The Venetian Bead Story, Part 1 : History (Part 2

Total Page:16

File Type:pdf, Size:1020Kb

The Venetian Bead Story, Part 1 : History (Part 2 ) , The journal of the Center~for Bead Research Volume 11, Number 2 Issue 26 1998 (2 of2) • The Venetian Bead Story, Part 1 : History (Part 2. describing the beads by century, will appear in the next issue) '. A glass factory of the 1 century. Woodcut from Georgius Agricola 1556 De Re Metalica. Basle. Near the head of the man standing at the bottom is a mold similar to that (thougbless . deep than) used for chevrons. Visit us at www.thebeadsite.com. as over 70,000 people do more than a million times a year (as of late September). Attention: an important note for all our subscribers. Some copies of the last issue (25) Vol. 11, No.1, The Glass and Glass Analysis Issue, were sent out incorrectly printed, with the pages mixed up. I have contacted all U.S. members by post and all others I could reach by e­ mail and am announcing here that if this happened to you I am sorry. Let me know and I shall be leased to send .ou a corrected co '. fi . northnet.or - The MARGARETOLOGIST is published twice a year with the most current information OJl bead research, primarily our own, .• USA: Members: $30/2 years, Patrons: $80/2 years, Supporters: $20012 years. Foreign: $35, $90, $210. Upper levels receive more privileges. Entire contents ® 1998 Peter Francis, Jr. Reproduction forbidden in any form without written permission· ISSN 08921 989 . Center for Bead Research, 4 Essedt, Lake Placid, NY 12946-1236 ~ (518) 523-1794 E-mail [email protected] Web site: www.thebeadsite.com -------:------:-----:----------:----:----;---_..._­ '. The Margaretologist Vot 1-1, No. 2 Issue 26 1998 2. Books. The Asian Maritime Bead Trade is coming alo~g. {have b~en invited to do lit 1979, my first bead book, The Story of~abook on the beads from Berenike, pgypt,' o Venetian Beads, was printed in an edition~, to ~over the 'Rmnan period and Roman of only 1000 copies ,because the bead world < trade with the East. I have also been ,asked was then so ~mall. Along with its contpan- to do one on the beads from St. 'Catherines ion on Czech beads, it went out ofprint in a GA, the northernmost Spanis~: mission on few years. By 1988, there was enough new the Atlantic coast. This reveals Veneti~ material to revise then: and include other Spanish and other 17th century beads .. I am European beadmakers ~ ~~ Glass Trade in negotiations. with two other publishers Beads oj Europe. This edition was 1200 for Beads Along theAmerican Frontier and copies, but went out ofprint even faster.· a book on beads ofthe Islamic period. There have been many calls to reprint 3. If anyone would like to help.with the these. I have been slow to do so because of illustrations ofaoy of these books, .please the work involved in incorporating the new contact me. material that.has appeared since. '4. Want to take a Bead Tour? Where? The Margaretologist is increasingly rec- When? We will tailor tours for you and ognized as an important vehicle for bead small groups. Contact me. information. It is appropriate to present· Donit forget to v.isitus at this material here as this journal does not go www.th8bfadsite.com _ go to Gal. out of print and is easily accessible. How- leriesto see the graphics :related to ever, a limitation in doing this is space. this issue of the Margaret%gist. The text of the 1988 work issubstan­ !~~e ~;~~;~a~~eo:;t~ t: Si~:s;;~ rt,';~f%}t'r:~,~l,11t~jJ:~::"~~Ii._l.iiii:.~~:::,!,:l~tJj/'c);:J~ti;fi~1.~ o ments have been skipped. There was.no => mid Jan. - mid May ~99 Research, con· . room to include the section "The Identifi- suiting in India. Sri Lanka . catl'on 'of Venetian Beads" that was so => M.y - Toledo Glass Club => late June - Great Britain popular iIi the 1988 book. It covered the =>5-7 July~ Conference, Leiden beads themselves, using archaeological and => September _ Denver? historical data to date them. This data was => 'March 2000 -BEAD ..........~. lengthy and required a large bibliography. I -' could.have severely abridged it here, but it Send us your email address. : . would have been much less valuable. I " If the last digits on yourmaUing label have decided to make that section the basis are 11.:2,ri's time to renew. ofthe· next Maruaretolouist. Hence, this is " Notify us of any address changes. e,' e,' " Each class of membership receives free .Part 1 ofGlass Beadmaking in Venice. advert'ising'space and free Bead .Identifi­ • IMPORTANT NOTES cation Certificates or Research Reports.. 