tag:blogger.com,1999:blog-26514807117488855542024-03-13T17:29:54.531+02:00South African Goldsmiths Research ProjectThis blog is dedicated to research with the aim of gathering and disseminating information on 20th Century manufacturing goldsmiths in South Africa.Fredhttp://www.blogger.com/profile/08076362684798612013noreply@blogger.comBlogger15125tag:blogger.com,1999:blog-2651480711748885554.post-74109855403946445162017-06-20T05:25:00.000+02:002017-06-20T05:25:26.016+02:00Felix Vetter mid 20th Century examples (follow up from 2014 posting)
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt; margin: 0px;">A ring and a brooch made by Felix Vetter</span></b></div>
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<span style="font-size: 12pt; margin: 0px;">There is a classic
sumptuousness about these pieces that is unique to the work of Felix Vetter. A
kind of baroque lyricism. Lushness and abandon as opposed to minimalist control.
Enjoy them. Do not sell the</span></div>
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<span style="font-size: 12pt; margin: 0px;">One can see the pleasure
he had in designing these pieces.</span></div>
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<span style="font-size: 12pt; line-height: 115%; margin: 0px;">Felix, more than any other local
goldsmith that I am familiar with, was able to create an intimacy between his
jewellery and the person that wears it. This is especially evident with the
detailed attention given to the inside of his rings. It is like a little secret
that is only really enjoyed and appreciated by the person who wears it.<span style="margin: 0px;"> </span></span></div>
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<span style="font-size: 12pt; line-height: 115%; margin: 0px;">See an earlier posting for examples
of this intimacy.</span></div>
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<span style="font-size: 12pt; line-height: 115%; margin: 0px;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2PrbpeinxcwdiK3pvG9mfADF-XOLFI3RUEDBSXcn1zZoPQ61Xd7EkPGb886_yz8-TRZpJzYoe8zXzRDkOVD7iLhKdoOhQhHFNUr41BTKxP21RrtOunhu82lU39Gt6XuaBjDMvG8eoZC5Y/s1600/DSC02628.jpg" imageanchor="1"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2PrbpeinxcwdiK3pvG9mfADF-XOLFI3RUEDBSXcn1zZoPQ61Xd7EkPGb886_yz8-TRZpJzYoe8zXzRDkOVD7iLhKdoOhQhHFNUr41BTKxP21RrtOunhu82lU39Gt6XuaBjDMvG8eoZC5Y/s320/DSC02628.jpg" width="320" /></a></span></div>
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<span style="font-size: 12pt; line-height: 115%; margin: 0px;"><b>Figure 1: Gold ring</b> </span></div>
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<span style="font-size: 12pt; line-height: 115%; margin: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEishdwfADVq1LffEo2UHPMn7CYybIRNLY86-rTobTDUlu-9sz6VSs5Wf8sIZbYKUFN2c9AV6qT6sqa3bNoS3odNSo9GXYcuU1fMBoQIoCOeiHIWIEcTiy2uCftf9I26V6YREASij3Rb89M2/s1600/IMG_2098.jpg" imageanchor="1"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEishdwfADVq1LffEo2UHPMn7CYybIRNLY86-rTobTDUlu-9sz6VSs5Wf8sIZbYKUFN2c9AV6qT6sqa3bNoS3odNSo9GXYcuU1fMBoQIoCOeiHIWIEcTiy2uCftf9I26V6YREASij3Rb89M2/s320/IMG_2098.jpg" width="320" /></a></span></div>
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<span style="font-size: 12pt; line-height: 115%; margin: 0px;"><b>Figure 2: Gold Brooch</b></span></div>
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<span style="font-size: 12pt; line-height: 115%; margin: 0px;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDkczqKW-LNj1nCD6gp1r7MwnrrFKsQlIzx2sFHBWMR1rff2SS7CHVP88gVKuuoJrnax3x746SC2fjLA6D4C6U8MAYVFo1VYJ2NwY21ZUrcocOJye_6bZ6miEgHZkHLmrmrxSvCQVTQm4X/s1600/P6150069.jpg" imageanchor="1"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDkczqKW-LNj1nCD6gp1r7MwnrrFKsQlIzx2sFHBWMR1rff2SS7CHVP88gVKuuoJrnax3x746SC2fjLA6D4C6U8MAYVFo1VYJ2NwY21ZUrcocOJye_6bZ6miEgHZkHLmrmrxSvCQVTQm4X/s320/P6150069.jpg" width="320" /></a></span></div>
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<span style="font-size: 12pt; line-height: 115%; margin: 0px;"><b>Figure 3: Brooch pin reverse 1</b></span></div>
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<span style="font-size: 12pt; line-height: 115%; margin: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJnaXP77k9HcASBGnjR-K_pS0pfreqDkX7u67hUjbGtN7LeT2ouhDuardBkx64aqtyFwbkjqaduUynykIgcoj5s5hx1OgUGdRmlY-4XLcTaIV5UArGQ17Eh7Wxh7-VMztf2UzCQ9FMQVjY/s1600/P6150070.jpg" imageanchor="1"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJnaXP77k9HcASBGnjR-K_pS0pfreqDkX7u67hUjbGtN7LeT2ouhDuardBkx64aqtyFwbkjqaduUynykIgcoj5s5hx1OgUGdRmlY-4XLcTaIV5UArGQ17Eh7Wxh7-VMztf2UzCQ9FMQVjY/s320/P6150070.jpg" width="320" /></a></span></div>
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<span style="font-size: 12pt; line-height: 115%; margin: 0px;"><b>Figure 4: Brooch pin reverse 2</b></span></div>
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<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>Fredhttp://www.blogger.com/profile/08076362684798612013noreply@blogger.com2tag:blogger.com,1999:blog-2651480711748885554.post-90223472178093042372017-02-09T07:51:00.002+02:002017-02-09T08:21:28.332+02:00Mid-twentieth century jewellery making in South Africa<br />
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<b><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"> </span></b></div>
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<b><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;">Twentieth century contextual
issues that contributed to the beneficiation of precious metals in South
Africa.</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Fred
van Staden</span></b></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;"><strong> </strong></span><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">E-mail: fvanstaden@mweb.co.za</span><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 115%;"><span style="mso-spacerun: yes;"> <strong>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 115%;">(Published in the <em>South African journal of Cultural History, </em>July 2016, 30(1), pp.119-143) </span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 115%;">This paper comprises a review of a number of
situational factors that contributed to the development of gold- and silver smithing
over the course of the twentieth century. Through literature searches,
interviews, e-mail exchanges and internet searches, summaries with relevant
information are composed. Finally, the possible emergence of a South African
design domain during this time is commented on. </span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;">Key words:</span></b><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"> precious metal
artist, goldsmith, silversmith, manufacturing jeweller, maker’s mark, twentieth
century South Africa</span></div>
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<b><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 115%;">Introduction</span></b></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 115%;"> </span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 115%;">The ability to make a good piece of jewellery is an
art form – a highly skilled task which is… …learnt on the job – at the bench
and there is no substitute for experience.</span></i></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 115%;">Micro manufacturing
jeweller, 2006.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><i style="mso-bidi-font-style: normal;"><span style="mso-special-character: footnote;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[1]</span></span></b></span></i></a></span><br />
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">During the eighteenth and nineteenth centuries
only a slow trickle of local jewellery was produced from within South Africa.
Emphasis was placed on silver hollowware and flatware, rather than creative
expressions of jewellery. Where jewellery was produced, such as buckles,
buttons, bracelets and brooches, it was strongly based on European styles with
little (if any) effort made to reflect an African idiom within the designs or
decorations.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[2]</span></span></span></a>
While local interest in jewellery making was stimulated by the discovery of
diamonds and gold in the late nineteenth century, artist-jewellers remained
mostly unknown until the early to mid-twentieth century with the emergence of
offerings by goldsmiths such as Anthony Sidersky, Jack Friedman, Felix Vetter
and Kurt Jobst.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[3]</span></span></span></a>
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<b><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Figure 1: A rare ‘South Africanised’ Cape silver
medallion (1825) presented by the British colonialists to Griqua Chief Andries
Waterboer with the Dutch inscription <i style="mso-bidi-font-style: normal;">We
all are Brothers</i></span></b></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">(Photo: S. Welz, <i>Cape Silver &
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">From the mid-twentieth century, local
jewellery-making programmes were introduced in South Africa both privately and
at tertiary institutions of education. The implementation and development of
these training programmes contributed to an increased output of locally made
jewellery pieces, as well as the emergence of more abstract jewellery designs
in which the mixing of different metals and materials, such as semi-precious
stones, and organic materials, such as bone, wood, ivory, animal claws and
hair, were introduced. Early proponents of this renewal were Else
Wongtschowski, Joe Calafato and the Haglund workshop.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[4]</span></span></span></a> It was this generation of
precious metal artists that also began to express indigenous geological,
wildlife and cultural inspirations in their designs.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[5]</span></span></span></a><span style="mso-spacerun: yes;"> </span>As time went by, these organic expressions of
the 1950s to the early 1970s changed, with cleaner and </span><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">modernised lines being used (perhaps also following
the dominant Scandinavian trend in international precious metal design where
the emphasis was placed on simple stylised lines).<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[6]</span></span></span></a>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Figure 2: Design development in
the work of Joe Calafato. The top row reflects work that was done in the early
1950s whereas the bottom row represents designs that stem from the 1970s.</span></b></div>
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<span lang="ES" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">(Photo: F. van Staden, Pretoria, 2014)<b style="mso-bidi-font-weight: normal;">
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<b style="mso-bidi-font-weight: normal;"><span lang="ES" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;"> </span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Method</span></b></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">A review of pertinent literature on factors that contributed to the
conditions under which precious metal jewellery making took place was compiled
in order to describe aspects of the contexts in which silver- and goldsmiths
were operating in the early to late twentieth century. The review included
publications in academic journals, books and suitable magazines such as the <i>South
African Panorama</i>, <i>Lantern</i>, <i>Artlook Magazine</i>,</span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-size: 8pt; line-height: 150%; mso-ansi-language: EN-GB;"> </span></i><i><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">The S.A. Jeweller</span></i><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;"> <i>and</i> <i>the Diamond News</i>, The <i>Diamond
News and S.A. Watchmaker and Jeweller</i> as well as internet searches. </span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Gold- and silversmiths whose work was covered in an earlier series of
articles<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[7]</span></span></span></a>
were also requested to comment on the organisational climate and changes that
took place during the time under review. In cases where the gold- and
silversmiths have passed away, efforts were made to contact their families or
co-workers such as engravers, enamellists and die sinkers to supplement and
corroborate existing information. </span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">The interviews and all pertinent e-mail exchanges were content analysed
and referenced against the available literature.<span style="mso-spacerun: yes;"> </span>An initial draft was submitted to a few
experienced practitioners for review. Where warranted, the text was adapted.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref8" style="mso-footnote-id: ftn8;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[8]</span></span></span></a></span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;"> </span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Some contextual issues shaping
the character of a South African gold- and silversmith tradition in the
twentieth century.</span></b></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;"> </span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Socio-economic conditions</span></i><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;"> </span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;"> </span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">At the turn of the century, the aftermath of the South African (Anglo
Boer) War set the scene for economic hardship for the average South African
during most of the first half of the twentieth century. The First World War,
the economic depression of the 1930s and the Second World War added to the
challenges of a divided and developing country. The country’s fortunes changed
after the Second World War, and it began to experience sustained economic
growth like never before – mostly because of increasingly extensive mining of
diamonds and precious metals. The growing South African economy required
skilled workers, and (partly through government incentives) these were
attracted from a Europe still trying to recover from the devastation of the
spoils of war. Gold- and silversmiths from the Baltic countries, northern
Europe and even a few from Scandinavia settled in their numbers in South Africa
during the 1950s onwards. </span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Along with the metamorphosis from a struggling and mostly pastoral
economy during the first part of the twentieth century into a diversifying and
growing economy during the latter, a changing South African patriotism<span style="mso-spacerun: yes;"> </span>arose throughout the century, incarnating
from British dominance into Afrikaner nationalism and finally into an inclusive
South African democracy. This has set the political and socio-economic contexts
in which goldsmiths involved in the local beneficiation of precious metals
found its expression and changing identity. </span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">The introduction of jewellery counters in department stores during the
1960s not only challenged the existence of small individually owned retail
stores, but through lower priced imports it also impacted the local producers
of jewellery.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref9" style="mso-footnote-id: ftn9;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[9]</span></span></span></a><span style="mso-spacerun: yes;"> </span>During the 1970s and 1980s little growth took
place in the local industry in terms of quantity. </span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Since exporting on any significant scale was blocked through
international sanctions, only small amounts of South African designed and
manufactured jewellery reached the international market. In addition, the gold
price increased exponentially in 1979 and continued to soar in South African
rand terms over the next two decades. This placed increasing strain on the
making and marketing of local jewellery.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref10" style="mso-footnote-id: ftn10;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[10]</span></span></span></a><span style="mso-spacerun: yes;"> </span>Businesses went insolvent, resulting in an
additional impact on the local market. Much of the formal training that took
place at the time did not include the acquisition of sufficient business skills
to establish and develop a business. Owing to the nature of the educational
system and the industry, many small businesses were established which all
competed for a piece of a small cake.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref11" style="mso-footnote-id: ftn11;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[11]</span></span></span></a>
</span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">During the 1990s a noticeable increase in break-ins and attacks on
goldsmiths occurred. The added security measures and additional expenses in
building up new stock had a negative effect on growth in the industry.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref12" style="mso-footnote-id: ftn12;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[12]</span></span></span></a>
</span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Nevertheless, the last decades of the twentieth century brought the
promise of a local renaissance in the creation of precious metal art. At the
end of the twentieth century an inclusive multicultural South African designer
generation was introduced to the local market. The promise of a diversified
definition of South African jewellery design came to the fore – a
diversification that began to absorb and express varied cultural inspirations
and backgrounds, within the parameters of a South African consciousness.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref13" style="mso-footnote-id: ftn13;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[13]</span></span></span></a>
</span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">However, because of competitive pricing and increased exposure to
international markets, a great deal of manufactured jewellery for the mass
market imported from China, especially, has resulted in a local market that is
still housing only a small mass-manufacturing component.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref14" style="mso-footnote-id: ftn14;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[14]</span></span></span></a>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;"> </span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Structural development</span></i></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;"> </span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">In the midst of the Second World War (March 1942) the South African
Jewellers’ Association Ltd came to life in Johannesburg. Within fifteen years
it had successfully established branches countrywide (Border, Port Elizabeth,
Durban, East London, Cape Town, Pretoria, Johannesburg and Kimberley, with
provincial branches in the Transvaal, the Free State, Natal and the Western
Province). The Johannesburg branch was the most differentiated of all the
structures and comprised three sections that represented the concerns of
wholesale jewellers and manufacturers, with separate representation for retail
jewellers and manufacturing jewellers.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref15" style="mso-footnote-id: ftn15;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[15]</span></span></span></a>
In 1955 the Cape Jewellery Manufacturing Association was formed and seceded
from the South African Jewellery Manufacturers’ Association but remained
affiliated with the mother body, the South African Jewellers’ Association. The
main reason for seceding was that decisions by the South African Jewellers’
Association tended to ignore their interests.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref16" style="mso-footnote-id: ftn16;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[16]</span></span></span></a>
For the rest of the twentieth century the Cape Jewellery Manufacturers’
Association kept functioning as a separate interest group until it amalgamated
with the Jewellery Council of South Africa in 2012 because of poor membership
rates.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref17" style="mso-footnote-id: ftn17;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[17]</span></span></span></a></span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Apart from the initial Transvaal Jewellery Manufacturers’ Association
(under the umbrella of the S.A. Jewellery Association) and the Cape Jewellery
Manufacturers’ Association, the creation of precious metal artefacts (be they
jewellery, flat- or hollowware) in South Africa was regulated by the Industrial
Council for the Jewellery and Precious Metal Industry. It was constituted under
the Industrial Council Act in November 1945.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref18" style="mso-footnote-id: ftn18;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[18]</span></span></span></a>
Together, they defined four main sections of creative precious metal
artisanship – designing, making, setting and polishing – and laid down an
ethical code along with training and production requirements. No specialisation
took place and apprentices had to be competent in all categories of the trade.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref19" style="mso-footnote-id: ftn19;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[19]</span></span></span></a>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Up until the mid-1950s the jewellery manufacturing market was protected
by law and international companies were not allowed to operate within the
country. In one case an Italian company wanted to start a gold chain
manufacturing operation in the late 1950s but permission was not granted.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref20" style="mso-footnote-id: ftn20;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[20]</span></span></span></a>
Nevertheless, the early South African Jewellers’ Association was successful in
lobbying the government to ease import/export trade restrictions. An important
milestone was reached in 1955 when custom tariffs on watches and jewellery were
relaxed.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref21" style="mso-footnote-id: ftn21;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[21]</span></span></span></a> The
following jewellery-related items were removed entirely from the ‘restricted’
list: </span></div>
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<div style="line-height: 150%; margin: 0cm 0cm 0pt 36pt; text-align: left;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">…
imitation jewellery and rolled gold, enamel or gilt jewellery; precious stones
and pearls and imitations thereof, cut or polished and whether mounted or
unmounted; completed portions or parts of any article of jewellery, imitation
or otherwise; bangles, necklaces, girdles, muff chains, clasps and similar
articles of adornment.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref22" style="mso-footnote-id: ftn22;" title=""><span style="mso-special-character: footnote;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[22]</span></span></b></span></a></span></i></div>
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<br /></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;"> </span></div>
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<br /></div>
<div style="line-height: 150%; margin: 0cm 0cm 0pt; text-align: center;">
<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">The relaxation of duty tariffs also meant that local gold- and
silversmiths faced increased competition from other countries and from the
South African Mint.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref23" style="mso-footnote-id: ftn23;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[23]</span></span></span></a>
In 1956 the Association successfully petitioned the government to restrict open
market related activities by the South African Mint.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref24" style="mso-footnote-id: ftn24;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[24]</span></span></span></a>
</span></div>
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<br /></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">An issue that caught the attention of the Association already in the
1950s was how to tap into a growing African market.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref25" style="mso-footnote-id: ftn25;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[25]</span></span></span></a></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Figure
3: List of founding members of the Jewellery Council of South Africa in 1972</span></b></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;"><span style="mso-spacerun: yes;"> </span>(Photo: F. van Staden,
Johannesburg, 2012)</span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">In 1972 a new umbrella body named the Jewellery Council of South Africa
was constituted. It replaced the S.A. Jewellers’ Association and included
representation from wholesalers, retailers and manufacturers,<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref26" style="mso-footnote-id: ftn26;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[26]</span></span></span></a>
along with additional representation from mining houses, the Indian Jewellers’
Association, the Diamond Club of South Africa, the Swiss Watch Federation, as
well as the Diamond Cutters’ Association, with the University of Stellenbosch
representing the education sector. A nine-member executive committee
representing all interest groups in the jewellery trade was formed. Amongst its
aims were the setting and maintaining of standards along with increased
education and awareness, as well as liaison with the government and other
stakeholders in the trade. It was constituted to be an umbrella organisation
that included representation from the mining houses as well as the
diamond-cutting and watch-making trade. A central goal of the Council was to
set up a regulation board for its members and to arbitrate in cases of
complaints from the public.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref27" style="mso-footnote-id: ftn27;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[27]</span></span></span></a>
This organisational development also prompted the government to take more
notice of the Jewellery Council of South Africa as a formally constituted body
that represents of the interests of the industry as a whole.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref28" style="mso-footnote-id: ftn28;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[28]</span></span></span></a>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;"> </span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Government backing </span></i></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">During the early and mid-twentieth century the jewellery trade was
subject to a fair number of regulations and government restrictions. Precious
metal jewellery was regarded as a <i style="mso-bidi-font-style: normal;">luxury
commodity</i> and was more strictly controlled than other manufacturing
sectors. In the 1930s, imported jewellery items were also taxed by 30 per cent.
Ironically, through their lack of interest in developing the local jewellery
market, the government also deprived itself of a lucrative tax base.
Manufacturers were only allowed to smelt up to two ounces of gold at a time,
thereby limiting both production and the incentive to keep up with modernised
production methods. Appeals from manufacturers to change the status quo
continued to fall on deaf ears until well after the Second World War. When
import/export controls were relaxed after the war, local jewellery
manufacturers suddenly faced increased competition. Appeals for stimulating the
local market by retaining import duties of 33⅓ per cent were ignored.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref29" style="mso-footnote-id: ftn29;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[29]</span></span></span></a>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">For most of the century, the industry was not supported with seed money
or organisational assistance by the government.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref30" style="mso-footnote-id: ftn30;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[30]</span></span></span></a>
Its development remained restricted because of both internal and external
socio-political constraints. Government was not interested in the jewellery
sector; its main concern was to maximise bullion production for export, thereby
bolstering the country’s balance of payments. It was only in 1987 that the
Jewellery Council of South Africa was for the first time formally recognised as
a representative body by the government. In this year the first government
inquiry was held into ways in which the local jewellery industry could be
stimulated. In response to a questionnaire in this regard, the jewellery
manufacturers at the time contended that they </span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">…were
constrained by working capital, the purchase of gold, sanctions, the training
of labour, the gold ratio and the size of the local market…<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref31" style="mso-footnote-id: ftn31;" title=""><span style="mso-special-character: footnote;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[31]</span></span></b></span></a></span></i></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;"> </span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">It is during the late 1980s that the government showed its first serious
intention to assist the development of the local jewellery sector. The
manufacturing jewellery sector was declining rapidly, and for the first time the
importance of the beneficiation of precious metals was recognised. Legislative
reforms began to ensure easier access to gold, <i>ad valorem tax</i> of 35 per
cent was abolished in 1990, and jewellers permits were for the first time
granted to all races. However, it would take years to address the decades of
stagnation and neglect of the jewellery sector because of excessive taxation
and an unfavourable economic climate at the end of the century. At this time,
South Africa was still only capturing 0,2 per cent of the world’s jewellery
production.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref32" style="mso-footnote-id: ftn32;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[32]</span></span></span></a></span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">A law introduced in 1913, requiring goldsmiths to keep a detailed record
of their acquisition and disposal of gold, was applied throughout the twentieth
century. The ‘gold police’ paid unannounced auditing visits to businesses, and
caused resentment amongst goldsmiths. It was well known that goldsmiths were
regarded with suspicion by government, especially since an extensive trade in
gold stolen from the mines became a chronic problem throughout most of the
century. As early as in 1925 it was estimated that about £100 000 worth of gold
jewellery was imported, whereas about £350 000 worth of illicit gold jewellery
was made inside the country.<span style="mso-spacerun: yes;">
</span>Interestingly, only the beneficiation process of gold was regulated.
Silver and platinum remained unregulated.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref33" style="mso-footnote-id: ftn33;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[33]</span></span></span></a><span style="mso-spacerun: yes;"> </span></span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;"> </span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Job Reservations Act (1911-1994)</span></i></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;"> </span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;"><span style="mso-spacerun: yes;"> </span>A political factor that
contributed to the definition of the South African precious metal beneficiation
process during the twentieth century is that whereas white skilled workers from
Europe were encouraged to immigrate, black South Africans were formally
excluded from the trade as part of the country’s Job Reservations Act. Blacks
were allowed to polish the precious metal objects but they were not allowed to
design, make or set the jewellery items.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref34" style="mso-footnote-id: ftn34;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[34]</span></span></span></a>
Nevertheless, it appears that the Act was widely undermined and throughout the
twentieth century blacks and coloureds were (for the most part clandestinely)
trained in all facets of the creative and manufacturing process, even in
designing. Some also worked on commission from their homes. Occasionally the
inspectors issued transgressing workshops with fines and at other times the
authorities were bribed.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref35" style="mso-footnote-id: ftn35;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[35]</span></span></span></a>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Along with a growing economy, the jewellery sector also expanded somewhat
during the latter half of the century (albeit at a slower pace). The market
increasingly required more skilled workers than what was supplied by whites
only. By the early 1980s many jewellery manufacturing concerns were openly
training and employing South Africans from all racial groups in the various
phases of jewellery making.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref36" style="mso-footnote-id: ftn36;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[36]</span></span></span></a>
While open access to tertiary training institutions existed from the early
1990s, at the end of the century the first of a number of training institutions
dedicated to the training of previously disadvantaged black people was
established in Atteridgeville in Tshwane in 1998. It is a privately funded
institution called <i>Vukani Ubuntu Jewellery Design School</i> and offers a
three-year design and jewellery making course.<span style="mso-spacerun: yes;">
</span>The success of the school led to the opening of other training venues in
Virginia, Barberton and Kimberley.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref37" style="mso-footnote-id: ftn37;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[37]</span></span></span></a></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">The South African Indian goldsmith tradition</span></i></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;"> </span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Amongst the first Indians that came to South Africa were goldsmiths who
kept the craft of making Indian culturally inspired jewellery alive. Their
jewellery-making skills were passed on from generation to generation. Since the
Indian community has a long tradition of gold- and silversmithing, they applied
their artistry throughout their settlement in South Africa, despite being
marginalised through restrictive labour laws.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref38" style="mso-footnote-id: ftn38;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[38]</span></span></span></a></span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Whereas only white people were allowed to buy unwrought gold, the law
was already relaxed in 1915 in the case of Indians residing in Natal. They
could buy gold by means of a police permit. Indian goldsmiths were based mainly
in Durban and Pietermaritzburg. In their designs, the emphasis was placed
primarily on mythological Indian depictions. In the nineteenth century they imported
gold jewellery from India, destined for Cape Town and Durban.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref39" style="mso-footnote-id: ftn39;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[39]</span></span></span></a>
This continued throughout the twentieth century, and sometimes dies<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref40" style="mso-footnote-id: ftn40;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[40]</span></span></span></a>
were also imported from India.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref41" style="mso-footnote-id: ftn41;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[41]</span></span></span></a>
Apprenticeships were offered within the community. Indian goldsmiths worked
mostly in 22 carat gold (as opposed to the more familiar 9 and 18 carat gold
used in mainstream South African gold jewellery production). As was the case in
Europe, apprentice jewellers had to complete a five-year training period with
recognised master silver- and goldsmiths before they were accepted as master
goldsmiths in their own right. In the mid-1970s, the first formal South African
qualification specialising in the art of jewellery design and making was
instituted at the Durban Technikon.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref42" style="mso-footnote-id: ftn42;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[42]</span></span></span></a></span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">In 1972 an Indian Jewellers’ Association was already well established
and incorporated in the founding of the Jewellery Council of South Africa.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref43" style="mso-footnote-id: ftn43;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[43]</span></span></span></a>
At first it became one of the strongest affiliations with the Council, but
barely a decade later, in 1985, the Natal Indian Goldsmiths Association ceased
to exist – ostensibly because of an unfavourable financial climate coupled with
a high gold price.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref44" style="mso-footnote-id: ftn44;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[44]</span></span></span></a>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Figure
4: Traditional Indian gold jewellery </span></b></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;"><span style="mso-spacerun: yes;"> </span>(Photo: M do Rosário Pinto
Pereira da Silva</span><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">,</span><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 8pt; line-height: 150%;"> </span><i><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">From Dynamism to Dormancy: The Jewellery
Industry in Johannesburg: 1925-2003</span></i><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">, unpublished DPhil thesis, University of
the Witwatersrand, Johannesburg, 2007, p. 157)</span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Figure 5: Examples of modern
South African Indian fusion jewellery</span></b></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">(Photo: <i>South African Jewellery News</i>, <span style="mso-bidi-font-style: italic;">Piyuvé Jewellers</span>, January 2014, p. 25)<b style="mso-bidi-font-weight: normal;"> </b></span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Partly because of apartheid laws and an entrenched cultural expression,
South African Indian jewellery design was inwardly focused for the most part of
the twentieth century. The insularity of their designs was not impacted by design
trends in the rest of the country or from the West. However, with apartheid
waning in the late twentieth century, a new openness to outside jewellery
trends became noticeable, and designs by South African Indian goldsmiths became
more stylised and sculptural, expressing affinity with the dominant trend in
the rest of the country.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref45" style="mso-footnote-id: ftn45;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[45]</span></span></span></a>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Jewellery competitions and exhibitions</span></i><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;"> </span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Early efforts at stimulating the local jewellery trade were initiated in
the 1950s by a De Beers advertising campaign in marketing the combined
investment and beauty value of diamonds. As part of their marketing drive, De
Beers sponsored the first Diamond International Award design competition in
1953. This competition became a biennial event throughout the rest of the
twentieth century and played a significant part in stimulating jewellery design
both locally and internationally.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref46" style="mso-footnote-id: ftn46;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[46]</span></span></span></a>
This initiative was followed in the 1960s by government-sponsored arts and
crafts exhibitions that included a collection of local jewellery makers’ work at
Florence in Italy, as well as a few international group exhibitions in
Washington and London.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref47" style="mso-footnote-id: ftn47;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[47]</span></span></span></a>
These exhibitions were held under the auspices of the government Departments of
Foreign Affairs and Information. The sporadic nature of the exhibitions perhaps
also reflects the lack of government commitment to develop the jewellery trade.</span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">In 1970, the South African mining fraternity initiated an annual Chamber
of Mines Gold Jewellery Competition with Dieter Steglich, Erich Frey and Abe
Pass winning first prizes in different categories of the competition.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref48" style="mso-footnote-id: ftn48;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[48]</span></span></span></a> A total of 169 jewellery items were entered
for the first competition, exhibited by the Chamber of Mines at the Rand Easter
Show in Johannesburg.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref49" style="mso-footnote-id: ftn49;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[49]</span></span></span></a>
Successive national competitions held by the International Gold Corporation
followed.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref50" style="mso-footnote-id: ftn50;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[50]</span></span></span></a> </span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Figure 6: Dieter Steglich’s
award-winning bracelet in the Chamber of Mines’ Gold Jewellery Competition in
1970. The bracelet featured five moonstones and 12 rubies in ‘lunar textured’
gold.</span></b></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;"><span style="mso-spacerun: yes;"> </span></span><span lang="ES" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">(Photo: F. van Staden, Pretoria, 2013)</span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">In the late 1970s these competitions were diversified to include
Intergold competitions along with the De Beers Diamond Today and the Diamonds
Tomorrow Student Design competitions.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref51" style="mso-footnote-id: ftn51;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[51]</span></span></span></a> The competitions appear to have been
successful not only as marketing and educational tools, but they also launched
or stimulated successful careers for almost all of the early award winners. </span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">In 1979 Intergold introduced the concept of pairing local couturiers and
goldsmiths in a celebrated exhibition named Gold and Threads. Local fashion
designers such as Errol Arendz, Marianne Fassler, Wynand Bezuidenhoudt, Lucy
Renew and Suki Crawford’s designs were paired with the designs of local
goldsmiths such as Kurt Donau, Ewald and Liz Kratz, Guy Traest, Hartmut Jäger
and Jochen Kessel.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref52" style="mso-footnote-id: ftn52;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[52]</span></span></span></a>
The success of this concept led De Beers Intergold to produce televised
fashion-jewellery shows in Basle, Milan, Rome and New York.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref53" style="mso-footnote-id: ftn53;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[53]</span></span></span></a><b style="mso-bidi-font-weight: normal;"> </b>In the following years two more
fashion-jewellery twinning exhibitions were held.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref54" style="mso-footnote-id: ftn54;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[54]</span></span></span></a>
In addition,<span style="mso-spacerun: yes;"> </span>a collaborative marketing
drive with an international fashion research house was launched in 1985 where
the work of Guy Traest, Geophrey Foden, Ewald and Liz Kratz as well as Jochen
Kessel were promoted as representative of contemporary international fashion
styles of the time.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref55" style="mso-footnote-id: ftn55;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[55]</span></span></span></a></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Technological advances</span></i></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">An important interpretive dimension of jewellery making over the course
of the twentieth century involved major changes and possibilities offered by
technological advances, especially during the latter half of the century. The
industry moved from mouth-blown soldering torches and hand engravings to
computerised laser cutting, soldering and engraving within the course of four
decades. Along with the dawn of the twenty-first century came technological
advances in terms of computer software and laser technology where the design,
die sinking, waxing, melting and soldering processes have been increasingly
automated. This has brought new design opportunities but has also resulted in a
loss of artisan skills.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref56" style="mso-footnote-id: ftn56;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[56]</span></span></span></a>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">These technological advances also crept into the creation of individual
items of jewellery or other precious metal objects. It may well be that the
skills of future precious metal artists may increasingly reside only in
creating the design and polishing a finished product. At present, handmade
precious metal jewellery seems to be sustained mainly by commissions from
clients - a shrinking niche market.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref57" style="mso-footnote-id: ftn57;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[57]</span></span></span></a>
The skills of die sinking and engraving by hand are likely to become
increasingly rare and performed mainly by ‘hobbyists’. A similar fate appears
to be awaiting the craft of traditional watchmaking.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref58" style="mso-footnote-id: ftn58;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[58]</span></span></span></a>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Locally, few smiths are still trained in the original craft of smiting –
using a hammer to shape metal.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref59" style="mso-footnote-id: ftn59;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[59]</span></span></span></a>
Likewise, the craft of hand-carved dies also seems to be under threat. As one
octogenarian die sinker professes: </span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">There’s
no money in hand made dies anymore either.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref60" style="mso-footnote-id: ftn60;" title=""><span style="mso-special-character: footnote;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[60]</span></span></b></span></a></span></i></div>
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<strong>Figure 7: The hands of Mr Newton Klink, engraver and die sinker, Eersterust, Pretoria</strong><br />
(Photo: From the Klink résumé, Pretoria)<br />
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The merging of laser and digital technology is spawning a revolution in the design professions, resulting in the renewal of old tensions between the creative jeweller and the mass manufacturer.[61] Along with this new clinically automated approach to precious metal design through three-dimensional (3D) modelling and wax casting, it seems likely that many of the skills of the master craftsmen that characterised the twentieth century will be diminished. With it, a bit of the soul that twentieth century precious metal artists brought to their profession may also be lost. As some goldsmiths put it:<br />
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<em>… they are taking away the art of sitting down at the workbench and creating an object of beauty with your hands.[62]<br /><br />Maybe the whole trade will become virtual, and a goldsmith will be someone who files and polishes castings and does minor repairs.[63]</em><br />
<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Bleak as this may sound, there will always be some demand for
individually handmade metal artistry, requiring creativity and a range of
applied skills at the workbench. It is mainly technical ability and individual
creativity that will keep the artistic jeweller alive. Goldsmith Geophrey Foden
eloquently formulates the counter argument:</span><br />
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<br />
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Lazer
technology is one thing, it is a manufacturing process. Some of the worst
designs I’ve ever encountered have been computer generated because it looks too
clean. Jewellery was not meant to look like a 5-point piece of neatly cut
steel. It needs nuances that require a high level of experience in operating
the software programs of the lazer cutting machines. Mass-produced work tends
to be flat in nuance. You can’t teach people design, it’s a gift – the present
technology acts as a pave for those who are not great designers but good
technologists – in this way mediocrity creeps into the industry. But the
industry has a way of correcting itself. The best future scenario would again
be a group effort where the electronic technologist plays an important part in
the manufacturing process.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref64" style="mso-footnote-id: ftn64;" title=""><span style="mso-special-character: footnote;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[64]</span></span></b></span></a></span></i><br />
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Figure 8: An engraving done in
the late 1940s by Mr G Xanthides for his mother Elviera </span></b></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">Mike Cope, a Cape Town goldsmith, perceives the future of handmade
jewellery as follows: </span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">I
think that if people can learn to make jewellery that provides meaning to the
wearer’s life (instead of monuments to the artist’s ego, in the case of
competition jewellery, or repetitive, derivative bling in the case of the trade
stuff) then there is some hope that people who have this sensitivity and skill
will be needed.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref65" style="mso-footnote-id: ftn65;" title=""><span style="mso-special-character: footnote;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[65]</span></span></b></span></a>
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<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><em><strong>Copyright</strong></em> <br />Historically, it appears that metal artists are facing a dilemma similar to the one that the artists from the Arts and Crafts movement faced in dealing with industrialisation. Only this time mass production is even easier, faster and less labour intensive. In this regard, it appears likely that the copyright issue may start playing a more important role in future in protecting designs. Whereas copyright infringements have occurred through</span><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;"><span style="font-family: "arial" , "helvetica" , sans-serif;">out</span> the ages on the work
of creative silver- and goldsmiths, the high profits from a globalised mass
market may just force the industry and lawmakers to refine copyrights on the
libraries of form, composition and ownership. Be that as it may, in the world
of jewellery making, the root of artistic expression lies in its initial
design. And even more so than in the world of sculpture or painting, the work
of jewellery designers remains subject to be copied by others without much
recourse. This dilemma has continued to frustrate local metal art designers
throughout the twentieth century.<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftnref66" style="mso-footnote-id: ftn66;" title=""><span style="mso-special-character: footnote;"><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10pt;"><span style="color: blue;">[66]</span></span></span></a></span></span></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;"><v:shape alt="Candida Spanish dancer brooch original and fake" id="Picture_x0020_2" o:spid="_x0000_i1027" style="height: 268.2pt; mso-wrap-style: square; visibility: visible; width: 283.8pt;" type="#_x0000_t75">
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to produce the Spanish dancer by Joe Calafato in the late 1960s (lower figure)
has also been used to produce low-quality copies without a maker’s stamp (top
figure)<span style="mso-spacerun: yes;"> </span></span></b></div>
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<span lang="ES" style="font-family: "arial" , "sans-serif"; font-size: 10pt; line-height: 150%;">(Photo: F. van Staden, Pretoria, 2014)</span></div>
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<strong>Outsourcing</strong><br />
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To some extent the outsourcing of jewellery components was originally introduced by the generation of manufacturing goldsmiths that established workshops in the 1940s and 1950s - for example, Joe Calafato only did the designing of his work - he had a small workshop of engravers, solderers, die sinkers, polishers and setters, but would often outsource some work to independent specialists.[67] For the generations that followed from the 1960s onwards, it appears that co-operation between workshops diminished somewhat, giving way to a small number of mass manufacturers who created every component of their products, and a sizeable number of artist jewellers creating handmade one-of-a-kind pieces. <br />
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The inability of mass manufacturing silver- and goldsmiths to co-operate and develop specialisation lines (such as chains or clasps) also seems to be reflected in their initial inability to develop unified national organisational structures or associations. Nevertheless, outsourcing of the components of a mass order to a number of suppliers within South Africa and then to assemble the finished products (as is done in the jewellery trade in Hong Kong) is still not possible. A goldsmith of note in the local market points to the following characterisation:<br />
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<em>As an industry we are still too fragmented, not co-operating – and that is why it hasn’t really grown.</em>[68]<br />
<br />
<strong>Emergence of a South African design domain</strong><br />
In 1973 John Donald, a noted English goldsmith at the time, had this to say about the entries for the Chamber of Mines Gold Jewellery Competition:<br />
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Some of the pieces tended to be rather derivative of European designs which to some extent is quite natural and which will tend to disappear with the increased competition between designers and manufacturers and a greater awareness of design by the public.[69]<br />
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Whereas globalisation and designs in international catalogues continue to have an influence on local precious metal artistry, this prediction appears to have been at least partly fulfilled.[70] The search for indigenous South African rooted design inspirations was also strengthened by the isolation that was forced onto local jewellery designers as a result of apartheid-related sanctions during the latter half of the twentieth century.[71] <br />
<br />
Proponents of South African inspired jewellery design aesthetics were noticeable for the most part of the twentieth century. This identity, developed from the singular use of copper and precious metals during the first part of the twentieth century, gave way in the mid-twentieth century to combining diverse materials such as ivory, wood, bone and even animal hair with semi-/precious stones and often a mixing of metals.[72] Thematically, the early naturalist expressions of African animal, plant, cultural and mineral bounty were either reformulated during the latter half of the twentieth century into flowing abstract sculptural lines or expressed in hyper realistic form. <br />
<br />
Perhaps it is fitting that one of the first generation of full-time female goldsmiths in South Africa was also responsible for initiating a South African inspired jewellery design that grew organically from her perceptive engagement with her adopted fatherland. Like Walter Batiss a few years before her, Else Wongtschowski also celebrated Bushmen rock art in her work. What is more, already in the early 1950s, she was one of the first of her generation who appreciated the wealth of design possibilities locked up in the use of the abundance of Southern African semi-precious stones. These two design components became a fundamental matrix from which a South African styled jewellery domain would slowly emerge. This set the tone for the development of a South African design theme that was later to become known as safari jewellery.[73]<br />
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At around the same time during the mid-twentieth century, the workshops of Haglund in Johannesburg and Joe Calafato in Pretoria also took up the challenge to produce African inspired jewellery ranges and flatware that contributed greatly to the development of an artistic appreciation of the indigenous African world in which they were operating.<br />
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<strong>Figure 10: From the mid-twentieth century, jewellery makers began to experiment with the use of materials other than precious metals and stones. The above collection of local ware includes the use of ostrich egg, animal fur and claws, semi-precious stones and raffia.</strong>(Photo: F. van Staden, Pretoria, 2013)<br />
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From the mid 1950s, like Else Wongtschowski a few years before them, Haglund Jewellers in Johannesburg began to create jewellery designs with themes depicting traditional African cultural life and wildlife images. The nephew goldsmiths Hans Blum and Rolf Waizenegger were the owners and they also gained inspiration from Bushmen rock art for some of their souvenir jewellery designs. But they went further and extended their collection by adding cultural images, such as head dresses, village life and animal studies to their design portfolio. The anthropological tones inherent in their work have contributed to its collector’s value.[74] Geophrey Foden joined the business in the 1970s and contributed to a refinement of the early Haglund work to reflect the tastes of the time. They continued to incorporate Bushmen art in their jewellery designs, along with the setting of locally available semi-precious stones. Throughout the latter half of the twentieth century the workshop created reinterpretations of African wildlife expressions, culminating in combining hues of gold, black and silver (incorporating pearls, diamonds or ivory) with mixtures of matt and gloss finishes.<br />
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Another manufacturing workshop that helped pioneer the indigenisation of jewellery design was owned and managed by Joe Calafato. In 1947 he resigned from his job as designer jeweller at the South African Mint and opened a jewellery workshop in the Pretoria city centre. From that time onwards until the end of his career in 1984, a timeline can be captured in his design development. It is expressed in terms of a fading European influence mingling with a strengthening African influence both in terms of inspiration and form. A clear migration took place from his original retro moderne scroll abstractions to ‘organic realism’ in expressing plant, animal and human form, culminating in an almost exclusive emphasis on African landscape, animal and village life. At the end of his career, his work matured into extensively espousing images of the African continent.[75]<br />
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The work of Eone de Wet (active from 1956-2011) also included African cultural icons such as masks and weaving patterns.[76] In the mid1950s, the creations of Gilroy and Jo King along with Erich Frey promoted the assimilation of Southern African semi-precious stones in their designs.[77] In the late 1960s Maia Holm made use of beading with reference to the Ndebele custom in her exhibition jewellery that toured the country as part of a national exhibition on the work of women in the South African arts and crafts.[78]<br />
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In the mid-1970s Erich Frey proclaimed that successful jewellery design remains intimately connected with the country in which it was made, be it the Scandinavian countries, or Germany or South Africa. This sentiment was underscored by European critics who described Frey’s work as having <em> …a definite African flavour</em>.[79] And in 1985 Stephen Colegate commented that a distinct South African definition of jewellery design (as espoused by the work of Frey and others) had become a reality.[80]<br />
<br />
The above jewellery designers were early explorers of African inspired work in the world of precious metal artistry. Thematically, their naturalist expressions of our indigenous South African bounty have laid the foundation for the development of a South African design style that continues to be built upon and reformulated up to the present. Also, from the singular use of precious metals and stones in the early days, the use of mediums diversified during the mid-twentieth century to any combination of varied indigenous materials such as ivory, wood, bone and even animal hair paired with semi-/precious stones and often, a mix of metals.[81]<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNvYhP_7o2VudkzKNhp4XrnM02beluyWw7sd4GIxFTYx_qpWIq9aac00olmKqhAORLkTIKzII9DP-_rQojSYwJ44SckQYBBlIBfPiMJe4D1A1wnzDyx-YdCg9TjeSewZP7TXl7GPkfjXEi/s1600/Figure11.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNvYhP_7o2VudkzKNhp4XrnM02beluyWw7sd4GIxFTYx_qpWIq9aac00olmKqhAORLkTIKzII9DP-_rQojSYwJ44SckQYBBlIBfPiMJe4D1A1wnzDyx-YdCg9TjeSewZP7TXl7GPkfjXEi/s320/Figure11.jpg" /></a><br />
<strong>Figure 11: Versatile mix of mother of pearl, diamonds, gold, stinkwood and stone in one design by Franz Hupperz from the early 1980’s</strong></div>
<strong></strong><br />
<div style="text-align: left;">
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(Photo: Hellmut Wilhelm, Somerset West, 15 September 2014)<br />
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<strong>Conclusion</strong><br />
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With the democratisation of South Africa, the beginning of the last decade of the twentieth century brought considerable hope and opened new vistas for self-expression and diversification, also in the world of precious metal artistry. <br />
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At the end of the twentieth century, workshops and studios have mushroomed to large numbers throughout the country. In 1973 the jewellery manufacturing trade consisted of about 400 practising jewellers (of whom only 12 were women), along with 50.[82] According to a study by De Beers in 1997, the South African jewellery industry was estimated at R3 billion with a breakdown of R1.3 billion invested in the local diamond jewellery sector, and the local gold jewellery sector accounting for approximately R1 billion. The remaining R800 000 was captured by the watch sector. In 2003 the manufacturing trade showed phenomenal growth by having established approximately 350 manufacturing concerns (ranging between mostly small studios and a few large workshops) countrywide.[83] This is also the fruit of 6 tertiary jewellery design programmes in the country. <br />
<br />
At the end of the century, the gold- and silversmith society has changed from a primarily immigrant and male population to incorporating an Afrikaans presence to finally including a more culturally diverse base (recognising the culture of jewellery making that has long ago been imported from India and Batavia, as well as its African promise with well-espoused roots in Southern Zimbabwe, Mapungubwe and on South Africa’s coastlines)[84] along with a much stronger female presence than ever before.[85] </div>
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<div id="ftn1" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[1]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span lang="EN-US"><a href="http://www.goldinsouthafrica.com/"><span style="font-size: 8pt;"><span style="color: blue;">www.goldinsouthafrica.com</span></span></a></span><span lang="EN-US" style="font-size: 8pt;">, Virtual Metals Research and Consulting
Ltd, Chapter 4, January 2006, p. 77.</span></div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[2]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> Access to the subject catalogue of precious
metal acquisitions housed at the Ditsong National Museum of Cultural History in
Pretoria was granted in July 2013. Also, Author unknown, Silwersmede aan
die<span style="mso-spacerun: yes;"> </span>Kaap, <i style="mso-bidi-font-style: normal;">Lantern,</i> June 1967, p. 47, and Historikus, Silwer uit die tyd van
die V.O.C., <i style="mso-bidi-font-style: normal;">Lantern, </i>June 1967, pp.
