84 glass. tourmaline, circumferencecentimeters units. withvariable pearls, andfourteen karat gold, eighteen, twenty-two, enamel onfine goldandfine silver withtwenty-four, Goldcloisonné FABERGE’S ASHANTI BEADS,1994. WILLIAM HARPER, srpeetdb h it n ieycatdwr fDavid as represented andfinely crafted work of by thewitty beadwork keeps pushingboundaries of Theart Book. Flora created andgarments scarves by in thebeadneckpieces, Jewelry are forms now closelytextiles merged with as seen intheearly 1900s. atrend started continue to disappear, beadwork. reason forthecurrent renaissance of thatisconsidered to beaprime asDelica, known seed bead, micro glass or the Japanese have of manufactured a new type Since the 1980s, different compositions—“married metals.” joiningmetalalloys of with also much experimentation There is tantalum and niobium. such as titanium, industry, and metals connected the aerospace with Metal Clay (PMC), Precious Allen and Kathleeen Dustin), Jamey D. Voulkos, Pier plasticsseeninthework of (the latest of generation clay, includingpolymer used by are craftspeople plastics, fewnewbeadmaterials The but thetechniques were known. The technical and chemical knowledge is now greater, ago. made today could have been produced two thousand years jewelry piece almost of every electroplating techniques, and drawplating, vacuum-forming, centrifugal-casting, helpfrom recent With theexception of earlier times. and materials usedtoday were by known Roman andpossibly developed theirart. Freda Golder willin andStuart trends in art jewelry.trends inart rebellion andwent theprevailing against of act was aslight embraced beads some years them ago when working with iiin ewe rfse,jewelers andbeadmakers betweenDivisions craftsmen, It isinteresting techniques to note thatmostjewelry 6 ycnrs,Kf lmos David Slemmons, Kiff By contrast, gly relied ongly thebeadasthey Collection oftheartist. 33.2_HistoryofNABeads6a 1/13/152:45PMPage39 uemo ieAt.Photographby Noel Allum. Museum ofFine Arts. Average bead diameteris5.1centimeters. niobium. Japanese handmade paper, ColorCore, oldphotographs, postage stamps, slate, beachpebbles, bluecut glass, gold foil, bone, Seashells, 1988. MIXED MEDIANECKLACE, EBENDORF, ROBERT ai-dl ain,Ade urn,andTom Holland. Andrea Guarino, Marie-Odile Savigny, hasattended workshops given by Kristina Logan, Turkey, Istanbul, of Pinar Hakim, directed by master beadmakers. beadmakingworkshops to international glass due insomepart hascreated information a world bead community, exchange of Amassive international patterns and colors. designs, of variety borosilicate asthesemethodsallow (hard glass) forawide or lampworking with canedrawn elements, (millefiori) made by lampworked techniques and/or incorporating trailed Most beadsare contemporary home-basedstudios. their own finest beadmakers working within are artists individual today’s many of workshops andfactories, within primarily beadmakingwasproduced glass Whereas inthepast, years. thesepasttwenty of isprobably themainbeadstory artisans bead deeplytalented glass international group of expanding, valuesandartistry. meaningful own their with imagery whoblendtribal non-Native artists, Indigenous beadwork hasinspired many contemporary fromsymbols the past are celebrated in the present. motifssothat andtraditional juxtaposemodern brilliantly powwow or ceremonial to see how native beadworkers Attend any North American colorson traditional and motifs. Tribal continuums are maintainedthrough passing regalia. isintimately connected identity finelybeaded cultural with For native groups, andIndonesia. Africa North America, among form indigenouscultural peoples—most notably in beadwork tribal hasremained animportant same time, At the Karen Paust. Chatt andtheinspired botanicalsof The emergence of art glass beadmakingamongarapidly glass art The emergence of Collection oftheBoston is attopcenter. wearingglasses, Kiff Artist Slemmons, upcoming exhibitioninOaxaca. they have preparedfor an October 2007toadmirethe “feast” in beadmakers sitatabeadandjewelry-ladentable PAPEL ARTE Photograph by RodSlemmons. beadmakers group ofwound anddyedbeads. paper PAPEL ARTE from theworkshop anditsstaff. thesalessupport Allproceeds arenow soldinMexicoandtheUnitedStates. bracelets, intonecklaces and arestrung which Thebeads, rolling thepaper. and hollow-punching, cutting, that couldbeproduced by folding, Slemmons worked todevelop withlocalartisans designsfor beads Over the next eight years, in residence at the atelier. to be an artist jeweler American Kiff Slemmonswas invited of2000, InFebruary times. torevive from typesofpaper natural fibers inprecolumbian Toledo, in south–central Mexicoin1999by painterandprintmaker Francisco THE BEADSOF PAPELARTE OAXACA: PapelOaxacawasArte founded Photograph by RodSlemmons.