1. CaD for Papers. The Center and Recut- " MembershipS make wonderful presents. sos are planmng BEAD EXPO 2000 to be '" Encourage your Bead SoCiety. shop or . ­ held in March. A can to those who wish to institution to support us and all bead re- . b· . d Th b'ect· search groups.. • . • present a paper IS emg ma e. e su ~ S The Margret Carey "G~ch~" Award IS gwen will include all tyPes of beads as well ~s to. the person who spots the most ertOrs jewelry, wearable art and related topics. pe·riS$ue. 'One point fora typo, two for an Please contact me if you wish to present a error of.·fact. The·award, has been extended paper or have other ideas for the Expo. to The Bead Site. 2 '-----------~----~--~...........":.--............ ------­ The Margaretologist Vol. 11, No.2 Issue 26 1998 The Venetia", Bead Story 1 • under the direction of the senior judges to One of the world's most exquisite cities, ensure its availability (perrot 1958 10-11). Venice consists of 117 islands in the La­ On 8 November 1291 the Senate de­ goon of Venice sheltered from the Adri­ creed that glassmaking must move from atic Sea by the Lido, a long sand spit. Her Rialto to the island complex of Murano wealth has always come from the .sea. (ancient Amurianas or Amurianum). The Several theories of the origin of glass­ official reason was to shield the wooden making at V enice exis~ but none are 1h buildings of Venice from fire, but it also proven. In the 7 and 8 centuries small helped to control the industry and prevent furnaces on TorceUo Island made table­ glassmakers from leaving. The law was ware and tiles for the cathedral (Gaspa­ not always obeyed; two similar laws were retto 1967, TabaczyJisk8 1~68). Tradition passed in the next 30 years and there was says that in 811 people of the Lido fled still a glassmaker in Rialto in the late 14th the Huns to Rivo Alto (Rialto), the «high century (Hazlitt 1915 :705). bank," thus founding Venice, but radio­ Murano was a draw. By 1350 at least carbon dates beneath San Lorenzo are 60 glassmakers from the Dalmatian Coast from the late 6th and early 7th centuries th th and Italy went there, many apparently and beneath San Marco from the 7 or 8 from the Diaspora (Kurinsky 1991:382-3). (Ammerman et al. 1995). In. 823, St. Venice favored glassmakers. An immi­ Mark's bones were brought from Alexan­ grant could become a citizen in 25 years dria and Venice began to eclipse Torcello. (ibid.). A 1376 law allowed the heirs of a Documents from 982, 1()82. and 1090 glassmaker's daughter and a noble~an to • refer to philolarii or bottle makers at­ inherit his title and in 1490 the gudd was tached to Benedictine monasteries; they placed under the Council of Ten, enhanc­ also made mosaic tiles to decorate San ing its lobbying power (perrot 1958:21). Marco cathedral (Gasparetto 1960:37). In Glassmakers could even buy a title, as the 1072, alum was imported from Alexandria Morellis did in 1686 for 100,000 ducats to make glass; this was forbidden in 1330 (Gasparetto 1958:189). as it resulted in an inferior product (perrot Venice attempted to prevent an exodus 1958:11). In 1224,29 members oftheArs of glassmakers, for a while under penalty Fiolaria, .the glassmaker's guild, were of death. This did not stop many from fined for various rule infractions (Nesbitt leaving, however, and the penalty was ap­ 1879:652), the first mention ofthe guild. plied only twice (Kidd 1979:22). Many In those days of state control of indus­ European powers encouraged glassmakers try, many laws were passed governing and beadmakers, foremost among them glassmalcing. A 1275 edict barred the ex­ France (Scoville 1950:82-3). port of sand, potash or broken glass and As early as 1486, Venetians set up a restricted Gennans from taking more glass bead factory in Bohemia (Jackson 1927). than they could carry on their backs or ten In the 16th century, Venetian glassmakers Venetian lira worth. An edict of 1286 by went to France (Morazzoni 1953:41); the Grand Council set down minimum . England (Winbolt 1933:511; Thorpe 1935: working conditions and ordered the fur­ 120) and Holland (Baart 1988:67). In the naces shut when the weather was hot. In next century, workers were smuggled. ou~ • the next year, the wood for fuel was put to Amsterdam and Zuan Antonio Miottl 3 Th~Margaretologist Vol. 11, No.2 Issue 26 1998 managed a bead factory in Middleburg~ board of all guilds, announced .their sup­ Holland (Zecchin 1971:78, van der Sleen port of glass beadmakers and istopped the ' o 1967:108; Karklins 1974:54-5; Baart export of canes. to Bohemia: for further 1988:67-9). Italian beadmakers were working. The Margariteri and the Pater­ even sent to Jamestown, Virginia (Har­ nostri (organized in 1486) nominally re~ rington n.d.:9; Kidd 1979:50, 78).