44-47.</span></div>
</div>
<div id="ftn3" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[3]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> J Ambrose Brown, <i style="mso-bidi-font-style: normal;">South African Art, </i>Macdonald South Africa, Cape Town, 1978, p. 50. </span></div>
</div>
<div id="ftn4" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[4]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt; mso-ansi-language: EN-ZA;"> <i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i></span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">F. van Staden, Erich Frey and
Associates: A bold contribution to South African silver- and goldsmith design, <i style="mso-bidi-font-style: normal;">South African Journal of Cultural History,</i>
June 2011, 25(1), pp. 148-179. </span><span lang="EN-US" style="font-size: 8pt;">F.
van Staden, Legacies of immigrant gold- and silversmiths during early and
mid-twentieth century South Africa, <i>South African Journal of Cultural
History,</i> June 2013, 27(1), pp. 139-163.</span></div>
</div>
<div id="ftn5" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[5]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Author unknown, Uit die rotse kom voort skoonheid, <i style="mso-bidi-font-style: normal;">Suid-Afrikaanse Panorama,</i> Februarie
1966, pp. 24-29</span></div>
</div>
<div id="ftn6" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[6]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Interview: Mr G. Foden, goldsmith and co-owner of
Haglund Jewellers and later owner of Foden Manufacturing (Pty) Ltd.
Johannesburg, 28 October 2009.</span></div>
</div>
<div id="ftn7" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[7]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">This review follows upon a series of articles covering
the era between 1900 and 1980. </span><span lang="EN-US" style="font-size: 8pt;">Those
creative goldsmiths who are not reviewed in this article can be referenced in
the following texts published by the author in the <i style="mso-bidi-font-style: normal;">South African Journal of Cultural History: </i></span></div>
<div style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="font-size: 8pt;">Joe Calafato:
A late twentieth century South African precious metal artist, 24(1), pp.
126-149.</span></div>
<div style="margin: 0cm 0cm 0pt;">
<span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Erich
Frey and Associates: A bold contribution to South African silver- and goldsmith
design, June 2011, 25(1), pp. 148-179.</span></div>
<div style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="font-size: 8pt; mso-bidi-font-weight: bold;">Early and mid twentieth century South Africa: Legacies of local gold- and
silversmiths, June 2013, 27(1), pp. 139-163.</span></div>
<div style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="font-size: 8pt; mso-bidi-font-weight: bold;">Rooted in the 1950s: An overview of noted gold- and silversmiths in South
Africa, to be published in June 2014, 28(1).</span></div>
<div style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="font-size: 8pt; mso-bidi-font-weight: bold;">South African precious metal design between 1960 and 1980, submitted for
review, March 2014.</span><span lang="EN-US" style="font-size: 8pt; mso-ansi-language: EN-ZA;"> </span></div>
<div style="margin: 0cm 0cm 0pt;">
<span style="font-size: 8pt; mso-ansi-language: EN-ZA;">The
period from 1980 to 2000 is for the most part not included in this review
because of limitations to manuscript length. In addition, it covers a phase of
significant socio-organisational change and requires a review in its own right.
</span></div>
</div>
<div id="ftn8" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[8]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Reviewers were Messrs. Vic Thompson and Charles
Kgosana (engravers, Pretoria), D. Schilofsky (jeweller, gemmologist, Pretoria)
and F. Haenggi (art dealer, Basel, Switzerland).</span></div>
</div>
<div id="ftn9" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn9" style="mso-footnote-id: ftn9;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[9]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;">M. do Rosário Pinto Pereira da Silva, <i>From
Dynamism to Dormancy: The Jewellery Industry in Johannesburg: 1925-2003</i>,
unpublished DPhil thesis, University of the Witwatersrand, Johannesburg,
2007,<span style="mso-spacerun: yes;"> </span>pp. 185, 224-225.</span></div>
</div>
<div id="ftn10" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn10" style="mso-footnote-id: ftn10;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[10]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Unknown photographer, Photo with legend marking
Haglund’s 30<sup>th</sup> anniversary, <i style="mso-bidi-font-style: normal;">Diamond
News and S.A. Jeweller, </i>May 1982, p. 23.</span></div>
</div>
<div id="ftn11" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn11" style="mso-footnote-id: ftn11;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[11]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Interview: Mr G. Foden, goldsmith, Johannesburg,
2009-10-28. </span></div>
</div>
<div id="ftn12" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn12" style="mso-footnote-id: ftn12;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[12]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Foden Jewellery Manufacturer,
http//:www.fodenman.com/history.html, 2009-02-06. Interview: Mr G. Xanthides,
Pretoria, 2009-10-21.</span></div>
</div>
<div id="ftn13" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn13" style="mso-footnote-id: ftn13;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[13]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> Author unknown, </span><i><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Riches of Africa More than 100
enter Gold Jewellery Design Competition</span></i><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">, AngolGold Ashanti,
http:www.anglogoldashanti.co.za/Additional/Press/AngloGold/1998/10+Dec+1998,
2009-09-27.</span></div>
</div>
<div id="ftn14" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn14" style="mso-footnote-id: ftn14;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[14]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Interview: Mr V. Thompson, engraver, Pretoria,
2009-09-30.</span></div>
</div>
<div id="ftn15" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn15" style="mso-footnote-id: ftn15;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[15]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Mr M Cohen, The South African Jeweller’s Association
Ltd, <i style="mso-bidi-font-style: normal;">The Diamond News and the S.A. Watchmaker
and Jeweller</i>, September 1950, p.<span style="mso-spacerun: yes;"> </span>42.
</span></div>
</div>
<div id="ftn16" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn16" style="mso-footnote-id: ftn16;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[16]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Mr JB Pinn, Past year most beneficial to the jewellery
trade: Activities of Western Province Branch of Association reviewed by
chairman, <i style="mso-bidi-font-style: normal;">The Diamond News and the S.A.
Watchmaker and Jeweller</i>, April 1955, p. 57.</span></div>
</div>
<div id="ftn17" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn17" style="mso-footnote-id: ftn17;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[17]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Interview: Mr Lourens Maré, CEO, Jewellery Council of
South Africa, Parktown, Johannesburg, 2012-04-10.</span></div>
</div>
<div id="ftn18" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn18" style="mso-footnote-id: ftn18;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[18]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> Author unknown, Manufacturing Jewellers’
Industrial Council: Success of Johannesburg experiment, </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">The Diamond News and the S.A. Watchmaker and Jeweller</span></i><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">, January 1949, p. 17.</span></div>
</div>
<div id="ftn19" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn19" style="mso-footnote-id: ftn19;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[19]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">L. Dellatola, Jewellery Council, <i style="mso-bidi-font-style: normal;">South African Panorama,</i> December 1973, p. 2. Also, F. van Staden,
Joe Calafato: A late twentieth century South African precious metal artist, <i style="mso-bidi-font-style: normal;">S.A. Journal of Cultural History,</i> 24(1),
June 2010, p. 148.</span></div>
</div>
<div id="ftn20" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn20" style="mso-footnote-id: ftn20;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[20]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Interview: Mr V. Thompson, engraver, Pretoria,
2009-09-30.</span></div>
</div>
<div id="ftn21" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn21" style="mso-footnote-id: ftn21;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[21]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> M. do Rosário Pinto Pereira da Silva, <i style="mso-bidi-font-style: normal;">From Dynamism to Dormancy: The Jewellery
Industry in Johannesburg: 1925-2003</i>, unpublished DPhil thesis, University
of the Witwatersrand, Johannesburg, 2007.</span></div>
</div>
<div id="ftn22" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn22" style="mso-footnote-id: ftn22;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[22]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Author unknown, Relaxation of import control measures
on jewellery lines, <i style="mso-bidi-font-style: normal;">Diamond News and the
S.A. Watchmaker and Jeweller</i>, November 1954, p. 57.<span style="mso-spacerun: yes;"> </span></span></div>
</div>
<div id="ftn23" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn23" style="mso-footnote-id: ftn23;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[23]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Author unknown, 200 trained jewellers unemployed, <i style="mso-bidi-font-style: normal;">The S.A. Jeweller and the Diamond News</i>,
August 1957, p. 7. Also, according to a number of interviewees, on the open
market in the 1950s to the 1960s, gold could not be exported in its ‘raw’ form
as ingots. It had to be transformed into a value-added product. Thus it
happened that mostly on commission, some gold- and silversmiths cast objects
such as weighty ashtrays in 24 carat gold for export. </span></div>
</div>
<div id="ftn24" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn24" style="mso-footnote-id: ftn24;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[24]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Author unknown, Jewellers’Association protests against
‘unfair activities’ of S.A. Mint, <i style="mso-bidi-font-style: normal;">The
Diamond News and the S.A. Watchmaker and Jeweller, </i>pp. 66-67, April 1956.</span></div>
</div>
<div id="ftn25" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn25" style="mso-footnote-id: ftn25;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[25]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Editorial, New year – new direction, <i style="mso-bidi-font-style: normal;">The Diamond News and the S.A. Watchmaker and
Jeweller, </i>January 1958, p. 3. Also, author unknown, Union’s trade with the
non-whites: Big new customer slowly emerging, <i style="mso-bidi-font-style: normal;">The Diamond News and the S.A. Watchmaker and Jeweller, </i>August 1959,
p. 21<i style="mso-bidi-font-style: normal;">.</i></span></div>
</div>
<div id="ftn26" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn26" style="mso-footnote-id: ftn26;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[26]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> The Transvaal Jewellery Manufacturers’
Association renamed itself in the late 1980s as the South African Jewellery
Manufacturers’ Association. Alice Weil, Government recognises Jewellery
Council, <i style="mso-bidi-font-style: normal;">The Diamond News and S.A.
Jeweller, </i>April 1987, p. 3.</span></div>
</div>
<div id="ftn27" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn27" style="mso-footnote-id: ftn27;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[27]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">L. Dellatola, Jewellery Council, <i style="mso-bidi-font-style: normal;">South African Panorama,</i> 18(12), 1973, pp. 3 & 4.</span></div>
</div>
<div id="ftn28" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn28" style="mso-footnote-id: ftn28;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[28]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Author unknown, Dr Diederichs praises role of the
Jewellery Council, <i style="mso-bidi-font-style: normal;">The S.A. Jeweller and
the Diamond News</i>, April 1973, p. 34.</span></div>
</div>
<div id="ftn29" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn29" style="mso-footnote-id: ftn29;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[29]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Editorial, Twenty successful years, <i style="mso-bidi-font-style: normal;">The S.A. Jeweller and the Diamond News</i>,
November 1961, p. 5. Also, </span><span lang="EN-US" style="font-size: 8pt;">M.
do Rosário Pinto Pereira da Silva, <i>From Dynamism to Dormancy: The Jewellery
Industry in Johannesburg: 1925-2003</i>, unpublished DPhil thesis, University
of the Witwatersrand, Johannesburg, 2007,<span style="mso-spacerun: yes;">
</span>pp. 159-162.</span></div>
</div>
<div id="ftn30" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn30" style="mso-footnote-id: ftn30;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[30]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Interview: Mr D. Schilofsky, manufacturing jeweller
and gemmologist, Lynnwood, Pretoria, 2009-09-30.</span></div>
</div>
<div id="ftn31" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn31" style="mso-footnote-id: ftn31;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[31]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> Alice Weil, Government recognises Jewellery
Council, <i style="mso-bidi-font-style: normal;">The Diamond News and S.A.
Jeweller, </i>April 1987, p. 3.</span></div>
</div>
<div id="ftn32" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn32" style="mso-footnote-id: ftn32;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[32]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> M. do Rosário Pinto Pereira da Silva, <i>From
Dynamism to Dormancy: The Jewellery Industry in Johannesburg: 1925-2003</i>,
unpublished<span style="mso-spacerun: yes;"> </span>DPhil thesis, University of
the Witwatersrand, Johannesburg, 2007,<span style="mso-spacerun: yes;">
</span>pp. 235-237 & 245.</span></div>
</div>
<div id="ftn33" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn33" style="mso-footnote-id: ftn33;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[33]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt; mso-ansi-language: EN-ZA;"> </span><span lang="EN-US" style="font-size: 8pt;">M. do Rosário Pinto Pereira da Silva, <i>From
Dynamism to Dormancy: The Jewellery Industry in Johannesburg: 1925-2003</i>,
unpublished DPhil thesis, University of the Witwatersrand, Johannesburg,
2007,<span style="mso-spacerun: yes;"> </span>pp. 140-143. Locally made
jewellery gold was recognisable as<span style="mso-spacerun: yes;">
</span>mostly consisting of sub-standard quality and was sold much cheaper than
imported jewellery. The caratage of illicit pieces could not be controlled
since no hallmarking system existed.</span></div>
</div>
<div id="ftn34" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn34" style="mso-footnote-id: ftn34;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[34]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">L. Dellatola, Jewellery Council, <i style="mso-bidi-font-style: normal;">South African Panorama,</i> 18(12), 1973, p. 2. </span></div>
</div>
<div id="ftn35" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn35" style="mso-footnote-id: ftn35;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[35]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Interview: Mr V. Thompson, engraver, Pretoria,
2009-09-30. </span><span lang="EN-US" style="font-size: 8pt;">I</span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">nterview: Mr A. Pass,
Goldsmith, Cape Town, 2009-09-15. Interview: Mr Charles Kgosana, engraver,
Pretoria, 2009-09-30. Interview: Mr D. Schilofsky, manufacturing jeweller and gemmologist,
Lynnwood, Pretoria, 2009-09-30. Interview: Mr G. Xanthides, owner of George
Xanthides Jewellers, Pretoria, 2009-10-21.</span></div>
</div>
<div id="ftn36" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn36" style="mso-footnote-id: ftn36;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[36]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Interview: Mr G. Foden, goldsmith and owner of Foden
Manufacturing, Johannesburg, 2009-10-28.</span></div>
</div>
<div id="ftn37" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn37" style="mso-footnote-id: ftn37;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[37]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> M. do Rosário Pinto Pereira da Silva, <i>From
Dynamism to Dormancy: The Jewellery Industry in Johannesburg: 1925-2003</i>,
unpublished DPhil thesis, University of the Witwatersrand, Johannesburg,
2007,<span style="mso-spacerun: yes;"> </span>pp. 132-134.</span></div>
</div>
<div id="ftn38" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn38" style="mso-footnote-id: ftn38;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[38]</span></span></span></span></a><span lang="ES" style="font-size: 8pt; mso-ansi-language: ES;"> P. Holz, Goudsmede van
Durban, <i style="mso-bidi-font-style: normal;">Suid-AfrikaansePanorama</i>, July
1969, pp. 28-29.<i style="mso-bidi-font-style: normal;"> </i></span></div>
</div>
<div id="ftn39" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn39" style="mso-footnote-id: ftn39;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[39]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Telephonic interview: Mr J. Louw, designer co-owner of
Uwe Koetter, Cape Town, 2009-10-05.</span></div>
</div>
<div id="ftn40" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn40" style="mso-footnote-id: ftn40;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[40]</span></span></span></span></a><span style="font-size: 8pt; mso-ansi-language: EN-ZA;"> ‘Dies’ are hardened molds
carved by die sinkers and used to shape metal objects through a’press’ method.</span></div>
</div>
<div id="ftn41" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn41" style="mso-footnote-id: ftn41;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[41]</span></span></span></span></a><span lang="ES" style="font-size: 8pt; mso-ansi-language: ES;"> P. Holz, Goudsmede van
Durban, <i style="mso-bidi-font-style: normal;">Suid-Afrikaanse Panorama</i>,
July 1969, pp. 28-29.</span></div>
</div>
<div id="ftn42" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn42" style="mso-footnote-id: ftn42;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[42]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> M. do Rosário Pinto Pereira da Silva, <i>From
Dynamism to Dormancy: The Jewellery Industry in Johannesburg: 1925-2003</i>,
unpublished DPhil thesis, University of the Witwatersrand, Johannesburg,
2007,<span style="mso-spacerun: yes;"> </span>p. 131.</span></div>
</div>
<div id="ftn43" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn43" style="mso-footnote-id: ftn43;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[43]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">L. Dellatola, Jewellery Council, <i style="mso-bidi-font-style: normal;">South African Panorama,</i> 18(12), 1973, p. 3.</span></div>
</div>
<div id="ftn44" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn44" style="mso-footnote-id: ftn44;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[44]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> M. do Rosário Pinto Pereira da Silva, <i>From
Dynamism to Dormancy: The Jewellery Industry in Johannesburg: 1925-2003</i>,
unpublished<span style="mso-spacerun: yes;"> </span>DPhil thesis, University of
the Witwatersrand, Johannesburg, 2007, pp. 222-223.</span></div>
</div>
<div id="ftn45" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn45" style="mso-footnote-id: ftn45;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[45]</span></span></span></span></a><span style="font-size: 8pt; mso-ansi-language: EN-ZA;"> H. van Rensburg,
Juwelierskuns, <i style="mso-bidi-font-style: normal;">Suid-Afrikaanse Panorama</i>,
November 1985, pp. 18-19.</span></div>
</div>
<div id="ftn46" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn46" style="mso-footnote-id: ftn46;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[46]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> P. Prins, <i style="mso-bidi-font-style: normal;">Gems and Jewellery: The South African Handbook,</i> Isikhova
Publishing, 2009. The last competition was held in 2000.</span></div>
</div>
<div id="ftn47" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt; text-align: justify;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn47" style="mso-footnote-id: ftn47;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[47]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">J. Basson, Bidding for gold, <i style="mso-bidi-font-style: normal;">To the Point, </i>17 May 1974, p. 39<i style="mso-bidi-font-style: normal;">.</i></span></div>
</div>
<div id="ftn48" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn48" style="mso-footnote-id: ftn48;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[48]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Author unknown, High standards at gold jewellery
competition, <i style="mso-bidi-font-style: normal;">The S.A. Jeweller and the
Diamond News</i>, April 1973, pp. 30, 31 & 33.</span></div>
</div>
<div id="ftn49" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn49" style="mso-footnote-id: ftn49;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[49]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Author unknown, Goue sierade, <i style="mso-bidi-font-style: normal;">Panorama, </i>June 1970, p. 25. Also, </span><span lang="EN-US" style="font-size: 8pt;">J. Ambrose Brown, <i style="mso-bidi-font-style: normal;">South
African Art,</i> Macdonald South Africa, Cape Town, 1978, p. 50.</span></div>
</div>
<div id="ftn50" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn50" style="mso-footnote-id: ftn50;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[50]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> J. Ambrose Brown, <i style="mso-bidi-font-style: normal;">South African Art, </i>Macdonald South Africa, Cape Town, 1978, p. 50.</span></div>
</div>
<div id="ftn51" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn51" style="mso-footnote-id: ftn51;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[51]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">C. Hacker, Students present fresh<span style="mso-spacerun: yes;"> </span>ideas in De Beers jewellery contest, <i style="mso-bidi-font-style: normal;">The S.A. Jeweller and Diamond News</i>,
January 1983, p. 2.</span></div>
</div>
<div id="ftn52" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn52" style="mso-footnote-id: ftn52;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[52]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> A. Weil, Gold gleanings, <i style="mso-bidi-font-style: normal;">Diamond News and S.A. Jeweller, </i>January
1980, pp. 10, 11 & 13. Also, L. Delatolla, Gold & fashion, <i style="mso-bidi-font-style: normal;">South African Panorama,</i> March 1980,<span style="mso-spacerun: yes;"> </span>pp. 40 & 41. </span></div>
</div>
<div id="ftn53" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn53" style="mso-footnote-id: ftn53;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[53]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> E-mail, H. Jäger – F. van Staden, <i style="mso-bidi-font-style: normal;">Ilse, Hartmut and the SA Goldsmiths Guild,</i>
13 December 2012.<span style="mso-spacerun: yes;"> </span>Mirella Neri, Beyond
our wildest dreams, <i style="mso-bidi-font-style: normal;">The Intergold
Quarterly News, </i>Newsletter clipping without edition and page number.</span></div>
</div>
<div id="ftn54" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn54" style="mso-footnote-id: ftn54;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[54]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Author unknown, Gold in fashion, <i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span>Diamond News and S.A. Jeweller</i>,
March 1983, pp. 29-31. Also, author unknown, Goud in die mode, <i style="mso-bidi-font-style: normal;">Suid-Afrikaanse Panorama,</i> Julie 1983,
pp. 48-50.</span></div>
</div>
<div id="ftn55" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn55" style="mso-footnote-id: ftn55;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[55]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> Author unknown, Capturing jewellery
fashions for 1985, <i style="mso-bidi-font-style: normal;">Diamond News and S.A.
Jeweller, </i>March 1984, pp. 23-25.</span></div>
</div>
<div id="ftn56" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn56" style="mso-footnote-id: ftn56;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[56]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Interview: Mr G. Foden, goldsmith, Johannesburg,
2009-10-28.</span></div>
</div>
<div id="ftn57" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn57" style="mso-footnote-id: ftn57;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[57]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Interview: Mr H.F. Gatticchi, silver- and goldsmith,
Pretoria, 2009-09-12.</span></div>
</div>
<div id="ftn58" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn58" style="mso-footnote-id: ftn58;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[58]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Interview: Mr V. Thompson, engraver, Pretoria,
2009-09-30. Also, </span><span lang="EN-US" style="font-size: 8pt;">i</span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">nterview: Mr A. Pass,
Goldsmith, Cape Town, 2009-10-30.</span></div>
</div>
<div id="ftn59" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn59" style="mso-footnote-id: ftn59;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[59]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">E-mail: Mike Cope, <i style="mso-bidi-font-style: normal;">Re:
Michael Cope, Designer and Goldsmith history</i>, 2009-10-09.</span></div>
</div>
<div id="ftn60" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn60" style="mso-footnote-id: ftn60;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[60]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Interview: Mr G. Xanthides, Pretoria, 2009-10-21.</span></div>
</div>
<div id="ftn61" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn61" style="mso-footnote-id: ftn61;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[61]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Interview: Mr & Mrs Coetzee, Erich Frey Jewellers,
Montana, Pretoria, 2009-09-18.</span></div>
</div>
<div id="ftn62" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn62" style="mso-footnote-id: ftn62;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[62]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Interview: Mr M. Xanthides, Pretoria, 2009-10-21.</span></div>
</div>
<div id="ftn63" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn63" style="mso-footnote-id: ftn63;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[63]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">E-mail: Mike Cope, <i style="mso-bidi-font-style: normal;">Re:
Michael Cope, Designer and Goldsmith history</i>, 2009-10-09.</span></div>
</div>
<div id="ftn64" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn64" style="mso-footnote-id: ftn64;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[64]</span></span></span></span></a><span style="font-size: 8pt; mso-ansi-language: EN-ZA;"> Interview: Mr G. Foden,
goldsmith, Johannesburg, 2009-10-28.</span></div>
</div>
<div id="ftn65" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn65" style="mso-footnote-id: ftn65;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[65]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> E-mail correspondence, M. Cope – F. van
Staden,<span style="mso-spacerun: yes;"> </span>FW: The future of metal artists,
2009-09-10. </span></div>
</div>
<div id="ftn66" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn66" style="mso-footnote-id: ftn66;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[66]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Interview: Mr D. Schilofsky, manufacturing jeweller
and gemmologist, Lynnwood, Pretoria, 2009-09-30. E-mail Mr G. Foden – F. van
Staden, <i style="mso-bidi-font-style: normal;">Jewellery</i>, 29 October 2009.
Also, see footnote 7.</span></div>
</div>
<div id="ftn67" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn67" style="mso-footnote-id: ftn67;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[67]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">F. van Staden, Joe Calafato: A late twentieth century
South African precious metal artist, <i style="mso-bidi-font-style: normal;">South
African Journal of Cultural History, </i>24(1), June 2010, pp. 126-150.</span></div>
</div>
<div id="ftn68" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn68" style="mso-footnote-id: ftn68;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[68]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Interview: Mr G. Foden, Johannesburg, 2009-10-28.</span></div>
</div>
<div id="ftn69" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn69" style="mso-footnote-id: ftn69;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[69]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Author unknown, High standards at gold jewellery
competition, <i style="mso-bidi-font-style: normal;">The S.A. Jeweller and the
Diamond News</i>, April 1973, p. 31.</span></div>
</div>
<div id="ftn70" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn70" style="mso-footnote-id: ftn70;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[70]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Telephonic interview: Mr J. Louw, designer co-owner of
Uwe Koetter, Cape Town, 2009-10-05.</span></div>
</div>
<div id="ftn71" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn71" style="mso-footnote-id: ftn71;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[71]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">E. Kruger, Talent wat skitter. <i style="mso-bidi-font-style: normal;">Suid-Afrikaanse Panorama,</i> November/Desember 1990, pp. 34-37.</span></div>
</div>
<div id="ftn72" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn72" style="mso-footnote-id: ftn72;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[72]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">A. van Wyk, Juwele met 'n identiteit, <i style="mso-bidi-font-style: normal;">Suid-Afrikaanse Panorama,</i> Maart 1989,
pp. 16-19.</span></div>
</div>
<div id="ftn73" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn73" style="mso-footnote-id: ftn73;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[73]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Author unknown, Else Wongtschowski, <i style="mso-bidi-font-style: normal;">The S.A. Jeweller and the Diamond News,</i>
September 1957, p.13. Also, F. van Staden, Early indigenous South African
jewellery designs, <i style="mso-bidi-font-style: normal;">SA Jewellery News, </i>August
2012, pp. 33-34.</span></div>
<div style="margin: 0cm 0cm 0pt;">
<span style="font-size: 8pt; mso-ansi-language: EN-ZA;"> </span></div>
</div>
<div id="ftn74" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn74" style="mso-footnote-id: ftn74;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[74]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> Author unknown, Two young craftsmen and
their work. <i style="mso-bidi-font-style: normal;">The S.A. Jeweller and Diamond
News, </i>July 1957, pp. 6-7.</span></div>
</div>
<div id="ftn75" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn75" style="mso-footnote-id: ftn75;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[75]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">F. van Staden, </span><span lang="EN-US" style="font-size: 8pt;">Joe Calafato: A late twentieth century South African
precious metal artist, <i style="mso-bidi-font-style: normal;">South African
Journal of Cultural History, </i>24(1), June 2010, pp. 126-149.</span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;"><span style="mso-spacerun: yes;"> </span></span></div>
</div>
<div id="ftn76" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn76" style="mso-footnote-id: ftn76;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[76]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> F. van Staden, An overview of noted gold-
and silversmiths in South Africa in the 1950s, in print, 28(1), 2013.</span></div>
</div>
<div id="ftn77" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn77" style="mso-footnote-id: ftn77;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[77]</span></span></span></span></a><span style="font-size: 8pt; mso-ansi-language: EN-ZA;"> J. Espach, Uit die rykdom van
ons veld, <i>South African Panorama,</i> July 1957.</span></div>
</div>
<div id="ftn78" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn78" style="mso-footnote-id: ftn78;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[78]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> F. van Staden, </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Erich Frey and Associates: A
bold contribution to South African silver- and goldsmith design, </span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 8pt;">South
African Journal of Cultural History, </span></i><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">June 2011, 25(1), pp. 148-179.</span></div>
</div>
<div id="ftn79" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn79" style="mso-footnote-id: ftn79;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[79]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> E. Smit, <i style="mso-bidi-font-style: normal;">Erich Frey 25 years</i> (Pretoria Art Museum, 31 July – 18 August
1985), p. 1.</span></div>
</div>
<div id="ftn80" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn80" style="mso-footnote-id: ftn80;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[80]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> E. Smit, <i style="mso-bidi-font-style: normal;">Erich Frey 25 years</i> (Pretoria Art Museum, 31 July – 18 August
1985), p. 9.</span></div>
</div>
<div id="ftn81" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn81" style="mso-footnote-id: ftn81;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[81]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">A. van Wyk, Juwele met 'n identiteit, <i style="mso-bidi-font-style: normal;">Suid-Afrikaanse Panorama,</i> Maart 1989,
pp. 16-19. Also, F. van Staden, Early indigenous South African jewellery
designs, <i style="mso-bidi-font-style: normal;">SA Jewellery News, </i>August
2012, pp. 33-34.</span></div>
</div>
<div id="ftn82" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn82" style="mso-footnote-id: ftn82;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[82]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">L. Dellatola, Jewellery Council, <i style="mso-bidi-font-style: normal;">South African Panorama,</i> 18(12), 1973, p. 2.</span></div>
</div>
<div id="ftn83" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn83" style="mso-footnote-id: ftn83;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[83]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> M. do Rosário Pinto Pereira da Silva, <i>From
Dynamism to Dormancy: The Jewellery Industry in Johannesburg: 1925-2003</i>,
unpublished<span style="mso-spacerun: yes;"> </span>DPhil thesis, University of
the Witwatersrand, Johannesburg, 2007,<span style="mso-spacerun: yes;">
</span>pp. 127-128. Also, </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">An MBendi Profile: South Africa – Manufacturing<span style="mso-spacerun: yes;"> </span>jewellery, </span><span lang="EN-US"><a href="http://www.mbendi.com/indy/mnfc/jewl/af/sa/p0005.htm"><span lang="EN-ZA" style="font-size: 8pt; mso-ansi-language: EN-ZA;"><span style="color: blue;">http://www.mbendi.com/indy/mnfc/jewl/af/sa/p0005.htm</span></span></a></span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">, 2009-04-14.</span></div>
</div>
<div id="ftn84" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt; text-align: justify;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn84" style="mso-footnote-id: ftn84;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[84]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> Author unknown, Rhodesia’s ancient
goldsmiths, <i style="mso-bidi-font-style: normal;">The Diamond News and the
S.A.Watchmaker and<span style="mso-spacerun: yes;"> </span>Jeweller, </i>December
1942, pp. 37-38. Also, G. Dry, Plek van jakkalse en goud, <i style="mso-bidi-font-style: normal;">Suid-Afrikaanse Panorama, </i>Maart 1984, pp. 32-34,<span style="mso-spacerun: yes;"> </span>N. Vilakazi, What’s buried in the hills, <i style="mso-bidi-font-style: normal;">Sunday Times Travel, </i>2010-07-04, p. 16.
Author unknown, <i style="mso-bidi-font-style: normal;">Footprints on the sand:
Human history on the coast.</i> </span><span lang="EN-US"><a href="http://www.sacoast.ioisa.org.za/docs/media/poster%20Footprints.pdf"><span style="font-size: 8pt;"><span style="color: blue;">www.sacoast.ioisa.org.za/docs/media/poster%20Footprints.pdf</span></span></a></span><span lang="EN-US" style="font-size: 8pt;">, 2012-09-04.</span></div>
</div>
<div id="ftn85" style="mso-element: footnote;">
<div style="margin: 0cm 0cm 0pt; text-align: justify;">
<a href="file:///C:/Users/Vstadfj/Documents/goldsmiths%2020th%20cent%20contexts.docx" name="_ftn85" style="mso-footnote-id: ftn85;" title=""><span lang="EN-US" style="font-size: 8pt;"><span style="mso-special-character: footnote;"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8pt;"><span style="color: blue;">[85]</span></span></span></span></a><span lang="EN-US" style="font-size: 8pt;"> </span><span lang="EN-US"><a href="http://www.goldinsouthafrica.com/"><span style="font-size: 8pt;"><span style="color: blue;">www.goldinsouthafrica.com</span></span></a></span><span lang="EN-US" style="font-size: 8pt;">, Virtual Metals Research and Consulting
Ltd, Chapter 4, January 2006, pp. 76-78. </span><span style="font-size: 8pt; mso-ansi-language: EN-ZA;">Also, interview: Mr V. Thompson, engraver, Pretoria,
2009-09-30.</span></div>
</div>
Fredhttp://www.blogger.com/profile/08076362684798612013noreply@blogger.com5tag:blogger.com,1999:blog-2651480711748885554.post-194179259517618922016-03-28T06:06:00.001+02:002016-03-28T06:06:19.030+02:00Updated information on Margaret RichardsonHere is a link to updated information on artist jeweller Margaret Richardson, courtesy of Mr Fernand Haenngi: <a href="http://www.art-archives-southafrica.ch/RICHARDSON.htm" style="font-family: 'Arial Narrow', sans-serif;">http://www.art-archives-southafrica.ch/RICHARDSON.htm</a> Excellent update - she was one of the first generation of a smal number of South African fulltime female creative goldsmiths.<br />
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<span lang="EN-ZA" style="font-family: "Arial Narrow","sans-serif"; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
Fredhttp://www.blogger.com/profile/08076362684798612013noreply@blogger.com0tag:blogger.com,1999:blog-2651480711748885554.post-75301612324147705172014-01-22T08:50:00.000+02:002017-06-20T05:17:32.935+02:00Information on goldsmith Felix Vetter (late 1930's - 1967/68)<div class="MsoNormal">
<a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><br /></div>
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Below is an e-mail exchange with Mr Paul Muser who was acquainted with Mr Felix Vetter. He also provides examples of Vetter jewellery. I hope it would inform readers/viewers about the remarkable work Vetter has produced. Perhaps others who own jewellery made by him would respond and post examples of his work as well?<br />
Fred<br />
<a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a>(Additional information about Mr Vetter's life and achievements is provided at the end of my posting on <i>Early and mid Twentieth Century South Africa: Legacies of local gold- and silversmiths.)</i><br />
<br /></div>
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<b><span style="font-family: "helvetica" , "sans-serif"; font-size: 13.5pt;">From:
</span></b><span style="font-family: "helvetica" , "sans-serif"; font-size: 13.5pt;">Paul
Muser <<a href="mailto:pmuser@cogeco.ca">pmuser@cogeco.ca</a>></span><o:p></o:p></div>
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<b><span style="font-family: "helvetica" , "sans-serif"; font-size: 13.5pt;">Date:
</span></b><span style="font-family: "helvetica" , "sans-serif"; font-size: 13.5pt;">November
24, 2013 4:29:10 PM EST</span><o:p></o:p></div>
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<b><span style="font-family: "helvetica" , "sans-serif"; font-size: 13.5pt;">To:
</span></b><span style="font-family: "helvetica" , "sans-serif"; font-size: 13.5pt;"><a href="mailto:vstadfj@unisa.ac.za">vstadfj@unisa.ac.za</a></span><o:p></o:p></div>
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<a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2651480711748885554" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><b><span style="font-family: "helvetica" , "sans-serif"; font-size: 13.5pt;">Subject:
Felix Vetter</span></b><o:p></o:p></div>
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Dear Professor van Staden, <o:p></o:p></div>
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<b>Re: South African Goldsmiths Research Project, </b><o:p></o:p></div>
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<b>request for information regarding Felix Vetter.</b><o:p></o:p></div>
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<br /></div>
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Greetings!<o:p></o:p></div>
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My name is Paul Muser. I was born in 1941. Ever since I can
remember<o:p></o:p></div>
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Felix Vetter was a regular weekly visitor to our home at
80, 6th Avenue Mayfair North Johannesburg until mid 1968 when my Father Gustav, (who was I believe it is fair to say
was Felix's best friend and confidant), passed away.</div>
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<o:p></o:p></div>
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The following , in no particular order, are my childhood
recollections with respect to Felix. I trust you will find them both interesting and beneficial
to your project.</div>
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<o:p></o:p></div>
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My earliest strong recollections of Felix are of 1946 during
which Felix would bring large numbers of empty cardboard boxes, along with considerable amounts of foodstuffs; chocolates,
coffee; medications, wool, knitting and sewing materials, cigarettes, writing
materials; clothing, (and other items that a 7 year old would not really be
interested in), which my mother would pack tightly into the cardboard
boxes, then wrap and sew up each box in a sturdy woven material,
(bed sheeting?) , before attaching/sewing on an address/contents label, which I believe carried the International Red Cross
symbol. As I recall the sewn parcels would all be taken to our near
by Post office for delivery to German citizens who I was told were all
suffering too, in the aftermath of the war. There must of been
several hundred parcels that my mother packed and that Felix paid both the cost
of and the shipping for. I thought this was a great humanitarian gesture on Felix's
part.</div>
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<o:p></o:p></div>
<div class="MsoNormal">
At that time Felix already had his own Jewellery
manufacturing and showroom Store in downtown Johannesburg. I believe it was on
Jeppe Street?<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
After the cessation of the Parcel period, Felix would often
stop by our home on his way to and or from work, most often to also unwrap and
show us his latest creations, many of which were in the various manufacturing stages, as
he also had constructed a work shop and bench within his 3rd Avenue Mayfair
North home.</div>
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<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We found these pieces fascinating - not only for their
incredibly complex beauty, but because of the remarkable workmanship. Most of
Felix's jewellery appeared cast at first from various metals, then assembled and
inserted (whilst still warm?) into a deep red hard wax-like substance that wold
firmly hold the pieces onto the end of a sturdy hardwood "dowel" and whilst holding this
attached Dowel in one hand, Felix would literally carve and engrave the metal
using a variety of specially fabricated tools, that Felix had also made especially for the this purpose. Normally Felix would work at his workbench with a leather
apron below the carving/setting area, to catch all of the removed carvings bits
for recasting later, but sometimes,</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
to illustrate how he produced his masterpieces, he would
proceed to carve or engrave some details, whilst sitting at our kitchen
table! <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Felix was a prodigious worker, often working at home until
the wee hours of the morning, all the while smoking and listening to his fine
classical music recordings. All this fine and demanding work required, as one
can imagine, a great deal of strength on Felix's part, which resulted in
Felix having exceptional upper arm/body strength.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
One memorable afternoon Felix appeared at our home in high
spirits, with a large brown paper and string wrapped large object under his
arm, saying ""you must haf a look at what I haf.." (in his deep
voice with thick German accent), and hurried to our kitchen table with my
parents and I in close pursuit, whereupon he put down and unwrapped the massive 9 Pound Emerald which he had just purchased from the
Williamson Diamond mine in Tanganyika. A year or so later, Felix brought over a truly magnificent 3
tier Emerald Necklace with matching massive Bracelet and Earrings, all cut from
the Williamson purchase for my mom to wear and pose with. Later he told us he
had sold the set to US individuals reportedly acting for Sophia Loren.</div>
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<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
On another occasion, Felix told us that an elderly lady
often came by to look in his window, her peculiarity being that her head bobbed
up and down continuously. One day he intercepted her outside his store and invited her in.
