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page 68 REVIEW / AUTUMN201035Left: Enamelbrooch byAlexandraRaphaelGOLDSMITHS' FAIREVENT DETAILSWEEK ONE Monday, September 27 to Sunday, October 3WEEK TWO Tuesday, October 5 to Sunday, October 1090 exhibitors each week Closed Monday October 4 for change-overMonday to Friday 11am to 7pm (last admissions 6.30pm)Saturday and Sunday 10am to 6pm (last admissions 5.30pm)ADMISSIONBy catalogue purchasable on the door (£7 for one week, £12 for two weeks)Goldsmiths' Hall, Foster Lane, London EC2V 6BNTel: 020 7606 UNDERGROUND STATIONSSt Paul's, Mansion House, Barbican,BankBUSES8, 11, 25, 100, 242, 56, 521CAFÉOpen daily for sandwiches, salads andhot meals, champagne, wines, tea,coffee and soft drinksuses modern technology tofabricate previouslyunimaginable forms withincredible intricacy andaccuracy. At the otherend of the spectrum,jewellers Tina Engell andRos Millar use thecuttlebones from cuttlefish tocast their jewellery, a techniquewidely used by Renaissancejewellers. The result is an attractivegrainy texture, which looks both antiqueand yet simultaneously very modern. Allthese techniques are the completeantithesis of machine-made jewelleryand none more so than CatherineMartin's exquisite gold and platinumcreations made by a rhythmic textiletechnique of hand-weaving together finegold and platinum. The result is quitebreathtaking and not surprisingly herjewellery can be found in importantprivate collections and public institutionsaround the world. Numerous other Fairexhibitors have work in majorinternational museums, proof thatcontemporary jewellery and silver is verymuch a recognised art form. An offer of two for the price of oneentry to the Fair is available to allNADFAS members on presentation ofNADFAS membership cards or a copyof this article. See page 57 for detailsoverlap each other and thebrilliance and depth of colouremerges with each newapplication and firing. Afinal polishing and anexquisite work of art ofbreathtaking delicacy andbeauty is the end result.Alexandra also makesfabulous cloisonnéjewellery, often incorporatingsemi-precious stones such asaquamarine, amethyst and moonstone,their delicate colours echoed in thesubtle shades of enamel. Many leading jewellers also useenamel to add detail. Ingo Henn'sstunning jewellery is a good example.Ingo starts with an exceptional gemstonearound which he bases his design.Matching the stones and the enamel andperfecting the grading and variation ofthe colour so that the enamel not onlycomplements the stone, but is also afeature in its own right, is a majorchallenge. According to Ingo: "It'simportant to balance all the components:gemstones, engraving and enamelling sothat the result is a jewel of great beauty." But the Fair isn't just about theancient, traditional skills -cutting-edgetechnologies are also much in evidence,which makes it an even more excitingand relevant event. For instance, a newexhibitor at the Fair, Kevin Grey, spent25 years in the luxury automotiveindustry hand-making bespoke piecesfor some of the word's most famouscars. Having transferred his talents tosilversmithing, Kevin combines hisaccumulated knowledge with newtechnologies. He creates unique piecesmade almost exclusively by laser andTIG welding techniques, enabling him tojoin individual hand-raised and formedpieces of silver into seemingly seamlessvessels, remarkable for their simplicity ofform, line and volume. Lucian Taylor's silver is also well worthlooking at. His playful skeuomorphicpieces revel in the contradictory yetintriguing results of fusing the preciseaesthetic of computer aided design withthe tacit uncertainties of traditional andnot-so-traditional hand techniques.Modern technology is also making animpact with jewellers. For example, TomRucker painstakingly laser welds fineplatinum wire to produce his jewels,remarkable for their complex molecularlace-like effect. Similarly, David Goodwin

ADVERTISING FEATURE24NADFAS REVIEW / AUTUMN Sweet HomeStately Jacobean mansion, charming Victorian country house and smart Art Deco residence. Three verydifferent English Heritage properties that have one thing in common. they were all once lively family homeswhich still bear the stamp of the strong personalities who have shaped the way they look todayBuilt in 1603-14, Audley EndHouse & GardensnearCambridge, underwent atransformation in the second half of the18th century when architect RobertAdam was commissioned to create anelegant suite of reception rooms and'Capability' Brown remodelled the estateinto a pastoral landscaped park. However, it was the third LordBraybrooke who in the early 19thcentury created the Jacobean-styleinteriors that can be seen today. Thereare 30 lavishly decorated rooms to enjoyin all, filled with treasures including finefurniture, opulent soft furnishings, booksand ceramics. The vast art collectionincludes works by great masters suchas Holbein and Canaletto. Life at Audley End during the Victorian era is vividly celebrated in lively presentations featuring costumed actors or virtual characters in the Stables and Service Wing. From May to September, real horses take up residence in their very grand stables with their groom on hand to take a break from mucking them out to chat to visitors. A new exhibition describes the life of grooms, coachman and gamekeepers in the 1880s.In the Service Wing too, visitors can'meet' real characters from the past likehead cook Avis Crocombe, as sheplucks game or makes pastry.As well as the superb parkland toenjoy, there is also an acclaimedOrganic Kitchen Garden growingVictorian fruit and vegetable varieties. Audley End House & Gardens, CB114JFHouse, Stables, Service Wing andGardens open Wed - Sun & BankHolidays until end Oct. Re-opens 1 Apr2011. Stables, Service Wing andGardens remain open on selected daysin winter - call the site for details. Further information: call 01799 522842 or visit