Recommended publications
  • Ghana's Glass Beadmaking Arts in Transcultural Dialogues
    Ghana’s Glass Beadmaking Arts in Transcultural Dialogues Suzanne Gott PHOTOS BY THE AUTHOR EXCEPT WHERE OTHERWISE NOTED hanaian powder-glass beads first captured spread of West African strip-weaving technologies. my attention in 1990, when closely examin- With the beginnings of European maritime trade in the late ing a strand of Asante waist beads purchased fifteenth century, an increasing volume of glass beads and glass in Kumasi’s Central Market. Looking at the goods were shipped to trade centers along present-day Ghana’s complex designs of different colored glasses, Gold Coast,1 stimulating the growth of local beadworking and I was struck with the realization that each powder-glass beadmaking industries. The flourishing coastal bead had been skillfully and painstakingly crafted. This seem- trade achieved a more direct engagement between European Gingly humble and largely unexamined art merited closer study merchants and trading communities than had been possible and greater understanding (Fig. 1). I worked with Christa Clarke, with the trans-Saharan trade, and enhanced European abilities Senior Curator for the Arts of Global Africa at the Newark to ascertain and respond to local West African consumer pref- Museum, to develop the 2008–2010 exhibition “Glass Beads of erences. This interactive trade environment also facilitated the Ghana” at the Newark Museum to introduce the general public impact of the demands of Gold Coast consumers on European to this largely overlooked art (Fig. 2). The following study pro- product design and production, a two-way dynamic similar to vides a more in-depth examination of Ghanaian glass beadmak- the trade in African-print textiles (Nielsen 1979; Steiner 1985).
    [Show full text]
  • Venetian Beads
    BEADS: Journal of the Society of Bead Researchers Volume 10 Volume 10-11 (1998-1999) Article 9 1998 Venetian Beads Frank Hird Follow this and additional works at: https://surface.syr.edu/beads Part of the Archaeological Anthropology Commons, History of Art, Architecture, and Archaeology Commons, Science and Technology Studies Commons, and the Social and Cultural Anthropology Commons Repository Citation Hird, Frank (1998). "Venetian Beads." BEADS: Journal of the Society of Bead Researchers 10: 57-62. Available at: https://surface.syr.edu/beads/vol10/iss1/9 This Article is brought to you for free and open access by SURFACE. It has been accepted for inclusion in BEADS: Journal of the Society of Bead Researchers by an authorized editor of SURFACE. For more information, please contact [email protected]. VENETIAN BEADS Frank Hird Interesting accounts of the manufacture of Venetian glass It was in the thirteenth or fourteenth centuries­ beads turn up in the most unlikely places. The one repro­ historians do not agree upon the exact date-that duced here was published in The Girl's Own Paper for Febru­ bead-making was established at Murano, and through ary 1, 1896 (Vol. 17, No. 840, pp. 292-294). In addition to all the years during which Ven ice exercised her almost presenting a decent description ofthe manufacture ofdrawn and blown beads during the latter part of the 19th century, imperial sway, the glass manufacture, on this ugly and Mr. Hird gives us details concerning the setting in which the dirty little island, was one of her glories. The beadmakers and bead stringers worked.