It turned out she was British Royalty, possibly an aunt of Queen Elizabeth? I
cannot recall who she was exactly but I know she had the title "Lady" and subsequently bought a lot
of jewellery from Felix.</div>
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<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
On still another occasion, Felix again appeared in very high
spirits with News, brochures and photographs showing he had jus won the Sao
Paulo Biennial, held in Brazil, where he was judged the world's best
Jeweller. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Felix was very kind to me and whenever the situation
allowed, would always enquire as to my welfare/wellbeing and would give me
sage advice regarding ethics and how I should behave and encouragement to
pursue my dreams. On one such occasion, I asked about how he had come to S.
Africa and he said it was by boat and he would never forget his first day. He
had landed at Durban and after clearing Immigration, found himself in this
beautiful warm, ocean paradise, surrounded by roadside vendors who were selling
the most delicious variety of fruits he had ever laid eyes upon, especially
since he had come from europe where I understood he had been hungry and cold
and had not seen fruit for a considerable time, especially the tropical kinds
which he saw in abundance.. As he only had a very small amount of money he
enquired about the price from the vendor, but being unable to communicate, he
finally gave the vendor a silver "tickey (3 pence). The Vendor then gave
him a huge amount of fruit! Felix was both overwhelmed and hungry and determined
that he could not possibly let this fruit go to waste, so he promptly sat down
and proceeded to eat all the fruit throughout the day until early evening when
he started to feel quite ill, then began throwing up as well as developing a
case of diahorrea. Nevertheless after recovering next day he was certain that
he had landed in paradise. </div>
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<br /></div>
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After travelling to Johannesburg as I recall, he rapidly
prospered and within a few years, owned both a car and a thriving business.
However as luck would have it it was wartime, and being of German Descent and
in a British Colony, he was arrested one day and without further adieu, packed
of to an internment camp in South West Africa, where he was held for several
years. True to form however, and ever the entrepreneur/businessman,
he immediately set about making a blow-furnace and new sets of tools, from a
remnant of a car spring for one, he told me, and then began to produce
jewellery in the camp! In answer to my question as to where he managed to
acquire the gold and silver, he explained that he was able to trade for inmates
and guards wedding rings, watch cases, coins, and even gold teeth fillings from
the dentist! He also produced and sold jewellery to the Guards and thus was
able to be on very good terms with them.</div>
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<o:p></o:p></div>
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In addition, he also employed several inmates to grind and
polish agate and other stones by hand, (mostly in a cabochon shape). It would
take them a considerable amount of time to complete the polishing, but that was
ok as they had plenty of time and there was nothing to do anyway he said with a
laugh.<o:p></o:p></div>
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<br /></div>
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I'm pleased to tell, I have several of these exquisite
pieces made in the camp! <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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During a return visit to SA in 1974, I mentioned to his
wife Editha, how much I had always admired his work and asked, if she had
any jewellery Felix had made that she might wish to sell? She replied that she had just assembled the 8 pieces Felix
had made in the camp and had kept for sentimental reasons, and was just about
to send them to the Johannesburg Museum! but would much prefer for me to have
them if I wanted. Naturally I bought them all. Unfortunately 5 pieces
were stolen some years later, but below please see the images of the much
cherished remaining 3, as well as others made by Felix after his release.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQvI41mDlD_fZo9aOCiW7lxVkB_hdQ5aD2z9XJ3getybuFS6jwhtFnQjljA30HOyS8lnR23YWRuc8xs48NFuimOueLmtCvJRVh4asg68bKO6hzSdzeDpSUU0Q5rBNZwtyXDQNvzM4dtr4K/s1600/Muser+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQvI41mDlD_fZo9aOCiW7lxVkB_hdQ5aD2z9XJ3getybuFS6jwhtFnQjljA30HOyS8lnR23YWRuc8xs48NFuimOueLmtCvJRVh4asg68bKO6hzSdzeDpSUU0Q5rBNZwtyXDQNvzM4dtr4K/s1600/Muser+1.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN9gxLKzCPAcZD5xHaJWfEb0fRi5w5B8xOA9kSy_6wlemHwl_yJ6-OxPGUPu-VLaiVP53_FpgApKKv7-70Zz37kobH8htf0IXYE6e1YOSXlQm0Olu1DQ3AVkoht-PCriibjzxmTykHQurd/s1600/Muser.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN9gxLKzCPAcZD5xHaJWfEb0fRi5w5B8xOA9kSy_6wlemHwl_yJ6-OxPGUPu-VLaiVP53_FpgApKKv7-70Zz37kobH8htf0IXYE6e1YOSXlQm0Olu1DQ3AVkoht-PCriibjzxmTykHQurd/s1600/Muser.jpg" width="320" /></a></div>
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<span class="apple-tab-span">
</span>Carved Interior with Felix's stylized FV makers mark clearly
visible<o:p></o:p></div>
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<br /></div>
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1. This Mostly yellow gold, with Leaf and Roses main
Motif, ornamented with White Gold Engraved shank and 2 side elements, is also
engraved on the inside with<span class="apple-tab-span"> </span>Felix's trade-mark "Flower Motif" design. The hand-ground and
polished, mainly Green with fine Maroon mottling/specs Cabochon stone,
appears to be either an agate or a type of Malachite. I has hardly been worn and is
consequently in good condition. </div>
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<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivc1NXFYOjSWUNnCrsfv4qtAbP8j9JxY4iwGawki6I3zFc-nc8PTVUOFORvqkZlbwQvT4fHLdN4znjisDaLFZpuRN4AANgqTmXdSXrDQx5gy7xVRqR9oz-Pou2ATyAe5Hebfsbwm8I6JSe/s1600/Muser+4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivc1NXFYOjSWUNnCrsfv4qtAbP8j9JxY4iwGawki6I3zFc-nc8PTVUOFORvqkZlbwQvT4fHLdN4znjisDaLFZpuRN4AANgqTmXdSXrDQx5gy7xVRqR9oz-Pou2ATyAe5Hebfsbwm8I6JSe/s1600/Muser+4.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn8T4qAtpdo9JSoBNb9lQCxLOl-rI8yDzz2xK5huvHQHcBSy1wqqFaVx2w3on7kTFQmkptjRqJ27RHdTR3gVpBGzMhODfJ1GPw1Q3ld-A5fVRKxYNV-69bUlhbQ1bLsKZytdonilM0dgoP/s1600/Muser+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn8T4qAtpdo9JSoBNb9lQCxLOl-rI8yDzz2xK5huvHQHcBSy1wqqFaVx2w3on7kTFQmkptjRqJ27RHdTR3gVpBGzMhODfJ1GPw1Q3ld-A5fVRKxYNV-69bUlhbQ1bLsKZytdonilM0dgoP/s1600/Muser+3.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVKdGDYKB9Xgmqhj52KW1uJxrwVvBOTAFt_WQG7FhuCxRdeB_n3fINvQesazjrY_V1iTYQBiTX3ZzyEpQhRBRHHZAmSzRrS5LFBPQWBfwhHZnu-n6QXAxrWjIbSSJ-JVRXEoNs21fpkxTt/s1600/Muser+5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVKdGDYKB9Xgmqhj52KW1uJxrwVvBOTAFt_WQG7FhuCxRdeB_n3fINvQesazjrY_V1iTYQBiTX3ZzyEpQhRBRHHZAmSzRrS5LFBPQWBfwhHZnu-n6QXAxrWjIbSSJ-JVRXEoNs21fpkxTt/s1600/Muser+5.jpg" width="320" /></a></div>
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2. This "sister ring, so similar to Ring No. 1
above, is instantly recognizable as Felix Vetter's handiwork during his
Namibian internment camp period. The stone is a beautifully hand polished Agate, mainly cream/grey with
dark Brown and dark Grey mottling throughout. Also signed FV and Engraved
with<span class="apple-tab-span"> </span>a more elaborate but similar "Flower Motif" behind, (as also
seen as seen in Ring No. 1.) </div>
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<span class="apple-style-span"><span style="font-family: "skia-regular_bold" , "serif"; font-size: 18.0pt;">
IMAGE/S TO FOLLOW</span></span><o:p></o:p></div>
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<br /></div>
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3. Unfortunately this "Internment Camp"
ring, No. 3, also instantly recognizable as Felix's creation. is being
worn by my daughter who is out of the country at this time, so cannot be Photographed. I will send images as soon
as she returns around Christmas 2013</div>
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<span class="apple-tab-span">
</span><o:p></o:p></div>
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In addition, I also have the following Felix Vetter
creations:<o:p></o:p><br />
<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbx3JtUPvPYCxfStqbeEtH66MtS7CJFBJ0AJVArpbMrlIft2ck0imHnOVJAkF2Pu9IeekyL5RhYJ9ih5EEtGX0kAdpvLpmrGwwoumCTE6WQgGnJY5X20R-nfXdE4rYRiybBqvMzPCLW3Aa/s1600/Muser+6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbx3JtUPvPYCxfStqbeEtH66MtS7CJFBJ0AJVArpbMrlIft2ck0imHnOVJAkF2Pu9IeekyL5RhYJ9ih5EEtGX0kAdpvLpmrGwwoumCTE6WQgGnJY5X20R-nfXdE4rYRiybBqvMzPCLW3Aa/s1600/Muser+6.jpg" width="320" /></a></div>
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4. This Yellow Gold "Leaf Motif"
with 3 White Gold roses and Ruby set, Tie Pin, (above) Felix gave me for my
21st birthday. 51 years later It is still one of my fondest possessions!</div>
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5. Modelled on a Byzantine Poison Ring,
designed to be worn on his little finger, this ring, in yellow and
white gold, was bought by my mother Jutta, for my Father Gustav, as a <span class="apple-tab-span"> </span>present for their 25th wedding anniversary. The stone is a Namibian Agate and I suspect, from the workmanship, it
too was made in the internment camp in the 1940's. Like all the other
Namibian pieces, it is engraved with a flower motif on the inside - and signed there, with Felix
Vetter's distinctive engraved FV makers mark. My Father just loved this ring
and wore it whenever the occasion to dress up presented itself. I wore this proudly for many years, but have now
set it aside to give to my son upon the appropriate occasion.</div>
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(MAKERS MARK ( a smaller capital F nestled within (but not
touching) a larger capital V. Both letters stylized.<o:p></o:p></div>
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To my knowledge, almost all of Felix Vetter's creations,
from the very earliest produced in Namibia, to his latest in the 1960's, were
signed this way. <o:p></o:p></div>
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In fact it appeared prominently in dark Blue colour, on his
Business Cards; his store signage, as well as a large framed emblem (almost
Coat of arms one could say), hanging in his store.) <o:p></o:p></div>
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6. <span class="apple-tab-span">
</span>This ring, in white Gold, with a beautiful blue sapphire flanked by 3
small diamonds was purchased by my Father for my Mother, as her reciprocal
present for their 25th Wedding<span class="apple-tab-span"> </span>anniversary. My mother truly cherished this ring and the memories that
come with it, wearing it well into her 97th year! It, like the Namibian internment camp pieces, also has small engraved
roses at various positions, which add exceptional beauty & charm to so many
of the other creations of Felix's I have seen. In fact I believe it could be stated
that these small, exquisitely executed roses could be considered a trade-mark
of Felix's work, as they appear so frequently on his creations.<span class="apple-tab-span"> </span>I often watched as Felix proudly demonstrated how they were carved by
him, out of the metal/s, using specially hardened steel tools he had made,
expressly for that purpose.</div>
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7. <span class="apple-tab-span">
</span>This yellow and white Gold ring, featuring an ancient Roman Coin in
place of a jewel, was was another present to Mom, that Dad commissioned from
Felix.<o:p></o:p></div>
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8. This Art Deco style White Gold "dress-ring
Masterpiece, (it might be rhodium plated, but as it is unstamped I do not
know), with inset rectangular vivid Pink Stone(?)<span class="apple-tab-span"> </span>set below the angled disk with Diamonds, Ruby, Sapphire,
Emerald and what appears to be a light blue Tourmaline, amidst groups
of Felix's trade mark roses and lilies design, was purchased at first site from Felix one day by my parents. Felix
always referred to at as "the Moon Ring" and so did my Mother.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQgMZjCouFZH28bH3Ms7-ucAdouUew8iujyjnyP055NagoAh-r1LVYQsbVHKo1xAHkZ6bzs2Etne78V4Qgruhgq0NERpOR3UbQPlWYDlZ4anFcNO2wOqTo4NghGg5273omH2LeSdO1MoLl/s1600/Muser+24.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQgMZjCouFZH28bH3Ms7-ucAdouUew8iujyjnyP055NagoAh-r1LVYQsbVHKo1xAHkZ6bzs2Etne78V4Qgruhgq0NERpOR3UbQPlWYDlZ4anFcNO2wOqTo4NghGg5273omH2LeSdO1MoLl/s1600/Muser+24.jpg" width="290" /></a></div>
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9. This Yellow & White Gold set with
Emeralds and Diamonds, was originally my Maternal Great Grandmother's
Engagement ring, which she in turn gave to my Maternal <span class="apple-tab-span"> </span>Grandmother upon her engagement in the late 1800's. My Grandmother then
gave it to her daughter, (my Mother) upon my Mother's engagement to my
Father <span class="apple-tab-span"> </span>in the mid 1920's. After meeting Felix in the mid 1930's or so, My
parents asked Felix to remodel the ring as it was showing signs of considerable
wear by that time. Felix did a most marvellous job, and my mother proudly wore the ring
virtually every day, until early 1993, when, upon being introduced to my wife
to be, immediately<span class="apple-tab-span"> </span>took off the ring and handed it to future Daughter-in-law, with
heartfelt blessings and warm wishes, along with her hope that my wife would
continue the tradition, by<span class="apple-tab-span"> </span>handing over the ring, when our children would become engaged. One
can just imagine how wonderful the moment was, and what powerful emotions were
engendered. Consequently, just 3 years ago, with the ring showing signs of
significant wear once again, we found a most exceptional Jeweller locally, who
we asked in turn, ( as we really loved Felix's re-incarnation), to refurbish the ring as closely to
Felix's original 1930's remodelling as possible. Now, we have the ring, in it's magnificent condition, safely stored,
awaiting the day when our daughter announces her engagement intentions, so that
we may continue the tradition to the 5th Generation of ring custodians - and - hopefully
with God's blessing, even beyond…..!</div>
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10. This 18 Gold cufflink was made & engraved by
Felix Vetter as a replacement for one of my Grandfather's that was lost some 40
plus years previously. It bears no FV signature. but is illustrated simply to
show Felix's wide ranging abilities. <o:p></o:p></div>
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ADDITIONAL ANECDOTES:<o:p></o:p></div>
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I do know that When Felix was released from the South West
Africa Internment camp, upon his return to Johannesburg, He found that his car
had been used to the point where it was unusable, his belongings, workshop,
furniture, dwelling, ransacked and most all of his possessions had disappeared.
Once again he was almost destitute, except for the wonderful pieces he had
diligently made in the Camp, and so he was able to start all over again and
establish himself anew, where by 1947 he was driving a lovely 4 door Silver
Opel Kapitan, then by 1948 or so he was driving a great big Baby Blue Buick
Road-master and even owned a lovely home on Third Avenue in Mayfair
North. One day in 1950 or thereabouts he appeared all excited at
our door to take us all for a drive in his very impressive, shiny new, Black
Jaguar motor car! After he left, my mom told me somewhat breathlessly, that the car had cost as much as a
house did in those days! I was greatly impressed and Felix rose even
further in my esteem as a result.</div>
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Later in the mid to late 1950's Felix, with my father as
support, went to Jan Smuts Airport one afternoon to meet a most beautiful,
refined younger Berlin born lady, Editha, whom he subsequently married a
short time after. "Edit" was lovely, physically, and in both mind and
soul. She spent a considerable time with our family who loved her dearly.
Unfortunately there were no children of this union. I think they both
would have loved to have children and would have been great parents.<o:p></o:p></div>
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Felix was also a great cook and would cook up copious
quantities of food at the slightest excuse, to have a party. It is fair to say
Felix really loved life.<o:p></o:p></div>
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Edit and Felix had a Female Ridgeback dog called
"Woezel" that would stare at one - unblinkingly - all the time
that one was in their home! …..It was really quite unnerving! If one turned one's head, Woezel would move around to where
she could lock her golden eyes on on one's own, and just continue to stare -
hard! Otherwise she was a lovely dog.</div>
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In the early 60's upon learning I was courting a young lady,
Felix and Edit insisted that we needed to have an appreciation of both Opera
and Classical music, and as such, should attend their beautifully appointed
cultured home, every Thursday evening for an hour or longer classical music
concert, played through their wonderful, state of the art, modern Hi-Fi
equipment. This continued for many months, for which I am forever grateful, as
that love of classical music remains with my family to this day. Just
another example of how kind, generous and thoughtful a human being, Felix
Vetter really was. <o:p></o:p></div>
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In the mid 60's, Felix died of a heart attack one afternoon
in his Jeppe Street store. Some years later, (probably 1975) Edit left SA
to live with her sister in London England.<o:p></o:p></div>
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In the Mid 90's , courtesy of the internet, I came across an
extensive Rosebank auction of Felix's jewellery at very reasonable prices.
Unfortunately I found the site, too late to bid.<o:p></o:p></div>
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If there is anyone reading this who wishes to part with any
of Felix Vetter Jewellery, I would be very interested in being given the
opportunity to purchase it. Please feel free to contact me via e.mail at <b> <a href="mailto:pmuser@cogeco.ca">pmuser@cogeco.ca</a> </b>or by telephone at :
+<b>1 905 338 2087</b></div>
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<o:p></o:p></div>
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<o:p></o:p></div>
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ADDITIONAL TRIVIA<o:p></o:p></div>
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As mentioned earlier, Felix possessed exceptional strength,
but he once said it was nothing compared to two other men he once knew:<o:p></o:p></div>
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One was the Blacksmith in Pfortzheim or Cologne, (I cannot
recall), where Felix and others were all apprentice Goldsmiths learning their
craft, and who paid regular visits to the local blacksmith. To demonstrate his
strength one day, the blacksmith took one of the horseshoe nails he had
fabricated and whilst the students watched in amazement, he twisted the h nail
into a corkscrew, using only his bare hands!… and taunted the students to do
the same on subsequent visits. Not being able to, and wishing to best the
blacksmith, Felix and his friends made, annealed and hardened a fake
"horse shoe nail", doing their best to make it appear as ordinary as
possible, which they subsequently gave to the blacksmith simply asking him to
make another corkscrew for them…..Upon accepting the Fake and beginning
the first twist, the blacksmith smiled broadly and said…Ah so gentlemen,.. I
see you have learned something at your school after all hey?…
and whilst they watched in astonishment, gritting his teeth but still
smiling, he slowly twisted - by hand - the hardened steel fake into the
corkscrew spiral they had requested, and handed it to them with a flourish!</div>
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<o:p></o:p></div>
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I immediately visited our local blacksmith to acquire some
horseshoe nails, which Felix generously turned into rings for my friends and I,
which we wore proudly for many years. <o:p></o:p></div>
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The other strong man Felix mentioned was another German who
lived on a huge farm in the then South West Africa, Felix said he could lift a
45 gallon steel drum full of water, from the back of an ox wagon and place it
on the ground, without any assistance! Felix also mentioned that he was also a "real
Character" quite famous in the Windhoek area. For example he had a wife who had nagged him for several
years to take her to one of the functions in Windhoek whenever these social
occasions took place from time to time. On one occasion a large dinner
and dance was also to be coupled with some celebrities appearance and she
really wanted to attend. Ok he said, after much nagging…. "get
yourself ready for this Friday night and we will go. In the meantime I
have to go to Windhoek for some supplies and will be back tomorrow
evening" - Instead he went to Luderitz, boarded a tramp steamer
that was travelling the world and only returned 2 years later!</div>
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<o:p></o:p></div>
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<br />
Some time after the 2nd WW had ended he received a letter
from his wealthy family in Germany, informing them that their fortunes had
eroded precipitously, and as a consequence, they were no longer
able to send him the semi annual stipends he had been receiving for many years.<o:p></o:p></div>
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In response, he had a photographer from Windhoek, make a
special visit to his farm, to photograph him, seated on a large chair,
surrounded by a huge number of scantily clad Herero and other tribes-women,
together with their children, in a large semicircle around him.<o:p></o:p></div>
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He then sent this large photograph back to Germany with a
note stating that as he could no longer afford to live in Namibia without the
stipends, he would have to bring his family home to Germany, and would they
please prepare for his family's arrival as soon as he could make all the
arrangements. Needless to say, the stipends were miraculously found again
in Germany and continued to be sent for many years!</div>
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<o:p></o:p></div>
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Funny how these stories stick in ones's mind all these many
years. - No?<o:p></o:p></div>
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I consider myself really blessed to have known Felix Vetter.
A true Renaissance Gentleman.<o:p></o:p></div>
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In closing, I trust you will find the above information of
some value and would like to wish you much success with your research
project.<o:p></o:p></div>
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<br /></div>
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Please do not hesitate to contact me if there is anything
else you feel I might be able to do.<o:p></o:p></div>
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<br /></div>
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With kindest regards,</div>
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Paul Muser<br />
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<span class="apple-style-span"><span style="font-family: , serif; font-size: 10pt;">Oakville, </span></span><span style="font-size: 13.5pt;"><o:p></o:p></span></div>
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<span class="apple-style-span"><span style="font-family: , serif; font-size: 10pt;">Ontario,</span></span><span style="font-size: 13.5pt;"><o:p></o:p></span></div>
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<span class="apple-style-span"><span style="font-family: , serif; font-size: 10pt;">CANADA </span></span></div>
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<span class="apple-style-span"><span style="font-family: , serif; font-size: 10pt;">Tel/Fax: - +1 (905) 338 2087</span></span><span style="font-size: 13.5pt;"><o:p></o:p></span></div>
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<span class="apple-style-span"><span style="font-family: , serif; font-size: 10pt;">e.mail: - </span></span><span class="apple-style-span"><b><span style="font-family: "skia" , serif; font-size: 10.5pt;">pmuser@cogeco.ca</span></b></span></div>
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<span style="color: #1f497d; font-family: "calibri" , "sans-serif"; font-size: 11pt;">Hi Paul<o:p></o:p></span></div>
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<span style="color: #1f497d; font-family: "calibri" , "sans-serif"; font-size: 11pt;">No, for some reason I have not received the original e-mail. But I am absolutely delighted that you resent it. Thank you very much for your recollections of Felix Vetter – which made him come alive. For me as an academic, this information is worth gold.. </span><span style="color: #1f497d; font-family: "calibri" , sans-serif; font-size: 11pt;">I knew little about him, apart from the attached newspaper clippings. But I had a sense that this man was a master craftsman with great creative vision. This is also clear from your images of his work. And the Sao Palo Biennale winner for creative jewellery (have you got an approximate date – I could then follow it up with a newspaper search?) confirms that. Your collection of internment jewellery produced by Felix reflect the time and care that was invested in it. Please take good care of it. Work of this quality produced under internment circumstances is rare, very rare. And beyond its beauty, it also has historical cultural and anthropological significance. His flower motifs are just breathtaking.</span></div>
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<span style="color: #1f497d; font-family: "calibri" , "sans-serif"; font-size: 11pt;">I’ll record his maker’s mark in my work.<o:p></o:p></span></div>
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<span style="color: #1f497d; font-family: "calibri" , "sans-serif"; font-size: 11pt;">I would appreciate more information about him: Dates, such when he entered the country, when did he die. I assume, he worked until the day he died – As you have noted, great artists have a compulsion to create and he couldn’t suppress that. <o:p></o:p></span></div>
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<span style="color: #1f497d; font-family: "calibri" , "sans-serif"; font-size: 11pt;">Again, heartfelt thanks for sharing this information. Would you mind if I post it on my blog? <o:p></o:p></span></div>
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<span style="color: #1f497d; font-family: "calibri" , "sans-serif"; font-size: 11pt;">Regards<o:p></o:p></span></div>
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<span style="color: #1f497d; font-family: "calibri" , "sans-serif"; font-size: 11pt;">Fred<o:p></o:p></span></div>
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<span style="color: #1f497d; font-family: "calibri" , "sans-serif"; font-size: 11pt;">I also like the lapel pin – hope you wear it often times.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh55ylzqNInxVr8zCLVPuFExERdV82WtpKXigGRXVIVVTqHARf7GaEf0oEl3qIC1a8Yub_1J9z91UdCzwk_XObnF7XUxXMWB6acl2ibay0HLQzVkpUYoM1GZQk74H25krRqoBg48bXqO-ZN/s1600/F+Vetter,+Diamond+News,+May+62,+p63.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh55ylzqNInxVr8zCLVPuFExERdV82WtpKXigGRXVIVVTqHARf7GaEf0oEl3qIC1a8Yub_1J9z91UdCzwk_XObnF7XUxXMWB6acl2ibay0HLQzVkpUYoM1GZQk74H25krRqoBg48bXqO-ZN/s1600/F+Vetter,+Diamond+News,+May+62,+p63.jpg" width="213" /></a></div>
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<span style="color: #1f497d; font-family: "calibri" , "sans-serif"; font-size: 11pt;"> Felix Vetter, May 1962, Diamond News, p. 63</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKSHs9RtBmGQMdTTLgAzuqT0T-K42Hm6ypBVqseSYlh0QV6StdM47neV4HrA7VqMgpxIS1FWhO9eEwVAByg2mbKKdbn3BWJlGr22L6e8JS2EFtfFbcYr9SW2-eb4mx792KIkXZhj0WsFLj/s1600/F+Vetter%252C+Diamond+news%252C+July+62%252C+p.55.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKSHs9RtBmGQMdTTLgAzuqT0T-K42Hm6ypBVqseSYlh0QV6StdM47neV4HrA7VqMgpxIS1FWhO9eEwVAByg2mbKKdbn3BWJlGr22L6e8JS2EFtfFbcYr9SW2-eb4mx792KIkXZhj0WsFLj/s1600/F+Vetter%252C+Diamond+news%252C+July+62%252C+p.55.jpg" width="215" /></a></div>
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<span style="color: #1f497d; font-family: "calibri" , sans-serif; font-size: 11pt;"> Diamond News, July 1962, p. 55</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzJDlGeo19579bDbrYwab7dR6tB81zoQHIYzSZdELDr-N4RSr6KMuF6koDubi8tTxkjffLAod60seKabbeJsntdQTyGrE_7mpE6gwZ54KeyExuzqqbCcbGMaWOu6kBk5RTnfnozuQ2-fkD/s1600/F+Vetter+Diamond+News+April63%252C+p37.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzJDlGeo19579bDbrYwab7dR6tB81zoQHIYzSZdELDr-N4RSr6KMuF6koDubi8tTxkjffLAod60seKabbeJsntdQTyGrE_7mpE6gwZ54KeyExuzqqbCcbGMaWOu6kBk5RTnfnozuQ2-fkD/s1600/F+Vetter+Diamond+News+April63%252C+p37.jpg" width="212" /></a></div>
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Diamond News, April 1963, p.37</div>
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<b><span lang="EN-US" style="font-family: "tahoma" , "sans-serif"; font-size: 10.0pt;">From:</span></b><span lang="EN-US" style="font-family: "tahoma" , "sans-serif"; font-size: 10.0pt;"> Paul Muser [mailto:pmuser@cogeco.ca] <br />
<b>Sent:</b> 20 January 2014 09:23 PM<br />
<b>To:</b> Van Staden, Fred<br />
<b>Subject:</b> Re: Felix Vetter 2ND ATTEMPT<o:p></o:p></span></div>
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Hello
Professor, <o:p></o:p></div>
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So
delighted to learn you finally received the e.mail and images and that you are
pleased therewith.<o:p></o:p></div>
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Thank
you so much for the images which you attached to your reply, I particularly
value the Photo of Felix as I did not have one until now.<o:p></o:p></div>
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<br /></div>
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As
for your request for additional information, I believe the Sao Paulo Biennial
In which Felix participated would have been in the time period from 1951
(inaugural), 1953, 1955, 1957, 1959, 1961, periods, but I'm sorry I cannot
recall exactly. Their Website is listed in Wikipedia as:- <a href="ttp://wwwbienal.org.br/">ttp://wwwbienal.org.br</a><o:p></o:p></div>
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Felix's
Store/Workshop Exterior sign read "F.V Jewellers" in bright blue
outlined letters on a White background. The FV was in the shape of his Makers
Mark. As soon as I have some time, I will determine the exact locations of both
of his retail premises in downtown Johannesburg, for your records.</div>
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<o:p></o:p></div>
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As
for when he entered S.Africa, Felix was already successful in Johannesburg at
the start of WW2 so I surmise he must have emigrated possibly as much as 5
years prior. I know his port of Landing was Durban.<o:p></o:p></div>
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Felix, collapsed and died of a massive heart attack in his
premises in approximately 1967/1968. I'm sorry I cannot recall the
precise date either.<o:p></o:p></div>
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Also,
professor, my objective was both to respond
to your original request for information, and to hopefully honour Felix by
leaving leave a record of some of Felix's life and works. I think that
Felix would be very pleased to discover he is being memorialized in your
Project/Blog too.<o:p></o:p></div>
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How
wonderful that you took on your interesting and worthwhile project. I am sure
that the families of other Jewellers/Goldsmiths would be greatly honoured by
your fine efforts too.<o:p></o:p></div>
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Bravo
Professor!<o:p></o:p></div>
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With
kindest regards, <o:p></o:p></div>
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Paul
Muser</div>
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<b><span lang="EN-US" style="font-family: "tahoma" , "sans-serif"; font-size: 10.0pt;">From:</span></b><span lang="EN-US" style="font-family: "tahoma" , "sans-serif"; font-size: 10.0pt;"> Van Staden, Fred <br />
<b>Sent:</b> 21 January 2014 06:53 AM<br />
<b>To:</b> 'Paul Muser'<br />
<b>Subject:</b> RE: Felix Vetter<o:p></o:p></span></div>
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<span style="color: #1f497d; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;">Dear Paul (and please call me Fred),<o:p></o:p></span></div>
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<span style="color: #1f497d; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;">Thank you for your ‘bravo’, it doesn’t happen often and I feel
flattered..<o:p></o:p></span></div>
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<span style="color: #1f497d; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;">Also, thank you for good information that I shall include in
future publications. It gives me great satisfaction to record the lives of our
creative jewellers – it is a bit like a Sherlock Holmes process, but every now
and then, someone like you comes along and provide information I could not get
in any other way. I find it exciting.<o:p></o:p></span></div>
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<span style="color: #1f497d; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;">I have great regard/respect for people who can express ‘wonder
and beauty’ with their hands. I am rather useless in that regard. <o:p></o:p></span></div>
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<span style="color: #1f497d; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;">Thank you for letting me post your work on my blog. I would like
to post your e-mail as a whole as well as relevant sections of our
correspondence. Must say, the jewellery is very well
photographed. And let’s see, when it is uploaded, perhaps someone else who owns
Vetter jewellery may respond. <o:p></o:p></span></div>
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<span style="color: #1f497d; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;">Best regards<o:p></o:p></span></div>
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<span style="color: #1f497d; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;">Fred</span></div>
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Fredhttp://www.blogger.com/profile/08076362684798612013noreply@blogger.com3tag:blogger.com,1999:blog-2651480711748885554.post-74259182743080822872014-01-14T11:46:00.000+02:002017-02-07T07:28:33.084+02:00South African precious metal design between 1960 and 1980<div class="MsoNormal" style="text-align: center;">
<div style="text-align: left;">
<span style="font-family: "arial" , sans-serif; font-size: 10pt; line-height: 115%;">Fred van Staden</span><br />
<span style="font-family: "arial" , sans-serif; font-size: 10pt; line-height: 115%;"><br /></span>
<span style="font-family: "arial" , sans-serif; font-size: 10pt; line-height: 115%;">(Published in the <i>SA Journal of Cultural History</i>, 29(1), 2015, pp.22-57) </span><br />
<span style="font-family: "arial" , sans-serif; font-size: 10pt; line-height: 115%;"><br /></span>
<span style="font-family: "arial" , sans-serif; font-size: 10pt; line-height: 115%;"><b>Abstract</b></span><br />
<span style="font-family: "arial" , sans-serif; font-size: 10pt; line-height: 115%;"><b><br /></b></span>
<span style="font-family: "arial" , sans-serif; font-size: 10pt; line-height: 115%;">This paper comprises a review of the legacies of noted
gold- and silversmiths, who opened their studios in South Africa from 1960
to1980.</span><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn2" name="_ftnref2" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 115%;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[2]</span></span></span></a><span style="font-family: "arial" , sans-serif; font-size: 10pt; line-height: 115%;">
Through literature searches, interviews, relevant e-mail exchanges and internet
searches, précis with pertinent information were composed. Information on 14
local gold- and silversmith studios are chronologically presented. Brief notes on
a further 8 goldsmiths are also provided. Where possible, descriptions of maker’s
marks and the years they were in use are provided.</span></div>
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<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Key words:</span></b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;"> Precious
metal artist, goldsmith, silversmith, manufacturing jeweller, maker’s mark,
twentieth century South Africa.<b><o:p></o:p></b></span></div>
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<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Introduction<o:p></o:p></span></b></div>
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<br /></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> Although
small in numbers, the South African silver- and goldsmiths of the mid to late
twentieth century proved themselves on par with their international
counterparts. From 1965 until 1969 and
again in 1974 the South African exhibits at the annual International Arts and
Crafts exhibitions won gold medals and praise.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[3]</span></span><!--[endif]--></span></a>
</span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">In 1968 the Director of the Industrial Design Institute
division of the South African Bureau of Standards, Mr Peter Whitworth
(previously employed on the staff of the Council of Industrial Design in the
United Kingdom) attested to the good quality of South African jewellery design
and manufacture, by declaring that:<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> <i>South
African jewellery can compare with the best in the world.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span lang="EN-US" style="font-size: 10pt;">[4]</span></b></span><!--[endif]--></span></a><o:p></o:p></i></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">A few years later Mr.
John Donald, a noted English goldsmith at the time, had this to say about the
quality of South African entries for the 1973 Chamber of Mines Gold Jewellery
Competition:<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">I was surprised and
delighted by the high standard of the work submitted both in design and
craftsmanship.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span lang="EN-US" style="font-size: 10pt;">[5]</span></b></span><!--[endif]--></span></a></span></i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<br /></div>
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<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Method</span></b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Information dealing
with the careers of silver- and goldsmiths who opened their workshops in South
Africa from 1960 to 1980<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[6]</span></span><!--[endif]--></span></a>
was gathered by reviewing suitable journals and magazines such as the South
African Panorama, Lantern, Artlook Magazine,</span><i><span lang="EN-US" style="font-size: 8.0pt; line-height: 150%; mso-ansi-language: EN-ZA;"> </span></i><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">The S.A. Jeweller and the Diamond
News</span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">, </span><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">The
Diamond News and The S.A. Watchmaker and Jeweller,</span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> as
well as internet searches. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Goldsmiths whose work
was reported in the media during the period of 1960 – 1980 were followed up where
possible with internet searches, e-mail exchanges and interviews. </span><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">A semi structured interview schedule was used to
compose a summation of relevant aspects of their careers. This included issues
such as their apprenticeships (as well as those they supervised), a
characterisation of their work, important commissions, descriptions of their
maker’s marks, achievements and recognition of their work. </span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Interviews
were also conducted with family members or co-workers to gain corroborating background
information. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">The
interviews and all pertinent e-mail exchanges were content analysed and
integrated with available literature. An
initial draft was submitted to a few experienced practitioners for review.
Where warranted, the text was adapted.<span class="MsoFootnoteReference"> <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn7" name="_ftnref7" title=""><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[7]</span></span><!--[endif]--></a></span></span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Some
noted South African silver- and goldsmith studios established between 1960 and 1980.<o:p></o:p></span></b></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<b><i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Erich
Frey</span></i></b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> <i>(1961
– 1977) </i><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">The work of Erich
Frey and associates Maia Holm (1962 - ), Stephen Colegate (1965 -) and Maurice
Pitol (1981- ) have been extensively discussed in an earlier article.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[8]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<b><i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Abe
Pass</span></i></b><b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> </span></b><i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">(Cape Town, 1963 – early 2010s
)</span></i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Abe Pass was born in
Lithuania in 1926, and as a child immigrated with his parents to South Africa.
He completed his apprenticeship as goldsmith with Cooper’s in Cape Town in
1945. To gain further experience he worked with other artist jewellers such as
Doug Saunders and Levitt’s. In 1963 he established his studio in the Groote
Kerk building in Cape Town. He designed individual jewellery items with
precious metals and stones. Since then until 1998, he exhibited his work at
least 15 times at exhibitions in Cape Town and in Johannesburg. In 1967 he
contributed to the gold winning South African exhibition at the International
Arts and Crafts Exhibition in Florence. In 1970 he won a first prize and
commendation at the Intergold jewellery competition. In 1976, he repeated this
performance with a first prize in the section for bracelets and a second prize
in the men’s jewellery section of the competition. In the early 1970’s he also
lectured at Stellenbosch University.<span class="MsoFootnoteReference"> <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn9" name="_ftnref9" title=""><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[9]</span></span><!--[endif]--></a></span>
<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">In 1977 his work was
described as <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">…
of distinguished quality …expressing refinement and a strong aesthetic
sensibility.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn10" name="_ftnref10" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span lang="EN-US" style="font-size: 10pt;">[10]</span></b></span><!--[endif]--></span></a></span></i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">He worked on his own
and used an imprint of his name <b>Abe Pass</b>
or only <b>Pass </b>as maker’s mark on his work.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn11" name="_ftnref11" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[11]</span></span></span></a></span><br />
<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn11" name="_ftnref11" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;"><br /></span></span></span></a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3BtbYcWM46934-sId-sJv0nIoA4TNaKpjz4hrjQrvdgKR4RYKZor_CdXiTsxv9O7y0hFpamyJn1HPSP_JE7GBH7csTccea7y7OApy7ynWsO0UFGQIiwdzQowHl4mxQIkEzvLuPd9D7fcj/s1600/Abe++Pass,+November+2010+auction,+Cape+Town,+Strauss+&+Co+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3BtbYcWM46934-sId-sJv0nIoA4TNaKpjz4hrjQrvdgKR4RYKZor_CdXiTsxv9O7y0hFpamyJn1HPSP_JE7GBH7csTccea7y7OApy7ynWsO0UFGQIiwdzQowHl4mxQIkEzvLuPd9D7fcj/s320/Abe++Pass,+November+2010+auction,+Cape+Town,+Strauss+&+Co+.jpg" width="254" /></a></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"><v:shapetype coordsize="21600,21600" filled="f" id="_x0000_t75" o:preferrelative="t" o:spt="75" path="m@4@5l@4@11@9@11@9@5xe" stroked="f">
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<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure
1: Dress ring encrusted with diamonds, emeralds and garnets by Abe Pass. Valued
between R15 000 to R20 000 in 2010.<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">(Photo: Strauss &
Co, November 2010 auction catalogue, Cape Town, p. 37)<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<b><i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Sid
Forman </span></i></b><i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">(Johannesburg,
1963 – present)<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Sid Forman<i> </i>was born in July 1935 in Mayfair,
Johannesburg. At the age of 16 he started his apprenticeship as a diamond
jeweller in the workshop of Cellini’s. After completing his five year
apprenticeship, he worked for another five years with a manufacturing concern
called Ideal Jewellers owned by Mr Morris Adler, after which he worked for Mr Max
Siderski for a while. In 1963 he opened his own workshop in Castle Mansions in
Rissik Street under the name of The House of Sid Forman. The business grew fast
and due to a lack of workspace he moved to a few other premises in Johannesburg
to finally settle in 1996 on the fifth floor of Jewel City in 225 Main Street.