43 ORNAMENT 33.2.2009 33.2_HistoryofNABeads6a 1/13/152:45PMPage40

44 ORNAMENT 33.2.2009 OADSHEDR ooiiaegaswt ilfoi 90.Lnt,5.3centimeters. Length, 1990s. borosilicate glasswithmillefiori, DONALD SCHNEIDER, Photographby Kiyoshi Togashi. Collection oftheartist. 6.5ce Diameter, 2007. view ofatour-de-forcePATRICIA ofglassbeadmaking thathasdiffering SAGE oneachside, patterns HOLLAND, editionof the original inspiredby acomplexEgypto-Roman Periodmosaic glassbead(circa 300B.C.) seenin 1990s, early polymerclay(Fimo)bead, ALLEN, JAMEY D. Patricia Frantz. 4.5centimeters. Length, 2008. dichroic glassbiconewithgoldstonedetail, PATRICIA FRANTZ, 6. Length, centimeters. tumbled;soda-limeglass. combed, heatandgravity shaped, Lampworked, 2003. glassbeadhomage todZibeads, JAMES SMIRCICH, ube oihd oalm ls.Lnt,3.5centimeters. Length, tumbler polished;soda-limeglass. hand-ground, cut, coldworked, blown and drawn, worked, Furnace 2005. Rastachevron, MARY MULLANEY AND RALPHMOSSMANofHeron Glass, 4.5centimeters. Length, 2007. glassbead, BEAU ANDERSON, 1.9centimeters. Pinar Hakim. Length, Turkey. by HakimofIstanbul, 2007, alampworked glassbead, Helena, PINAR HAKIM, 1.6centimeters. Diameter, BRIAN KERKVLIET, Brian Kerkvliet Brian James Smircich Collection of Toby Photograph by Bowlby. Kiyoshi Togashi. ae .Allen Jamey D. ls edwt oacfc ae,19.Kerkvlietisthefirst glassmakerAmerican torevive mosaicface canetechniques. 1990. glass beadwithmosaicface canes, The History ofBeads The History rvt olcin Photographby Kiyoshi Togashi.Private collection. Patricia Frantz egt 3centimeters. Height, . olcino h rit.Photograph by Kiyoshi Togashi Collection oftheartists. olcino edadBto aaie Photographby Kiyoshi Togashi.Collection ofBeadandButtonMagazine. Pinar Hakim rvt olcin Photograph by Kiyoshi Togashi.Private collection. Patricia SageHolland Collection of Toby Photograph by Bowlby. Kiyoshi Togashi. Beau Anderson Collection of the artist. Photograph courtesy of Photographcourtesy Collection oftheartist. olcino h rit Photographby Collection oftheartist. . Ralph Mossman Mullaney Mary Donald Schneider ntimeters. 7 33.2_HistoryofNABeads6a 1/13/152:45PMPage41 Tom Boylan René Roberts Collection of Toby Photographby Bowlby. Kiyoshi Togashi. byPaul Avis. ISIS RAY, CARTER SEIBELS, NICOLE ZUMKELLER AND ERIC SEYDOUX, TOM BOYLAN, KRISTINA LOGAN 2.4centimeters. Length, Collection ofTheBeadMuseum dragged; Satake glass. andgoldleaf, Lampwork withstringer 2004. bead, Geometry AKIHIRO OHKAMA, JENNIFER GELDARD, RENE ROBERTS, Toby Photographby Bowlby. Kiyoshi Togashi. oo n eeso pct.Lnt,4.4centimeters. Length, color andlevels ofopacity. raea rai ufc.Lnt,5.8centimeters. Length, create anorganic surface. olcino h edMsu,Gedl,Aioa Photographby Kiyoshi Togashi. Arizona. Glendale, Collection of The BeadMuseum, ETE RMET apokdadplse ls,20.Daee,5.1centimeters. Diameter, 2007. lampworkedHEATHER andpolishedglass, TRIMLETT, Photographby Kiyoshi Togashi.Fox. ls ilfoi 08 eitn agr ata,wne fteNblPaePiei 04 egh 2.9centimeters. Length, winner oftheNobelPeace in2004. Prize depicting Wangari Maathai, 2008, glass millefiori, apokdadbon etadgaiysae ooiiaegas 00 Therepeatedheatingproduces thedifferent shadesof 2000. heatandgravityborosilicate shaped glass, lampworked andblown, lmwre,pesmle,ece,tmld opradsle ef rnoie oalm ls,20.Lnt,4.5centimeters. Length, 2003. soda-limeglass, iron oxide, tumbled;copperandsilver leaf, etched, pressmolded, flameworked, Checkmates. Lampwork