    [Show full text]
  • Beaded Jewelry Designs Class-A Piece of Delicate Valentines Day Gifts For
    Beaded jewelry designs class-a piece of delicate valentines day gifts for her Via learning today’s beaded jewelry designs class, you will gain another method to bead some delicate valentines day gifts for her. While practicing the tutorial, you only need several inches of Tiger tail wire and a few pearlized Acrylic Beads and 12/0 Seed Beads. Giving peculiar valentines day gifts for her, to the special women, is an unexceptionable chance to get her a little bit more wild with joy. Not only for the Valentine’s Day on routine, but also for her birthday or Christmas, etc. Valentine’s Day is about romantic, but never underestimates the significant value of individual gifts. Hence, in this article, I will show you one of the numerous beaded jewelry designs classes relate to the unique occasion. Things you will need: 8mm Acrylic Beads-Imitation Shell & Pearl 8mm Rondelle Swarovski Crystal Beads 12/0 Seed Beads Crimp bead Earring hooks Tiger tail wire Side Cutting Plier Wire-cutter Plier How to make valentines day gifts for her? Step1: bead the first flower portion 1. Prepare 50cm long Tiger tail wire and then form a loop with 6 pieces of 12/0 Seed Beads; 2. Slide the following beads on outer wire tip in order: 8mm Pearlized Acrylic Bead*1, 12/0 Seed Bead, 8mm Pearlized Acrylic Bead*1, 12/0 Seed Bead. Next, cross both tips through another 8mm Pearlized Acrylic Bead; 3. Do the same with outer wire. Further, thread the inner tip through its adjacent seed bead. At last, cross both tips through one 8mm Pearlized Acrylic Bead again; 4.
    [Show full text]
  • Dewdrop Beaded Bead. Beadwork: ON12, 24-26 Bead Four: Treasure Trove Beaded Bead
    Beadwork Index through December 2017/January 2018 Issue abbreviations: D/J =December/January FM = February/March AM = April/May JJ = June/July AS=August/September ON=October/November This index covers Beadwork magazine, and special issues of Super Beadwork. To find an article, translate the issue/year/page abbreviations (for example, “Royal duchess cuff. D10/J11, 56-58” as Beadwork, December 2011/January 2012 issue, pages 56-58.) Website = www.interweave.com or beadingdaily.com Names: the index is being corrected over time to include first names instead of initials. These corrections will happen gradually as more records are corrected. Corrections often appear in later issues of Beadwork magazine, and the index indicates these. Many corrections, including the most up-to-date ones, are also found on the website. 15th Anniversary Beaded Bead Contest Bead five: dewdrop beaded bead. Beadwork: ON12, 24-26 Bead four: treasure trove beaded bead. Beadwork: AS12, 22-24 Bead one: seeing stars. Beadwork: FM12, 18-19 Bead three: stargazer beaded bead. Beadwork: JJ12, 20-22 Bead two: cluster beaded bead. Beadwork: AM12, 20-23 Beaded bead contest winners. Beadwork: FM13, 23-25 1800s-era jewelry Georgian jewels necklace. Beadwork: D14/J15, 80-81 1900s-era jewelry Bramble necklace. Beadwork: AS13, 24-27 Royal duchess cuff. Beadwork: D10/J11, 56-58 1920s-era jewelry Art Deco bracelet. Beadwork: D13/J14, 34-37 Modern flapper necklace. Beadwork: AS16, 70-72 1950s-era jewelry Aurelia necklace. Beadwork: D10/J11, 44-47 2-hole beads. See two-hole beads 20th anniversary of Beadwork Beadwork celebrates 20 years of publication.
    [Show full text]
  • Millefiori Set (Pendant + Earrings) Beading Pattern by Nela Kabelova
    Millefiori set (pendant + earrings) beading pattern by Nela Kabelova 1 | Design and tutorial by Nela Kábelová | www.gianelle.beadforum.cz | www.facebook.com/nela.kabelova International Beading Week 2019 - www.internationalbeadingweek.com - www.facebook.com/internationalbeadingweek This free pattern is intended for personal use only and for and for teaching free workshops during IBW. Re-sale of this pattern is strictly prohibited. Sale of the finished items is allowed, as long as they are all handmade by the seller. If you have any questions regarding this pattern, feel free to contact me at [email protected] or via facebook.com/nela.kabelova. Have a lot of fun! Millefiori set Difficulty: Intermediate, some prior beading experience required Material (for one pendant and one pair of earrings): Findings • 4mm firepolished beads (approx. 70 pcs) • For earrings: jump rings, earring components • Matubo 8/0 (or 8/0 Japanese seed beads) (approx. 40 pcs) • For necklace: jewelry chain, jump rings, a clasp, a bail • Matubo Miniduo (24 pcs, approx. 1.4 gram) (optional) • 11/0 Japanese seed beads (approx. 0.6 gram) • Optionally you can add some more embellishment to your • 15/0 Japanese seed beads (approx. 0.4 gram) jewelry (like chain or textile tassels or drop-shaped • Beading needle and thread of your choice beads). (Nymo, Superlon, Fireline. ..) 1) String four 4mm FPs and slide them all to the end of the thread. Tie a square knot to form a circle. Then pass through the nearest 4mm FP bead. 2 | Design and tutorial by Nela Kábelová | www.gianelle.beadforum.cz | www.facebook.com/nela.kabelova 2) Add three 4mm FPs and pass through the same bead the thread is exiting from.
    [Show full text]
  • Bohemian Faceted-Spheroidal Mold-Pressed Glass Bead Attributes: Hypothesized Terminus Post Quem Dates for the 19Th Century
    BEADS: Journal of the Society of Bead Researchers Volume 15 Volume 15 (2003) Article 6 1-1-2003 Bohemian Faceted-Spheroidal Mold-Pressed Glass Bead Attributes: Hypothesized Terminus Post Quem Dates for the 19th Century Lester A. Ross Follow this and additional works at: https://surface.syr.edu/beads Part of the Archaeological Anthropology Commons, History of Art, Architecture, and Archaeology Commons, Science and Technology Studies Commons, and the Social and Cultural Anthropology Commons Repository Citation Ross, Lester A. (2003). "Bohemian Faceted-Spheroidal Mold-Pressed Glass Bead Attributes: Hypothesized Terminus Post Quem Dates for the 19th Century." BEADS: Journal of the Society of Bead Researchers 15: 41-52. Available at: https://surface.syr.edu/beads/vol15/iss1/6 This Article is brought to you for free and open access by SURFACE. It has been accepted for inclusion in BEADS: Journal of the Society of Bead Researchers by an authorized editor of SURFACE. For more information, please contact [email protected]. BOHEMIAN FACETED-SPHEROIDAL MOLD-PRESSED GLASS BEAD ATTRIBUTES: HYPOTHESIZED TERMINUS POST QUEM DATES FOR THE 19TH CENTURY Lester A. Ross Faceted-spheroidal mold-pressed beads have been manufactured Glass bead varieties and their attributes occasionally in Bohemia since the 18th century. Evolution of manufacturing have proven to be reliable as sensitive temporal markers technology has resulted in the creation of bead attributes that (e.g., Karklins 1993; Sprague 1983, 1985). Well-dated can readily be observed on beads from archaeological contexts. archaeological contexts containing faceted-spheroidal mold­ Many North American archaeological sites contain examples of pressed beads appear to be restricted to the second through this bead type; but few reports have identified the attributes, much fourth quarters of the 19th century.
    [Show full text]
  • Glass Beads for Teachers
    GLASS BEADS FOR TEACHERS A small collection of images of beads and beadwork serves as a context for further investigation and study of how HBC, through its trade with First Nations, was a major contributor to Canada’s story. Information about Glass Beads • Beading is a craft that has been practised by almost every culture in the world. • Glass beads were highly valued by the First Nations because they were durable and came in a wide variety of colours. • Before glass beads arrived on the scene, the First Nations were accustomed to using pieces of bone, shell or rock to adorn their clothing. Quillwork using dyed porcupine quills was also popular. • HBC sourced beads from Europe specifically for the trade. They introduced glass beads from Venice, the Czech Republic, the Netherlands, and Germany to the First Nations in exchange for provisions or simply to gain their goodwill. • Beads were a staple of the trade right up to the modern period. Seed beads were the most popular over time. • The First Nations incorporated the beads into a well-established tradition of craft, custom and beliefs. • Beads became common items to offer in gift exchanges when alliances and treaties were formed. • The First Nations adapted European materials to their traditional ways of making clothing and accessories, substituting cloth for hide, beads for quillwork, and silk ribbon appliqué for painted designs. • Native beading became something of a commodity in the Victorian period. First Nations began a craft tradition of making beaded items for commercial sale back to non-natives • Starting in the early 1800s, the First Nations developed beaded souvenirs.
    [Show full text]
  • Polymer Clay Millefiori Cane Beads Objectives
    Activity: Polymer Clay Millefiori Cane Beads Objectives: Students will show an under- standing of how millefiori beads are con- structed by making some of polymer clay. Age: approximately 10 through Adult Time Required: one hour to form and cut beads; 30 minutes to bake; 30 minutes to string Museum Web site URL: http://www.museum.state.il.us/ismdepts/ anthropology/collections/Frost Frost Trade Bead Collection online http://www.museum.state.il.us/exhibits/barker/ techniques/tech_millefiori.php Barker Paperweight Collection Web module with a galleryof millefiori weights and instruc- tions and diagrams of the technique. Motivation: Venetian glass millefiori beads have complex patterns that reflect the multi- step process of construction. Designs are endless, and by going through the process is polymer clay instead of molten glass, more people can understand and appreciate them. Native American tribes traded pelts and other objects for these beads and for seed beads. They saw the advantage of getting many colors of hard, glass beads without having to shape and drill them themselves. This trading eventually caused the waning of the use of porcupine quills and bone and shell beads. It also lead to an evolution in beading patterns and techniques, influenced by styles in the larger culture. Learn how these beads were made and adapt the patterns to your own designs. Although millefiori beads look very complicated in design, the process is simple when broken down into steps. Keep in mind the methods used by glass artists when working with the clay. Materials: For Forming Beads: · two or more packages (and colors) of Sculpey III® polymer clay (softer to work with than Fimo® and some other brands.
    [Show full text]
  • Fiscal Year 2007 Annual Report (PDF)
    Penland School of Crafts Annual Report Fiscal Year 2006 – 2007 Penland’s Mission The mission of Penland School of Crafts is to support individual and artistic growth through craft. The Penland Vision Penland’s programs engage the human spirit which is expressed throughout the world in craft. Penland enriches lives by teaching skills, ideas, and the value of the handmade. Penland welcomes everyone—from vocational and avocational craft practitioners to interested visitors. Penland is a stimulating, transformative, egalitarian place where people love to work, feel free to experiment, and often exceed their own expectations. Penland’s beautiful location and historic campus inform every aspect of its work. Penland’s Educational Philosophy Penland’s educational philosophy is based on these core ideas: • Total immersion workshop education is a uniquely effective way of learning. • Close interaction with others promotes the exchange of information and ideas between individuals and disciplines. • Generosity enhances education—Penland encourages instructors, students, and staff to freely share their knowledge and experience. • Craft is kept vital by preserving its traditions and constantly expanding its boundaries. Cover Information Front cover: this pot was built by David Steumpfle during his summer workshop. It was glazed and fired by Cynthia Bringle in and sold in the Penland benefit auction for a record price. It is shown in Cynthia’s kiln at her studio at Penland. Inside front cover: chalkboard in the Pines dining room, drawing by instructor Arthur González. Inside back cover: throwing a pot in the clay studio during a workshop taught by Jason Walker. Title page: Instructors Meg Peterson and Mark Angus playing accordion duets during an outdoor Empty Bowls dinner.
    [Show full text]
  • Possessing, Dispossessing, and Repossessing Lost Wampum Belts
    University of Pennsylvania ScholarlyCommons Department of Anthropology Papers Department of Anthropology 3-2018 Broken Chains of Custody: Possessing, Dispossessing, and Repossessing Lost Wampum Belts Margaret Bruchac University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/anthro_papers Part of the Anthropology Commons Recommended Citation Bruchac, M. (2018). Broken Chains of Custody: Possessing, Dispossessing, and Repossessing Lost Wampum Belts. Proceedings of the American Philosophical Society, 162 (1), 56-105. Retrieved from https://repository.upenn.edu/anthro_papers/179 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/anthro_papers/179 For more information, please contact [email protected]. Broken Chains of Custody: Possessing, Dispossessing, and Repossessing Lost Wampum Belts Disciplines Anthropology | Social and Behavioral Sciences This journal article is available at ScholarlyCommons: https://repository.upenn.edu/anthro_papers/179 Broken Chains of Custody: Possessing, Dispossessing, and Repossessing Lost Wampum Belts MARGARET M. BRUCHAC Assistant Professor of Anthropology Coordinator, Native American and Indigenous Studies University of Pennsylvania Introduction In the spring of 2009, two historical shell bead wampum belts1—iden- tified as “early” and “rare” and valued at between $15,000 and $30,000 each—were advertised for sale at a Sotheby’s auction of Amer- ican Indian art objects2 belonging to the estate of Herbert G. Welling- ton.3 One belt, identified as having been collected by Frank G. Speck from the Mohawk community in Oka (Kanesatake, Quebec) before 1929, was tagged with an old accession number from the Heye Foun- dation/Museum of the American Indian (MAI; MAI #16/3827). The second belt, collected by John Jay White from an unknown locale before 1926, was identified as Abenaki; it, too, was tagged with an old MAI number (MAI #11/123; Figure 1).
    [Show full text]
  • Bead and Beadwork Traditions: a Study of Trade and Cultural Exchanges Across the Coast of Gujarat, East Africa and the Red Sea Medha Bhatt [email protected]
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2016 Bead and Beadwork Traditions: A Study of Trade and Cultural Exchanges across the Coast of Gujarat, East Africa and the Red Sea Medha Bhatt [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/tsaconf Part of the Art and Materials Conservation Commons, Art Practice Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Fine Arts Commons, and the Museum Studies Commons Bhatt, Medha, "Bead and Beadwork Traditions: A Study of Trade and Cultural Exchanges across the Coast of Gujarat, East Africa and the Red Sea" (2016). Textile Society of America Symposium Proceedings. 965. http://digitalcommons.unl.edu/tsaconf/965 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Crosscurrents: Land, Labor, and the Port. Textile Society of America’s 15th Biennial Symposium. Savannah, GA, October 19-23, 2016. 17 Bead and Beadwork Traditions: A Study of Trade and Cultural Exchanges across the Coast of Gujarat, East Africa and the Red Sea Medha Bhatt, Textile Designer and Researcher [email protected] Indian cotton textiles were the key commodity that powered the Indian Ocean trade exchanges. Gujarat played a significant role not only in the manufacture of cotton textiles but also carnelian beads that was used for commercial trade exchanges in the markets of East Africa, the Red Sea and the Persian Gulf.
    [Show full text]
  • 3 in 1” Jeweler’S Tool: (UK: Calotte) Used to Hide the Knots at the Beginning and End of Bead Strands
    project sheet 0504 BASICTOOLS JEWELRY FINDINGS Using the proper tools will produce higher quality and more professional-looking jewellery. Head Pin A blunt-tipped straight pin made of jewelry wire. Long-nose pliers are used to Used for making hanging earrings or pendants bend or hold small pieces that may for necklaces and bracelets. Beads are strung on, Making Your be difficult to handle. Use caution, as then a loop is made to attach to the jewelry. the teeth on these pliers may mar the Eye Pin Own Jewelry: finish of the piece. Similar to a head pin. In addition to stringing on beads, eye pins may be con- Round-nose pliers nected to other pins by the loop in the are used to make end. Tools, Tips & small round loops Earring Hook in wire or at the (UK: Long Ballwire) ends of eye pins Used to complete hanging earrings Techniques and head pins. by hooking the head pin or eye pin through the loop. Wire cutters are needed Jump Rings (round or oval) to cut wire or pins. Used to connect pieces together, such as a clasp to a bead tip at the end of a necklace These are the most basic tools for working with wire or bracelet. and jewelry findings. For the most convenience and economy, THE BEADERY® offers its innovative Fold-over Bead Tip “3 in 1” jeweler’s tool: (UK: Calotte) Used to hide the knots at the beginning and end of bead strands. Clasps 3 in 1 Round Used to close necklaces and bracelets.
    [Show full text]