Since 1963 he used a makers mark consisting of the letters S and F inscribed
within the outline of a diamond (or rhombus) shape. A variation where the shape
of a heart is used was introduced by his son David at the turn of the
millennium. Forman works in platinum, 18ct and 9ct white-, yellow- and red
gold. Forman reminisces as follows about his early days of jewellery making: <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">During the 1950’s the main
expense of jewellery making was the labour and not the materials. Funny how
things have changed.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn12" name="_ftnref12" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span lang="EN-US" style="font-size: 10pt;">[12]</span></b></span><!--[endif]--></span></a><o:p></o:p></span></i></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">In 1966 he bought a
casting machine and underwent casting training in Italy. He became one of a
small handful of goldsmiths who casted some of their designs.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn13" name="_ftnref13" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[13]</span></span><!--[endif]--></span></a> At the high point of his career he employed
around 120 people in his 1000 square meter workshop. Whereas his jewellery
designs were primarily influenced by Italian trends of the time, it was also
dictated by market demands. Forman is also an accomplished visual artist in the
fields of painting, sketching and sculpting (mostly marble, wrought iron, scrap
metal and gold). Apart from holding one solo sculpting exhibition in Norwood,
he did not commercially pursue his sculpt and paint work, viewing it as a
hobby. He also served for a brief while on the South African Jewellery Council.
<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Amongst his achievements
was the presentation of an 18cm high ostrich made from 18ct gold that was
presented to President Mandela. He also made a range of figures that included
leopard, elephant, rhino, birds, bushmen, lion, horses and a hunter with his
dog. His high technical skill is especially evident in a small replica of an
antique Chevrolet complete with moving doors, as well as an encased pistol set
in gold.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn14" name="_ftnref14" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[14]</span></span><!--[endif]--></span></a> On
evaluating the merits of a jewellery piece he contends that:<o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">First and foremost its
artistic qualities must resonate with the viewer. The artistic qualities of a
piece are expressed in the way that modulation or relief is unpacked in the
design.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn15" name="_ftnref15" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span lang="EN-US" style="font-size: 10pt;">[15]</span></b></span><!--[endif]--></span></a></span></i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPErgXK83L6g4f4mGQ74x1sz_TBDogY-M5r4gtA-tmVvqLETwwWl5wEQ61yd7dLvGfjby2NYhFEIx0hgcD5O5estLhgklHIUIJxdb81yTbEayVNTYS8R4xjTxusX36k4N61cFEo-2B0xJb/s1600/Pistol+set%252C+18ct+gold%252C+ivory+and+diamonds.+Asking+price+750+000+US%2524.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPErgXK83L6g4f4mGQ74x1sz_TBDogY-M5r4gtA-tmVvqLETwwWl5wEQ61yd7dLvGfjby2NYhFEIx0hgcD5O5estLhgklHIUIJxdb81yTbEayVNTYS8R4xjTxusX36k4N61cFEo-2B0xJb/s320/Pistol+set%252C+18ct+gold%252C+ivory+and+diamonds.+Asking+price+750+000+US%2524.JPG" width="320" /></a></span></div>
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<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure
2: A pistol set made of ivory and 18ct yellow and white gold encrusted with
diamonds that took Mr Sid Forman three years to complete. In 2013 the set was
valued at 750 000 US$.<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">(Photo:
F van Staden, Johannesburg, 21 February 2013)<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Since 1973<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn16" name="_ftnref16" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[16]</span></span><!--[endif]--></span></a>
the House of Sid Forman won a range of awards in jewellery competitions that
included the Chamber of Mines Gold Intergold Jewellery Design competition in
1981<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn17" name="_ftnref17" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[17]</span></span><!--[endif]--></span></a>
as well as winning the Diamonds Tomorrow Student Design Competition in 1983.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn18" name="_ftnref18" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[18]</span></span><!--[endif]--></span></a>
His wife Lorraine and two sons Mark and David hold the distinction of being the
only family who have each in their own right won the coveted Diamonds
International award. <o:p></o:p></span></div>
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<b><i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Franz
Huppertz </span></i></b><i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">(Cape
Town, 1964 –1997) <o:p></o:p></span></i></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Born in 1940 in the
German town of Eshweiler (near Aachen), Franz
Huppertz studied jewellery design (1959 – 1962) at the Kunst und
Werkschule in Pforzheim, West Germany and specialised on the history and
techniques of bracelet making. His training extended beyond silver- and
goldsmithing techniques to a wide range of artistic expression in graphic
design, drawing, painting and sculpting in stone. He studied with </span><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Dieter Dill (who later moved to the Western Cape for
awhile) under the tutelage of well known German jewellery master and museum
curator Klaus Ullrich.</span><span class="MsoFootnoteReference"><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn19" name="_ftnref19" title=""><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[19]</span></span><!--[endif]--></span></a></span></span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">
</span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> </span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Before coming to
South Africa in 1964, he worked in Switzerland where he rebelled against the
strictures of the Goldsmith Guilds and decided to explore Africa. After an
overland sojourn lasting seven months he eventually settled in Cape Town where
he opened his studio called Franz Huppertz Jewellers at the Stuttafords Town
Square in Adderley street. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">He exhibited his work
both internationally in Switzerland, Italy and the United States of America and
locally in Cape Town, Durban and Johannesburg. During the 1980s he regularly
exhibited his work in group exhibitions curated under the titles of <i>African Experience</i> (1980), <i>Gold in Fashion</i> (1983 – the collection
was also exhibited in Paris and Milan) and <i>Dreams
of Diamonds</i> (1988). In 1985 he held a successful first solo exhibition at
the Kunskamer Gallery. A unique touch at this exhibition was the design of the
jewellery presentation boxes as wall hangings, allowing the jewellery items to
decorate a wall when not worn. A few
years later in 1989, he staged another solo exhibition titled <i>Art in Jewels</i> at the Town House Museum
in Cape Town. <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn20" name="_ftnref20" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[20]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Huppertz was a
prolific designer and demand for his custom made jewellery grew fast during the
1980’s and he opened a second studio showroom in Cavendish Close, Claremont,
Cape Town.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn21" name="_ftnref21" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[21]</span></span></span></a></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb41a7jiTjHejHBsU_Cf8oK4mUtfGYULD4YpXeEywc6GTq0e_dRZ0_0Y8d7OMBcXhWgzwi-k4AYxocKRU5zaeEIJsOxJI9ZMQ72QtYh_ZJRIkQhncMzqctvGe0zjooP7SCyHxi22v1eCbe/s1600/Univercity+drawings+001.jpg" imageanchor="1" style="line-height: 150%; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb41a7jiTjHejHBsU_Cf8oK4mUtfGYULD4YpXeEywc6GTq0e_dRZ0_0Y8d7OMBcXhWgzwi-k4AYxocKRU5zaeEIJsOxJI9ZMQ72QtYh_ZJRIkQhncMzqctvGe0zjooP7SCyHxi22v1eCbe/s320/Univercity+drawings+001.jpg" width="232" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9Vf9BV2IndMZa3eH0oxCyaYCNnoYL8Js5YJY9QcW9_tboy5vRKrd9Gz1HZjqIDqlQ8wLeqhBANUhANjguhQwVj-zPiqRrOybTxReiaadlASUXaaEfP2UrwOuNUIJaXi5Y7AMpWNZcbPA1/s1600/mask002+001.jpg" imageanchor="1" style="line-height: 150%; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9Vf9BV2IndMZa3eH0oxCyaYCNnoYL8Js5YJY9QcW9_tboy5vRKrd9Gz1HZjqIDqlQ8wLeqhBANUhANjguhQwVj-zPiqRrOybTxReiaadlASUXaaEfP2UrwOuNUIJaXi5Y7AMpWNZcbPA1/s320/mask002+001.jpg" width="244" /></a></div>
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<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figures 3 & 4: Ring drawings by Franz Huppertz as a student in
1961. On the right is a necklace, mask and a brooch in 18carat gold by Franz
Huppertz.<o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">(Photo: Monique
Nienaber, Cape Town, 2012 )<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">In his designs he
favoured the use of diamonds and gemstones along with creating interchangeable
combination jewellery clusters. He used the lustre, cut, brilliance and emotive
qualities of the stones he selected for his designs, as guidelines for developing
the setting of the design.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn22" name="_ftnref22" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[22]</span></span><!--[endif]--></span></a>
Forms, textures and colours in nature as well as cultural motifs often formed
the design bases of his jewellery settings. His work shows a fondness for
granulation along with relief work where different levels are combined or
juxtaposed. <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn23" name="_ftnref23" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[23]</span></span><!--[endif]--></span></a> He made
only individual jewellery items and as a rule created a number of designs for a
customer to choose the most suitable from. As is the case with a number of
other goldsmiths, he was of the opinion that a reflection of the wearer’s inner
self should be captured by the jewellery that is worn.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn24" name="_ftnref24" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[24]</span></span><!--[endif]--></span></a>
Later in his career he diversified the materials he incorporated in his designs
to include mother of pearl, stinkwood, elephant hair, steel and even plastic.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn25" name="_ftnref25" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[25]</span></span><!--[endif]--></span></a>
A critic reviewed his use of materials as follows<o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">His art is vested in all
material that has the potential to please. So even in some of his more formal
work, there is surprise and amusement at the audacious use of the
unconventional.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn26" name="_ftnref26" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span lang="EN-US" style="font-size: 10pt;">[26]</span></b></span><!--[endif]--></span></a><o:p></o:p></span></i></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">His daughter, a
goldsmith in her own right describes his designs as the<o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">… organic merging of
geometric elements. He designed around the stone and believed that the piece
flows from the qualities and shape of the stone that is used.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn27" name="_ftnref27" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span lang="EN-US" style="font-size: 10pt;">[27]</span></b></span><!--[endif]--></span></a><o:p></o:p></span></i></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">As a qualified master
goldsmith, Huppertz was accredited with the Kunst und Werkschule in Pforzheim (Germany)
to offer apprenticeships to their students. He gave regularly of his time as
external examiner for apprenticeship work and students’ jewellery design work. <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn28" name="_ftnref28" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[28]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Between 1970 and 1982
Huppertz won a total of eight awards at various competitions organised by the
Chamber of Mines, Diamonds of Today and Intergold competitions.<span class="MsoFootnoteReference"> <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn29" name="_ftnref29" title=""><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[29]</span></span><!--[endif]--></a></span> In 1982 he won the overall Intergold
jewellery design prize with a pair of aquamarine encrusted 18carat gold
earrings, as well as winning entries in the section for men’s jewellery with a
set of cuff links, along with a gold necklace submitted to the section for
ethnic jewellery.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn30" name="_ftnref30" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[30]</span></span><!--[endif]--></span></a>
<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Franz Huppertz
suddenly passed away in 1997 at the age of 57 as the result of a stroke. A few
months before his death, Mr Nicholas Opperheimer presented him with the De
Beers Shining Light Award for Excellence in Diamond Jewellery Design<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn31" name="_ftnref31" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[31]</span></span><!--[endif]--></span></a>
– a timely testament to a noted goldsmith who helped to extend the range and
interpretive limits of local handmade jewellery.<o:p></o:p></span></div>
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<b><i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Hartmut
and Ilse Jäger</span></i></b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> (<i>Johannesburg</i>,<i> 1965 – 1984)<o:p></o:p></i></span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Of
German parentage, Hartmut Jäger was born in 1940 in Hitler occupied
Czechoslovakia in Eger (now Cheb). After World War II the family returned to West
Germany where he received his initial goldsmith training in Koblenz. He
continued his studies in engraving, setting, making and designing jewellery at
the Art College in Schwaebisch Gmuend.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">In
1965, Jäger immigrated to South Africa, working successively for goldsmiths Sid
Forman, then Jack Friedman and for Anthony Sidersky before starting his own
studio in 1969. He became a founding member of the Goldsmiths Guild of South
Africa.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn32" name="_ftnref32" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-size: 10pt;">[32]</span></span><!--[endif]--></span></a> At the 1975 Intergold competition he won first
prizes in two pricing categories. In the late 1970’s he partnered with Jochen
Kessel and opened a Jewellery shop in the Bryanston Shopping Center, of which
he and his wife Ilse later became the sole owners. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Jäger
enjoyed working with precious metals and gemstones. His design style was
described as <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">…<i>’universal’ as it varies with ease according
to mood and circumstances.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn33" name="_ftnref33" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span lang="EN-GB" style="font-size: 10pt;">[33]</span></b></span><!--[endif]--></span></a></i>
<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">In
an article on the role of goldsmiths as artists, Jäger stated the following: <o:p></o:p></span></div>
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<i><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Fine art should have the
quality of taking the observer beyond his or her everyday surroundings to give
them a glimpse of a greater beauty. In jewellery, an individual piece must also
be crafted for the wearer as a unique expression of some quality within that
person. And so the goldsmith is many in one: (s)he is sculptor, designer and
visionary. (S)he must do the setting, engraving and enamelling, and master good
knowledge of the many precious and semi-precious stones as well as the numerous
techniques for shaping and forming of silver and gold. And (s)he must know
people to sense their nature and personalities in order to serve them best.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn34" name="_ftnref34" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span lang="EN-GB" style="font-size: 10pt;">[34]</span></b></span><!--[endif]--></span></a><o:p></o:p></span></i></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Austrian
Ilse Meckel was born in 1941 and raised in Ravensburg, Germany. She studied and
obtained a Masters Degree in Jewellery making in Schwaebisch Gmuend, where she
also met Hartmut Jäger . After graduating, Meckel worked for leading workshops
in Helgoland, Geneva and in London. With renowned London jeweller Andrew Grima,
she created the famous Omega watch collection and also designed and made a
brooch for the British Princess Ann. At the invitation of Hartmut Jäger, she immigrated
to South Africa in 1970 to work with him in his jewellery studio. Here she
designed and made a series of barely 2cm high miniature sculpture charms of
animals and people in gold and silver, using the ancient 'lost-wax' moulding
and casting process.</span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">In
1972 Ilse and Hartmut got married. They have two children and in 1984 the
family emigrated to Perth, Australia, where Hartmut Jäger embarked on a new
career as a paintings artist and graphic computer designer. <o:p></o:p></span></div>
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<b><span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figures 5 & 6: A double sided pendant in 18carat gold with rubies and red coral by Hartmut
Jäger and three charms in gold by Ilse Jäger.<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">(Photos:
From Hartmut Jäger’s résumé.)<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">During
their time in South Africa, the couple made significant contributions to the local
renewal of jewellery content, design and the combination of different materials
that marked the late 1960’s and the 1970’s. The couple did not make use of
maker’s marks.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn35" name="_ftnref35" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-size: 10pt;">[35]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<b><i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Frenchie
Gatticci</span></i></b><b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> </span></b><i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">(Pretoria, 1967 – 1999)</span></i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Of Italian extraction,
Hector Francois (Frenchie) Gatticchi was born in 1934 in Nice, France and
immigrated at the age of 13 with his parents who settled in Pretoria in 1947.
In 1952 he started a three year internship in ‘mounting and precious metal
working’ in the Metal Art workshop under Joe Calafato. However, the company
split up in 1953 and Mr Gatticchi completed his internship with a splinter
group called Pretoria Badge and Silver-Smiths Pty. Ltd in Hatfield.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn36" name="_ftnref36" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[36]</span></span><!--[endif]--></span></a>
This group consisted of a number of people previously employed by the South
African Mint, namely Mssrs. Becklacke (previous Chairman of the Mint), Percy
Cave (die sinker, well known for a number of maces he produced)<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn37" name="_ftnref37" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[37]</span></span><!--[endif]--></span></a>,
Myburgh and Hendriks (die sinker).This group do not seem to have made use of a maker’s
mark. Gatticchi qualified with a wide range of jewellery making skills (such as
the rolling, soldering and vitreous enameling of precious metals) and he went
back to work for Joe Calafato for a while. In 1967, he and his wife opened
their own studio under the name of Prestige Manufacturing Jewellers.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn38" name="_ftnref38" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[38]</span></span><!--[endif]--></span></a> From 1978 until 1980 he and Mr Charl Vorster
(who also apprenticed with Joe Calafato) became partners in the business. After
they dissolved the partnership, Gatticchi moved his studio and showroom to the
Sanlam Arcade, Pretoria City Centre. He focused both on the jewellery making
and retailing market. Amongst his clientele counted a number of government
ministers and officials. He used a <b>P</b>
as maker’s mark on his jewellery until he closed the business in 1999.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn39" name="_ftnref39" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[39]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<b><i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Otto
Poulsen </span></i></b><i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">(Durban,
early 1960’s )<b><o:p></o:p></b></span></i></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Otto Poulsen was born
in Denmark and completed a five year apprenticeship in Copenhagen under Willy
Krogmar (a Danish sculptor/goldsmith who became known for his early modernist
designs). The high standard of Poulsen’s apprenticeship work was awarded with a
gold medal by the Danish Guild for Art and Craft work. He worked for a while in
the Georg Jensen workshop. During this time, his development as a designer was
influenced by the designs of Sigvard Bernadotte. The Danish Guild of
Goldsmiths, Silversmiths and Metal Art Workers bestowed a second award on
Poulsen for a bracelet he submitted in an open competition. He also worked with
Henning Koppel, a well known Danish jewellery designer.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn40" name="_ftnref40" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[40]</span></span></span></a></span><span style="font-family: "arial" , sans-serif; font-size: 10pt; line-height: 150%;"> </span><v:shape id="_x0000_i1027" style="font-family: Arial, sans-serif; font-size: 10pt; height: 127.8pt; line-height: 150%; width: 197.4pt;" type="#_x0000_t75">
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp83D7ouXP8ZGITqdHLSKLbuZVXG8uYQ9n5tshGNdvEwOJycMRknnI1v6Pi-x2EstRUZpayA4iT1kl0UwGj2fD0lZeHurV7l9f9hrLlQGaV1IzUJvMgO3EyY839bSNlW17j2gBLD1iv_3w/s1600/OP+Choker+16+Diamonds+3+Sandwana+emeralds+in+18+&+22+ct+gold,+Optima+sep+1970+p110.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp83D7ouXP8ZGITqdHLSKLbuZVXG8uYQ9n5tshGNdvEwOJycMRknnI1v6Pi-x2EstRUZpayA4iT1kl0UwGj2fD0lZeHurV7l9f9hrLlQGaV1IzUJvMgO3EyY839bSNlW17j2gBLD1iv_3w/s320/OP+Choker+16+Diamonds+3+Sandwana+emeralds+in+18+&+22+ct+gold,+Optima+sep+1970+p110.jpg" width="320" /></a></span></div>
<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> <o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure 7: A choker by Otto Poulsen consisting of 16
diamonds and 3 Sandawana emeralds<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn41" name="_ftnref41" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span lang="EN-US" style="font-size: 10pt;">[41]</span></b></span><!--[endif]--></span></a> set
in 18 and 22 carat gold.<o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">(Photo: Optima,
September 1970, p. 110)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">He immigrated to
South Africa in 1955. He worked for a while with Kurt Jobst in Johannesburg who
introduced him to a range of different materials for use in jewellery design.
In the early 1960’s he relocated to Durban where he worked under his own name.
At a later stage his studio amalgamated with that of Robertson’s, a long
established Durban jeweller (since 1910) to form Poulsen Robertson Jewellers.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn42" name="_ftnref42" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[42]</span></span><!--[endif]--></span></a>
He worked in gold, silver, precious and semi precious stones embedded in
sculptural designs.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn43" name="_ftnref43" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[43]</span></span><!--[endif]--></span></a>
It is clear that this goldsmith was one of our foremost talents in jewellery
making during his time – he worked with the best in the Western world.
Hopefully in future more information about his work will come to light.<o:p></o:p></span></div>
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<b><i><span lang="DE" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Dieter Steglich </span></i></b><i><span lang="DE" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">(Pretoria,
1968 – 2006)<o:p></o:p></span></i></div>
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<span lang="DE" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Dieter Steglich</span><i><span lang="DE" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> </span></i><span lang="DE" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">was born in 1939 in Berlin. </span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Initially
he qualified as a precision mechanic and worked at Siemens from 1955 to 1958.
He had a natural flair for jewellery making, and as a hobby (without any formal
schooling) he made jewellery pieces for family and friends. Based on a
portfolio of his work, he was accepted for training as goldsmith at the
Staatliche Werkkunst Schule in Berlin, West Germany. After successfully
completing his studies and apprenticeship, he was approached by Erich Frey to
join him at Frey’s studio in Pretoria. The young Dieter grasped the opportunity
with both hands and worked with Frey from 1966 to 1968. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">In 1967, Neville
Jones who worked as journeyman for Gilroy King (owner of King’s Jewels),
decided to continue his journeymanship at the Frey studio. Barely a year later, Jones and Steglich left
to open their own studio on 01 April 1968 in Arcadia Galleries in Pretoria.
Their partnership didn’t last and exactly another year later, in 1969, Jones
left to join Heinrich Ocker who owned the Schultis Schwar & Co. jewellery
and watch workshop on Church Square in Pretoria. <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn44" name="_ftnref44" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[44]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">For the next 20
years, Steglich continued working in the same premises under his own name D.
Steglich Gold- and Silversmith. Perhaps sensing the increased vulnerability of
jewellery shops to crime that would plague his colleagues in the decades to
follow, he moved his workshop on 01 April 1988 to his home in Meyerspark,
Pretoria. Here he worked with
contentment, stating that at last he has all his tools under one roof. He was a
soft spoken, self contented person, who enjoyed the solitude of his studio. He
avoided crowds but was adept at having individual discussions with his clients
on all matters ranging from philosophy to mechanics. He displayed an
interpersonal sensitivity enabling him to translate aspects of his clients’
personae (or radiance) in his designs. For this reason (and also because of his
accomplished technical ability) he worked mostly on commission and had an
extensive list of loyal clientele. After being bedridden for six months, he
passed away from prostate cancer in October 2006.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn45" name="_ftnref45" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[45]</span></span><!--[endif]--></span></a>
<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">His work gave good
expression to the modernist designs of the 1970’s. Due to his initial training
as precision mechanic, Steglich’s work always displayed technical finesse of
the highest order, where spokes, circles, spirals and chains were interlinked
with delicate balance.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn46" name="_ftnref46" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[46]</span></span><!--[endif]--></span></a>
He won a first prize in the Chamber of
Mines’ Gold Jewellery Competition in 1970 for the design of personal jewellery
in gold and precious stones.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn47" name="_ftnref47" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[47]</span></span><!--[endif]--></span></a>
He also contributed two jewellery pieces to the gold award winning South
African group entry at the Arts and Crafts Fair in Florence in 1974. A total of
46 countries were represented at the fair.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn48" name="_ftnref48" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[48]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Regarding his
inspiration and design style, Steglich preferred abstract designs that may (or may
not) emerge from organic or naturalist origins. He opined that concentrating
extensively on detail often leads to a weakening of the design as a whole. He
always designed his pieces on paper before translating it into the actual three
dimensional form. He felt strongly that true artist jewelers should not
advertise their work. The work that an artist jeweler creates should sell
itself. Each piece he made, was individually crafted. In addition, he never
made use of waxing methods when creating his jewellery pieces. He included both
precious and semi-precious stones in his designs. He assigned equal status to
stones and their settings, where the design of the setting results in
punctuating the stone as the crown of the setting.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn49" name="_ftnref49" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[49]</span></span><!--[endif]--></span></a>
Prof D. van Zyl, a client and friend, reflected as follows on the inspiration
and work of Dieter Steglich:<o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">He
had a high standard of beauty and harmonious composition… Every creation of his
has this blend of outer harmony and inner care, technical precision and human
sensitivity. He always searched for what he called a ‘better idea’, a more
innovative way, which made him a true artist. <o:p></o:p></span></i></div>
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<i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">He
explored and investigated beyond the boundaries of the everyday, and was open
to the multi-layered mysteries of life in his own inimitable way, soft spoken
and measured, he often shared thoughtful insights and profound understanding of
spiritual matters. He was an artist with matter, and a philosopher in spirit. Above
all, the many times he blended spirit into matter, he unified love with
substance, ultimately made him a creator in the most profound sense of the
word.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn50" name="_ftnref50" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span lang="EN-US" style="font-size: 10pt;">[50]</span></b></span><!--[endif]--></span></a><o:p></o:p></span></i></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Since opening is own studio on 1969,</span><b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> </span></b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Steglich
made use of the following maker’s marks. The letters </span><b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">ds</span></b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> were used when he worked in gold, an imprint of the
sun was used when he worked in silver and a halfmoon was used when worked with
other metals. The applicable caratage was also stamped on his work. <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn51" name="_ftnref51" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[51]</span></span><!--[endif]--></span></a> <o:p></o:p></span><br />
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<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figures 8 & 9: Dieter Steglich’s award winning
bracelet in the Chamber of Mines’ Gold Jewellery Competition in 1970. The
bracelet featured five moonstones and 12 rubies in ‘lunar-surface-textured’
gold. On the right is Mr Steglich in his studio in Arcadia, Pretoria in the
early 1970s.<o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> (Photo on the left: F van Staden, Pretoria,
November 2013. The photo on the right is from the Steglich résumé.)<o:p></o:p></span></div>
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<b><i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Peter
Cullman</span></i></b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> <i>(Johannesburg
1967-1977, Toronto 1979-2003)<o:p></o:p></i></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Peter Cullman was
born in Berlin in 1941 and completed his apprenticeship as goldsmith in
Idar-Oberstein (1956 – 1960) followed by three years of training at the Kunst-
und Werkschule in Pforzheim, Germany. In 1962 he attended a course in gemmology
offered by Erich Frey<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn52" name="_ftnref52" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[52]</span></span><!--[endif]--></span></a>
who encouraged Cullman to relocate to South Africa. After spending a brief time in Israel, he
immigrated to South Africa in 1963 where he worked in the atelier of Egon
Wegrostek in Johannesburg. In 1966-1967 he travelled to the United States,
Mexico and to Canada where he worked for Walter Schluep, a leading Canadian
avant-garde jeweller. Upon his return in mid-1967 he opened his own workshop in
Fanora House, Johannesburg.<span class="MsoFootnoteReference"> <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn53" name="_ftnref53" title=""><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[53]</span></span><!--[endif]--></a></span>
Here he worked until 1977 when he immigrated to Canada where he operated his
own studio in Toronto between 1979 and 2003.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn54" name="_ftnref54" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[54]</span></span><!--[endif]--></span></a>
<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">During the twelve
years that Cullman worked in South Africa, his designs were locally lauded by
winning awards at all the Intergold Jewellery Competitions that he entered,
including the overall first prize in 1972 and 1974. In 1969, 1971 and 1974 he
held successful solo exhibitions at Gallery 101 at Rand Central and Gallery 21 in
Hyde Park Corner, Johannesburg. He continued to develop an international
profile by exhibiting some of his creations in 1971 and 1972 at the Inhorgenta
Exhibitions in München. <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn55" name="_ftnref55" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[55]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">His work was typified
as flowing organic patterns that reflect elements of nature. In this regard he
proclaimed that <o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">My immediate surroundings
are full of shapes and forms, all of which have an important bearing on my
work.</span></i><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn56" name="_ftnref56" title=""><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[56]</span></span><!--[endif]--></a></span></span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> He worked in silver and gold, with a distinct
preference for gold. His creations were individually designed jewellery items
and as is often found amongst goldsmiths he was attracted to contemporary
sculpture. In many of his works he included stones such as onyx, opals,
emeralds, diamonds along with wood and ivory. <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn57" name="_ftnref57" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[57</span></span></span></a></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGB9LCb36s64T_K6MQlZGjsxii9WH9SJxyBZ4lWVYJd7L7mHvvQ-jIBUEB3VpBoiB9BKbN8I62Xd6ONW6UqEZGPkuxaumoocBQVjST_qXoC7MRYgaEgXS8vMuD7pblRaU86xamucuZkPjA/s1600/1976+Cabochon.jpg" imageanchor="1" style="line-height: 150%; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGB9LCb36s64T_K6MQlZGjsxii9WH9SJxyBZ4lWVYJd7L7mHvvQ-jIBUEB3VpBoiB9BKbN8I62Xd6ONW6UqEZGPkuxaumoocBQVjST_qXoC7MRYgaEgXS8vMuD7pblRaU86xamucuZkPjA/s1600/1976+Cabochon.jpg" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHTTknVhhaeLz4j2ICO_MJGHTnKkpo5mSCqsJq-sWp-5lWWdKT15lHS_EiErTzXVn_9Md7QZzWSgUnMTlz8ucaDU15-mK1CPQRK505ksd8TISnft-01haoHA8XKOAUpMRYaEJ7yvnBbJ1i/s1600/1972+pendant+choker+ivory.jpg" imageanchor="1" style="line-height: 150%; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHTTknVhhaeLz4j2ICO_MJGHTnKkpo5mSCqsJq-sWp-5lWWdKT15lHS_EiErTzXVn_9Md7QZzWSgUnMTlz8ucaDU15-mK1CPQRK505ksd8TISnft-01haoHA8XKOAUpMRYaEJ7yvnBbJ1i/s320/1972+pendant+choker+ivory.jpg" width="250" /></a><br />
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<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure 10, 11 & 12: Examples of early work by Peter Cullman. From left to right: A
turquoise matrix cabochon set in 18 carat yellow gold (1976), an 18 carat
yellow gold choker with an ivory and diamond pendant (1972) and an 18 carat
gold brooch set with diamonds and a pearl in the form of a sea urchin (1970).<o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">(Photos: From Peter
Cullman’s résumé as well as Optima, September 1970, p. 110.)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Cullman emigrated in
March 1977 with his family and settled in Canada where he established his own
studio in Yorkville, Toronto in 1978. He continued to work only in 18ct gold or
platinum (as opposed to the Canadian preference for 10ct. or 14ct.). Here his
designs explored an individualistic or idiosyncratic style that did not follow
the design trends of the time. He retired in 2003.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn58" name="_ftnref58" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[58]</span></span><!--[endif]--></span></a>
<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Since he arrived in
South Africa in 1967 until 1973, his jewellery items carried a stamp that
consisted of a capital <i>C</i> placed
within a rectangular frame. Thereafter he made use of the outline of a stylized
‘ring with mounted stone’. Sometimes his surname CULLMAN was added to the ring
mark or used on its own. In Canada he continued using the ring mark. <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn59" name="_ftnref59" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[59]</span></span><!--[endif]--></span></a>
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<b><i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Tessa
Fleischer</span></i></b><i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">
(Broederstroom, 1968 - current)</span></i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Tessa Fleischer (née
Loubscher) was born in 1934. After an initial career as film actress she
changed in 1968 to jewellery making under the guidance of husband Michael
Fleischer, a Romanian immigrant metal sculptor. His design philosophy which he
imparted to her, was captured in 1969 as follows<o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Art
is the truth of the thinking and feeling of its creator – not more, not less
than the plain truth. We do not make art abstract, but it becomes abstract when
this is the way to say only the truth and nothing surrounding the truth which
is not essential to it. The creator develops only the essence which is the truth
and leaves out everything unimportant. The only success for the artist comes
when he has achieved this truth in his work, whether the spectator experiences
it or not.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn60" name="_ftnref60" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span lang="EN-US" style="font-size: 10pt;">[60]</span></b></span><!--[endif]--></span></a><o:p></o:p></span></i></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">In 1968 Tessa
Fleischer began exhibiting her jewellery work jointly with the sculptures of her
husband in Johannesburg.<span class="MsoFootnoteReference"> <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn61" name="_ftnref61" title=""><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[61]</span></span><!--[endif]--></a> </span> In 1970 they again exhibited their work as a
duo at the Pretoria Arts Association.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn62" name="_ftnref62" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[62]</span></span><!--[endif]--></span></a>
International exposure came early in her career when she was invited to
participate in the 1974 International Arts and Crafts Fair in Florence, Italy.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn63" name="_ftnref63" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[63]</span></span><!--[endif]--></span></a>
During the late 1960’s and 1970’s she was also involved with the organisation
of the annual Living Arts Biennale held in Johannesburg.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn64" name="_ftnref64" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[64]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Initially she worked
in copper and silver, starting out with jewellery making but soon extended her
repertoire to reliquaries such as chalices, altar candelabra and crosses. This
affinity with spirituality is also expressed in her jewellery designs. Already
in 1969 she stated that her jewellery should convey aspects of the owner’s
inherent persona and should be regarded as<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> <i>…
essay(s) in spiritual expression.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn65" name="_ftnref65" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span lang="EN-US" style="font-size: 10pt;">[65]</span></b></span><!--[endif]--></span></a></i>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">The materials she
chose to work with were selected for its inherent beauty rather than inherent
value. Apart from precious metals
serving as the base for her work, she made use of tumbled semi-precious stones
and indigenous woods. Her work is often described as spanning the range from
chunky, bold or dramatic to delicate and refined – always conceived with a
sensitive aesthetic. <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn66" name="_ftnref66" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[66]</span></span><!--[endif]--></span></a>
Early inspiration for her designs was also gleaned from antique jewellery that
she then reinterpreted into modern designs at the time. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">An important
commission came her way in 1985 when the Anglican congregation of St Mary’s in
Johannesburg requested her to design and make the ceremonial staff and pectoral
cross for the inauguration of Bishop Desmond Tutu. It consists of tambotie
wood, sterling silver, amethysts, tourmalines and garnets.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn67" name="_ftnref67" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[67]</span></span><!--[endif]--></span></a> <o:p></o:p></span><br />
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<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figures
13 & 14 : Left is Tessa Fleischer with Bishop Tutu’s inaugural rosier made
from Tambotie wood and sterling silver. On the right is a copper, brass and onyx
choker by Fleischer.<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">(Photos: The Star
newspaper, 01 February 1985, p. 12, and SA Panorama, July 1974, p. 20.)<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">From her work it is
clear that much attention has been paid to detail, to the extent of creating
individually designed chains that extend and accentuate the inspiration
expressed in her pendants, necklaces, bracelets or girdles.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn68" name="_ftnref68" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[68]</span></span><!--[endif]--></span></a>
Her husband’s African themed work shows a synergy with her work that was
influenced by various trips in Africa. She is regarded as a creative and an
imaginative jeweller with a career spanning over 40 years.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn69" name="_ftnref69" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[69]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Since 1974 Fleischer
worked from her studio-gallery at home in Broederstroom that she shared with
her husband until his passing in 1991. Her work in copper is marked with a
flower pattern that is underscored by the name FLEISCHER in a half circle. She
marked her work in silver with the words KUNSTGEWERBE FLEISCHER arranged in a
circle around the outline of a bird. Underneath, the acronym HAN. ARB appears.
Though some variation occurred over the years, all her work contained at least
the imprint of her surname.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn70" name="_ftnref70" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[70]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<b><i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Uwe
Koetter Jewellers</span></i></b><b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">
</span></b><i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">(Cape
Town, 1968 - )</span></i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Uwe Koetter was born
in 1937 in Hamburg, Germany where he studied and completed his apprenticeship
as goldsmith in 1957. Part of his training also included classes in pottery,
enameling, silk printing, engraving, copper work and drawing. Early recognition
of his promise as goldsmith came in 1958 when he was awarded the Hamburg
Chamber of Commerce prize for his examination piece at the age of 20. This led
to an invitation to relocate to (the then) South-West Africa to work as
goldsmith in Windhoek, which he did. But the market was small and a year later
he immigrated to Cape Town. Here he further honed his jewellery making skills
by working for other jewelers until 1968, when he opened his own workshop with
the support of his South African wife, in the Colonial Mutual Building.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn71" name="_ftnref71" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[71]</span></span><!--[endif]--></span></a>
<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Already in 1973 he
was regarded as a notable creative goldsmith in the country.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn72" name="_ftnref72" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[72]</span></span><!--[endif]--></span></a>
He staged a number of solo exhibitions of his work in Cape Town. The
exhibitions were extensive and each contained around 300 individual items of
jewellery. The ability to create such extensive ranges of jewellery for his
exhibitions is a strong testament to his prolific creativity.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn73" name="_ftnref73" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[73]</span></span><!--[endif]--></span></a>
<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Koetter was
commissioned by the de Beer’s Company to set the Eureka Diamond for presentation
to the country’s inclusive democratic parliament at its first sitting in 1994.
This was the diamond that set off the Kimberley Diamond rush in 1876, and the
Oppenheimer family decided to present it to parliament.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn74" name="_ftnref74" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[74]</span></span><!--[endif]--></span></a>
<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">. He works mainly in
18 carat gold, finding it more refined and malleable to work with since it
contain much less silver than 9 carat gold. His handcrafted designs were
summarised as follows: <o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">He exploits the versatility
of gold in every possible way and combines it very successfully</span></i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">
<i>with tourmalines, garnets, rubies and
emeralds.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn75" name="_ftnref75" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span lang="EN-US" style="font-size: 10pt;">[75]</span></b></span></span></a></i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBdGaZhDgne3qpk4M9fOmYb59HmrnDKDDmKjSbM9T-zH7Lcvf42oAaLIEth5VUDayzH5nsyk_dEbvUkEDYCobge1fDVrAL7lc1McPH8164SpPnl62o0QdSV5vUnZNK6QXhsJkEErq9CTeV/s1600/Uwe+Koetter%252C+November+2010+auction%252C+Cape+Town%252C+Strauss+%2526+Co+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBdGaZhDgne3qpk4M9fOmYb59HmrnDKDDmKjSbM9T-zH7Lcvf42oAaLIEth5VUDayzH5nsyk_dEbvUkEDYCobge1fDVrAL7lc1McPH8164SpPnl62o0QdSV5vUnZNK6QXhsJkEErq9CTeV/s320/Uwe+Koetter%252C+November+2010+auction%252C+Cape+Town%252C+Strauss+%2526+Co+.jpg" width="227" /></a></div>
<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"><br /></span></b>
<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure 15: An 18 carat gold ring embellished with ruffled
cubes, diamonds and emeralds by Uwe Koetter. Valued between R15 000 to R20 000 in 2010.<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> (Photo: Strauss & Co, November 2010
auction catalogue, Cape Town, p. 37.)<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Koetter was trained
in a traditional design style that was rooted in a post World War II European
ethos. Much attention was paid to detail and skilled craftsmanship that
required intensive and diverse training. In the early 1970s he reflected that a
new design style was emerging. Precision was exchanged for emphasis on texture,
colour and contrast in abstracted forms. He stated that <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">…
the resulting trend in jewellery is casual, almost unfinished and there is no
place for precision… it is a reflection of living conditions and, as such
cannot be fought … this trend will continue until there is some form of social
revolution<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn76" name="_ftnref76" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span lang="EN-US" style="font-size: 10pt;">[76]</span></b></span><!--[endif]--></span></a>….
Designs are becoming more classical and tailored.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn77" name="_ftnref77" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span lang="EN-US" style="font-size: 10pt;">[77]</span></b></span><!--[endif]--></span></a><o:p></o:p></span></i></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Baroque foliage and
tendrils have made place for combinations of lines and circles in
deconstructred form. In the mid1970s Koetter also noted an increased preference
by clients for jewellery designed around a collection of small diamonds
(sometimes combined with other precious or semi-precious stones) as opposed to
making use of a single prominent solitaire stone. This is likely to have
resulted from a concerted and successful campaign by De Beers to extend it’s
market to middle class homes due to an increasing haul of small flawless
diamonds <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn78" name="_ftnref78" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[78]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">In 1980 his
brother-in-law Johan Louw joined the workshop as co-designer. He had a Bachelor
degree in Fine Arts, majoring in gemmology and geology. Louw contributed to the
studio’s accumulation of design awards by winning prizes in the Intergold (2<sup>nd</sup>
prize in 1982), De Beers Diamonds Today (2<sup>nd</sup> prize 1985, 1<sup>st</sup>
prize in 1993), the Jewellery Council Creative awards (1<sup>st</sup> and 2<sup>nd</sup>
prize 1993), the Shining Light Award competition for Excellence in Diamond
Jewellery Design (two 1<sup>st</sup> prizes, 1997) and Riches of Africa (Overall
winning entry, 2003) competitions.<span class="MsoFootnoteReference"> <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn79" name="_ftnref79" title=""><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[79]</span></span><!--[endif]--></a></span>
<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">In 1995 the workshop
was commissioned by the Government to design and make a brooch as a gift for
Queen Elizabeth during her tour of the country. Louw designed the piece in the
form of a peacock–flare symbolizing the dawn of a new era. It consisted of an
art-deco style channel set baguette diamonds with a triangular diamond in the
centre, set in white gold. An 18 carat gold horizon reflects the image from an
old one rand note. Behind this the South African sun rises with a flair,
consisting of the colours of the South African flag as captured with South
African diamonds, tourmalines, onyx and gold.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn80" name="_ftnref80" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[80]</span></span><!--[endif]--></span></a>
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<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figures
16 & 17 : Designed by Johan Louw, this commemorative brooch was presented
to Queen Elizabeth II by Nelson Mandela at Tuynhuis in 1995. Contemporary and
classic lines were combined to express the dawn of a new era. Yellow and white
gold encrusted with local gemstones were used. On the bottom, Queen Elizabeth II
is wearing the gift in the presence of the then Deputy president Thabo Mbeki,
his wife Zanele Mbeki and the Duke of Edinburgh during her state visit in 1995.
<o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">(Photo: From Johan
Louw’s résumé, e-mail, 22 November 2013)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">The workshop is
presently employing a number of goldsmiths, gemologists and graders. They make
all forms of jewellery in precious metals and stones, ranging from neck jewellery
items to earrings to bracelets to rings. They make use of the letters <b>U</b> and <b>K</b> where the right leg of the U is merged with the vertical leg of
the K.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn81" name="_ftnref81" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[81]</span></span><!--[endif]--></span></a>
<o:p></o:p></span></div>
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<b><i><span lang="DE" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Kurt Donau </span></i></b><i><span lang="DE" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">(Johannesburg, 1969 – 2008; Chur, Switzerland, 2008 - )<b><o:p></o:p></b></span></i></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Kurt
Donau was born in 1935 in Switzerland where he received his training as goldsmith.
He worked for various workshops in Chur, Geneve and in Zurich but his <i>wanderlust</i> drew his attention to Africa.
Since the South African government at the time limited the number of goldsmiths
who entered the country he applied for an initial working visa as ‘watch casing
maker‘ and promptly </span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">settled in Johannesburg in 1957 with
Egon Guenther’s workshop<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn82" name="_ftnref82" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[82]</span></span><!--[endif]--></span></a>
as a qualified jeweller.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn83" name="_ftnref83" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[83]</span></span><!--[endif]--></span></a>
Here he gained valuable experience for three years. True to the European
tradition of extending one’s skills base by working at a number of establishments before settling down, he then
worked for Jack Friedman for seven years where he was given a free hand to
contribute to the design portfolio of the Friedman workshop. In 1969 he took
over Egon Guenther’s business and established his own workshop named Kurt Donau
Jewellery along with his maker’s mark consisting of the letters <b>k </b>and <b>d</b> (expressed in bold, lower case).<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn84" name="_ftnref84" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[84]</span></span><!--[endif]--></span></a>
<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">From the start his
work articulated an <i>African flair</i> in
both design content and the materials he used. His designs were often inspired
by the African animal world, from which he extracted an innate aesthetic in the
composition of shape, line and form – a design process to which his classical
training greatly contributes. He made liberal use of South African precious and
semi-precious stones along with other mediums such as coral, sodalite, ivory,
leather and woods such as stinkwood.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn85" name="_ftnref85" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[85]</span></span><!--[endif]--></span></a>
As opposed to the European preference at the time for jewellery designs in
white gold, he enjoyed working with yellow gold, which is a traditional South
African preference as well. His work is handmade and does not contain any
machine made components. He views machine made jewellery as <i>soulless.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn86" name="_ftnref86" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span lang="EN-US" style="font-size: 10pt;">[86]</span></b></span><!--[endif]--></span></a></i> In 1979, a critic described his work as <o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">...
most fascinating, especially in terms of flamboyance and sheer weight of gold.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn87" name="_ftnref87" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span lang="EN-US" style="font-size: 10pt;">[87]</span></b></span><!--[endif]--></span></a><o:p></o:p></span></i></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">As part of his
commitment to his new fatherland, Donau became involved in the local
development of the profession and industry. He offered apprenticeships to
aspiring goldsmiths, such as John Skotnes who set up the Jewellery Department
at the Cape Peninsula Technikon. He also collaborated with a number of other
South African fine artists such as Edoardo Villa, Hannes Harrs and Cecil
Skotnes where he made jewellery items based on the artists designs.<span class="MsoFootnoteReference"> <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn88" name="_ftnref88" title=""><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[88]</span></span></a></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv8DFPhIq9BoI7V5b2ONfmuzeWGTPELQuMu7slWMCb3JnJetKvmvU2_tYM697ekwUy3O1yDaYV1L_-lGw2L5xgjHEhcJkBqKMLvDF6qWc48UDkdWuo7id9557NaLSDWxBvtyY5r5Ojrf_c/s1600/Skotnes+Donau,+swelco+auction,+Jhb+April+2012+silver+&+18ct+gold+R5000+to+R8000.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="147" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv8DFPhIq9BoI7V5b2ONfmuzeWGTPELQuMu7slWMCb3JnJetKvmvU2_tYM697ekwUy3O1yDaYV1L_-lGw2L5xgjHEhcJkBqKMLvDF6qWc48UDkdWuo7id9557NaLSDWxBvtyY5r5Ojrf_c/s320/Skotnes+Donau,+swelco+auction,+Jhb+April+2012+silver+&+18ct+gold+R5000+to+R8000.jpg" width="320" /></a></div>
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<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure 18: Gold and Platinum cufflinks, designed by Cecil
Skotnes and made by Kurt Donau sold in 2012 at the Stephan Welz & Co.
auction in Johannesburg for R9 500.</span></b><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn89" name="_ftnref89" title=""><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[89]</span></span><!--[endif]--></a></span></span><b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> (Photo: Stephan Welz catalogue, April 2012,
Johannesburg, p. 196)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">In 1974 he was a
founding member of the Goldsmiths Guild of South Africa – the first serious
attempt to organise and develop the fraternity of local creative goldsmiths
(this is also an indication of the fledgling nature of the profession during
the early part of the twentieth century, even up to the mid 1970s it still only
consisted of a loose grouping of individual gold- and silversmiths).<span class="MsoFootnoteReference"> <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn90" name="_ftnref90" title=""><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[90]</span></span><!--[endif]--></a></span>
As indication of his good standing
amongst his contemporaries, Donau was regularly requested to serve as judge in
a range of national jewellery competitions (1997 – 2005).<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMnEFWTv7qsxlrkqp1hfaFQx_2ddnvEeQSaPkXdHmToe8Rkt___6MjIG7dueKAJOtaIQPLKgts-fzymza9LhtfivsTKHtmeBd88oSSBv41e53aOxj45U9N4PvzjhKLdYTm6zh7Mx4X3PeT/s1600/Kurt+Donau+rings.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="123" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMnEFWTv7qsxlrkqp1hfaFQx_2ddnvEeQSaPkXdHmToe8Rkt___6MjIG7dueKAJOtaIQPLKgts-fzymza9LhtfivsTKHtmeBd88oSSBv41e53aOxj45U9N4PvzjhKLdYTm6zh7Mx4X3PeT/s320/Kurt+Donau+rings.jpg" width="320" /></a></div>
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<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figures
19, 20 & 21: Examples of 18 carat gold rings by Kurt Donau with Sandanawa
emeralds, diamonds and ivory dyed in red.<o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">(Photo: S. Donau,
Chur, Switzerland, 2011<b>.)<o:p></o:p></b></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">After suffering a
hi-jacking and a robbery<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn91" name="_ftnref91" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[91]</span></span><!--[endif]--></span></a>,
at the age of 73 Kurt Donau returned with his family to re-settle in Chur, Switzerland
in 2008 where he continues to design and create precious metal jewellery and
objets d’art.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn92" name="_ftnref92" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[92]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<b><i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Michael
Cope</span></i></b><b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> </span></b><i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">(Cape Town, 1972 - current )</span></i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Michael Cope was born
in Cape Town in 1952, and in 1971 he started his apprenticeship as jewellery
designer and goldsmith under the tutelage of Franz Huppertz. In 1973 he worked
for E. Plaut as a jewellery designer, but soon his creative spirit found
expression in his own studio, which he opened in 1974 in Cape Town. Since then
he has taken part in numerous one-person and group exhibitions in Cape Town and
Johannesburg, as well as exhibitions in his own studio. In 1979 at the opening
of a solo exhibition in the Cape Gallery, Cecil Skotnes referred to Mike Cope
as an innovator displaying great originality and technical skill.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn93" name="_ftnref93" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[93]</span></span><!--[endif]--></span></a>
In 1980, at an exhibition in Johannesburg, Cope’s work was described as mainly
figurative with a ribbed or ripple texture that results from making use of
cuttle fish bone when casting his work.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn94" name="_ftnref94" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[94]</span></span><!--[endif]--></span></a>
<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">In 1982 he designed
and implemented a formal jewellery training programme at the Royal Crown
Jewellers in Maseru, Lesotho.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn95" name="_ftnref95" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[95]</span></span><!--[endif]--></span></a>
In 2012 a retrospective exhibition of his work was curated by John Skotnes (goldsmith
and son of Cecil Skotnes) at the Irma Stern Museum.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn96" name="_ftnref96" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[96]</span></span><!--[endif]--></span></a>
<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVasNxYEGeG_3EY1X_jgHyjfetBAHVQMpI5mok_NzHjSMBWeMY0pBQgr0zL3qJHwIA8ODGtvQ6BMI-1pedRxeMkIbCmwAvbzAr2eZSCBDRgmBm4_ZZaw4dJcphntq5PMVtfdHoV4n1cfIF/s1600/Early+Mike+Cope+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="72" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVasNxYEGeG_3EY1X_jgHyjfetBAHVQMpI5mok_NzHjSMBWeMY0pBQgr0zL3qJHwIA8ODGtvQ6BMI-1pedRxeMkIbCmwAvbzAr2eZSCBDRgmBm4_ZZaw4dJcphntq5PMVtfdHoV4n1cfIF/s320/Early+Mike+Cope+1.jpg" width="320" /></a></div>
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<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure 22: A collection of early work by Mike Cope. <o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> (Photos: M. Cope, Cape Town.)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">His initial work was
influenced by the Scandinavian design tradition of the late 1960s and early
1970s. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Cope himself typifies
his work as <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">… sculptural, often
narrative with references to the periods when sculptural metalwork was most
prominent in jewellery – renaissance, baroque, Arts & Crafts – though there
is a modernist thread as well.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn97" name="_ftnref97" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span lang="EN-US" style="font-size: 10pt;">[97]</span></b></span><!--[endif]--></span></a><o:p></o:p></span></i></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">He works in gold and
silver, often mixing the two metals in sculptured jewellery items. He makes use
of a capital letter <b>M </b>encircled by a
<b>C</b> that is joined to the right bottom
leg of the M as maker’s mark on his designs. He is also an accomplished poet
and novelist.<o:p></o:p></span></div>
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<b><i><span lang="DE" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Ewald and Liz Kratz</span></i></b><i><span lang="DE" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> (Johannesburg, 1974 – 1986, Brisbane, 1997 - present )<o:p></o:p></span></i></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Ewald Kratz was born
in Pforzheim, a town in the Black Forest that has long been a centre of German
jewellery design and training. He followed in the footsteps of a 300 year old
family tradition and completed his apprenticeship as goldsmith at the Kunst und
Werkschule in Pforzheim. Subsequently, in 1965, he relocated to South Africa.
Shortly hereafter he married South African Elizabeth Bezuidenhout, who just
completed her studies in jewellery design at the University of Stellenbosch. In
the early 1970’s both husband and wife worked for Jack Friedman in Johannesburg
before they opened their own studio called <i>Studio
K</i> in 1974. In 1973 they already showed early signs of their creative design
styles by winning the Chamber of Mines Gold Jewellery Competition with an18
carat gold a necklace-choker-bracelet-buckle combination piece set with
diamonds and black onyx.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn98" name="_ftnref98" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[98]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">They produced
individual work but often also collaborated. As a design team they were well
suited in the sense that Ewald’s romantic flowing lines served as counterpoint
to Liz’ bold and expressive approach to design. This collaboration was
internationally recognised when they won the prestigious Diamond International
Award in 1977. This was only the second time that the award was won by South
African based goldsmiths. <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn99" name="_ftnref99" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[99]</span></span><!--[endif]--></span></a>
Their participation in a number of local competitions such as the Intergold
Jewellery Design contests also yielded awards in their own individual rights as
goldsmiths.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn100" name="_ftnref100" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[100]</span></span><!--[endif]--></span></a> In
addition, they took part in the innovative 1979 and 1983 Intergold exhibitions,
where the creations of local goldsmiths and local couturiers were paired.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn101" name="_ftnref101" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[101]</span></span><!--[endif]--></span></a>
At the time, Ewald Kratz’ work was described as <i>… (a) delicate line(s),
refined, light and ethereal in places </i>, whilst his wife’s work was depicted
as having … <i>a more everyday look about it, incorporating ivory and plastic –
decidedly up to date and unusual.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn102" name="_ftnref102" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span lang="EN-US" style="font-size: 10pt;">[102]</span></b></span><!--[endif]--></span></a></i>
<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">In 1981, a gold
necklace by Ewald Kratz was crowned as overall winner of the Intergold
jewellery design competition.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn103" name="_ftnref103" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[103]</span></span><!--[endif]--></span></a>
In 1982, Liz Kratz won the bracelet section of the Intergold competition with a
broad bracelet (in red, yellow and white gold) depicting the Khoi-San
creationist belief that a tree gave birth to all animals and humans who lived
in harmony with each other until fire was discovered.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn104" name="_ftnref104" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[104]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">In 1985, their work
was selected by Intergold in collaboration with an international fashion research
bureau as representative of international fashion styles at the time.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn105" name="_ftnref105" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[105]</span></span><!--[endif]--></span></a>
During the late 1970s to early 1980s they employed a number of other award
winning goldsmiths such as David Tranter and Natalie Slominsky.<span class="MsoFootnoteReference"> <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn106" name="_ftnref106" title=""><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[106]</span></span><!--[endif]--></a></span><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">In 1986, the Kratz
family resettled in Pforzheim where Ewald Kratz finalised his training as a
master goldsmith. Apart from graduating in Jewellery Design and Manufacture,
Liz Kratz continued to study widely in related disciplines that include Metallurgy,
Geology and Gemmology. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Years later, the
family migrated to Brisbane Australia, where they opened a new studio under the
name of Kratz Exclusive Jewellery in 1997. Their jewellery has featured
internationally in all the main fashion centres of the world, including Milan,
Paris, London, New York, Basle and Tokyo.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn107" name="_ftnref107" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[107]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhegGdUutR5yvUGhTENxk6_1uLz7gNKDY8Wqyoma5Jt2zxnueSINLCFjc4Vju2x0muCjAAHuJMs7Dt4k540GVi1ykP1cp1eKtrLCaPSAhFn2SGVCdGI-GGePaujFUHI-FZihG4nJ_scm7Ie/s1600/Diamonds+Internal+Awards+Winner+1977+-+18ct+gold+diamonds+and+beads.+Designed+Liz+Bezuidenhout-Kratz+and+Manufactured+Ewald+Kratz+(1).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhegGdUutR5yvUGhTENxk6_1uLz7gNKDY8Wqyoma5Jt2zxnueSINLCFjc4Vju2x0muCjAAHuJMs7Dt4k540GVi1ykP1cp1eKtrLCaPSAhFn2SGVCdGI-GGePaujFUHI-FZihG4nJ_scm7Ie/s320/Diamonds+Internal+Awards+Winner+1977+-+18ct+gold+diamonds+and+beads.+Designed+Liz+Bezuidenhout-Kratz+and+Manufactured+Ewald+Kratz+(1).jpg" width="320" /></a></span></div>
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<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure 23: The Diamond International award winning entry
in 1977 by Liz and Ewald Kratz, consisting of 18 carat gold, diamonds and
beads. <o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> </span><span lang="DE" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">(Photo:
L. Kratz, Brisbane, Australia)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">During the time of
running their studio in South Africa between 1974 and 1986 they used a maker’s
stamp consisting of the name of the business <i>studio K</i>. During these years they also used a mark consisting of
the letters E and K superimposed on each other. A third mark that is still in
use today consists of two overlapping 90degree triangles giving the impression
of a bow tie.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">The years that Ewald
and Liz Kratz spent in South Africa provided them with an initial platform of
recognition for their work that was to be continued and celebrated elsewhere in
the world.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn108" name="_ftnref108" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[108]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<b><i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Daniel Jacobs</span></i></b><i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> (Stellenbosch, 1980 - current)<b><o:p></o:p></b></span></i></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Born in Namibia,
Daniel Jacobs was raised on a farm. He trained as jeweller at the University of
Stellenbosch, and following his award winning entry in the 1978 ‘Diamonds
Tomorrow’ competition, he was offered a position as designer goldsmith with
Frowein Jewellers in Stellenbosch. Within months though, he was drafted for a
two year period of military service. Upon his return in 1980, Frowein Jewellers
sold their workshop operating as Stellenbosch Manufacturing Jewellers (Pty)
Ltd. to Jacobs as a running concern. In 1983, he changed the name of the
workshop to <i>Goldart</i>. In this same
year, Jacobs designed and patented a multi purpose pearl
clasp allowing the ‘mix and match’ combination of different strings of
pearls, beads or necklaces.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn109" name="_ftnref109" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[109]</span></span><!--[endif]--></span></a>
In 1990 he received from amongst 2000 participants, three of the seven possible
awards for his exhibits at the Jewellery and Watch Trade Fair in Hong Kong. He
was the first entrant ever to receive more than one award. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Fellow designer
Gerhardt Nel joined him in 1989 at his Goldart studio in Pleinstreet,
Stellenbosch. In 1993 they formed a joint venture with the French company
LabarteParis SA, and became the first South African goldsmith studio to
contribute to the design and making of ranges for international jewellery
houses such as Cartier. <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn110" name="_ftnref110" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[110]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">However, their
collaboration didn’t last and in 1994 the partners broke up and Jacobs opened
his new studio under the name Daniel
Jacobs Jewellery Design in Paradyskloof. He won the 2006 PlatAfrica
competition sponsored by Anglo Platinum to stimulate and grow the demand for
platinum jewellery. Other entries of his, were also selected as finalist submissions
in 2006 and 2007. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Jacobs describes his
designs as nature inspired with a simplicity of line that affords a modernist
quality to his work. At times though he also gain his inspiration from the
materials (be it stone or metal) that he is working with.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn111" name="_ftnref111" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[111]</span></span><!--[endif]--></span></a></span><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;"> </span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">In
terms of jewellery design, he often makes use of the <i>golden ratio</i> or <i>golden
proportion</i> into his designs as aesthetic guideline. In this way, he
believes that pleasing harmonious lines and dimensions can be achieved in
jewellery design.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn112" name="_ftnref112" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[112]</span></span><!--[endif]--></span></a>
Like his contemporaries, his early work reflects an extension of the use of
line, relief and texture that came to the fore in the early 1970s. </span><span lang="EN-US" style="font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span><br />
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<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figures
24, 25 & 26: From left to right:
Makers marks used by Daniël Jacobs. A diamond and 18 carat gold ring that won
the 1977 overall award at the Diamonds International competition. An 18 carat
gold and sterling silver landscape design bracelet.<o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">(Images from the
Jacobs résumé.)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">From 1980 until the
formation of Goldart in 1983 Jacobs used the stamp <b>SMJ </b>(Stellenbosch
Manufacturing Jewellers). Since then, he used an abstracted form of the letters
G and A where the larger right leaning G is fused to a smaller left leaning A.
Jacobs also used the stamp <b>DAJ </b>on some individual jewellery items. From
1994 he introduced as maker’s mark a stylized butterfly with four segmented
wings have been used (originally to symbolize the freedom of having embarked on
a studio on his own). The butterfly wing mark is used on a signature line
consisting of individualized pieces.<span class="MsoFootnoteReference"> <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn113" name="_ftnref113" title=""><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[113]</span></span><!--[endif]--></a></span></span><span lang="EN-US" style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Brief references to
other gold- and silversmiths of the time<o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">A number of other
goldsmiths whose names and work are mentioned in the literature, deserve
mentioning. Though little more than brief citations exist, it appears that each
in their own way contributed to a South African legacy of precious metal
artistry: <o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Jochen
Kessel</span></i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> was born and trained in Pforzheim, Germany and
relocated to South Africa in 1969. He distinguished himself as one of the
country’s top designers by winning 12 Intergold jewellery awards between 1971 and
1976, along with four international awards and a gold medal at the Inhorgenta
exhibition in Munich.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn114" name="_ftnref114" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[114]</span></span><!--[endif]--></span></a>
He already became a noted goldsmith in South Africa early on in his career.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn115" name="_ftnref115" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[115]</span></span><!--[endif]--></span></a>
He took part in the 1979 and 1983 Intergold exhibitions, where the creations of
local goldsmiths and couturiers were paired.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn116" name="_ftnref116" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[116]</span></span><!--[endif]--></span></a>
In 1985, his work was presented by Intergold as illustrative of current
international fashion expressions.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn117" name="_ftnref117" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[117]</span></span><!--[endif]--></span></a>
His work is described as analytical rather than intuitive, making use of
refined geometric shapes.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn118" name="_ftnref118" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[118]</span></span><!--[endif]--></span></a>
In 1979 his work was described as using forms in an <i>imaginative and
unconventional </i>way with a strong emphasis on colour.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn119" name="_ftnref119" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[119]</span></span><!--[endif]--></span></a>
He is thought to have immigrated in the
late 1980s to Brighton, England.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn120" name="_ftnref120" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[120]</span></span><!--[endif]--></span></a>
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<i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Guy
Traest</span></i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> was</span><i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> </span></i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">born
and trained in Belgium, where he obtained diplomas in carpet- and jewellery
design. He arrived in South Africa from the Congo in 1967 and opened his own
studio in 1974. Initially, he expressed a preference for using ivory as base
medium in his work. He regarded ivory as a versatile material that blends well
with other stones, metals and organic materials. He has twinned ivory with
diamonds, coral, emeralds, gold, lapis lazuli and even buffalo horn. In the mid
1970s some of his work was exported to the United States, Paris and Amsterdam. <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn121" name="_ftnref121" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[121]</span></span><!--[endif]--></span></a>
He won a number of Intergold awards. He took part in the 1979 Intergold
exhibition, where the creations of local goldsmiths and couturiers were paired.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn122" name="_ftnref122" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[122]</span></span><!--[endif]--></span></a>
In 1985, his work was also selected by Intergold in collaboration with an
international fashion research bureau as representative of contemporary
international fashion expressions at the time.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn123" name="_ftnref123" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[123]</span></span><!--[endif]--></span></a>
His style is refined, expressing an elegant touch with a penchant for combining
white, red and yellow gold.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn124" name="_ftnref124" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[124]</span></span><!--[endif]--></span></a>
In 1979 his work was typified as keeping to a<i> straight forward line.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn125" name="_ftnref125" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span lang="EN-US" style="font-size: 10pt;">[125]</span></b></span><!--[endif]--></span></a></i>
He made use of the maker’s marks <i>guy</i>RS as well as two stylistic capital
letter Gs where the second G is turned around to become the mirror image of the
first G.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn126" name="_ftnref126" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[126]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure 27: A Choker, necklace and ring in sterling silver
combined with ivory and stones from Madagascar by Guy Traest. <o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">(Photo: S. Botha, 2013)<o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Michael
Fleming</span></i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> was born in 1947 in the then South West
Africa. The abundance of semi-precious stones found in this country stimulated
his interest in creating settings that would extend the beauty or captivating
qualities of the stones. After a two year art school course in silversmithing
and more than two years of practical work under a qualified goldsmith, he left
for Germany and perfected his craft by training for ten years as goldsmith in Pforzheim.
During this period, he spent much time studying ancient techniques in jewellery
making, and became an admirer of Italian Renaissance artist Benvenuto Cellini.
In 1959 he moved to South Africa where he opened a small workshop in Pretoria.
Here his sister Gabi Hagg did an apprenticeship under him.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn127" name="_ftnref127" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[127]</span></span><!--[endif]--></span></a>
His designs were well construed and executed. He made use of gold, silver,
gemstones and varied other materials such as ivory and wood. He also enjoyed
making use of colourful glowing enameling in his designs. His work also
included enamelling. In 1975 Flemming proclaimed that his ambition was to
create a design style <i>… with definite
shape and lots of movement.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn128" name="_ftnref128" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span lang="EN-US" style="font-size: 10pt;">[128]</span></b></span><!--[endif]--></span></a></i><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">South African born
goldsmith Gordon Watson did an internship under Flemming during the early 1970s.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn129" name="_ftnref129" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[129]</span></span><!--[endif]--></span></a>
In 1974 both Watson and Fleming submitted work to the gold award winning South
African exhibition at the 38<sup>th</sup> Art and Crafts Fair in Florence,
Italy.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn130" name="_ftnref130" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[130]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Dieter
Dill</span></i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> studied with Franz Huppertz at the Kunst und
Werkschule, Pforzheim Höhere Fachschule in West Germany during the early
1950’s. He became a lecturer in jewellery design at the University of Stellenbosch
during the late 1970s and 1980s. In 1975 his work was described as a
reinterpretaion of brutal 20<sup>th</sup> century icons such as the traffic
light, zebra road crossings, the vacuum cleaner and electrical pumps. Dill
explored anti-classical elements in his designs such as large monumental
looking pendants with simple lines or brooches expressing non-symmetric
compositions. Notwithstanding the boldness of his work, the subtle use of
texture and colour also gave it a graphic elegance that extended beyond
the traditional boundaries of artist
jewellery of the time.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn131" name="_ftnref131" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[131]</span></span><!--[endif]--></span></a>
He repeatedly won a number of prizes in jewellery competitions, that included
first prizes in the Chamber of Mines Intergold Jewellery Competition in 1973,<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn132" name="_ftnref132" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[132]</span></span><!--[endif]--></span></a>
1976,<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn133" name="_ftnref133" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[133]</span></span><!--[endif]--></span></a> 1981<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn134" name="_ftnref134" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[134]</span></span><!--[endif]--></span></a>
and 1982.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn135" name="_ftnref135" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[135]</span></span><!--[endif]--></span></a> He
also partook in the 1983 Intergold exhibition at the Chamber of Mines Pavilion
at the Rand Show where couture dresses were matched with his gold jewellery.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn136" name="_ftnref136" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[136]</span></span><!--[endif]--></span></a>
He was recognized as a noted goldsmith in South Africa.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn137" name="_ftnref137" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[137]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Gunther
Knauer</span></i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> was situated in Durban and sponsored Neville
Clipson and Michael Sand who won first and second prizes in the Diamonds
Tomorrow Student Design Competition in 1982.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn138" name="_ftnref138" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[138]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">German born </span><i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Marianne
Vossgütter</span></i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> (née Fisscher) completed in 1968 a degree in
precious metal design at the University of Stellenbosch. For two years she
worked for another goldsmith in Cape Town to gain experience before she opened
her first studio under her nickname <i>Lali</i>, also in Cape Town. Late in
1970 she relocated to Johannesburg where she re-opened her studio in Rosebank. In
1971 she won the Chamber of Mines First Prize in jewellery design (with a pair
of golden earrings set with moonstones). This served as a promising indicator
of her aesthetic perceptiveness and excellent craftsmanship. In 1971 she stated
that <i>although I find it tremendous fun to make the popular and incidental
jewellery, I prefer to create carefully thought out, highly individual pieces.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn139" name="_ftnref139" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span lang="EN-US" style="font-size: 10pt;">[139]</span></b></span><!--[endif]--></span></a></i><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Whereas her early
work was done in gold and silver, she concentrated exclusively on silver
jewellery since 1974, finding the medium more ‘free’ to work with.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn140" name="_ftnref140" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[140]</span></span><!--[endif]--></span></a>
She incorporated pearls and semi-precious gemstones in her work, and designed
her own hand beaten chains and bracelets. She maintains that her work is not
commercially motivated and that this is reflected by her individually crafted pieces.
One critic described her work as bold and singular.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn141" name="_ftnref141" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[141]</span></span><!--[endif]--></span></a>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Polish born <i>Henrietta and Ziegmunt Glogier </i>immigrated
to South Africa in 1967. They set up a workshop in Randburg, Johannesburg. They
specialised in hand made silver jewellery, making use of semi-precious stones or
pearls as accentuating nodes in their designs. Their work was described as
strikingly simple, combining contemporary design with an antique look.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn142" name="_ftnref142" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[142]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Goldsmith
maker’s marks</span></i><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> that appear regularly on local antique
and collectors markets include the stamps <b>WWL
</b>and <b>PJ </b>on well made sterling mounting
silver settings for Southern African semi-precious gemstones. Their simple art
deco designs seem to stem from the 1970’s. The mark <b>BJL </b>also occurs on cultural icons such as brooches consisting of a
baroque writing of the Afrikaans word <i>Moeder</i>.
Two other marks that appear at times on
the local antique markets are <b>Zeeta</b> and <b>Oblo.</b> Only two photo
references for these marks could be obtained. Mr. W. Z. Ungar was photographed
showing a range of Zeeta marked chains at the Trade Fair in 1979,<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn143" name="_ftnref143" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[143]</span></span><!--[endif]--></span></a>
and Mr. M. Oboler was photographed in front of his studio in Cape Town that
bore the name Oblo Jewellers.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn144" name="_ftnref144" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[144]</span></span><!--[endif]--></span></a>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOhrpwWTixonDT_g94fx2zzw4LGUCsDi7ovh_JUcigZJ7zR-1JYNpvGRjcU1nWFvcYp_NERQKFvOwg8x2qPVg0LLdOGx_UN5bbJBBrlozFHU6NDnXokvWOho4FDZ0G3t0zCGLojSRSPI6Y/s1600/WWL+silver+maker's+mark.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="69" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOhrpwWTixonDT_g94fx2zzw4LGUCsDi7ovh_JUcigZJ7zR-1JYNpvGRjcU1nWFvcYp_NERQKFvOwg8x2qPVg0LLdOGx_UN5bbJBBrlozFHU6NDnXokvWOho4FDZ0G3t0zCGLojSRSPI6Y/s320/WWL+silver+maker's+mark.JPG" width="320" /></a></div>
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<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure
28, 29 & 30: On top is an onyx,
sterling silver and marcasite bracelet carrying the Oblo maker’s mark. Notable
is the use of marcasite that was rarely used by South African creative jewelers
in the 20<sup>th</sup> century.in the middle is a Zeeta marked 9 carat gold and garnet
brooch. Below is a sterling silver bracelet with semi-precious stones bearing
the mark WLL. <o:p></o:p></span></b></div>
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<span lang="ES" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">(Photos: F van Staden, Pretoria, 23 November 2013.)<o:p></o:p></span></div>
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<span lang="ES" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> </span><b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Concluding
comments</span></b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">The 1960s and 1970s
was a time of renewal and change that was not only reflected in painting and
sculpture. Synergistically, it was also expressed in jewellery design. In a new
design trend, small diamonds became more liberally used in. In another
transformation, creative goldsmiths began to incorporate semi-precious stones
in their work and experimented with metals other than silver, gold or platinum.
Organic material such as ivory and wood were incorporated in some designs. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">During this era, the
palette for jewellery making expanded enormously. It was a time of discovery
and the congruent presentation of new combinations of impressions, along with
the simplification of line. More than ever before, the middle class could afford
good quality individually forged jewellery items.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftn145" name="_ftnref145" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[145]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<div id="ftn1">
<div class="MsoNormal">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[1]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt; mso-ansi-language: DE;"> </span><span lang="DE" style="font-size: 8.0pt; mso-ansi-language: DE;">Hierdie artikel volg op ‘n oorsig
van die werk van plaaslike goud- en silversmede tydens die eerste helfte van
die twintigste eeu in Suid-Afrika. </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Dit is vervat in </span><span lang="EN-US" style="font-size: 8.0pt;">Legacies of immigrant gold- and silversmiths during
early and mid-twentieth century South Africa</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">, <i>South African
Journal of Cultural History, </i>pp 139-164, Junie 2013. Ook, </span><span lang="EN-US" style="font-size: 8.0pt; mso-bidi-font-weight: bold;">An overview of
noted gold- and silversmiths in South Africa in the 1950s, </span><i><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">South African Journal of Cultural History</span></i><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">, in druk, Junie 2014.</span><span lang="EN-US" style="font-size: 8.0pt;"><o:p></o:p></span></div>
</div>
<div id="ftn2">
<div class="MsoNormal">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[2]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">This article follows on a review of the work of local gold- and silversmiths
during the first half of the century. See </span><span lang="EN-US" style="font-size: 8.0pt;">Legacies of immigrant gold- and silversmiths during
early and mid-twentieth century South Africa</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">, <i>South African
Journal of Cultural History,</i> pp 139-164, June 2013. Also, </span><span lang="EN-US" style="font-size: 8.0pt; mso-bidi-font-weight: bold;">An overview of noted gold- and silversmiths in
South Africa in the 1950’s, </span><i><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">South African Journal of
Cultural History,</span></i><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"> in print, June 2014.</span><span lang="EN-US" style="font-size: 8.0pt;"><o:p></o:p></span></div>
</div>
<div id="ftn3">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[3]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, Kunsprestasie, <i>Suid-Afrikaanse Panorama,</i> Julie, 1974, p.20.<o:p></o:p></span></div>
</div>
<div id="ftn4">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[4]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, Design Index 1968, <i>South African Panorama,</i> May 1968, pp.
4-5.<o:p></o:p></span></div>
</div>
<div id="ftn5">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[5]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, High standards at gold jewellery competition,
<i>The S.A. Jeweller and the Diamond News</i>,
April 1973, p. 31. Also, author unknown, All that glitters here really is gold,
<i>South African Digest,</i> 06 April 1973, clipping from the art archives,
University of Pretoria.<o:p></o:p></span></div>
</div>
<div id="ftn6">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[6]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Because of space limitations, it was decided to limit
the review to the period 1960 to 1980 only. Also, the period from 1980 to 2000
covers a phase of significant socio-organisational change that will require a
review in its own right. <o:p></o:p></span></div>
</div>
<div id="ftn7">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[7]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Reviewers were Messrs. Vic Thomson and Charles Kgosana
(engravers, Pretoria), D Schilofsky (jeweller, gemologist, Pretoria) and F.
Haenggi (art dealer, Basel, Switzerland).<o:p></o:p></span></div>
</div>
<div id="ftn8">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[8]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">F.van Staden, Erich Frey and Associates: A bold
contribution to South African silver- and goldsmith design, <i>South African Journal of Cultural History,</i>
June 2011, vol. 25(1), pp. 148-179.<o:p></o:p></span></div>
</div>
<div id="ftn9">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref9" name="_ftn9" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[9]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Abe Pass – home page, </span><span lang="EN-US"><a href="http://www.abepass.com/indexs.htm"><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">http://www.abepass.com/indexs.htm</span></a></span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">, 2009-09-25. Also, author
unknown, Goue Sierade, <i>Panorama, </i>June
1970, p. 25. Also, author unknown, Kaapse goudsmede presteer, <i>Die Burger, </i>04
May 1976 (clipping from the art archives, University of Pretoria). <o:p></o:p></span></div>
</div>
<div id="ftn10">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref10" name="_ftn10" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[10]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"> E Mesman, Kuns in Kaapstad, <i>Die
Burger,</i> 06 May 1977, clipping from the Art archives, University of
Pretoria. The original Afrikaans quote is as follows: …<i> van ‘n hoogstaande
kwaliteit … toon ‘n verfyning en ‘n sterk estetiese sin.</i></span><i><o:p></o:p></i></div>
</div>
<div id="ftn11">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref11" name="_ftn11" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[11]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Interview: Mr A Pass, Goldsmith, Cape town,
2009-10-30.<o:p></o:p></span></div>
</div>
<div id="ftn12">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref12" name="_ftn12" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">[12]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span><span lang="EN-US" style="font-size: 8.0pt;">Interview: Mr. Sid
Forman, Johannesburg, 2013-02-21.</span><o:p></o:p></div>
</div>
<div id="ftn13">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref13" name="_ftn13" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[13]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Other goldsmiths and workshops who made use of casting
included Joe Calafato (1912-1991), Metal Art
(1951-present), Simba (1954-late 1970’s), Mauro Pagliari (1957 – present) and
Mari Lou (late 1950’s – early 1970’s). <o:p></o:p></span></div>
</div>
<div id="ftn14">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref14" name="_ftn14" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">[14]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span><span lang="EN-US" style="font-size: 8.0pt;">Interview: Mr. Sid
Forman, Johannesburg, 2013-02-21.</span><o:p></o:p></div>
</div>
<div id="ftn15">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref15" name="_ftn15" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">[15]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span><span lang="EN-US" style="font-size: 8.0pt;">Interview: Mr. Sid
Forman, Johannesburg, 2013-02-21.</span><o:p></o:p></div>
</div>
<div id="ftn16">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref16" name="_ftn16" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[16]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, High standards at gold jewellery competition,
<i>The S.A. Jeweller and the Diamond News</i>,
April 1973, pp. 30, 31 & 33.<o:p></o:p></span></div>
</div>
<div id="ftn17">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref17" name="_ftn17" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[17]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">M. Neri, Creativity within wearability, </span><i><span lang="EN-US" style="font-size: 8.0pt;">Diamond
News and S.A. Jeweller,</span></i><span lang="EN-US" style="font-size: 8.0pt;">
July 1981, pp. 3, 14 & 16. Also see A.Weil, Intergold encourages
innovation,</span><span lang="EN-US" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"> </span><i><span lang="EN-US" style="font-size: 8.0pt;">Diamond News and S.A. Jeweller,</span></i><span lang="EN-US" style="font-size: 8.0pt;"> September 1981, p. 15. Also, a photo
clipping from <i>Die Transvaler, </i>15 June 1981, p. 9 (clipping from the art
archives, University of Pretoria).</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn18">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref18" name="_ftn18" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[18]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">C. Hacker, Students present fresh ideas in De Beers
jewellery contest, <i>The S.A. Jeweller and the
Diamond News</i>, January 1983, p. 2.<o:p></o:p></span></div>
</div>
<div id="ftn19">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref19" name="_ftn19" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[19]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Huppertz studied in Pforzheim under professors
Schollmeyer, Ullrich and Reiling. Source: Personal files from the Huppertz portfolio.
<o:p></o:p></span></div>
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<div id="ftn20">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref20" name="_ftn20" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[20]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, Huppertz spreads his wings
to décor, <i>Diamond News and S.A. Jeweller,
</i>April 1985, p. 17.</span><span lang="EN-US" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn21">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref21" name="_ftn21" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[21]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Personal documentation from the Huppertz portfolio
that includes an undated newspaper clipping with the heading <i>Invitation to Franz Huppertz champagne
celebration.</i><o:p></o:p></span></div>
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<div id="ftn22">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref22" name="_ftn22" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[22]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Telephonic interview: F.van Staden – M. Huppertz,
goldsmith and daughter of F. Huppertz, Cape Town, 26 July 2012.<o:p></o:p></span></div>
</div>
<div id="ftn23">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref23" name="_ftn23" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[23]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, Timeless gold keeps pace
with the latest fashions, <i>Diamond News
and S.A. Jeweller,</i> September 1981, pp. 25 & 27.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn24">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref24" name="_ftn24" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[24]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, Diamonds Today 1979, <i>Diamond News and S.A. Jeweller, </i>May 1979,
pp 3 and 5, as well as author unknown, Diamonds Today 1979: Highly commended, <i>Diamond News and S.A. Jeweller, </i>June
1979, pp. 45 and 47. Also from Huppertz personal portfolio: Clip from the De
Beer’s <i>Dream of Diamonds Yearbook,</i>
1988, p.8.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn25">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref25" name="_ftn25" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[25]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, Huppertz spreads his wings
to décor, <i>Diamond News and S.A. Jeweller,
</i>April 1985, p. 17. Also, a cutting from the De Beer’s <i>Dream of Diamonds Yearbook,</i> 1988, p.8 from Huppertz personal portfolio.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn26">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref26" name="_ftn26" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[26]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Huppertz personal portfolio: Cutting from the
De Beer’s <i>Dream of Diamonds Yearbook,</i>
1988, p.8.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn27">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref27" name="_ftn27" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[27]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Telephonic interview: F.van Staden – M. Huppertz,
goldsmith and daughter of F. Huppertz, Cape Town, 26 July 2012. </span><span lang="EN-US" style="font-size: 8.0pt;">Huppertz personal portfolio: Cutting from
the De Beer’s <i>Dream of Diamonds Yearbook,</i>
1988, pp. 8-11.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn28">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref28" name="_ftn28" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[28]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">After an initial four year apprenticeship with a
qualified master goldsmith, a period of working as a journeyman follows. Those
who want to become master goldsmiths were then required to complete a second
two year apprenticeship in the workshop of different master goldsmith before
being accepted as a master goldsmith.
Telephonic interview: F.van Staden – M. Huppertz, goldsmith and daughter
of F. Huppertz, Cape Town, 26 July 2012. Also, personal documentation from the
Huppertz portfolio that includes an undated newspaper clipping with the heading
<i>Invitation to Franz Huppertz champagne
celebration.</i><o:p></o:p></span></div>
</div>
<div id="ftn29">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref29" name="_ftn29" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[29]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">M. Neri, Creativity within wearability, </span><i><span lang="EN-US" style="font-size: 8.0pt;">Diamond
News and S.A. Jeweller,</span></i><span lang="EN-US" style="font-size: 8.0pt;">
July 1981, pp. 3 & 16. Also see A.Weil, Intergold encourages innovation,</span><span lang="EN-US" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"> </span><i><span lang="EN-US" style="font-size: 8.0pt;">Diamond
News and S.A. Jeweller,</span></i><span lang="EN-US" style="font-size: 8.0pt;"> September
1981, p. 15.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn30">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref30" name="_ftn30" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[30]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> E. Moolman, Dra Boesmans se legende aan jou
arm, <i>Beeld, </i>09 June 1982<i>, </i>p. 11.<o:p></o:p></span></div>
</div>
<div id="ftn31">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref31" name="_ftn31" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[31]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Personal files from the Huppertz portfolio. Also, telephonic
interview: F.van Staden – M. Nienaber, goldsmith and daughter of F. Huppertz,
Cape Town, 26 July 2012.<o:p></o:p></span></div>
</div>
<div id="ftn32">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref32" name="_ftn32" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[32]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author
unknown, Eg Suid-Afrikaanse sierade, <i>Die
Huisgenoot, </i>18 Junie 1976, p. 69.</span><o:p></o:p></div>
</div>
<div id="ftn33">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref33" name="_ftn33" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[33]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, Gold Gleanings, <i>Diamond News and S.A. Jeweller, </i>November
1979, pp. 13 and 42. See also unknown author, Timeless gold keeps pace with the
latest fashions, <i>Diamond News and S.A.
Jeweller,</i> September 1981, pp. 25 & 27.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn34">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref34" name="_ftn34" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[34]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> H. Jäger, Goldsmith:The Forgotten Artist, <i>Eck World News, </i>January 1976, p. 17.</span><i><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></i></div>
</div>
<div id="ftn35">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref35" name="_ftn35" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[35]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> E-mail, H Jäger-F van Staden, <i>Ilse, Hartmut and the SA Goldsmiths Guild,</i>
13 December 2012. Also, e-mail, H Jäger-F van Staden, <i>3<sup>rd</sup> lot of pictures from Hartmut,</i> 15 December 2012
and e-mail, H Jäger-F van Staden, <i>A few more answers,</i> 17 December 2012. </span><span lang="DE" style="font-size: 8.0pt; mso-ansi-language: DE;">E-mail, L. Kratz-F. van
Staden, <i>Re: Goldsmiths: E & L Kratz</i>,
14 August, 2012.</span><span lang="DE"><o:p></o:p></span></div>
</div>
<div id="ftn36">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref36" name="_ftn36" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[36]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Apprenticeship contract of H.F. Gatticchi , signed on
29 August 1953 and termination on 07 April 1955. From Mr Gattichi’s résumé.<o:p></o:p></span></div>
</div>
<div id="ftn37">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref37" name="_ftn37" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[37]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">D. van Pletzen, Mace Maker: All in a day’s work, <i>South African Panorama,</i> February 1973, pp.
45-46.<o:p></o:p></span></div>
</div>
<div id="ftn38">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref38" name="_ftn38" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[38]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author not stated, Prestige Jewellers:
Streng eerlikheid en top gehalte werk, <i>Pretoria,</i>
Caxton Ltd., Johannesburg, circa 1977, p. 307.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn39">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref39" name="_ftn39" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[39]</span></span><!--[endif]--></span></span></a><span lang="IT" style="font-size: 8.0pt; mso-ansi-language: IT;"> Interview: Mr H.F.
Gatticchi, Pretoria, 2009-09-12.<o:p></o:p></span></div>
</div>
<div id="ftn40">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref40" name="_ftn40" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[40]</span></span><!--[endif]--></span></span></a><span lang="IT" style="font-size: 8.0pt; mso-ansi-language: IT;"> J. Prangnell, Kuns en
goud, <i>Suid-Afrikaanse Panorama, </i>April
1963, p. 40.<i><o:p></o:p></i></span></div>
</div>
<div id="ftn41">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref41" name="_ftn41" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[41]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"> Sandawana emeralds are of the
rarest and most perfect emaeralds in the world and is mined in Matabele land in
Zimbabwe.<o:p></o:p></span></div>
</div>
<div id="ftn42">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref42" name="_ftn42" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[42]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"> Poulsen Robertson, </span><span lang="EN-US"><a href="http://www.otto-poulson.co.za/"><span lang="EN-ZA" style="color: windowtext; font-size: 8.0pt; mso-ansi-language: EN-ZA;">http://www.otto-poulson.co.za</span></a></span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">, 2011-12-04. Efforts to obtain
more information on both the Otto Poulsen and Robertson legacy from the present
owners were unsuccessful. <o:p></o:p></span></div>
</div>
<div id="ftn43">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref43" name="_ftn43" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[43]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">G. Hughes, The renaissance of the artist-jeweller, <i>Optima, </i>September 1970, p. 110.<o:p></o:p></span></div>
</div>
<div id="ftn44">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref44" name="_ftn44" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[44]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"> G. S. Geyer, <i>Die goudsmid, sy kunswerk en plek
in die samelewing,</i> unpublished research report in Art History III,
University of Pretoria Art Archives, undated (possibly the early 1970s).<o:p></o:p></span></div>
</div>
<div id="ftn45">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref45" name="_ftn45" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[45]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Interview with Gisela Steglich and Sonja,
wife and daughter of Mr D Steglich, Meyerspark, Pretoria, 08 November 2013.
Also see the Family eulogy, <i>In honour of Dieter Steglich,</i> 15 October
2006, from the Steglich family résumé. Steglich was a genius in solving
mechanical problems and could fix any break down caused by mass manufacture or
cheap engineering with innovative solutions. Like many creative goldsmiths, he
detested mass manufactured goods. He had a great love for his 1959 Volkswagen
Beetle that he fitted with a Porsche engine and maintained in spotless
condition throughout his life. </span><span lang="EN-US"><o:p></o:p></span></div>
</div>
<div id="ftn46">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref46" name="_ftn46" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[46]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Personal photo albums from the Steglich
Résumé, 08 November, Meyerspark, Pretoria, 08 November 2013.<o:p></o:p></span></div>
</div>
<div id="ftn47">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref47" name="_ftn47" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[47]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, S.A. wins gold, <i>ARTLOOK</i>, May 1974, p.28. Also, author unknown, Goue Sierade, <i>Panorama, </i>June 1970, p. 24.<o:p></o:p></span></div>
</div>
<div id="ftn48">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref48" name="_ftn48" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[48]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, <i>Ons beste goud en
silwer…,</i> undated newspaper clipping, Art archives, University of Pretoria.<o:p></o:p></span></div>
</div>
<div id="ftn49">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref49" name="_ftn49" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[49]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">G. S. Geyer, <i>Die
goudsmid, sy kunswerk en plek in die samelewing,</i> unpublished research
report in Art History III, University of Pretoria Art Archives, undated
(possibly early 1970s).</span><span lang="EN-US" style="font-size: 8.0pt;"><o:p></o:p></span></div>
</div>
<div id="ftn50">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref50" name="_ftn50" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[50]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"> D. van Zyl, Eulogy, Meyerspark, Pretoria, 15 October 2006.
From</span><span lang="EN-US" style="font-size: 8.0pt;"> the Steglich family
résumé.</span><span lang="EN-US" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">
</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn51">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref51" name="_ftn51" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[51]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">G. S. Geyer, <i>Die
goudsmid, sy kunswerk en plek in die samelewing,</i> unpublished research
report in Art History III, University of Pretoria Art Archives, undated
(possibly early 1970s).</span><span lang="EN-US"><o:p></o:p></span></div>
</div>
<div id="ftn52">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref52" name="_ftn52" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[52]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> At the time Frey took a sabbatical and was
teaching for a year before finally immigrating to South Africa in 1964. <o:p></o:p></span></div>
</div>
<div id="ftn53">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref53" name="_ftn53" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[53]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">H Peter Cullman, <i>Artlook, </i>November 1968, p. 3. <o:p></o:p></span></div>
</div>
<div id="ftn54">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref54" name="_ftn54" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[54]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">H Peter Cullman, http; </span><span lang="EN-US"><a href="http://www.art-archives-southafrica.ch/CULLMAN.htm"><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">www.art-archives-southafrica.ch/CULLMAN.htm</span></a></span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">, accessed 2012-06-12.<o:p></o:p></span></div>
</div>
<div id="ftn55">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref55" name="_ftn55" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[55]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">J Ambrose-Brown, Jewellery in <i>South African Art, </i>Macdonald, Cape Town, 1978, p.50. Also, author
unknown, Goue Sierade, <i>Panorama, </i>June
1970, pp. 24 & 25. Also, author unknown, Jeweller’s art, <i>Sunday Express,
</i>17 November 1974, clipping from the art archives, University of Pretoria.<o:p></o:p></span></div>
</div>
<div id="ftn56">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref56" name="_ftn56" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[56]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">E. Frank, Peter Cullman, <i>Artlook, </i>September 1971, p. 33. Erich Frey, a contemporary of
Cullman, was also emphatic in his conviction that designers are inevitably
influenced by the surrounding worlds in which they live.<o:p></o:p></span></div>
</div>
<div id="ftn57">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref57" name="_ftn57" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[57]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">G. Hughes, The renaissance of the artist-jeweller, <i>Optima, </i>September 1970, p. 110.<o:p></o:p></span></div>
</div>
<div id="ftn58">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref58" name="_ftn58" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[58]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">E-mail correspondence: P. Cullman – F. van Staden, <i>Goldsmiths Guild et al, </i>2012-07-12, as
well as <i>Re: Goldsmiths Guild, et al,</i>
2012-07-14.<o:p></o:p></span></div>
</div>
<div id="ftn59">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref59" name="_ftn59" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[59]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">E. Frank, Peter Cullman, <i>Artlook, </i>September 1971, pp. 32-33. H Peter Cullman, http; </span><span lang="EN-US"><a href="http://www.art-archives-southafrica.ch/CULLMAN.htm"><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">www.art-archives-southafrica.ch/CULLMAN.htm</span></a></span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">, accessed 2012-06-12. Also,
e-mail correspondence: P. Cullman – F. van Staden, <i>Goldsmiths Guild et al, </i>2012-07-12. <o:p></o:p></span></div>
</div>
<div id="ftn60">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref60" name="_ftn60" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[60]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"> M. Fleischer, Michael Fleischer<i>,
Artlook, </i>October 1969, p. 33. Michael Fleischer came to South Africa in
1963 as sculptor on a large government commission. Another notable commission
was his design for the opening of the Hugenote tunnel in the Cape in 1989.
Additional references: Author unknown, Michael Fleischer – Metal Sculptor, <i>ART LOOK</i>, November 1968, p. 5; R.
Cutler, Architectural sculpture, <i>Style
Magazine,</i> June 1983, pp. 90-94; B. Davitz, Groot projekte op Michael se
kerfstok, <i>Die Transvaler,</i> Januarie
03, 1989, p. 12.<o:p></o:p></span></div>
</div>
<div id="ftn61">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref61" name="_ftn61" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[61]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, Juwele uit afvalstukke, <i>Die
Tranvaler,</i> 04 December 1968 (clipping from the art archives, University
of Pretoria).</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn62">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref62" name="_ftn62" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[62]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Untitled clipping from the Pretoria News,
dated 11 September 1970, from the art archives, University of Pretoria.<o:p></o:p></span></div>
</div>
<div id="ftn63">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref63" name="_ftn63" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[63]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, Art on show, <i>South African Panorama,</i> July 1974, p.20.<o:p></o:p></span></div>
</div>
<div id="ftn64">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref64" name="_ftn64" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[64]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span lang="EN-US"><a href="http://www.art-archives-southafrica.ch/FLEISCHER_Tessa.htm"><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">www.art-archives-southafrica.ch/FLEISCHER_Tessa.htm</span></a></span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">, accessed 2012-06-27.<o:p></o:p></span></div>
</div>
<div id="ftn65">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref65" name="_ftn65" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[65]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">T. Curteis, Tessa Fleischer’s Jewellery, <i>ART LOOK, </i>April 1969, p.26.<o:p></o:p></span></div>
</div>
<div id="ftn66">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref66" name="_ftn66" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[66]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">C.Rolfes, Mountains of Talent, <i>Sunday Times Magazine,</i> September 06, 1987, pp.56-58.<i> <o:p></o:p></i></span></div>
</div>
<div id="ftn67">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref67" name="_ftn67" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[67]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">K. O’Reilly, Local artist creates symbolic staff for
Tutu’s inauguration, <i>The Star,</i>
February 1, 1985, p.12.<o:p></o:p></span></div>
</div>
<div id="ftn68">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref68" name="_ftn68" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[68]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, S.A. wins gold, <i>ARTLOOK</i>, May 1974, p.28. Also, see J. Kotze, Presents of mind and
spirit at art gallery, <i>Pretoria News, </i>21 October 1974. Clipping from the
Art Archives, University of Pretoria.<o:p></o:p></span></div>
</div>
<div id="ftn69">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref69" name="_ftn69" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[69]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">R. Cheales, Sculptures show a family affair, <i>THE CITIZEN,</i> March 28, 1987, p.19.<i> </i>Also, A. Cremer, The Artful farm, <i>SA Country Life, </i>January 1996, pp. 26 –
31. <o:p></o:p></span></div>
</div>
<div id="ftn70">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref70" name="_ftn70" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[70]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span lang="EN-US"><a href="http://www.art-archives-southafrica.ch/FLEISCHER_Tessa.htm"><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">www.art-archives-southafrica.ch/FLEISCHER_Tessa.htm</span></a></span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">, accessed 2012-06-27.<o:p></o:p></span></div>
</div>
<div id="ftn71">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref71" name="_ftn71" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[71]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, Personalities in the
diamond trade, <i>The Diamond News and
S.A.Jeweller, </i>April 1977, p.5. Also, U. Koetter, Curriculum Vitae, from the
Koetter résumé. Also, author unknown, ‘n Meester met goud, <i>Die Landbou
Weekblad, </i>26 May 1970, pp. 71 and 88.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn72">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref72" name="_ftn72" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[72]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">L.Dellatola, Jewellery Council,
<i>South African Panorama,</i>, December
1973, p. 1.<o:p></o:p></span></div>
</div>
<div id="ftn73">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref73" name="_ftn73" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[73]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, Master ‘Midas’ , <i>The
Argus,</i> 25 April 1972, p.27. Also, u</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">nnamed photograph with caption on a charity solo
exhibition by Uwe Koetter, <i>The Argus</i>,
1972-04-29, p. 6. Also, M. Levitt, Koetter stages elegant display</span><span lang="EN-US" style="font-size: 8.0pt;">, <i>The
Diamond News and S.A. Jeweller, </i>December 1979, p.22, as well as </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">M. Levitt, New jewels at
Koetter display</span><span lang="EN-US" style="font-size: 8.0pt;">, <i>The Diamond News and S.A. Jeweller, </i>November
1980, pp.3 & 49.<i> </i> Also, G. Cooper, Gertrude Cooper’s People
Page, <i>Cape Times, </i>29 September 1979, from the Koetter résumé.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn74">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref74" name="_ftn74" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[74]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> U. Koetter, Curriculum Vitae, from the
Koetter résumé.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn75">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref75" name="_ftn75" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[75]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">M. Levitt, New jewels at Koetter display</span><span lang="EN-US" style="font-size: 8.0pt;">, <i>The
Diamond News and S.A. Jeweller, </i>November 1980, p. 49.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn76">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref76" name="_ftn76" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[76]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Undated (possibly early 1970s) newspaper clippings, <i>Juwele se musiek
bekoor steeds</i>, and <i>Real craftsmanship not necessary but -</i>, from the
Koetter résumé.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn77">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref77" name="_ftn77" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[77]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Newspaper clipping, Passport lifestyle,
June 1977, from the Koetter résumé.</span><span lang="EN-US"><o:p></o:p></span></div>
</div>
<div id="ftn78">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref78" name="_ftn78" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[78]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Undated, <i>Juwele se musiek bekoor steeds</i>,
and <i>Real craftsmanship not necessary but -</i>, from the Koetter résumé.
Also, author unknown, ‘n Meester met goud, <i>Die Landbouweekblad, </i>26 May
1970, pp. 71 and 88. Also, author unknown, Exciting combination of gemstones, <i>The
Jewish Herald,</i> 24 July 1979, from the Koetter résumé. </span><span lang="DE" style="font-size: 8.0pt; mso-ansi-language: DE;">Also, E. du Toit, Ringe vir aldag
en eendag, <i>Die landbouweekblad, </i>3 November 1978, p.115.<o:p></o:p></span></div>
</div>
<div id="ftn79">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref79" name="_ftn79" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[79]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">An undated newspaper clipping
titled <i>Win for Jeweller, </i></span><span lang="EN-US" style="font-size: 8.0pt;">from
the Koetter résumé. Also, <i>Uwe Koetter Flash, </i>October 1997, from the
Koetter résumé. Aziz Hartley, Designers show their golden touch, <i>Cape Times,
</i>25 July 2003, p. 7.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn80">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref80" name="_ftn80" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[80]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"> E-mail: J. Louw – F. van
Staden, <i>Uwe Koetter history</i>,
2009-01-10. Also, E. Moolman, Dra Boesmans se legende aan jou arm, <i>Beeld, </i>09
June 1982<i>, </i>p. 11. P. Diamond, Johan Louw designs jewel for the queen, <i>Diamond
News and S.A. Jeweller,</i> May 1995, p.13.<i><o:p></o:p></i></span></div>
</div>
<div id="ftn81">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref81" name="_ftn81" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[81]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Uwe Koetter- home page, </span><span lang="EN-US"><a href="http://www.uwekoetter.co.za/mainsite/content/view/12/23/"><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">http://www.uwekoetter.co.za/mainsite/content/view/12/23/</span></a></span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">, 2009-09-25.<o:p></o:p></span></div>
</div>
<div id="ftn82">
<div class="MsoNormal">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref82" name="_ftn82" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[82]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"> F.van Staden, </span><span lang="EN-US" style="font-size: 8.0pt; mso-bidi-font-weight: bold;">An overview of
noted gold- and silversmiths in South Africa in the 1950’s, </span><i><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">South African Journal of Cultural History</span></i><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">, June 2014, pp. 139-163.</span><span lang="EN-US" style="font-size: 8.0pt;"><o:p></o:p></span></div>
</div>
<div id="ftn83">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref83" name="_ftn83" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[83]</span></span><!--[endif]--></span></span></a><span lang="DE-CH" style="font-size: 8.0pt; mso-ansi-language: DE-CH;"> Eberhard Dechow,
Arbeiten aus Südafrika, <i>Goldschmiede
Zeitung,</i> 1970, vol.68(4), p. 417.<o:p></o:p></span></div>
</div>
<div id="ftn84">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref84" name="_ftn84" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[84]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Riches of Africa More than 100 enter Gold Jewellery
Design Competition, AngloGold Ashanti, http:www.anglogoldashanti.co.za/Additional/Press/AngloGold/1998/10+Dec+1998, 2009-09-27. Also, </span><span lang="EN-US" style="font-size: 8.0pt;">e-mail correspondence: K. Donau – F. van Staden, <i>Kurt Donau, </i>2012-02-01. </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn85">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref85" name="_ftn85" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[85]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">J Ambrose-Brown, Jewellery in <i>South African Art, </i>Macdonald, Cape Town, 1978, p.50. <o:p></o:p></span></div>
</div>
<div id="ftn86">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref86" name="_ftn86" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[86]</span></span><!--[endif]--></span></span></a><span lang="DE" style="font-size: 8.0pt; mso-ansi-language: DE;"> D. Schöbi, Ein Rheintaler
Goldschmiedt kreiert Schmuck für Königinnen, <i>Unser Reintal,</i> 31 October
2011, pp. 1-3. <o:p></o:p></span></div>
</div>
<div id="ftn87">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref87" name="_ftn87" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[87]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, Linking gold, threads, <i>The
Star,</i> 13 November 1979. Clipping from the Art Archives, University of
Pretoria.</span><span lang="DE" style="font-size: 8.0pt; mso-ansi-language: DE;"><o:p></o:p></span></div>
</div>
<div id="ftn88">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref88" name="_ftn88" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[88]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">J.A. Brown, Jewellery, <i>South African Art,</i> Macdonald South Africa, Cape Town, 1978. Also, </span><span lang="EN-US"><a href="http://donau-handcrafted-jewellery.ch/About.html"><span lang="EN-ZA" style="color: windowtext; font-size: 8.0pt; mso-ansi-language: EN-ZA;">http://donau-handcrafted-jewellery.ch/About.html</span></a></span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">, accessed 2012-01-05, as well
as John Skotnes TED profile, http:www.ted.com/profiles/bio/id/305081,
2009-09-27.<o:p></o:p></span></div>
</div>
<div id="ftn89">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref89" name="_ftn89" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[89]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, Catalogue one: session five, item 921,
<i>Stephan Welz and Co., </i>Johannesburg, 24-26 April 2012, p.
196.<o:p></o:p></span></div>
</div>
<div id="ftn90">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref90" name="_ftn90" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[90]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">L. Dellatola, Gold and fashion, <i>South African Panorama,</i> March 1980, p. 41.<o:p></o:p></span></div>
</div>
<div id="ftn91">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref91" name="_ftn91" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[91]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Since the dawn of democracy in the early
1990’s, increased attacks on jewellers and their workshops has played its role
on increased security expenses as well as the emigration of qualified goldsmiths.
Another outflow is reflected in the development of a culture where women do not
easily display their jewellery publically anymore, for fear of being robbed.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn92">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref92" name="_ftn92" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[92]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span lang="EN-US"><a href="http://donau-handcrafted-jewellery.ch/About.html"><span lang="EN-ZA" style="color: windowtext; font-size: 8.0pt; mso-ansi-language: EN-ZA;">http://donau-handcrafted-jewellery.ch/About.html</span></a></span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">, accessed 2012-01-05.<o:p></o:p></span></div>
</div>
<div id="ftn93">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref93" name="_ftn93" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[93]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">M. Levitt, Unusual exhibition, <i>Diamond News and S.A. Jeweller, </i>November 1979, p.47.<o:p></o:p></span></div>
</div>
<div id="ftn94">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref94" name="_ftn94" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[94]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"> Author unknown, Juwele uit die
Kaap, <i>Beeld,</i> 22 Februry 1980, clipping from the art archives, University
of Pretoria.<o:p></o:p></span></div>
</div>
<div id="ftn95">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref95" name="_ftn95" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[95]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Internet: About Michael Cope, </span><span lang="EN-US"><a href="http://www.cope.co.za/Note.htm"><span style="font-size: 8.0pt;">http://www.cope.co.za/Note.htm</span></a></span><span lang="EN-US" style="font-size: 8.0pt;">, 2009-09-30.<o:p></o:p></span></div>
</div>
<div id="ftn96">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref96" name="_ftn96" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[96]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">E-mail: M. Cope, <i>Retrospective
exhibition call for jewellery items</i>, 2012-05-25.<o:p></o:p></span></div>
</div>
<div id="ftn97">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref97" name="_ftn97" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[97]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">E-mail: Mike Cope, <i>Re:
Michael Cope, Designer and Goldsmith history</i>, 2009-10-09.<o:p></o:p></span></div>
</div>
<div id="ftn98">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref98" name="_ftn98" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[98]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, High standards at gold jewellery competition,
<i>The S.A. Jeweller and the Diamond News</i>,
April 1973, pp. 30, 31 & 33.<o:p></o:p></span></div>
</div>
<div id="ftn99">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref99" name="_ftn99" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[99]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, Gold Gleanings, <i>Diamond News and S.A. Jeweller, </i>November
1979, pp. 13 and 42. Also, author<o:p></o:p></span></div>
<div class="MsoFootnoteText">
<span lang="EN-US" style="font-size: 8.0pt;">unknown,
Timeless gold keeps pace with the latest fashions, <i>Diamond News and S.A. Jeweller,</i> September 1981, pp. 25 & 27.</span><i><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></i></div>
</div>
<div id="ftn100">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref100" name="_ftn100" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[100]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">M. Neri, Creativity within wearability, </span><i><span lang="EN-US" style="font-size: 8.0pt;">Diamond
News and S.A. Jeweller,</span></i><span lang="EN-US" style="font-size: 8.0pt;">
July 1981, pp. 3, 13 & 14. Also see A.Weil, Intergold encourages
innovation,</span><span lang="EN-US" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"> </span><i><span lang="EN-US" style="font-size: 8.0pt;">Diamond News and S.A. Jeweller,</span></i><span lang="EN-US" style="font-size: 8.0pt;"> September 1981, p. 15.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn101">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref101" name="_ftn101" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[101]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> A. Weil, Gold Gleanings, <i>Diamond News and S.A. Jeweller, </i>January
1980, pp. 10, 11 & 13. Also, </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">author unknown, Gold in fashion,<i> Diamond News and S.A.Jeweller</i>, March 1983, pp. 29-31. Also, author
unknown, Goud in die mode, <i>Suid-Afrikaanse
Panorama,</i> Julie 1983, pp. 48-50.<o:p></o:p></span></div>
</div>
<div id="ftn102">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref102" name="_ftn102" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[102]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, Linking gold, threads, <i>The
Star,</i> 13 November 1979. Clipping from the Art Archives, University of
Pretoria.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn103">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref103" name="_ftn103" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[103]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> A photo clipping from <i>Die Transvaler, </i>15
June 1981, p. 9, (from the Art Archives, University of Pretoria).</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn104">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref104" name="_ftn104" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[104]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> E. Moolman, Dra Boesmans se legende aan jou
arm, <i>Beeld, </i>09 June 1982<i>, </i>p. 11. The winning piece was designed
by Liz Kratz and made by her husband Ewald Kratz along with colleague David
Tranter.</span><span lang="EN-US"><o:p></o:p></span></div>
</div>
<div id="ftn105">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref105" name="_ftn105" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[105]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, Capturing jewellery
fashions for 1985, <i>Diamond News and S.A.
Jeweller, </i>March 1984, pp. 23-25.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn106">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref106" name="_ftn106" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[106]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, Diamonds Today 1979, <i>Diamond News and S.A. Jeweller, </i>May
1979, p. 5. Author unknown, Diamonds Today – 1979 Highly Commended, <i>Diamond News and S.A. Jeweller, </i>June
1979, p. 45. A. Weil, Huppertz triumphs at Intergold Jewellery design competition,
<i>Diamond News and S.A. Jeweller, </i>July
1982, p. 3.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn107">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref107" name="_ftn107" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[107]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">E-mail correspondence: P. Cullman – F. van Staden, <i>Goldsmiths Guild et al, </i>2012-07-12.
Also, </span><span lang="EN-US"><a href="http://www.kratzjewellery.com.au/"><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">www.kratzjewellery.com.au</span></a></span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">, accessed on 2012-07-16.<o:p></o:p></span></div>
</div>
<div id="ftn108">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref108" name="_ftn108" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">[108]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span><span lang="EN-US" style="font-size: 8.0pt;">J Ambrose Brown, <i>South African Art, </i>Macdonald South
Africa, Cape Town, 1978, p.50.</span><o:p></o:p></div>
</div>
<div id="ftn109">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref109" name="_ftn109" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[109]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> E. Kruger, Talent wat skitter. <i>Suid-Afrikaanse
Panorama,</i> November/December 1990, pp. 34-37.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn110">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref110" name="_ftn110" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[110]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, French partner for Goldart,
<i>Distrikspos, </i>10 December 1993. </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">E-mail, re Daniel Jacobs geskiedenis, 2013-12-01. <o:p></o:p></span></div>
</div>
<div id="ftn111">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref111" name="_ftn111" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[111]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">P. Diamond, Prizes for Stellenbosch, <i>Diamond news and S.A. Jeweller,</i> January
1990, p. 13.<i><o:p></o:p></i></span></div>
</div>
<div id="ftn112">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref112" name="_ftn112" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[112]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> D. Jacobs, Keynote address, <i>Jewellex Exhibition,</i> Sandton Convention Centre,<i> </i>Johannesburg,
02 September 2013. The golden ratio occurs when the ratio of two measurements
is the same as the ratio of their sum is to the larger of the two measurements.
The golden ratio is expressed in mathematics as the irrational or infinite
number 1.618033… and is denoted with the
Greek letter phi. It is held by some artists and architects that aesthetically
pleasing proportions are attained when their work incorporate approximations of
the golden ratio.<o:p></o:p></span></div>
</div>
<div id="ftn113">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref113" name="_ftn113" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[113]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">E-mail, Re: Daniel Jacobs Jewellery Design,
2009-10-20. Follow-up e-mail, re Daniel Jacobs geskiedenis, 2013-12-01.<o:p></o:p></span></div>
</div>
<div id="ftn114">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref114" name="_ftn114" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[114]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">E. Phillips, They are creating beauty in metal, newspaper
clipping (courtesy of Hartmut Jäger), 1975. Also, author unknown, Kunstenaars
se juwele sal harte steel, <i>Die Burger, 29 April 1980, </i>clipping from the
Art Archives, University of Pretoria.<o:p></o:p></span></div>
</div>
<div id="ftn115">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref115" name="_ftn115" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[115]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> J Ambrose Brown, <i>South African Art, </i>Macdonald South Africa, Cape Town, 1978, p.50.</span><o:p></o:p></div>
</div>
<div id="ftn116">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref116" name="_ftn116" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[116]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> A. Weil, Gold Gleanings, <i>Diamond News and S.A. Jeweller, </i>January
1980, pp. 10, 11 & 13. Also, </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">author unknown, Gold in fashion, <i>Diamond News and S.A.Jeweller</i>, March 1983, pp. 29-31. Also, author
unknown, Goud in die mode, <i>Suid-Afrikaanse
Panorama,</i> Julie 1983, pp. 48-50.<o:p></o:p></span></div>
</div>
<div id="ftn117">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref117" name="_ftn117" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[117]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, Capturing jewellery
fashions for 1985, <i>Diamond News and S.A.
Jeweller, </i>March 1984, pp. 23-25.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn118">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref118" name="_ftn118" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[118]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, Gold Gleanings, <i>Diamond News and S.A. Jeweller, </i>November
1979, pp. 13 and 42. See also A. Weil, Huppertz triumphs at Intergold Jewellery
design competition, <i>Diamond News and S.A.
Jeweller, </i>July 1982, p. 11, as well as unknown author, Timeless gold keeps pace
with the latest fashions, <i>Diamond News
and S.A. Jeweller,</i> September 1981, pp. 25 & 27. </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn119">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref119" name="_ftn119" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[119]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"> </span><span lang="EN-US" style="font-size: 8.0pt;">Author unknown, Linking gold, threads, <i>The
Star,</i> 13 November 1979. Clipping from the Art Archives, University of
Pretoria.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn120">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref120" name="_ftn120" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[120]</span></span><!--[endif]--></span></span></a><span lang="DE" style="font-size: 8.0pt; mso-ansi-language: DE;"> E-mail, L. Kratz-F. van
Staden, <i>Re: Goldsmiths: E & L Kratz</i>,
14 August, 2012.<o:p></o:p></span></div>
</div>
<div id="ftn121">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref121" name="_ftn121" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[121]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, Hy toor met ivoor, <i>Die
Transvaler,</i> in the Klaradyn/mode section,<i> </i>2 November 1977. Clipping
from the Art Archives, University of Pretoria.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn122">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref122" name="_ftn122" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[122]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> A. Weil, Gold Gleanings, <i>Diamond News and S.A. Jeweller, </i>January
1980, pp. 10, 11 & 13.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn123">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref123" name="_ftn123" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[123]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, Capturing jewellery
fashions for 1985, <i>Diamond News and S.A.
Jeweller, </i>March 1984, pp. 23-25.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn124">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref124" name="_ftn124" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[124]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, Gold Gleanings, <i>Diamond News and S.A. Jeweller, </i>November
1979, pp. 13 and 42.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn125">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref125" name="_ftn125" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[125]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, Linking gold, threads, <i>The
Star,</i> 13 November 1979. Clipping from the Art Archives, University of
Pretoria.<o:p></o:p></span></div>
</div>
<div id="ftn126">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref126" name="_ftn126" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[126]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> E-Mail, S. Botha ,<i> Guy Traest
identifisering,</i> 18 August 2013.<o:p></o:p></span></div>
</div>
<div id="ftn127">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref127" name="_ftn127" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[127]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Maisie Levitt, Cape duo team up, <i>Diamond News and S.A. Jeweller, </i>December
1986, p.28.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn128">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref128" name="_ftn128" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[128]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, Golden stylist, <i>SA
Digest,</i> 21 February 1975. Clipping from the Art Archives, University of
Pretoria.<o:p></o:p></span></div>
</div>
<div id="ftn129">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref129" name="_ftn129" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[129]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, S.A. wins gold, <i>ARTLOOK</i>, May 1974, p.28.<o:p></o:p></span></div>
</div>
<div id="ftn130">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref130" name="_ftn130" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[130]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, Ons beste goud en silwer…,
unreferenced newspaper clipping, Art Archives, University of Pretoria, 1974.<o:p></o:p></span></div>
</div>
<div id="ftn131">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref131" name="_ftn131" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[131]</span></span><!--[endif]--></span></span></a><span lang="DE" style="font-size: 8.0pt; mso-ansi-language: DE;"> Author unknown,
Juweliersware op Worcester, Kuns en Vermaak section, <i>Die Burger, </i>20 June 1975, p. 13.<o:p></o:p></span></div>
</div>
<div id="ftn132">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref132" name="_ftn132" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[132]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, High standards at gold jewellery competition,
<i>The S.A. Jeweller and the Diamond News</i>,
April 1973, pp. 30, 31 & 33.<o:p></o:p></span></div>
</div>
<div id="ftn133">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref133" name="_ftn133" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[133]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> A</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">uthor unknown, Kaapse goudsmede presteer, <i>Die
Burger, </i>04 May 1976 (clipping from the art archives, University of
Pretoria).</span><span lang="EN-US"><o:p></o:p></span></div>
</div>
<div id="ftn134">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref134" name="_ftn134" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[134]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">M. Neri, Creativity within wearability, </span><i><span lang="EN-US" style="font-size: 8.0pt;">Diamond
News and S.A. Jeweller,</span></i><span lang="EN-US" style="font-size: 8.0pt;">
July 1981, pp. 3, 15 & 20. Also see A.Weil, Intergold encourages
innovation,</span><span lang="EN-US" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"> </span><i><span lang="EN-US" style="font-size: 8.0pt;">Diamond News and S.A. Jeweller,</span></i><span lang="EN-US" style="font-size: 8.0pt;"> September 1981, p. 15.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn135">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref135" name="_ftn135" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[135]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> A. Weil, Huppertz triumphs at Intergold
Jewellery design competition, <i>Diamond
News and S.A. Jeweller, </i>July 1982, pp. 3,11 and 13. Also, E. Moolman, Dra
Boesmans se legende aan jou arm, <i>Beeld, </i>09 June 1982<i>, </i>p. 11.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn136">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref136" name="_ftn136" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[136]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, Gold in fashion, <i> Diamond News and S.A.Jeweller</i>,
March 1983, pp. 29-31. Also, author unknown, Goud in die mode, <i>Suid-Afrikaanse Panorama,</i> Julie 1983, pp.
48-50.<o:p></o:p></span></div>
</div>
<div id="ftn137">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref137" name="_ftn137" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[137]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> J Ambrose Brown, <i>South African Art, </i>Macdonald South Africa, Cape Town, 1978, p.50.</span><o:p></o:p></div>
</div>
<div id="ftn138">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref138" name="_ftn138" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[138]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">C. Hacker, Students present fresh ideas in De Beers
jewellery contest, <i>The S.A. Jeweller and
the Diamond News</i>, January 1983, p. 2.<o:p></o:p></span></div>
</div>
<div id="ftn139">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref139" name="_ftn139" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[139]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, Lali works in silver and
gold, <i>The Star,</i> 19 October 1971 (clipping from the Art Archives,
University of Pretoria).<o:p></o:p></span></div>
</div>
<div id="ftn140">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref140" name="_ftn140" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[140]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, Jewellery, <i>ARTLOOK</i>, April 1974, p. 24<o:p></o:p></span></div>
</div>
<div id="ftn141">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref141" name="_ftn141" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[141]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">C. Hacker, Goldsmith turns to silver, <i>Diamond News and S.A. Jeweller,</i> February
1982, p. 37.<o:p></o:p></span></div>
</div>
<div id="ftn142">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref142" name="_ftn142" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[142]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">B. Parker, Home & Art, <i>ARTLOOK</i>, December 1971, p. 32.<o:p></o:p></span></div>
</div>
<div id="ftn143">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref143" name="_ftn143" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[143]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, Trade Fair 1979, <i>Diamond News and S.A. Jeweller, </i>August
1979, p. 38.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn144">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref144" name="_ftn144" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[144]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, Trade Fair 1979, <i>Diamond News and S.A. Jeweller, </i>August
1979, p. 39. </span><span lang="EN-US" style="font-size: 8.0pt; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">Also, Mike Oboler was a ‘manufacturing
jeweller’ from Cape Town, who contributed to the continuing hallmarking debate
at the time and was quoted as being strongly in favour of a instituting a
national hallmarking system: <i>We need a
system with a quick turn-around time, non-destructive testing, recognition of
special conditions (for example small manufacturers) and with standards that
are internationally acceptable</i>. Also, see </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">J Hobbs, SA hallmarking – one step nearer, <i>Diamond News and S.A.Jeweller,</i> December
1984, p. 32.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><o:p></o:p></span></div>
</div>
<div id="ftn145">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%2060's-80's.docx#_ftnref145" name="_ftn145" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 8.0pt;">[145]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 8.0pt;"> Author unknown, Modern Jeweller, <i>Artlook,</i>
No. 37,<i> </i>December 1969, pp. 21-22. Also, see author unknown, No time-lag
in setting the watch fashion pace.., <i>Rand Daily Mail, </i>10 May 1971,
clipping from the Art Archives, University of Pretoria. </span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, Elegant en ‘n
bietjie gewaag,<i> die Transvaler,</i> 06 July 1971, </span><span lang="EN-US" style="font-size: 8.0pt;">clipping from the Art Archives, University of Pretoria.</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
</div>
Fredhttp://www.blogger.com/profile/08076362684798612013noreply@blogger.com18tag:blogger.com,1999:blog-2651480711748885554.post-232485980073459192013-03-27T14:29:00.000+02:002013-03-27T14:29:15.086+02:00The Goldsmiths Guild of South Africa: A brief moment<br />
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(SA Jewellery News,January 2013, pp. 12-13)</div>
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<br /></div>
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For a brief
moment during the mid 1970’s, a number of local goldsmiths came together to
create a better structured environment in which they could work. They formed
the Goldsmiths Guild of S.A. It was a time of hope and enthusiasm, but it did
not last long. Even though all of the
founder members enjoyed national recognition for their work, their technical
and creative brilliance were not strong enough to withstand the forces that
were working against them. Within a decade their dream of a better future fell
apart.<i><o:p></o:p></i></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"><br /></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Late in 1973, under
Peter Cullman’s leadership, the Goldsmiths Guild of South Africa was born in
Johannesburg. Other founding members were Erich Frey, Dieter Dill, Ewald Kratz,
Liz Bezuidenhout-Kratz, Kurt Donau, Jochen Kessel along with Hartmut and Ilse
Jäger. All, except for Liz Kratz, were immigrants from Switzerland or Germany. They
were extensively trained and highly skilled precious metal artists with
master’s degrees in design and goldsmithing along with qualifications in
gemmology. The majority were schooled at Pforzheim in Germany.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">A three page constitution
was adopted at the founding meeting of the Guild. Their aim was to produce and
promote high quality jewellery as an art form and to hold nation-wide and
international exhibitions. Another lofty
ideal was to raise public awareness of the originality of South African
designed gold and silver jewellery. The association was to meet from time to
time to plan the implementation of its aims as well as to share information on
new designs and techniques in experimental jewellery making( including the use
of facetted gem-stones, mineral specimens as well enamel). <i><o:p></o:p></i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixzbOMzLfhbzKTqcYlQJj-TftghceW026THWezGMSzbHIuUOJYtXr9fD1ZBervjbX3eCEIlIvlvaeWqaT5x24hTfhn_wqDSwqYBblMzvJuokb1UQ707PMBeaOTQFyNiV3nOSY0cKNUcVJs/s1600/A+Scanned+Picture261.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixzbOMzLfhbzKTqcYlQJj-TftghceW026THWezGMSzbHIuUOJYtXr9fD1ZBervjbX3eCEIlIvlvaeWqaT5x24hTfhn_wqDSwqYBblMzvJuokb1UQ707PMBeaOTQFyNiV3nOSY0cKNUcVJs/s400/A+Scanned+Picture261.png" width="400" /></a></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"><b>Figure 1: Founder members of the SA Goldsmiths Guild in 1973: Peter Cullman, Hartmut Jaeger, Ilse Jaeger, Kurt Donau, Liz Bezuidenhout-Kratz, Ewald Kratz & Jochen Kessel</b></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"><br /></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">The Guild created a logo (a
smith’s anvil in combination with a stylized ring) that members were requested
to stamp on their work in conjunction with their own makers marks as well as
the caratage of the piece. After earlier attempts to establish a South African
hallmarking system was abandoned in the late 1700’s, talks were taken up again
since 1938 to establish a proper register, but no final agreement materialised
amongst the members of the South African Jeweller’s Association of the time.
The directive of the Goldsmiths Guild to its members to produce works with
their own marks and guild’s stamp of approval, constituted the first real
attempt to reintroduce a local standardised hallmarking system again. In an
effort to differentiate their work from manufacturers who made use of mass
produced techniques, the Guild’s constitution specifically stipulated that <o:p></o:p></span><br />
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"> No jewellery of repetitive or
ordinary nature may bear the logo stamp of the guild.<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"><br /></span>
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Membership of the Goldsmiths
Guild was optional and recommendations made by the Guild were not binding to
the local goldsmith community. From the onset the Guild gained representation
at the S.A Jewellery Council. Nevertheless, the proper organisation of the
Industry as a whole (which included the field of gemmology) remained open ended
throughout the twentieth century. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"><br /></span>
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">At an Intergold jewellery
competition held by the Chamber of Mines in 1974, members of the Goldsmiths
Guild received 10 awards including three first prizes and the most outstanding
design in gold. In 1977 Ewald and Liz Kratz won the coveted Diamonds
International award. In 1975, two years after their formation, the members of
the Goldsmiths Guild arranged their first group exhibition in Johannesburg to
be followed by an exhibition in Stellenbosch later in the same year. A total of
120 pieces in silver, gold and platinum were on display. A number of other
exhibitions were also held by twinning haute couture with artist jewellery. Jewellers
and dress designers collaborated on designing clothes with fitting jewellery
that was exhibited in fashion parades at the Rand Eater show. In 1979 the guild
even opened a short lived Goldsmith Gallery in Rosebank, Johannesburg where
they intended to feature permanent exhibitions by South Africa’s foremost
goldsmiths. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeL5iCroI-ffmBQOTmxv7N5zE1BqYmGTL4xotdZGrcV7Y3QnN0Rp3C0Xh2uSYIWiUq8SbZJrbHQ2-R_DCoqmSOws4pQ2tkT6laE939ZixCHdDNzCZNN1p-WRDoRt_nUuoIBjYkZ8RmZQJ1/s1600/Diamonds+Internal+Awards+Winner+1977+-+18ct+gold+diamonds+and+beads.+Designed+Liz+Bezuidenhout-Kratz+and+Manufactured+Ewald+Kratz+(1).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeL5iCroI-ffmBQOTmxv7N5zE1BqYmGTL4xotdZGrcV7Y3QnN0Rp3C0Xh2uSYIWiUq8SbZJrbHQ2-R_DCoqmSOws4pQ2tkT6laE939ZixCHdDNzCZNN1p-WRDoRt_nUuoIBjYkZ8RmZQJ1/s320/Diamonds+Internal+Awards+Winner+1977+-+18ct+gold+diamonds+and+beads.+Designed+Liz+Bezuidenhout-Kratz+and+Manufactured+Ewald+Kratz+(1).jpg" width="320" /></a></div>
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"><br /></span>
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"><b>Figure 2: Diamonds International Awards winner 1977- 18ct gold, diamonds and beads. Designed Liz Bezuidenhout-Kratz and made by Ewald Kratz</b></span><br />
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"><b> </b></span><br />
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Given the individual and
unique design of every piece they made, these goldsmiths were artists in their
own right. Precious metals became their sculptural bases with which they combined
texture, relief, line and colour to create jewellery of high quality. Precious
stones were integrated in their designs to punctuate or emphasize aspects of
their compositions. However, with youthful boldness, this generation of
goldsmiths also expanded their palette of design materials to include organic
elements such as wood and ivory. In some cases, copper and perspex were also
integrated in their designs. They also celebrated the abundance of South
African semi precious stones by absorbing these into their work. The
imaginative captivation of unique colour tones inherent in stones such as tiger
eyes, amethysts, agates, rose-quartz and jade in their creations, gave way to
an increasing acceptance of semi-precious stones as part of leading jewellery
design in South Africa.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"><b>Figure 3: A pendant by Hartmut Jaeger</b></span><br />
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Some goldsmiths used their
well developed technical skills to collaborate with local painters and sculptors
in giving expression to sets of jewellery and flat ware. For example Kurt Donau
collaborated with Cecil Skotnes, Edoardo Villa and Hannes Hars on a number of occasions.
In 2012 a pair of cuff links designed by Cecil Skotnes and made by Kurt Donau
was auctioned for R9 500 by Stephan Welz & Co. in Johannesburg. In another
collaboration, Erich Frey worked with Walter Batiss and Alexis Preller on
creating jewellery ware and medallions. Frey’s legacy is also gaining
increasing attention at auction. In February last year, at the Strauss & Co.
auction in Cape Town, a collection of Erich Frey jewellery that contained bangles
infused with elephant hair, were sold well above the auctioneers’ estimates. <o:p></o:p></span><br />
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"><b>Figure 3: Cecil skotnes and Kurt Donau collaboration. Silver and 18ct gold cuff links. Sold by Stephan Welz & Co. for R9500 in April 2012.</b></span><br />
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"><b>Figure 3: A sea urchin brooch in gold with diamonds and a pearl by Peter Cullman. </b></span><br />
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"><b>(Optima, September 1970, p110) </b></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">However, the conditions in
which the Guild did its work conspired against their successful growth. Chief
amongst these was an unresponsive and largely indifferent government that
looked upon the profession with suspicion. More often than not, local goldsmiths
were regarded as potential illicit traders of raw precious metals.
Consequently, little was officially done to nurture and develop an organised community
of resident gold- and silversmiths. Only in 1987 was the South African
Jewellery Association formally recognised as a representative body by the
government. <o:p></o:p></span><br />
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Political instability caused
by the policy of separate development along with the job reservations act
further compounded the problem of rooting an indigenously sound and prosperous goldsmiths
association. Whereas little formal training and job opportunities for black
South Africans existed in the sector during the 1970’s, white goldsmiths had to
deal with increasing international sanctions that made exposure of their work
very difficult, resulting in having to work in a small local market.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"> Also internally, within a few years of its
formation, the Goldsmiths Guild began to neglect the mandate contained in its
constitution. Already in the early 1980’s their group exhibitions began to dry
up and some failed to implement the recommended hallmarking system. During the
late 1970’s members of the Guild began to emigrate to other countries,
especially after the Soweto riots in 1976. Over the years that followed, all of
the founding members of the Goldsmiths Guild of South Africa took their
considerable skills to settle elsewhere. Along with political instability, a
sharp increase in theft and violent crime compelled most to emigrate from South
Africa. Peter Cullman relocated to Toronto while Erich Frey and Dieter Dill
returned to Germany. Kurt Donau resettled in his native Switzerland. Ewald and Liz Kratz as well as Hartmut
and Ilse Jäger emigrated to Australia. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"><b>Figure 4: Gold and silver pendants, Walter Batiss and Erich Frey collaboration</b></span><br />
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">By the late 1980’s
membership numbers have dropped to such an extent that the Guild was not deemed
to be a viable association anymore and the remaining members amalgamated with
the Jewellery Manufacturer’s Association.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">The formation of the
Goldsmiths Guild of SA represents a notable effort to create an organisational
platform for the advancement of high quality local jewellery. Unfortunately,
due to the constraints at the time, it was destined to become only a momentary flash
in the pan of our local jewellery making history.<o:p></o:p></span><br />
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"><b> Figure 5: Kurt Donau</b></span></div>
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Fredhttp://www.blogger.com/profile/08076362684798612013noreply@blogger.com15tag:blogger.com,1999:blog-2651480711748885554.post-5985883870043870062013-03-27T13:24:00.003+02:002013-03-27T13:26:55.433+02:00Early indigenous South African jewellery design<span style="line-height: 150%;">(SA Jewellery News, August 2012, pp.33-34) </span><br />
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Some jewellery manufacturers from the mid
twentieth century became early explorers of African inspired work in the world
of precious metal artistry. Thematically, their naturalist expressions of
African animal, plant, cultural and mineral bounty have laid the foundation for
the development of a South African design style that continues to be built upon
and reformulated up to the present. Also, progressing from the singular use of
precious metals and semi-precious stones in the early days, the use of mediums
have diversified to any combination of varied indigenous materials such as
ivory (not yet banned during these early
years), wood, bone and even animal hair paired with semi/precious stones
and often a mix of metals.<b style="font-style: italic;"><o:p></o:p></b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtRCmZOsmzgUQYyOdv8yXuF3C_ZgOankU2B2xdDcmS0ZDWtFRyw4NqOgWF49-JokxTME-ECt8XmvXUAVbePbnkqunrrPx0bE0s1NvEtRaaXK8myVS6GmLEK7q7z14nFkqKkdJKFu9BPwk6/s1600/Else+Wongtschowski+1970's.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtRCmZOsmzgUQYyOdv8yXuF3C_ZgOankU2B2xdDcmS0ZDWtFRyw4NqOgWF49-JokxTME-ECt8XmvXUAVbePbnkqunrrPx0bE0s1NvEtRaaXK8myVS6GmLEK7q7z14nFkqKkdJKFu9BPwk6/s320/Else+Wongtschowski+1970's.jpg" width="161" /></a><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Perhaps it is
fitting that the first full time female goldsmith in South Africa was also responsible
for initiating a South African jewellery design aesthetic that grew organically
from her perceptive engagement with her adopted fatherland. Like Walter Batiss
a few years before her, Else Wongtschowski also celebrated in her work the art
making of our African cultures. What’s more, she was one of the first of her
generation who appreciated the wealth of design possibilities locked up in the
use of the abundance of Southern African semi-precious stones. These two
actions lay the groundwork or fundamental matrix from which a South African
styled jewellery aesthetic would slowly emerge.
At around the same time during the mid twentieth century, the workshops
of Haglund in Johannesburg and Joe Calafato in Pretoria also took up the
challenge to produce African inspired jewellery ranges and flatware that
contributed greatly to the development of an indigenous artistic appreciation
of the African world in which they were operating.<o:p></o:p></span></div>
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<b style="font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">Figure 1: The first female South African manufacturing goldsmith, Else Wongtschowski in the early 1970’s.</b></div>
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<span style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Else Wongtschowski (née
Reinheimer) was born in 1914 in Frankfurt-am-Main, Germany. In 1933 she
relinquished a career in medicine in favour of a goldsmith apprenticeship in
Frankfurt. At the onset of the Second World War, she immigrated to South
Africa. She worked for Kurt Jobst for a year after which she opened her own
studio.</span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Ms Wongtschowski and her
husband Hans were ardent mountaineers and have mapped a number of hiking routes
in the Drakensberg as recorded by the Mountain Club of South Africa. In the
mountains they came across bushman rock paintings. In 1949 this served as the
inspiration behind the creation of a bracelet containing representations of
bushman rock art. She was the first local jewellery manufacturer to set the
tone for the development of a South African jewellery design theme that was
later to become known as safari jewellery. She was known as an innovator and
was also the first to introduce multi-coloured bracelets (often with stones she
collected herself) to the South African market. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Her design inspiration was
instinctual rather than analytical, guided by the particular combination of
semi-precious stones at hand. She was of the opinion that it is …<i>Far better to have a well fashioned
semi-precious ring or brooch than an ill designed diamond ornament.</i> <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">From the mid 1950’s, like
Else Wongtschowsky a few years before them, Haglund Jewellers in Johannesburg
began to create jewellery designs with themes depicting traditional African cultural
life and wildlife images. The nephew goldsmiths Hans Blum and Rolf Waizenegger
were the owners and they also gained inspiration from Bushmen rock art for some
of their souvenir jewellery designs. But they went further and extended their
collection by adding cultural images, such as head dresses, village life and
animal studies to their design portfolio. The anthropological tones inherent in
their work have contributed to its collector’s value. <o:p></o:p></span></div>
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<b style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;"> Figure 2: Early Haglund expressions.</b></div>
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<b style="font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">Figure 3: Gold, beads and diamonds: Geoph Foden, taking the early Haglund work to a new level</b><span style="font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">.</span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Given his extensive training
in Germany, Hans Blum became one of the foremost practitioners of precious
metal piercing in the country. This consisted of using a hacksaw to cut fine
silhouette outlines from oxidised silver plate. Waizenegger contributed to
their design base through stylised wiring expressions of animals, in addition
to the modelling of relief designs of wild fauna in plasticine and pewter for
silver casting. Working primarily in silver, their jewellery consisted of a
combination of hand made and casting techniques. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Geophrey Foden joined the
business in the 1970’s and contributed to a refinement of the early Haglund
work to reflect the tastes of the time. They continued to incorporate bushman
art in their jewellery designs, along with the setting of locally available
semi-precious stones. Throughout the latter half of the twentieth century the
workshop created reinterpretations of African wildlife expressions, culminating
in combining hues of gold, black and silver (incorporating pearls, diamonds or
ivory) with mixtures of matt and gloss finishes, and at times imbued with
ceramic beads. It gave expression to an emerging South African styled precious
metal artistry, known as <i>safari and
wildlife jewellery.</i> <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">A third manufacturing
workshop that helped pioneer the indigenisation of jewellery design, was owned
and managed by Joe Calafato. In 1947 he resigned from his job as designer
jeweller at the South African Mint and opened a jewellery workshop in the Pretoria
city centre. From that time onwards until the end of his career in 1984, a time
line can be captured in his design development. It is expressed in terms of a
fading European influence mingling with a strengthening African influence both
in terms of inspiration and form. A clear migration took place from his
original <i>retro moderne</i> scroll
abstractions to ‘organic realism’ in expressing plant, animal and human form,
culminating in an almost exclusive emphasis on African landscape, animal and
village life. At the end of his career, his work matured into extensively
embracing images of the African continent, making him an African manufacturing
jeweller in the full sense of the word. <o:p></o:p></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 19px;"><b>Figure 4: African female studies designed by Joe Calafato in the 1950’s.</b></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Calafato’s early African
images dealt almost exclusively with stylish African female figures clad with
cultural accessories that include headdresses, large rounded earrings and
beaded necklaces.</span><span style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;"> </span><span style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">It expressed a
fascination with culturally traditional female African beauty.</span><span style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;"> </span><span style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">A few images of children were also included,
one of which became noted in its own right. It was pressed in the form of a
brooch and consists of a young boy eating from a three legged pot with a wooden
spoon. Perhaps because of its endearing quality, it became one of very few
compositions that was additionally stamped with a descriptive title, namely ‘lo
umfaan’.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9F4mnknATp5fwSZRL8EyBmIN4sZIE1I4Dnkne0AloZYJACS2Xo_eDmgOvn-tCNsW1u29q8jExJy2pSkrPqh08Sj0TnAvN3e4MBuGqw6KqqcRjXfKyGjqquzMTOttQm4W3SkmVDKzDycJN/s1600/Lo+Umfaan.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9F4mnknATp5fwSZRL8EyBmIN4sZIE1I4Dnkne0AloZYJACS2Xo_eDmgOvn-tCNsW1u29q8jExJy2pSkrPqh08Sj0TnAvN3e4MBuGqw6KqqcRjXfKyGjqquzMTOttQm4W3SkmVDKzDycJN/s320/Lo+Umfaan.JPG" width="320" /></a></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"> </span><b style="font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">Figure 5: ‘Lo umfaan’ brooch in sterling silver designed by Joe Calafato during the early 1950’s.</b></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">From 1972 onwards his
depictions became more complex by adding rural background arrangements
consisting of trees, rocks, tufts of grass, mountains, rondavels and aloes in
bloom. Especially in this later work he incorporated traditional icons of
African culture such the drum, the milling block with pounder, spear and
shield, clay bowl, knobkerrie, amulets, ankle rings, reed mat, loin cloth and
musical instruments. With these elements scenes such as hunting, drumming,
dancing, maize pounding, socializing, music making and eating were composed.
The designs pay lyrical homage to African expressions of nurturance, protection
and beauty. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Calafato’s wildlife studies
developed parallel with and in the same way as his African imagery. It started
off as individual animal figures that over time expanded to more complex
compositions placed within rural landscapes (almost like small three
dimensional paintings in metal). These include studies of the larger mammals
such as elephant, giraffe, lion, leopard, various antelopes and zebra.
Sometimes indigenous wildlife and African cultural elements were combined in
the layout of the piece.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjilT23SZjC5PtP81dAUBlDQIrPqfilrs1Q8WaXnWTRrbM3fN8o4-thM-cqPnlwLqE6oqnA7iigD_aj3xOxqQ09yg-maruYRD41imxqC51YgAkViN8Rk5wC6LxZMUchcdm84pIh1EQXORvf/s1600/Haglund+&+Calafato+-+Forerunnes+of+African+Design+style.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjilT23SZjC5PtP81dAUBlDQIrPqfilrs1Q8WaXnWTRrbM3fN8o4-thM-cqPnlwLqE6oqnA7iigD_aj3xOxqQ09yg-maruYRD41imxqC51YgAkViN8Rk5wC6LxZMUchcdm84pIh1EQXORvf/s400/Haglund+&+Calafato+-+Forerunnes+of+African+Design+style.JPG" width="400" /></a></div>
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<span style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 19px;"> </span><b style="font-family: Arial, sans-serif; font-size: 13px; line-height: 19px;">Figure 6: Examples of Haglund and Calafato’s early African inspired work</b></div>
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Fredhttp://www.blogger.com/profile/08076362684798612013noreply@blogger.com16tag:blogger.com,1999:blog-2651480711748885554.post-3039627774751339242013-03-27T12:23:00.001+02:002013-03-27T12:23:22.042+02:00Unisa's Golden heritage<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHhH7J2juY3GCzEAdITgOD0AIjlekyZUJv8rxw-wWZPJpDGroEzZbrPxMcI73d4NqisN6J6Ou_FgeEuY9fRXcv7WVa1D0zs0Mxi7Q5Ojwgd3Vv8Yby9jJurByHSLUkhyphenhyphend3f0S76WY9nEkl/s1600/Focus+Sept+2012,+p13.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHhH7J2juY3GCzEAdITgOD0AIjlekyZUJv8rxw-wWZPJpDGroEzZbrPxMcI73d4NqisN6J6Ou_FgeEuY9fRXcv7WVa1D0zs0Mxi7Q5Ojwgd3Vv8Yby9jJurByHSLUkhyphenhyphend3f0S76WY9nEkl/s640/Focus+Sept+2012,+p13.jpg" width="464" /></a></div>
<br />Fredhttp://www.blogger.com/profile/08076362684798612013noreply@blogger.com4tag:blogger.com,1999:blog-2651480711748885554.post-62972045554343760982012-06-04T08:11:00.000+02:002017-02-07T08:31:02.987+02:00Twentieth century gold- and silversmith makers' marks used in South Africa<br />
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<span lang="EN-GB"><span style="color: orange; font-size: large;">Notes on the hallmarking of twentieth century South African precious
metal artifacts.</span></span></h2>
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<span style="font-size: small;"><span lang="EN-GB"><span style="color: orange;"> </span></span>Fred
van Staden</span></h2>
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<span style="font-weight: normal;">(Published in the </span><i style="font-weight: normal;">South African Journal of Cultural History, </i><span style="font-weight: normal;">31(1), 2017)</span></div>
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<span style="background-color: white; font-weight: normal;"><span lang="EN-GB">This paper comprises a review of attempts to
establish hallmarking systems in South Africa during the twentieth century. </span><span lang="EN-GB">Specific attention
is paid to the efforts of the South African Bureau of Standards (SABS) and the
short-lived Goldsmiths’ Guild of South Africa to establish hallmarking
guidelines.<o:p></o:p></span></span></div>
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<span lang="EN-GB" style="background-color: white; font-weight: normal;">In addition, details of more than 70 South
African gold- and silversmith studios or workshops active during the twentieth
century are chronologically tabulated. This includes information such as names
of the goldsmiths and their studios, their maker’s marks and dates when these
marks were in use.<o:p></o:p></span></div>
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<span style="background-color: white; font-weight: normal;"><span lang="EN-GB">Key words:</span><span lang="EN-GB"> precious metal
artist, hallmark, goldsmith, silversmith, manufacturing jeweller, maker’s mark,
maker’s stamp, twentieth century South Africa<o:p></o:p></span></span></div>
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<span lang="EN-GB" style="font-weight: normal;"> _____________________________</span></div>
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<span lang="EN-US" style="font-weight: normal;">One of the oldest
forms of marking possessions stems back to 3000 BC in Egypt where domestic
animals were branded with hot irons to identify ownership. This identification
procedure was later extended from marks denoting ownership, to marks that
authenticate the maker or the region from where creative objects (such as
pottery) originated.<span class="MsoFootnoteReference"> <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn1" name="_ftnref1" title=""><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[1]</span></span><!--[endif]--></a></span><o:p></o:p></span></div>
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<span lang="EN-US" style="font-weight: normal;">Modern forms of
hallmarking emerged from around the 10<sup>th</sup> century in Europe, with
formal heraldic systems serving as regulated military insignia. The earliest
marks represented town guilds in Europe, and first appeared in France in 1272,
with makers’ marks emerging shortly thereafter in 1378. Systems for marking
precious metal objects sprung up all over Europe and regulations varied from
town to town. Mostly because of trade over the centuries that followed, the
marking systems used in different parts of Britain and the European continent
evolved along similar lines.<span class="MsoFootnoteReference"> </span>Already in
1544 in England, a full set of hallmarks consisted of at least four marks,
denoting the precious metal content, the location of the assay office, a date
mark and the maker’s mark. This became law and is presently still enforced.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[2]</span></span><!--[endif]--></span></a><span class="MsoFootnoteReference"> </span>However, until the end of the nineteenth
century, jewellery was often not hallmarked because of its small size and often
delicate form.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[3]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-weight: normal;">Today, compulsory
hallmarking of beneficiated precious metals is practiced in most European
countries. Most countries outside Europe do not make use of hallmarking
schemes, although some have voluntary systems in place.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[4]</span></span><!--[endif]--></span></a>
<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-weight: normal;">South African hallmarking<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-weight: normal;">The first attempt at establishing a South African hallmarking system
stems from 1715 when the Governor of the Cape, Maurits Pasques de Chavonnes
founded the Mint of the Cape of Good Hope. Under the new statute all
silversmiths were required to stamp their work with personalised makers’ marks.
They also had to submit all their work to two Masters of the Mint for testing.
If approved, the hallmark of the Mint (consisting of the figure of Good Hope)
as well as the Mint Masters’ mark would be added to the maker’s mark. For
smaller pieces only the Mint Masters’ mark and the maker’s mark were required.
A silver standard was fixed at eleven pennies for five grams. However, this
commendable effort at standardisation fell into disuse soon after the initial
three-year appointment of the Mint Masters came to an end. A follow-up
appointment was not made. There is also no evidence that this ordinance was
ever enforced. Nevertheless, there is some indication that the official ‘Hope’
stamp was still in use in 1780.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , serif;">[5]</span></span><!--[endif]--></span></a>
<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-weight: normal;">It appears that during the 1800s no systematic effort was made to
re-establish a South African hallmarking system. Later, in 1938, 1942 and 1958
the associations representing local jewellers and watchmakers submitted
memoranda to the Minister of Commerce and Industries calling for the
establishment of an assay office<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , serif;">[6]</span></span><!--[endif]--></span></a>
to develop and implement a hallmarking system in the Union of South Africa.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , serif;">[7]</span></span><!--[endif]--></span></a>
In all three cases their representations fell by the wayside. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-weight: normal;">At the founding of the Jewellery Council of South Africa in 1972, a
resolution was adopted to devise a compulsory local hallmarking system that
would denote the country, the metal content and a maker’s mark. This was to be
done in collaboration with the South African Bureau of Standards.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , serif;">[8]</span></span><!--[endif]--></span></a>
This call was again renewed in 1984 when representatives of the Jewellery
Manufacturers’ Association, Intergold and the South African Bureau of Standards
formed yet another committee to investigate the feasibility of implementing a compulsory
local hallmarking system.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , serif;">[9]</span></span><!--[endif]--></span></a>
Again, the representations were unsuccessful.
<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-weight: normal;">Throughout the twentieth century the local use of hallmarking remained
voluntary. It was only in 2011 that the
regulation process became legally formalised with eventual implementation in
2013.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn10" name="_ftnref10" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , serif;">[10]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-weight: normal;">Whereas the South
African texts of Mollie Morrison (1936)<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn11" name="_ftnref11" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[11]</span></span><!--[endif]--></span></a>,
D. Bax (1974)<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn12" name="_ftnref12" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[12]</span></span><!--[endif]--></span></a>
and Stephan Welz (1976)<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn13" name="_ftnref13" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[13]</span></span><!--[endif]--></span></a>
contributed much to the documentation of hallmarks used in the early Cape
between the 17<sup>th</sup> and 19<sup>th</sup> centuries, no comparable
recording of hallmarking in South Africa during the 20<sup>th</sup> Century has
as yet been produced. The present research was conducted in an effort to
address aspects of this gap in South African hallmarking history.<o:p></o:p></span></div>
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<span lang="EN-GB"><b>Method</b></span><span lang="EN-GB" style="font-weight: normal;"><o:p></o:p></span></div>
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<span style="font-weight: normal;"><span lang="EN-US">This study deals
with organisational efforts to establish voluntary markings systems in South
Africa during the 20<sup>th</sup> century. It concludes with a tabulated
summary of more than 70 locally used maker’s marks. The table was composed of
information contained in a series of articles covering the work of creative
gold- and silversmiths who worked in South Africa during the early to late 20<sup>th</sup>
century.</span><span class="MsoFootnoteReference"><span lang="EN-US"> </span></span><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn14" name="_ftnref14" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , serif;">[14]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span><span lang="EN-GB">The reviews included publications in academic
journals, books and specialist newsletters or magazines such as <i>Artlook
Magazine</i>,<i> The S.A. Jeweller</i> <i>and</i> <i>the Diamond News</i>, The <i>Diamond
News and S.A. Watchmaker and Jeweller</i> as well as government sponsored
national magazines such as <i>Lantern </i>and the <i>South African Panorama. </i>Where
possible, interviews were held with gold- and silversmiths or with their
families or co-workers such as engravers, enamellists and die sinkers. Often, résumé’s,
photo’s, letters and documents were made available. Internet searches and
e-mail exchanges were included in the recording and corroboration process.<o:p></o:p></span></span></div>
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<span style="font-weight: normal;">The
period from 1980 to 2000 is for the most part not included in this review
because of limitations to manuscript length. In addition, it covers a phase of
significant socio-organisational change and requires a review in its own right.<span lang="EN-GB"><o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;">It is notable that
the majority of goldsmiths mentioned in the consulted literature worked in
Johannesburg and Pretoria. A possible reason for this may be that the
exponential development of the mining sector on the Witwatersrand during the
1950s also attracted more gold- and silversmiths to the area. In addition,
after the Second World War, a number of gold- and silversmiths resigned from
the South African Mint to open their own studios and workshops in Pretoria and
Johannesburg. Also, skilled artisans from the Baltic countries and from Europe who
were encouraged by the South African government to immigrate, tended to settle
on the Witwatersrand. Another distinguishing feature of this sample is that the
gold- and silversmiths whose work was recorded, were noted in national rather
than regional publications. Further exploration of smaller community based publications
may yield more information on creative goldsmiths whose credentials have not
been included in this article.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn15" name="_ftnref15" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[15]</span></span><!--[endif]--></span></a>
<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;">Although a general
overview the South African Indian goldsmith contributions was presented in an
earlier publication,<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn16" name="_ftnref16" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[16]</span></span><!--[endif]--></span></a>
their use of maker’s marks have not been recorded in this article. The topic
needs to be pursued in a follow-up article.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;">The South
African Bureau of Standards certification marks.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;">In April 1948, at
the request of the Chamber of Mines, the South African Bureau of Standards
(SABS) published in the <i>South African
Government Gazette</i> voluntary hallmark specifications for the marking of
precious metals. They consisted of the letter ‘U’ encircling the head of a
Springbok for articles made of gold, and the head of a lion for articles made
of silver. No mention was made of other precious metals such as platinum or palladium.
It was decided to use the letter U (denoting the Union of South Africa) which
was used on the ammunition manufactured by the South African Mint during the
Second World War, and which gained international recognition as a significant
contribution to the war effort.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn17" name="_ftnref17" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[17]</span></span><!--[endif]--></span></a>
The lion and springbok heads were quite detailed and required the skill of
experienced die makers. The punches were sold by the South African Mint who had
an overseeing role in regulating the use of thereof.<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn18" title="">[18]</a></span></span><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn18" title=""><!--[endif]--></a></span>
<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjRqRuYSB5_yMSjeiMTWg9_1Vo1FbFiWjcfvB6dMFeO4ty2C0_81ugEtclsxduA_vNceShE7eeG535h4YrmT7P7JXgZrbw1VkOJkatCFYh57so-lLhxsN8mhyw8-aPkn9xF3dg_x6Fhi9S/s1600/Figure+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjRqRuYSB5_yMSjeiMTWg9_1Vo1FbFiWjcfvB6dMFeO4ty2C0_81ugEtclsxduA_vNceShE7eeG535h4YrmT7P7JXgZrbw1VkOJkatCFYh57so-lLhxsN8mhyw8-aPkn9xF3dg_x6Fhi9S/s320/Figure+1.jpg" width="300" /></a></div>
<div style="text-align: center;">
<b>Figure 1:
Images of the respective SABS certification Hallmarks in use between 1948 –
1973, 1974-1999, and from 1995 onwards.</b></div>
</div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;">(Excerpts from <i>SABS
Bulletin</i>, 4, 7, March 1975, p 172, and <i>SABS Bulletin</i>, 17, 2, June
1998, p 7)<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;">In addition to
these standardisation marks, articles had to bear the grade marking (e.g. stg
or ct), followed by a letter symbol denoting the year of manufacture, along with the gold- or silversmith maker’s
mark. The year mark was standardised by
using a gothic typeface alphabet in lower case, starting with the letter ‘a’
denoting gold and silver products made in 1948 and concluding the cycle with
the letter ‘z’ in 1973. In 1974 a new alphabetic cycle was introduced
consisting of upper case Roman letters, where ‘A’ represented the year
1974, ending with the letter ‘Z’ in
1999. It appears that a third alphabetic cycle was not introduced and the
dating system discontinued. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-weight: normal;"><br /></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSV3_yHfufmeW6Wyfhao5fDSVsjMndvxThx72FxpXvEAvZcLxPNX89Yu0CcZdmqv5ELgofgOVtiC1bk1oDRqKsIMuDleRtmfl5KjaFUnBN7wFCE2zxJMB2ae_AZgCI1oFHva6R2IhsfnNa/s1600/Figure+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSV3_yHfufmeW6Wyfhao5fDSVsjMndvxThx72FxpXvEAvZcLxPNX89Yu0CcZdmqv5ELgofgOVtiC1bk1oDRqKsIMuDleRtmfl5KjaFUnBN7wFCE2zxJMB2ae_AZgCI1oFHva6R2IhsfnNa/s320/Figure+2.jpg" width="320" /></a></div>
<div style="text-align: center;">
<b>Figure 2: An
example of the Gothic (1948-1973) on top and Roman (1974-1998) lettering below
used to denote the year in which precious metals were made in South Africa.</b></div>
</div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;">(Photo: <i>SABS
Bulletin</i>, 4, 10, June 1975, p 225.)<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;">In 1975, the
realist images of the springbok and lion marks were replaced by a single
stylistic image of a Springbok head encased in an oval form. It was thought that this new mark would give
a more distinct imprint. The mark was also used for products made in platinum.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn19" name="_ftnref19" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[19]</span></span><!--[endif]--></span></a>
In 1995, the logo of the SABS (the acronym is imprinted in the top half of an
oblong outline) was introduced as certification mark. It is not clear whether
this mark replaced the old dating system, or whether it was used alongside<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn20" name="_ftnref20" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[20]</span></span><!--[endif]--></span></a>
the completion of the dating system that would have continued until 1998. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzqX0tyRjcm9KVb4hG7pWs2_zIAL9jepnhKuYE8XessUBQTNIz4bQodgYF4fmd85-9-eaHLUqjfZ3HoyhD1xau12aAObBRAckHN1Xewu2nL3EUrpgBP4aPyjF83zyLf-wJ7Q6GW8ERYEWQ/s1600/Figure+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzqX0tyRjcm9KVb4hG7pWs2_zIAL9jepnhKuYE8XessUBQTNIz4bQodgYF4fmd85-9-eaHLUqjfZ3HoyhD1xau12aAObBRAckHN1Xewu2nL3EUrpgBP4aPyjF83zyLf-wJ7Q6GW8ERYEWQ/s1600/Figure+3.jpg" /></a></div>
<div style="text-align: center;">
<b>Figure 3: From 2013 all South
African made precious metal goods must contain the ‘ZA’ mark denoting their
South African origins. A long overdue first step in proper hallmarking practice.</b></div>
</div>
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<span lang="EN-GB" style="font-weight: normal;"> (Photo: F. van Staden, Pretoria,
2012)<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-weight: normal;"><span lang="EN-US">In 2011 the
Standards division of the SABS published a revised edition of a hallmarking
standard for articles made of precious metals. It consists of the letters ‘ZA’
encased in an oval, denoting South Africa as country of origin. A year mark is not required but it was
recommended that the grade marking content be indicated alongside the ZA mark.
This is then followed by the individual maker’s mark. This recommendation was written
into legislation and finally enacted in 2013 </span><span lang="EN-GB">where all South African-made
precious metal products above 1 gram in weight are required to comply with the
specifications. Individual maker’s marks remained optional.</span><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn21" name="_ftnref21" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[21]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span><span lang="EN-GB"><o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-weight: normal;"><span lang="EN-GB">An important next step would be to legislate that the country of origin
will also have to be indicated on imported precious metal artefacts. This would
serve the dual purpose of quality control and improved consumer awareness. Such
import control will go a long way in addressing the perception that <i>...we become a dumping ground for work
regarded as substandard in more developed markets such as the UK and Europe</i>.<span class="MsoFootnoteReference"> <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn22" name="_ftnref22" title=""><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , serif;">[22]</span></span><!--[endif]--></a></span>
</span><span lang="EN-US">The designation of the
precious metal content was summarised by the SABS in Table 1.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn23" name="_ftnref23" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[23]</span></span><!--[endif]--></span></a><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-weight: normal;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US"><b>Table 1: The
South African Bureau of Standards specified designation of precious metals.</b><o:p></o:p></span></div>
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<div style="text-align: center;">
<br /></div>
</div>
<div class="MsoNormal">
<span style="font-weight: normal;"><span lang="EN-US">Where the silver
content consists of 99,9% purity (indicated by the mark 999) the term ‘Fine Silver’
or the letters ‘FS’ may also be used. The abbreviation ‘stg’ could be added to
the mark 925 (indicating a purity of 925/1000 parts). In the case of gold
content exceeding a fineness of 995/1000 is indicated by the mark 24ct. The
words ‘Fine Gold’ could also be added to the markings.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn24" name="_ftnref24" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[24]</span></span><!--[endif]--></span></a>
</span><span lang="EN-GB">In an
interesting deviation from international markets though, </span><span lang="EN-US">South African jewellery buyers continued to
prefer nine carat gold as opposed to the
preference for 14 carat gold on international markets.</span><span class="MsoFootnoteReference"><span lang="EN-US"> </span></span><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn25" name="_ftnref25" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , serif;">[25]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"><o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;">Since its
inception in 1948 until 2012, the SABS certification marking remained
voluntary. Those who registered with the SABS, were required to regularly
submit samples of their work for certification of its precious metal content.
The SABS performed the role of voluntary assay office. <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn26" name="_ftnref26" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[26]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span lang="EN-US"><b>Figure 4: An example of an SABS certified hallmark
used in 1949 on a candelabrum. From top to bottom: Three stamps bearing the
certification mark of a lion’s head within the letter ‘U’, the letters ‘STG’
(sterling silver grade mark) and the gothic date letter ‘B’ indicating 1949 as
the year of marking. Then follows the maker’s mark consisting of a hand holding
a sword and the inscription EXCALIBUR.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn27" name="_ftnref27" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[27]</span></span><!--[endif]--></span></a>
Lastly its South African origin is also stamped.<o:p></o:p></b></span></div>
<div class="MsoNormal">
<span lang="EN-US"><b>(Images: Ms C. Meyer, Ditsong Museum, Pretoria, 2014.) </b><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;">It appears that during the 20<sup>th</sup> century, the SABS
certification system was mostly used on silver flatware and hollowware. Perhaps
because the certification mark system was voluntary and consisted of four
elements, most creative jewellers resorted merely to a maker’s mark and
precious metal indicators. <o:p></o:p></span></div>
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<span lang="EN-US"><b><i>Portfolio of Mr Arthur
Boddy</i></b><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;">According to the research done by Mr Arthur Boddy,<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn28" name="_ftnref28" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[28]</span></span><!--[endif]--></span></a>
an ardent researcher and student of 20<sup>th</sup> century South African
silver, the maker’s marks<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn29" name="_ftnref29" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[29]</span></span><!--[endif]--></span></a>
listed below, can be found on silver and gold ware made by smiths who were
either registered with the SABS or who just made use of their dating mark.
Boddy endeavoured to develop a record of local precious metal maker’s marks and
their owners.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn30" name="_ftnref30" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[30]</span></span><!--[endif]--></span></a>
In a series of letters written between 1972 and 1975 he attempted, with
variable success, to gain information on the maker’s marks of local
silversmiths from the SABS, The South African Mint and the Jewellery Council of
South Africa. In one letter, the SA Mint made it clear that such information on
the clients of the Mint was confidential <i>“…
and cannot be transmitted to the public</i>”<i>.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn31" name="_ftnref31" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[31]</span></span><!--[endif]--></span></a></i> This secretive power play attitude was
perhaps also a manifestation of the authoritarian zeitgeist in South Africa at
the time. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;">In 1974, Boddy remarked on a notable lack of knowledge amongst silver-
and goldsmiths about the SABS hallmarking standard.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn32" name="_ftnref32" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[32]</span></span><!--[endif]--></span></a>
This may have been due to a combination of factors that include a lack of
marketing, the voluntary basis of the marking system, as well as not wanting to
submit one’s work to the scrutiny of an assay office because of extra
administrative demands or because the required silver or gold content was not
met.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-weight: normal;">The information below provides an initial knowledge base for the
recognition and identification of locally-made silver in the mid twentieth
century. In 1972<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn33" name="_ftnref33" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[33]</span></span><!--[endif]--></span></a>
the following businesses were permit holders for the making of sterling silver
articles under the SABS mark:<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;"><br />
<i>A&M Cohen</i>, Manufacturing
Jewellers and Diamond Mounters, 95 Mooi street, Johannesburg. No maker’s mark
has yet been determined.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn34" name="_ftnref34" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[34]</span></span><!--[endif]--></span></a>
<o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-weight: normal;"><i><span lang="EN-US">La Scala</span></i><span lang="EN-US">, Manufacturing jewellers (Pty) Ltd, Cennewa House, 12<sup>th</sup>
floor, West Street, Durban.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;">This manufacturer
created hollow and flatware such as silver tea services along with jewellery.
They used the name ‘La Scala’ as their maker’s mark.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn35" name="_ftnref35" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[35]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-weight: normal;"><i><span lang="EN-US">Em-Ess Silverware (Pty) Ltd</span></i><span lang="EN-US">, Isando, East Rand.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;">Described in 1975
as the largest producer of silver plate and sterling silver, this manufacturer
produced jewellery (such as rings) along with flat- and hollow ware such as
candlesticks, salvers, candle snuffers, meat covers and letter openers. They
made use of the following marks; a springbuck head, the marks S925 (denoting
sterling silver) and the letters S and a date letter (‘S’ denoting the retailer
Spilhaus and a date letter stemming from the SABS system).<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn36" name="_ftnref36" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[36]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;">In 1948 Mr Julius
Martin bought the original business, then known as Henry Joseph & Sons
(Pty.), from its original owners, who were Birmingham immigrants. Shortly
thereafter, his son Leslie Martin joined him and by the late 1960s the company
was already established as the largest manufacturer of silverplate in South
Africa. Their initial range of products focused extensively on sporting
trophies in silver plate as well as sterling silver and gold plate. Other
products included pewter beer mugs, silverplated hollowware that included tea
and coffee services, soup tureens, water pitchers, serving trays, butter dishes
and sugar basins in distinctive style. They also produced insulated tea and
coffee sets in stainless chrome. During this time, their exhibitions at the
Rand Easter Show regularly earned them gold medal awards. The company had a
tool room where most of the dies and component parts required for the
manufacture of their products were created. In 1967, the quality of its
products was described as equal to the best contemporary silverware available
on the international market. The mark Em-Ess was used on the trophies, silver
plated hollowware and pewter ware. <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn37" name="_ftnref37" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[37]</span></span><!--[endif]--></span></a>
<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;">A notable
commission was the creation of 250 pairs of sterling silver goblets to mark the
25<sup>th</sup> anniversary of Diners’ Club International. The Diners’ Club emblem in addition to the
SABS marking system was used on the goblets. A set number was stamped below the
SABS standardization marks. The first two pairs of goblets were presented to
the Africana Museum in Johannesburg as well as to the Director of the SABS in
1975. The goblets were designed by Mr T. Cavalho and were estimated to be worth
around R300 at the time.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn38" name="_ftnref38" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[38]</span></span><!--[endif]--></span></a> <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-weight: normal;"><i><span lang="EN-US">The South African Mint</span></i><span lang="EN-US">, Pretoria (now relocated in Centurion).<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;">From 1948 the South
African Mint was registered with the SABS as a hallmark permit holder. They
made use of the acronym SAM as maker’s mark.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn39" name="_ftnref39" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[39]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-weight: normal;"><i><span lang="EN-US">E. Tiessen (Pty) Ltd</span></i><span lang="EN-US">, Manufacturing Jewellers, 14 Juta Street,
Braamfontein, Johannesburg.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;">They manufactured
small articles such as silver chains, identity bracelets and sometimes other
articles of jewellery such as cuff links. The maker’s mark ET+ was used.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn40" name="_ftnref40" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[40]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-weight: normal;"><i><span lang="EN-US">Norman Watson</span></i><span lang="EN-US">, Engraver and Manufacturing Jeweller (Pty) Ltd, 16
Fenton Road, Durban Central. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;">This engraver and
manufacturing jeweller made use of the following marks. Firstly, their
registered trade mark ‘Dick King’, the ‘stg.’ abreviation, then the SABS mark
of a lion’s head, and lastly the SABS year mark.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn41" name="_ftnref41" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[41]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-weight: normal;"><i><span lang="EN-US">Natal Wholesale Manufacturing Jewellers (Pty) Ltd</span></i><span lang="EN-US">, Durban.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;">Natal Wholesale
Manufacturing Jewellers was born in 1988 from the amalgamation of Durban
Manufacturing Jewellers (established in the late 1940s) and Natal Wholesale
Jewellers. In 1998 their production range consisted of rings, charms earrings
and pendants. A small amount of hand crafted jewellery was also made. Apart
from sterling silver, around 133kg of 9 carat gold alloy was used per year in
the late 1990s. They made use of the
SABS precious metals marking system.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn42" name="_ftnref42" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[42]</span></span><!--[endif]--></span></a>
<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-weight: normal;"><i><span lang="EN-US">Joe Malamed (Pty) Ltd </span></i><span lang="EN-US">from Cape Town is also mentioned as making use of the
standardization marks of the SABS.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn43" name="_ftnref43" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[43]</span></span><!--[endif]--></span></a>
<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;">Other marks recorded in the Boddy portfolio include:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-weight: normal;"><i><span lang="EN-US">R & G Metal Art (Pty) Ltd</span></i><span lang="EN-US">, 68 New Market street, Foreshore, Cape
Town.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;">Owner Radoslav Kirov was born in 1955 in Bulgaria where he was trained
as a coppersmith. Apart from copper, steel and wood, he also produced hollow
and flat silverware. He specialised in spun and spot hammered ware. He retailed
his work through Spilhaus but also undertook private commissions. Although he
was not registered with the SABS he made use of its date letters. His hallmarks
consisted of the letter ‘K’ (for Kirov), the sterling silver grade mark S925,
the inscription ‘Spilhaus’ (for wares that were sold through this retailer) as
well as the date letter according to the SABS convention.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-weight: normal;"><i><span lang="EN-US">Don Sheasby and Lorna Quinton</span></i><span lang="EN-US">, Cape Town.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;">This husband and wife team make use of the marks ‘Sheasby’ and
‘Quinton’ along with the marks ‘silver’ and 925. He is described as an artist
craftsman whereas his wife specialised in the cutting and polishing of
semi-precious stones. Sheasby is one of only a handful restorers of silver in
the country. One reviewer described him as having <i>“… an instinctive feel for his work and relates in an almost mystical
way with the original craftsman.</i>” <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn44" name="_ftnref44" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[44]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-weight: normal;"><i><span lang="EN-US">Silvercraft</span></i><span lang="EN-US">, Cape Town.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;">Harold H. Felstein in partnership with Thomas McQuillan established
this firm in 1953. They produced the new mace for parliament in 1961 which was
reputed to be the largest piece of wrought gold at the time in the country.
Thomas McQuillan used the letters MCQ on his work.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn45" name="_ftnref45" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[45]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-weight: normal;"><i><span lang="EN-US">South African Goldware</span></i><span lang="EN-US">,
(Johannesburg)<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;">This firm used the letter SAG followed by the imprint of a protea (or
similar flower) as maker’s mark. It was active during the 1950s and the 1960s
and made the christening mug of Mr Boddy’s son. Items by this firm regularly
appears on local antique and collectors’ markets.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn46" name="_ftnref46" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[46]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-weight: normal;"> <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><b>The Goldsmiths Guild of South
Africa</b><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><b><br /></b></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-weight: normal;">For a brief moment during the mid-1970s, a number of local goldsmiths
came together to create a better structured environment to work in. They formed
the Goldsmiths Guild of South Africa. It was a time of hope and enthusiasm, but
it did not last long. Even though all of
the founder members enjoyed national recognition for their work, their
technical and creative brilliance was not strong enough to withstand the forces
that were working against them. Within a decade their dream of a better future
fell apart.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-weight: normal;">Late in 1973, under Peter Cullman’s leadership, the Goldsmiths Guild of
South Africa was born in Johannesburg. Other founding members were Dieter Dill,
Ewald Kratz, Liz Bezuidenhout-Kratz, Erich Frey, Kurt Donau, Jochen Kessel,
along with Hartmut and Ilse Jäger.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn47" name="_ftnref47" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , serif;">[47]</span></span><!--[endif]--></span></a>
All, except for Liz Kratz (who was a South African and educated in Stellenbosch), were immigrants from
Switzerland or Germany. They were extensively trained and highly skilled precious
metal artists with master’s degrees in design and goldsmithing along with
qualifications in gemmology. The majority received their training at Pforzheim
in Germany.<o:p></o:p></span></div>
<div class="MsoNormal">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguv4cDajlLGV5p7f61l4dHhzEaU8rwaG9dJxslYjajvEpCPaPXvrxrIXH2byIq1Z-pZPBjLcoeMfFer2MVaq-8ynThF3Nd7fJgVVpNrFvjTXGDUZIvF7nNFL5O8RySoQ5ySb57BbgdQAEn/s1600/Figure+5.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguv4cDajlLGV5p7f61l4dHhzEaU8rwaG9dJxslYjajvEpCPaPXvrxrIXH2byIq1Z-pZPBjLcoeMfFer2MVaq-8ynThF3Nd7fJgVVpNrFvjTXGDUZIvF7nNFL5O8RySoQ5ySb57BbgdQAEn/s320/Figure+5.png" width="320" /></a></div>
<div style="text-align: center;">
<span lang="EN-GB" style="font-weight: normal;"><br /></span></div>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-weight: normal;"><v:shape alt="Description: A Scanned Picture261" id="Picture_x0020_3" o:spid="_x0000_i1028" style="height: 260.4pt; mso-wrap-style: square; visibility: visible; width: 439.2pt;" type="#_x0000_t75">
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</v:imagedata></v:shape><span lang="EN-GB"><o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><b>Figure 5: Some of the founder
members of the Goldsmiths Guild of South Africa. From left to right: Peter Cullman, Hartmut & Ilse Jäger, Kurt
Donau, Liz & Ewald Kratz and Jochen Kessel<o:p></o:p></b></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><b> (Photo: H. Jäger, Australia,
1973)</b><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-weight: normal;">A three-page constitution was adopted at the founding meeting of the
Guild. Their aim was to produce and promote high-quality jewellery as an art
form and to hold nationwide and international exhibitions. Another lofty ideal was to raise public
awareness of original South African designed gold and silver jewellery. The
Guild was to meet from time to time to assess the implementation of its aims as
well as to share information on new designs and techniques in experimental
jewellery making (including the use of facetted gemstones, mineral specimens
and enamelling). <i><o:p></o:p></i></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh19MrkKXHbNcMRg7OqAJQXT0ESHaiNUwn24TGC8deWgySuAS1QI7cLh4pEGOM9YO2T0HN7JepgJ3yn95_Z_XZvaGiidrDjYPHAuXzbK0Te9KVw6nWP7TX7ltC9ybvVxJN89zYhakXWtq3h/s1600/Figure+5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="104" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh19MrkKXHbNcMRg7OqAJQXT0ESHaiNUwn24TGC8deWgySuAS1QI7cLh4pEGOM9YO2T0HN7JepgJ3yn95_Z_XZvaGiidrDjYPHAuXzbK0Te9KVw6nWP7TX7ltC9ybvVxJN89zYhakXWtq3h/s320/Figure+5.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span lang="EN-GB" style="font-weight: normal;"><br /></span></div>
</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-weight: normal;"><v:shape id="_x0000_i1027" style="height: 90pt; mso-wrap-style: square; visibility: visible; width: 283.8pt;" type="#_x0000_t75">
<v:imagedata o:title="" src="file:///C:\Users\Vstadfj\AppData\Local\Temp\msohtmlclip1\01\clip_image007.jpg">
</v:imagedata></v:shape><span lang="EN-GB"><o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><b>Figure 6: Logo created by the Goldsmiths Guild of South Africa<o:p></o:p></b></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><b>(Photo: P. Cullman, Canada, 1974)</b><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-weight: normal;">The Guild created a logo (a smith’s anvil in combination with a stylised
ring) that members were requested to stamp on their work in conjunction with
their own makers’ marks as well as the caratage of the piece. After earlier
attempts to establish a South African hallmarking system was abandoned in the
late 1700s, talks were only held again from 1938 onwards to establish a proper
register, but no final agreement materialised amongst the members of the South
African Jewellers’ Association at the time. The directive of the Goldsmiths
Guild to its members to produce works with their own marks and Guild’s stamp of
approval constituted the first real attempt to reintroduce a local standardised
hallmarking system again. In an effort to differentiate their work from
manufacturers who made use of mass-produced techniques, the Guild’s constitution
specifically stipulated that <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-weight: normal;">“<i>No jewellery of repetitive or ordinary nature may bear the logo
stamp of the Guild</i>.” <a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn48" name="_ftnref48" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , serif;">[48]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-weight: normal;">Membership of the Goldsmiths Guild was optional and recommendations made
by the Guild were not binding on the local goldsmith community. From the onset
the Guild was represented at the Jewellery Council of South Africa.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn49" name="_ftnref49" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , serif;">[49]</span></span><!--[endif]--></span></a> Nevertheless, the proper organisation of the
industry as a whole (which included the field of gemmology) remained open-ended
throughout the twentieth century.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn50" name="_ftnref50" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , serif;">[50]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
<div class="MsoPlainText">
<span lang="EN-GB" style="font-family: "times new roman" , serif; font-weight: normal;">At an Intergold jewellery competition held by the
Chamber of Mines in 1974, members of the Goldsmiths Guild received ten awards,
including three first prizes along with the most outstanding design in gold. In
1975, two years after the formation of the Guild, the members arranged their
first group exhibition in Johannesburg consisting of 120 pieces in precious
metals. The exhibition proved to be such a success that in November of the same
year a follow-up exhibition was held in Stellenbosch.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn51" name="_ftnref51" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB">[51]</span></span><!--[endif]--></span></a> A number of other
exhibitions were also held by twinning haute couture with artist jewellery.
This was followed by a number of local exhibitions. In 1979 the Guild even
opened a short-lived Goldsmith Gallery in Rosebank, Johannesburg where they
intended to feature permanent exhibitions by South Africa’s foremost
goldsmiths.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn52" name="_ftnref52" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB">[52]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
<div style="text-align: center;">
<span style="font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman" , serif;"> </span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman" , serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVe-MQ_ACF8cKJoeOsMfEsHV23jHD9fX9ukYc3hhvBl7K4Ng-opcJqbjBKngPXm7JxZITCYeOANXiTNpfmkvk-xNshly8UmwXuTapL9OZeDwUESKTnJdC-6a4OAnY1500UaElfToqbynAQ/s1600/Figure+6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVe-MQ_ACF8cKJoeOsMfEsHV23jHD9fX9ukYc3hhvBl7K4Ng-opcJqbjBKngPXm7JxZITCYeOANXiTNpfmkvk-xNshly8UmwXuTapL9OZeDwUESKTnJdC-6a4OAnY1500UaElfToqbynAQ/s320/Figure+6.jpg" width="320" /></a></span></span></div>
</div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
<span lang="EN-GB" style="font-family: "times new roman" , serif;"><b>Figure 7: Intergold 1974 Grand Prix winning entry
consisting of a combination neckpiece, brooch and a buckle by Goldsmith Guild
members Liz and Ewald Kratz </b><o:p></o:p></span></div>
<div class="MsoPlainText">
<span lang="EN-GB" style="font-family: "times new roman" , serif; font-weight: normal;">(Photo: From the Kratz résumé, Brisbane, Australia)<o:p></o:p></span></div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-weight: normal;">Given the individual and unique design of every piece they made, these
goldsmiths are artists in their own
right. Precious metals became the sculptural basis with which they combined
texture, relief, line and colour to create jewellery of high quality. Precious
stones were integrated in their designs to punctuate or emphasise aspects of
their compositions. With youthful boldness, this generation of goldsmiths also
expanded their palette of design materials to include organic elements such as
wood and ivory. In some cases, copper and perspex were also used. They also
celebrated the abundance of South African semi-precious stones by absorbing
these into their work. The imaginative captivation of unique colour tones
inherent in stones such as tiger eyes, amethysts, agates, rose-quartz and jade
in their creations gave way to an increasing acceptance of semi-precious stones
as part of leading jewellery design in South Africa.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn53" name="_ftnref53" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , serif;">[53]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-weight: normal;">Some goldsmiths used their well-developed technical skills to
collaborate with local painters and sculptors in giving expression to jewellery
sets, hollowware and flatware. For example, Kurt Donau collaborated with Cecil
Skotnes, Edoardo Villa and Hannes Hars on a number of occasions.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn54" name="_ftnref54" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , serif;">[54]</span></span><!--[endif]--></span></a>
In 2012 a pair of cuff links designed by Cecil Skotnes and made by Kurt Donau,
was auctioned for R9 500 by Stephan Welz & Co. in Johannesburg. In another
collaboration, Erich Frey worked with Walter Batiss and Alexis Preller in
creating jewellery pieces and medallions. Frey’s legacy is also gaining
increasing attention at auction. In February 2012, at the Strauss & Co.
auction in Cape Town, a collection of Erich Frey jewellery containing bangles
infused with elephant hair were sold well above the auctioneers’ estimates.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn55" name="_ftnref55" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , serif;">[55]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-weight: normal;">However, the conditions in which the Guild did its work conspired
against its successful growth. Chief amongst these was an unresponsive and
largely indifferent government that looked upon the profession with suspicion.
More often than not, local goldsmiths were regarded as potential illicit
traders of raw precious metals. Consequently, little was done officially to
nurture and develop an organised community of resident gold- and silversmiths. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-weight: normal;">Political instability caused by the policy of separate development along
with the Job Reservations Act further compounded the problem of rooting an
indigenously sound and prosperous goldsmiths association. Whereas little formal
training and job opportunities for black South Africans existed in the sector
during the 1970s, white goldsmiths had to deal with increasing international
sanctions that made exposure of their work very difficult, resulting in having
to work in a small local market.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-weight: normal;">Within a few years of its formation, the Goldsmiths Guild began to
neglect the mandate contained in its constitution internally. Already in the
early 1980s their group exhibitions began to dry up and some members failed to
implement the recommended hallmarking system. During the late 1970s members of
the Guild began to emigrate to other countries, especially after the Soweto
riots in 1976. Over the years that followed, all of the founding members of the
Goldsmiths Guild of South Africa took their considerable skills to settle
elsewhere. Apart from political instability, a sharp increase in theft and
violent crime compelled most to emigrate from South Africa. Peter Cullman
relocated to Toronto while Erich Frey and Dieter Dill returned to Germany. Kurt
Donau resettled in his native Switzerland and Jochen Kessel went to London but
returned to South Africa at a later date again. Ewald and Liz Kratz as well as
Hartmut and Ilse Jäger emigrated to Australia.<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn56" name="_ftnref56" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , serif;">[56]</span></span><!--[endif]--></span></a> <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-weight: normal;">By the late 1980s membership numbers dropped to such an extent that the
Guild was no longer a viable association. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-weight: normal;">The formation of the Goldsmiths Guild of South Africa represents a
notable effort to create an organisational platform for the advancement of
high-quality local jewellery. Unfortunately, owing to the constraints at the
time, it was destined to be only a momentary flash in the pan of our local
jewellery-making history. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB"><b>Hallmarking and recording of
signifiers</b></span><span lang="EN-GB" style="font-weight: normal;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><b><br /></b></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-weight: normal;">In response to the on-going call by purchasers and collectors for the
recording of creative silver- and goldsmith insignia or makers’ marks,<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn57" name="_ftnref57" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , serif;">[57]</span></span><!--[endif]--></span></a>
an initial listing of local makers’ marks used during the twentieth century was
compiled and is shown in the table below. It should be noted that the list is
not conclusive and only serves as an initial record of noted gold- and
silversmiths who used a maker’s mark. In keeping with the listings of Western
hallmarks,<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn58" name="_ftnref58" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , serif;">[58]</span></span><!--[endif]--></span></a>
the emphasis is placed on the name of the silver- or goldsmith, the name of the
studio or workshop where he/she worked, a description of the maker’s mark(s),
the dates during which the mark was used and the city where the studio or
workshop was located. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB"><b>Table 2: Chronological summary
of makers’ marks by some noted silver- and goldsmiths working in South Africa
during the early to late twentieth century.</b></span><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn59" name="_ftnref59" style="font-weight: normal;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , serif;">[59]</span></span><!--[endif]--></span></span></a><span lang="EN-GB" style="font-weight: normal;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<table border="1" cellpadding="0" cellspacing="0" class="MsoNormalTable" style="border-collapse: collapse; border: none; mso-border-alt: solid black .5pt; mso-border-insideh: .5pt solid black; mso-border-insidev: .5pt solid black; mso-padding-alt: 0cm 5.4pt 0cm 5.4pt; mso-yfti-tbllook: 32; width: 100%px;">
<thead>
<tr style="height: 20.15pt; mso-yfti-firstrow: yes; mso-yfti-irow: 0;">
<td style="border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">Name of gold- and/or
silversmith</span><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn60" name="_ftnref60" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , serif;">[60]</span></span><!--[endif]--></span></span></a><i><span lang="EN-GB" style="color: #4f81bd;"><o:p></o:p></span></i></div>
</td>
<td style="border-left: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB"> Workshop or studio<o:p></o:p></span></div>
</td>
<td style="border-left: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">Format of maker’s mark<o:p></o:p></span></div>
</td>
<td style="border-left: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">Years in use<o:p></o:p></span></div>
</td>
<td style="border-left: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Place<o:p></o:p></span></div>
</td>
</tr>
</thead>
<tbody>
<tr style="height: 20.15pt; mso-yfti-irow: 1;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">H Wade<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Henry Wade Watchmakers and Jewellers<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The words H Wade<i>, </i>Maritzberg<i>.</i><o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1884–1933<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Pietermaritzburg<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 2;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">A Sidersky (snr.)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">M Sidersky<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">A Sidersky (jnr.)<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">A Siderski & Son<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The surname Sidersky<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1902-1938<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">1928-2006<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">1959-2006<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Johannesburg<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 3;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">Large numbers of die sinkers, engravers, jewellers and medal makers.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">South African Mint<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">Royal Mint of
Pretoria mark<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">SAM<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">SABS marking
specifications with SAM</span><span lang="EN-GB"> as maker’s mark<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1923-1932<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Early 1940s - 1947 <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">1948 – present <o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Pretoria (1923-1991), Centurion (1992 –present )<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 4;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">J Friedman<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">H Fervier<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Friedman Jewellers<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Friedman Jewellers<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The name </span><i><span lang="EN-GB">Jack Friedman</span></i><span lang="EN-GB">.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Continued with
the name </span><i><span lang="EN-GB">Jack
Friedman.</span></i><span lang="EN-GB"> <o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1933–1995<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1995 to date<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Johannesburg<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Johannesburg & Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 5;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">K Jobst<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">The Jobst Shop<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">Outline of a unicorn. Sometimes his surname Jobst was added to the mark or the letters Jk with the
vertical lines of the letters blended into one line.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1935-1971<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Johannesburg<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 6;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">Makr’s marks in useE Wongtschowski<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Undetermined<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">Mirror image of a rounded letter e of which the top leg extends
above a rounded letter w. The mirror image creates the impression of a
w followed by a b.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1938-1946<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1947-1949<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1950–late 1970s<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Johannesburg<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Cape Town<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Johannesburg<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 7;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">Mssrs J & L Martin<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Henry Joseph & Sons (Pty.) Ltd.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Later Em-Ess Silverplate<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">SABS marking specifications with the letter S<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">The name Em-Ess was used on silver and pewter hollowware.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1940s – possibly late 1960s<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Only reference: Early-mid-1970s<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Isando, East Rand<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 50.5pt; mso-yfti-irow: 8;">
<td style="border-top: none; border: solid black 1.0pt; height: 50.5pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">F Vetter<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn61" name="_ftnref61" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , serif;">[61]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 50.5pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">F V Jewellers<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 50.5pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">A stylised
capital letter</span><span lang="EN-GB">
F</span><span lang="EN-GB"> nestled in (but not
touching) a larger stylised capital letter </span><span lang="EN-GB">V</span><span lang="EN-GB">.</span><span lang="EN-GB"><o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 50.5pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1947–late 1960s<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 50.5pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Jeppe Street, Johannesburg<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 9;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="IT">G Calafato & B Campbell<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="IT">G Calafato<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Mr & Mrs Dique<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Metal Art Creations (1947-1951)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Metal Art <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">(1951-1953)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Precise Die Makers and Engravers (Pty) Ltd<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">(1953-1968)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Joe Calafato (Pty) Ltd<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">(1968-1984)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Joe Calafato (Pty) Ltd<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">(1984 to date)<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The name </span><span lang="EN-GB">CAndidA</span><span lang="EN-GB"> with </span><span lang="EN-GB">STER SILV</span><span lang="EN-GB">.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">The name </span><span lang="EN-GB">CANDIDA</span><span lang="EN-GB"> with </span><span lang="EN-GB">STER SILV. </span><span lang="EN-GB">Sometimes also </span><span lang="EN-GB">S.AFRICA.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">The name </span><i><span lang="EN-GB">Carina</span></i><span lang="EN-GB"> with </span><span lang="EN-GB">STER-SIL </span><span lang="EN-GB">or </span><span lang="EN-GB">SILVERPLATED</span><span lang="EN-GB">
and sometimes </span><span lang="EN-GB">S.AFRICA
</span><span lang="EN-GB">or </span><span lang="EN-GB">SOUTH AFRICA</span><span lang="EN-GB">.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">The name </span><i><span lang="EN-GB">Velia</span></i><span lang="EN-GB"> with </span><span lang="EN-GB">STER-SIL </span><span lang="EN-GB">or </span><span lang="EN-GB">SILVERPLATED</span><span lang="EN-GB">
or </span><span lang="EN-GB">GENUINE
COPPER </span><span lang="EN-GB">and sometimes </span><span lang="EN-GB">S.AFRICA </span><span lang="EN-GB">or </span><span lang="EN-GB">SOUTH AFRICA</span><span lang="EN-GB">.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">The words </span><span lang="EN-GB">DAWU</span><span lang="EN-GB">, </span><span lang="EN-GB">COPPER </span><span lang="EN-GB">and </span><span lang="EN-GB">SOUTH AFRICA</span><span lang="EN-GB">.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Shield outline
containing the letters JC </span><span lang="EN-GB">and </span><i><span lang="EN-GB">Copper</span></i><span lang="EN-GB">
when applicable.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">The name JOE CALAFATO. On badges and
pins BOX 1457 PRETORIA was added. <o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1947-1951<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1947-1972<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">(Limited use after 1972 to 1984)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1972-1984<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1972-1984<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1972-1984<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1972-1984<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1972-1984<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">1984to date<span style="color: #4f81bd; mso-themecolor: accent1;"><o:p></o:p></span></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Pretoria<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Pretoria<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Pretoria<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Pretoria<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Pretoria<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Pretoria<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Pretoria<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Ga-Rankuwa and then Ekandustria.<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 10;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">M Richardson<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Undetermined<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">M </span><span lang="EN-GB">and R, with the legs of the letters merged
and the M slightly uppercase in relation to the R.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">Late 1940s–early 1970s<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Johannesburg<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 11;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="DE">B Haglund<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="DE">H Blum <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="DE">M Waizenecker<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="DE">G Foden<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="DE">M van Tonder<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Haglund Jewellers<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">HAGLUND</span><span lang="EN-GB">, SOUTH AFRICA and STERLING SILVER (capital bold font). Sometimes Hand made or a date was added.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Stylised pair of jewellery pliers (may also be mistaken as Springbok
horns)<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1948–1952<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1953–1986<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">1953-1996<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">1973–2007<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">1981–2003<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1955-1985<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Johannesburg<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Johannesburg<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 12;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="DE">G Foden<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Foden Manufacturing Pty (Ltd)<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">Impression of a giraffe.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">2006 to date<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Johannesburg<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 13;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">Large number of artisans<a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftn62" name="_ftnref62" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , serif;">[62]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">H Ocker, <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">B de Lange &<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Mr Rupel<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">M McNorton<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Mr & Mrs A Dique and <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Mr J Erasmus<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Metal Art<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The inscription </span><span lang="EN-GB">METAL
ART POSBUS 1483 BOX PRETORIA.</span><span lang="EN-GB"> <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1951-1953<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1953–late <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">1970s<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Late 1970s-1998<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1998 to date<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Pretoria<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 14;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">T Keder<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">T Keder<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The letters </span><span lang="EN-GB">TK</span><span lang="EN-GB"><o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1952-2005<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 15;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="PT-BR">A Oboler<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="PT-BR">L & M Oboler<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="PT-BR">A Oboler Manufacturing Jewellery<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="PT-BR">The name </span><span lang="PT-BR">Oblo</span><span lang="PT-BR"><o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="PT-BR">1952-1998<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="PT-BR">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 16;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="PT-BR">B Miller<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="PT-BR">M Miller<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="PT-BR">B Miller & Co.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="PT-BR">The letters </span><span lang="PT-BR">bm</span><span lang="PT-BR"><o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="PT-BR">1952- present<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="PT-BR">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 17;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="FR">G Xanthides<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="FR">M Xanthides<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="FR">B Xanthides<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">George Xanthides<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Jewellery<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The letters </span><span lang="EN-GB">GX.
<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">The letters </span><span lang="EN-GB">MX.
</span><span lang="EN-GB"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">The letters </span><span lang="EN-GB">GX.
</span><span lang="EN-GB"><o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1953 to date<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1981 to date<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1981 to date<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Pretoria<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 18;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">Undetermined<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Undetermined<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The words </span><span lang="EN-GB">Riviera,
st. silv. </span><span lang="EN-GB">and a regd. mark.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">Around 1953<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Not known <o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 19;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">H. Felstein & C. McQuillan<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Silvercraft<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The letters MCQ<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1953-undetermined<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 20;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">Not known<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">South African Goldware<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The letters SAG </span><span lang="EN-GB">followed by
imprint of a protea (or similar flower)<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1950s and 1960s<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Johannesburg<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 21;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">J Joubert<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">N Dreyer &<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Mr Stanford<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Simba<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The words </span><span lang="EN-GB">AFRICA</span><span lang="EN-GB">, Simba and Handmade imprint. Later on only Simba was used, and sometimes REGD was added.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1954–early 1980s<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Pretoria<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 22;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">J Malamed<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">J Malamed Jewellers<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The name </span><span lang="EN-GB">JAYEM</span><span lang="EN-GB"><o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1955-1995<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 23;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">E Luther<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">R Erasmus<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Mari-Lou Jewellers<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The name </span><span lang="EN-GB">MARI-LOU</span><span lang="EN-GB"> along with STER-SILV.</span><span lang="EN-GB"><o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">Late 1950s–early 1970s<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Pretoria<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 24;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">E de Wet<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Worked from home<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">Mostly unmarked. Sometimes a waterwheel containing 8 spikes.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1956–2011<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Johannesburg<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 25;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="IT">M Pagliari <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="IT">R Regasto & T Pagliary<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Pagliari (Pty) Ltd, The Cape
Mint (Pty) Ltd, Sports Medallions (Pty) Ltd, Gia Jewellery CC and Cape Silver
(Pty) Ltd<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">Any of the following marks: PAGLIARY,
CAPE MINT, CAPE SILVER, CM, CS and K.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1957–2001<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">2001 to date<span style="color: #4f81bd; mso-themecolor: accent1;"><o:p></o:p></span></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 26;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">Commissioning body:<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">National Parks Board<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Various workshop contributions<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The words </span><span lang="EN-GB">WILDTUIN
KRUGER PARK</span><span lang="EN-GB">,</span><span lang="EN-GB"> sometimes REGD was added. Some only state KRUGER PARK. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">A circle (1 cm in diameter), where KRUGER was stamped across the middle of the circle with a rounded
WILDTUIN on the top and PARK on the bottom.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Marks for other national parks such as ADDO PARK were also used.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">Mid-1950s–mid-1970s<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Pretoria<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 27;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">T Sasseen<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Produced from home<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The letters </span><span lang="EN-GB">TMS<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">The letters TS<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">Mid-1950s – early 1980s<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Mid-1980s to date<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Pretoria<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 28;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">Mrre Baroda<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Baroda Brothers<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The letters </span><span lang="EN-GB">BB</span><span lang="EN-GB"> as well as </span><span lang="EN-GB">bb</span><span lang="EN-GB"><o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1958-mid 1980’s<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 29;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">E Frey<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">S Colegate and R Hacquebord<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">R Hacquebord (and M. Pitol 1988-1991)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">K & N Coetzee<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Erich Frey Master Goldsmith Pty (Ltd)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Erich Frey Gold and Silversmiths<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The letters </span><span lang="EN-GB">e</span><span lang="EN-GB"> and </span><span lang="EN-GB">f</span><span lang="EN-GB"> below the imprint of a hand. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">The name </span><span lang="EN-GB">EFREY</span><span lang="EN-GB"> as well as </span><span lang="EN-GB">efrey</span><span lang="EN-GB">.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">The name </span><span lang="EN-GB">efrey.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Continued with the name </span><span lang="EN-GB">efrey.</span><span lang="EN-GB"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Continued with the name </span><span lang="EN-GB">efrey.</span><span lang="EN-GB"><o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1961<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1964-1977<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1977-1987<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1988-1999<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1999 to date<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Pretoria<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Pretoria<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Pretoria<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Pretoria<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Pretoria<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 30;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">M Holm<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Works from home<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">An encircled cross with its points
protruding beyond the circle (4 mm x 4 mm).<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Smaller version of the above design<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">(1,5 mm x 1,5 mm).<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">The same smaller version of the above design
where a quarter of the circle spanning one of the quadrants is missing.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Return to the original design<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1962-mid-1980s<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Mid-1980s-1999 <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1999 - 2014<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">2014 - present<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">From 1961 to date at various locations around Pretoria and
Hartebeespoort, except for Franschoek from 1973-1975. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 31;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">A Pass<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Abe Pass<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">His name </span><span lang="EN-GB">Abe
Pass.</span><span lang="EN-GB"><o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1963- 2012<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 32;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">S Forman<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">D Forman<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">The House of Sid Forman <o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">A diamond (or rhombus) outline within which the letters S and F appear.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">The letters S and F encircled by the outline of a
heart.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1963-present<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">2002-present<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Johannesburg<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Johannesburg<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 33;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">F Huppertz<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Franz Huppertz Jewellers<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The letters FH<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">The name Franz Huppertz<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1964-1997<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Mid 1980s - 1997<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 34;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">G Potash<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Potash Jewellers<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The letters Pop<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1965- late 1980s<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 35;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">Isack Kurgan<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Icky Kurgan<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">I Kurgan & Co.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Galaxy Jewellers<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The letters IK<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1965-1995<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">1995-present<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Cape Town<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 36;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">P Cullman<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Peter Cullman Jewellers<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">C </span><span lang="EN-GB">encased in a
rectangle.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Outline of a stylised ring on which two disks and a trapezium are
mounted. Sometimes CULLMAN was
added to the ring mark.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Continued using the stylised ring and his surname. Sometimes only Cullman was used.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1967-1973 <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1973-1977<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1978-2003<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Johannesburg<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Johannesburg<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Toronto<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 37;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">HF Gattichi<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Prestige Jewellers<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The letter P. <o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1967-1999<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Pretoria<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 38;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">U Koetter<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">J Louw<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Uwe Koetter Jewellers<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB"> U and K where the
right leg of the U is merged with the vertical leg of the K.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1968-present<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1980-present<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 39;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">T Fleischer<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Studio in Broederstroom<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">Copper work is marked with a flower pattern underscored by FLEISCHER in a half circle. Silver
work is marked with KUNSTGEWERBE
FLEISCHER arranged in a circle around the outline of a bird. Underneath,
the abbreviations HAN. ARB appear.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1968-present<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Broederstroom<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 40;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">D Lipman<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">C Horowitz<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">G Miller<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Goldring<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Goldmaster<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">Stylized square G<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1968-1974<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1975-2009<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Cape Town<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 41;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">K Donau<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Kurt Donau Jewellery<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The letters </span><span lang="EN-GB">k</span><span lang="EN-GB"> and d.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1969–2008<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">2008-present<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Johannesburg<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Chur, Switzerland<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 42;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">D Steglich<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">D. Steglich Gold- and Silversmith<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">Image of a sickle moon and
letters d s.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1969–2006<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Pretoria<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 43;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">D Sheasby & L Quinton<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Sheasby Quinton silver<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The names Sheasby and Quinton along with the marks silver
and 925<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1970-present<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 44;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">M Cope<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Mike Cope<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">Capital letter M encircled
by a C that is joined to the right
bottom leg of the M.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1972-present<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 45;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">A & M Cohen<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">A&M Cohen<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">SABS marking specifications. Maker’s mark not determined yet.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">Only reference: Early 1970s<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Johannesburg<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 46;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">Undetermined<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">La Scala<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">SABS marking specifications with La Scala as maker’s mark.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">Only reference: Early 1970s<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Durban<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 47;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">E. Tiessen<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">E. Tiessen<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">SABS marking specifications with ET+ as maker’s mark.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">Only reference: Early 1970s<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Johannesburg<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 48;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">N Watson<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Norman Watson<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">SABS marking specifications with Dick King as maker’s mark.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">Only reference: Early 1970s<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Durban<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 49;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">R Kirov<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">R&G Metal Art<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The marks K , S925, Spilhaus and the SABS date letter.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">Only reference: Early 1970s<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 50;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">Undetermined<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Undetermined<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The letters WWL.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1970s<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Not known<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 51;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">Undetermined<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Undetermined<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The letters PJ.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1970s<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Not known<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 52;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">WZ Ungar<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Undetermined<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The word Zeeta.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1970s-early 1980s(?)<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Not known<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 53;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">M Oboler<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Oblo Jewellers<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The word Oblo.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1970s-early 1980s(?)<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 54;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">E and L Kratz<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Studio K<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The name Studio K or the letters E and K superimposed
on each other. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">A third mark still in use at present consists of two overlapping 90˚
triangles giving the impression of a bow tie.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1974–1986<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1986–1997<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1997 to date<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="DE">Johannesburg<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="DE">Pforzheim, Germany<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="DE">Brisbane, Australia<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 55;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">G Traest<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Undetermined<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">Made use of <i>guy</i>RS as acronym as well as two stylistic
letters G where the second letter is turned around to become the
mirror image of the first.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1974–late 1980s(?)<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Johannesburg<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 56;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">A Zimmerman<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Zimmerman Studio<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The letters AZ<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1975-1990<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 57;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">Not known<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Lentin & solway<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">L III</span><span lang="EN-GB">, L IV, L V etc.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1975-Late 1980s<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 58;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">F Hirner<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Frans Hirner<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The letters fh<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1975-undetermined<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 59;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">H Köhler<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">KöHLER<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">Stylized infinity symbol<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1975-1998<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 60;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">D Jacobs<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">D Jacobs & <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">G Nel<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">D Jacobs<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Stellenbosch Manufacturing Jewellers<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Goldart<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Daniel Jacobs Jewellery Design<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB"> The letters SMJ.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB"> </span><span lang="EN-GB">The
letters </span><span lang="EN-GB">DAJ.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Abstracted form of the letters G
and A was used where the larger
right-leaning G is fused to a smaller left-leaning A.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">A stylised butterfly with four segmented wings.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1980-1989<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">1980-1994<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1989–1994<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1994 to date<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Stellenbosch<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Stellenbosch<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Stellenbosch<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Stellenbosch<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 61;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">T Beyers<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Works from home<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The letters t and b. Upright legs of the t and b are
fused.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">Late 1980s to date<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Pretoria<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 62;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="FR">Prins & Prins<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="FR">Dr P Prins<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="FR">Aurum Art Atelier<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="FR">P&P<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="FR">1982-present <o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="FR">Present<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 63;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="FR">L Friedlander<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="FR">Lilly Friedlander Goldsmith<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="FR">Encircled L<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="FR">1983-present<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="FR">Stellenbosch<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 64;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="FR">P Winhall &<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="FR">D Holmes<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="FR">Winhall and Holmes<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="FR">The letters W+H<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="FR">1983-1999<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="FR">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 65;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="FR">D Peters<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="FR">7 Guys Jewellery<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="FR">7G</span><span lang="FR"><o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="FR">1985-1988<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="FR">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 66;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="FR">E Benson<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="FR">CONTI Jewellers<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="FR">Conti</span><span lang="FR"><o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="FR">1985-1995<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="FR">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 67;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="FR">A & C Goodman<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="FR">Olga Jewellery Design Studio<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="FR">Stylized name <i>Olga</i><o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="FR">1988-present<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="FR">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 68;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">S Colegate<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Stephen Colegate Jewellers<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The letters s and c.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1988-present<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">1988-1997: Pretoria<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">1997 to date:<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Knysna<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 69;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">Undetermined<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Natal Wholesale Manufacturing Jewellers<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">SABS marking specifications. Maker’s mark not yet determined.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1988-late 1990s<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Durban<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 70;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">M Nunes<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Raffaele D’Amato Jewellers<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">A zigzag pattern contained within a tubular or capsule outline. <o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1988-present<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">George<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 71;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">D Balding<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">D Balding Manufacturing Jewellers<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The letters db<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1990-present<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 72;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">P Gilson<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">JPPE Manufacturing Jewellers<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The letters jppe<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1990-present<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 73;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">C Greig<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">D Balding and other workshops<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">Outline of Table Mountain<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1990-1998<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 74;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">P Gilder<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Various workshops<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The letters PG<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1990-present<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Cape Town<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 75;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">D Evans<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">AUGENTA<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<v:shape id="Picture_x0020_2" o:spid="_x0000_i1025" style="height: 22.8pt; mso-wrap-style: square; visibility: visible; width: 35.4pt;" type="#_x0000_t75">
<v:imagedata o:title="" src="file:///C:\Users\Vstadfj\AppData\Local\Temp\msohtmlclip1\01\clip_image009.png">
</v:imagedata></v:shape><span lang="EN-GB"><o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1992-present<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Stellenbosch<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 20.15pt; mso-yfti-irow: 76; mso-yfti-lastrow: yes;">
<td style="border-top: none; border: solid black 1.0pt; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 19.56%;" valign="top" width="19%"><div class="MsoNormal">
<span lang="EN-GB">M Pitol<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 18.74%;" valign="top" width="18%"><div class="MsoNormal">
<span lang="EN-GB">Works from home<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 23.7%;" valign="top" width="23%"><div class="MsoNormal">
<span lang="EN-GB">The letters M, V and P encircled by an oval ring.
The letters M and P are vertically joined with the letter V superimposed on
them.<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 17.48%;" valign="top" width="17%"><div class="MsoNormal">
<span lang="EN-GB">1995-present<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid black 1.0pt; border-left: none; border-right: solid black 1.0pt; border-top: none; height: 20.15pt; mso-border-alt: solid black .5pt; mso-border-left-alt: solid black .5pt; mso-border-top-alt: solid black .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 20.52%;" valign="top" width="20%"><div class="MsoNormal">
<span lang="EN-GB">Pretoria: 1995-1999<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Knysna: 1999 to date<o:p></o:p></span></div>
</td>
</tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB"><b>Concluding remark</b><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-weight: normal;">As a concluding observation, there are also those manufacturers and
artist jewellery makers who did not mark their creations, for whatever reason.
This creates a legacy problem, since their work cannot be catalogued or defined
with any certainty, except for perhaps design features that could be tied to a
specific artist jeweller. Sadly this heritage is bound to disappear into an
amorphous world without a history. In addition, creative silver and goldsmiths
are often confronted with having to melt up the creations of (earlier)
colleagues. This presents the dilemma of a continued withering down of our
identifiable precious metal heritage. Perhaps it is naïve to expect jewellers
to refer such items to antique and collectible dealers for resale. Perhaps the
collectible market is too small and not being cultivated either. Nevertheless,
as a country we are the poorer for not making a more concerted effort to
conserve and appreciate these beautiful and joyful expressions of our heritage.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div>
<!--[if !supportFootnotes]--><span style="font-weight: normal;"><br clear="all" />
</span><br />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="ftn1">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><i><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[1]</span></span><!--[endif]--></span></i></span></a><span lang="EN-US"> A. George, <i>Constructing Intellectual
Property</i>, (Cambridge, 2012), pp 281-294.<o:p></o:p></span></span></div>
</div>
<div id="ftn2">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[2]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> A. Truman, <i>Sotheby’s Concise
Encyclopedia of Silver, </i>1996, (Conran Octopus Limited, 1996), pp 194-195.
See also, see D. McKinley, “The Goldsmiths’ Company of London’s sterling
standard”, <i>Association of Small Collectors of Antique Silver, </i>article
nr.186, August 2014, </span><span lang="EN-US"><a href="http://www.ascasonline.org/articoloSETTE186.html">http://www.ascasonline.org/articoloSETTE186.html</a></span><span lang="EN-US">, accessed on 01 September 2014. See also,
J. Bace, <i>Collecting Silver, </i>(Miller’s, London, 1999), p 46. See also, P.
Prins, <i>Gems and Jewellery, The South African Handbook, </i>(Isikhova, Johannesburg,
2009), p 216.<o:p></o:p></span></span></div>
</div>
<div id="ftn3">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[3]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> C. Phillips, <i>Jewels and jewellery, </i>(V&A
Publications, London, 2000), p 142.<o:p></o:p></span></span></div>
</div>
<div id="ftn4">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[4]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> C. Blair, <i>The History of Silver, </i>(Little
Brown & Co, London, 2000), pp 234-240.<i><o:p></o:p></i></span></span></div>
</div>
<div id="ftn5">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[5]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Anon, “The silversmiths of the old Cape:
Hall-marking scheme introduced in 1715”, <i>The
Diamond News and the S.A. Watchmaker and Jeweller, </i>December 1950, pp 51-54.
See also, J. Ambrose Brown, <i>South African
Art,</i> (Macdonald, Cape Town, 1978), p 50. See also, D. Wemyss, “Bounty of
Silver, Collecting old silver can be a rewarding and interesting hobby”, <i>South African Garden & Home, </i>December
1992, p 18.</span><o:p></o:p></span></div>
</div>
<div id="ftn6">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[6]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> An assay office is responsible for testing
the metal content of precious metal products. All approved items are then
certified with a hallmark stamp. Anon, “Assays – what happens”, <i>Diamond News and S.A. