page 1
page 2
page 3
page 4
page 5
page 6
page 7
page 8
page 9
page 10
page 11
page 12
page 13
page 14
page 15
page 16
page 17
page 18
page 19
page 20
page 21
page 22
page 23
page 24
page 25
page 26
page 27
page 28
page 29
page 30
page 31
page 32
page 33
page 34
page 35
page 36
page 37
page 38
page 39
page 40
page 41
page 42
page 43
page 44
page 45
page 46
page 47
page 48
page 49
page 50
page 51
page 52
page 53
page 54
page 55
page 56
page 57
page 58
page 59
page 60
page 61
page 62
page 63
page 64
page 65
page 66
page 67
page 68
page 69
page 70
page 71
page 72
page 73
page 74
page 75
page 76

and sizes, providing a kaleidoscopiccolour palette that is rich and vibrant. Avisit to the annual Goldsmiths' Fair, theleading showcase of contemporarydesigner jewellery, at Goldsmiths' Hall inthe City of London, provides anenlightening glimpse into themesmerising world of gemology. Withmore than 100 jewellers from all over thecountry exhibiting over the two weeks, itis fascinating to witness the differentways in which they incorporatestones into their work, creativelycombining colour, size and cut. The stones are sourcedfrom all over the globe. Manyjewellers buy directly from specialiststone dealers or cutters, while somesuch as Allen Brown travel tocentral Brazil, often going directlyto the mines themselves. Allenexplains: "While the quality ofthe stones I look for is always ofthe highest importance, I amalso looking for the unusual: inmaterial, size, cut and colour. I go on astone-buying trip with no preconceiveddesigns or ideas as I never know what I am going to find. I often sketchdown designs within hours or evenminutes of coming across somespectacular new gem."More often than not the stones arethe starting point for adesign. For example,Ingo Henn says:"I always getinspired by thegemstone, itsshape andpersonality. Thestone should alwaystake centre stage!" This isperhaps not surprising as Ingogrew up surrounded by exquisite gems- his family are leading gem-dealers andcutters in Germany. DaphneKrinoscelebratesthe beautyof multi-colouredrough-cuttourmalines bysimply framing themin precious metal toaccentuate their beauty.Likewise, Ulla Hörnfeldtsearches for the most unusualpieces of rare minerals she can find.Drusy, a gemstone with a naturalsurface texture, which looks like a finedusting of sparkly sugar crystals, is aparticular favourite. David Fowkes's jewellery ischaracterised by his choice ofparticularly rare examples of gems such as hematite, ammolite (one of the rarest of all gemstones) anddumortierite. Jeweller Ming also uses a huge variety of unique stones in her work from chrysoberyl cat's eye to peachy padparadscha and violet sapphires. Her designs arecarefully considered tospecifically complementthe colour and cut ofher chosen stone. Favouritegemstones of LucyMartin are white onyx,chrysoprase, yellowberyl, black moonstone and spinel, andshe uses their inherent qualities to makeher distinctive jewellery, which is inspiredby the beauty of city landscapes. While diamonds remain a firmfavourite, people are becoming moreaware of the fact that, like many stones,they come in a wide variety of colours,including pinks, yellows, fabulousautumnal hues and even black. Sonia Cheadle has made a stunningbracelet out of 30 carats of blackdiamond beads, finished off with 18ctyellow gold. For those who prefer traditionalsparkle in the form of white diamonds,or rubies, emeralds and blue sapphires- they too are available in abundance.Whatever the stone - its colour, shapeor form, all have been incorporated intostylish jewels with the skills, artistry andcraftsmanship of the cream of Britain'sjewellery designer-makers. The Goldsmiths' Fair runs for twoweeks. Week One is Monday 26September to Sunday 2 October.Week Two is Tuesday 4October to Sunday 9 October. Open: 11am to 7pm Mon-Fri, 10am to 6pm Sat-Sun. more details.For details of a NADFAS National Event, turn to page REVIEW / AUTUMN 201139Above (l-r):Designer-makersUlla Hornfeldt,Catherine Bestand Ingo Hennuse gemstonesto create unique pieces Below (l-r):Gemstonescome in allcolours, shapesand sizes, suchas these piecesfrom BarbaraChristie andAlison Bradley

Left:TheNationalMuseum inCardiff hasdedicated itsupper level tothe Welsh artcollectionRight:Contemporarygalleries havehelped create ajuxtaposition ofmodern andhistoric art Bottom:TheWelsh CeramicsGallery is filledwith potteryfrom 1760 to thepresent day National spiritThe national art collection of Wales finally has a gallery it can call 'home' following a 10-year, £6.5 millionredevelopment of the upper floor of the National Museum in Cardiff. Nancy Grovestakes a journey from1500 to present day as she explores the riches on displayWELSH ARTPerhaps the most famous poem inthe Welsh language, T H Parry-Williams' Hon, is little knownbeyond the border. The poet's lyricalexpression of homesickness - howsomewhere we live can both nurtureand restrict us - closes with thehaunting line: 'Ni allaf ddianc rhag hon' (I cannot escape this place). And Parry-Williams was not the only one, it seems.These same words are also the title ofthe opening exhibition of the NationalMuseum of Art for Wales.If devolution put Wales on the politicalmap in 1997, this new museum aims todo the same for Welsh art. Hard to believe,but Wales previously had no home for itsnational art collection, which was dottedaround the existing National Museum inCardiff or boxed up in storage.Now, after a decade-long, £6.5-millionredevelopment, the entire upper floor ofthe museum's Beaux-Arts building - all4,000 square feet of it - has beenremodelled into a series of inspiredchronological and thematic galleries thattell the story of Welsh art, from 1500 tothe present day.The very present day. Richard Longcompleted his installation BlaenauFfestiniog Circle (2011) in the last of six new contemporary galleries just aweek before the official opening.Expanding capacity for contemporarywork by 40 per cent, these 'whitecubes' are the final pieces of a mosaic created from the museum'sextraordinary range of art -fine andapplied; historic and modern. And thejoy is in the juxtaposition. The acclaimed Welsh Ceramics Gallery,for example, is primarily a research roomfilled with examples from the Cambrianand Glamorgan potteries that operatednear the quarries of South Walesbetween 1760 and 1920. Long's newwork, on the other hand, is made from40NADFAS REVIEW / AUTUMN