bicone bead made with ivory Effetre glass, 2005. Grid-work pattern using thin stringer withsilver usingthinstringer leafto pattern Grid-work 2005. Lampwork biconebeadmade Effetre withivory glass, Checkmates. ls ed 03 apokd ufc eoae;sd-iegas egh 7.3centimeters. Length, surface decorated; soda-limeglass. Lampworked, 2003. glassbead, , ul ed 05 nml,ratv ls n eas ivrdadioydte etl ihtedesias it,3.8centimeters. Width, silvered dottedlentilswithtie-dye andivory spirals. reactive glassandmetals, Enamels, 2005. Quilt bead, Eric SeydouxEric Nicole Zumkeller lnae rzn.Photographby Kiyoshi Togashi. Arizona. Glendale, , Jennifer Geldard fSizrad etadgaiysae;sd-iegas 03 egh 4.4centimeters. Length, 2003. Heatandgravitysoda-limeglass, shaped; of Switzerland. olcino h rit Photographby Kiyoshi Togashi. Collection oftheartist. olcino h rit Photographby Kiyoshi Togashi. Collection oftheartist. Carter Seibels Carter Akihiro Ohkama olcino h rit Photographby MelindaHolden. Collection oftheartist. Heather Trimlett olcino h rit Photograph Collection oftheartist. Kristina Logan Kristina Collection ofRachel Collection of Isis Ray

45 ORNAMENT 33.2.2009 33.2_HistoryofNABeads6a 1/13/152:45PMPage42

46 ORNAMENT 33.2.2009 with this fine material enabled thebeadworkers thisfinematerial with to expand to obtainintheUnited States intheearly1990s.) Working (Moretti wasdifficultandexpensive glass rods fromglass Italy. colored brilliantly Moretti costs quality, high for importing to share andthe information Fire, theRingof cooperative, andPatricia SageHolland) abeadmaking formed Clinton, Julie William Stokes, from Kerkvliet, Seattle(Brian bead artists four Pacific Northwest glass In the late 1980s, an organization. and amuseum, amagazine, several artists, the confluence of fTeBa uem(rgnlylctdi rsot Arizona, TheBeadMuseum located inPrescott, (originally of founder Liese, Gabrielle In 1993, beadmakers. other newglass Ornament technically andartistically.their art Stesson. Photograph by Larry butisnotfinancially renumerative. so much timeandpatience,” requires sanityofsomeoneworking which in an artform questionable were thetopofhishead)—displaysChatt’s witanddescribes “the this piece—aman loosinghismarbles from thetopofbag(asifit Theconcept of glassmarbles; 20.3 x 20.322.9centimeters. thread, Glassseedbeads, 1998. HANGINGONBY A DAVIDTHREAD, CHATT, by Diamante. Robert long. 46centimeters withavariety oftechniques. glass, Lampworked Effetre 2007. BAUBLE NECKLACE, STEPHANIE SERSICH, The contemporary glass bead movement glass The contemporary owes much to aaiebgnfauigteato theseand of Magazine theart beganfeaturing 7 Shortly thereafter,Shortly Photograph (popularly called (popularly called “love beads”) were worn by and American beads the1960s, During indirectly) politicalaffiliation. statusand(directly or expressing personaltastes, the wearer, continue Beads to have connotations personal for behavior. human it has always communicated themes of all on its own: livelihood. themeansforaviable with thus providing artisans to synthesize economics andaesthetics, and the conscious need work, encourages quality Society high the Atsecretive thesametime, Venetian beadmaking guilds. which differsprofoundly from thehistorically mission, andpublicationsextend Annual their gatherings public. for its members and the forum open information-sharing provides an Fire, exchange the Ring that of characterized of asimilarspirit thesamemembersandwith by someof established TheSociety, Beadmakers important. particularly Glass theInternational of Society decades makes therole of GlassBeadmakers. became theInternational of Society which in1998 GlassBeadmakers, of TheSociety of forming ledto the artists of andthegathering both theexhibition, Holland andRené Theexcitement Roberts.) by generated Patricia Sage James Smircich, Tom Holland, Patricia Frantz, Kristina Logan, Tom include Donaldarticle Schneider, Boylan, represented inthe1993exhibition andare inthis illustrated whosework was artists (The director Joannegallery Rapp. Allen and BrianKerkvliet and bywas Jamey juried artists D. which GlassBeadmakers, exhibition entitledContemporary organized agroundbreaking Arizona), and now inGlendale, centimeters. Cir home. bumble and cicada, apoppy, masterwork from thewildlife—Black-eyed Susans, Paust createdthisbeaded interests inbotany andgardening, Apainterandbeadworker withdeep 2008. MEADOW, KAREN PAUST, Since the beginning of time, jewelry has never functioned jewelry time, Since of the beginning beadworkers glass thesepasttwo The proliferation of bee—found surrounding intherural landscape herPennsylvania ufrne 83cniees op imtr roughly 10.2 poppy 48.3centimeters; diameter, cumference, rvt olcin Photographby Kiyoshi Togashi.Private Collection. 33.2_HistoryofNABeads6a 1/13/152:45PMPage43 mltc oiia rsxa.Fraonet even inour For adornment, politicalorsexual. amuletic, they aimsare constant—be buttheunderlying may vary, forwhich peopleadorn Thepurposes themselvescenturies. qualities that have been consistent factors throughout the almostprimitive itindicates thebasic, At thesametime, human creativity. breadth agerevealsown of theextraordinary Photograph courtesy ofKathleen Dustin. Photograph courtesy 9.5centimeters. long;centerbead, Necklace is51centimeters proverbs in the Hebrew Bible that deal with women and/or life. quotes from Theback ofeachbeadincludeshandwritten of surface. developedin that Dustin of-a-kind polymer Thesefourteen one- 1999. NECKLACE OF WOMEN, KATHLEEN DUSTIN, inner-city neighborhoods toinner-city communicate neighborhoods group identity. notorious in gangs many North American worn by members of frequently years later, someforty beadsare today, and peace, love symbolizing instead of imagery, reversalin astartling of Unfortunately, theirimage. of beads were part an important Tribaluniversal andethnic love andthecommunal family. were advocating The “flower children” other societies. more of humane lifestyles were perceived to bethegentler, but showed forwhat yearnings policiesin military Vietnam, American not only conveyed they their rejection of uniforms, Third World forbusinesssuitsandmilitary countries of By substitutingthedress andadornment messages. symbolic counterculture peoplewere aswell as sendingoutvisual Dressed incolorful andbeads, ethnicgarb statement. Western European menandwomen asanantiestablishment itrcloeve fbeadsfrom earlypeopleto our of overview A historical clay beadsuseatranslucent technique layering the mid-1990s and which allowsdepth the mid-1990sandwhich arich 8 i,R.K. Liu, Kenoyer. andM. Diamanti J. J.W., Lankton, 7. THE HISTORY OF BEADS: 100,000 B.C. to the Present, Revised and Revised tothePresent, 100,000B.C. HISTORY OFBEADS: — 2009THE ui,L S. L. Dubin, SUGGESTED READING isfrom thewriting All imagesandsomeof 6. 8. We experience theuniverse inabead. andmetals. shells, amber, theearth—stone, the substances of to theirremote culture andto connect ourselves to itsmakers, we And in wearing it, despite unity diversity. of continuity, onefeelsasenseof may beexotic andfrom adistantculture, anecklace Although thepresent andthefuture. the past, continuity between create they of abridge attached to beads: peopleare deeply In oranother, oneform ancestors had. us the same pleasure our giving Ice Age encircle the body, images serial onnecklaces, Strung but thebeadendures. Tastes may andmaterials change the simplebead. particular, that forms go backcomfortable to with prehistory—in we continue to use and feel and freneticchanging age, atcakcp,selmscwr.Daee,46.5centimeters. Photographby Jack Ramsdale. Collection oftheartist. Diameter, steelmusic wire. cast crack caps, silver 2 sterling 10 used insulin syringes, 1431 plastic crack vial caps, include: Materials Maasai. East African associated withcontemporary Itismodeledafterthebeadedcollars by livingwithdiabetes. anartist given andinsulinsyringes toher Pennsylvania, studio inPhiladelphia, caps vial plastic crack Madewithused 2005. IV, AMERICAN RAINBOW COLLAR JAN YAGER, 5. 4. andNaomi Porat DaniellaE. Mayer, Bar-Yosef 3. 2. 1. FOOTNOTES uz,Shelley. Muzzy, aoy .E Benesh E. Carolyn L. Tabor, Mary B.W. Mary Tabor, Blair, Elliot etal Elliot Blair, Christopher Donnan, Daniella Mayer, Bar-Yosef Randall White, Randall White, 1200 CE. Expanded Editon. Expanded 1987. Inc, Abrams, bas 2009). Abrams, to thePresent ue2,1994. June 22, NewThe YorkTimes , Natural History American Museum of ue2,20.Vl 0,n.2,8548-8551. 25, no. 105, Vol. 2008. June 24, America, of agriculture. Éditions 2005. theLevant. and Neolithic of p.300. 292fn8, 2007: McDonald Institute for Archaeological Research. Modern Humans. of and Dispersal Perspectives ontheOrigin al. Methodological ChallengesandNew Observations. Paleolithic: and Beadwork Conferenceand Beadwork Proceedings Rethinking theHuman New Revolution: andBiological Behavioural Collectible Beads: A Universal A Beads: Collectible Aesthetic h itr fBas 000BC tothePresent. 30,000 B.C. Beads: of The History ahntnDC:TeBa uem 2003. TheBeadMuseum, Washington D.C.: bd .287-302. p. Ibid. . Personal intheEarlyUpper Ornamentation Systems of . 93Gasbamkn.Tern ffire. of ring The 1993 Glassbeadmaking. rceigo h ainlAaeyo cecso theUnited States of Sciences theNational Academy of Proceeding of . The Beads of St. Catherines Island. Catherines St. Beadsof The . by Lois Sherr Dubin, Revised and Expanded Edition. (Harry N. (Harry Revised and ExpandedEdition. by Dubin, LoisSherr 0Mmeso Hispanic GangIndicted inMultiple Killings. 20 Members of , Moche Beadsfrom Ancient Peru. . e ok ar .Abrams. N. Harry New York: es comm. pers. h xliaino ShellsasBeadsinthePalaeolithic Exploitationof The . found onthesidewalk around herinnercity eebr1,2009. December 13, , Paléorient o 9 2009. 89, no. , THE HISTORY OFBEADS:100,000B.C. ai a nvriy sabl 2007. Istanbul. Kadir Has University, . edTmln.Volume to I:Prehistory A Bead Timeline. Greenstone beadsatthedawn of . it:Onmn n. 1995. Inc., Ornament Vista: . o.3/,p 7-8.CNRS 176-185. p. 31/1, vol. , nhoooia aeso the Anthropological Papers of The International Bead The International Ornament New York: Harry N. Harry New York: abig,UK, Cambridge, In 64:56-59 16(4): Mellars et ,

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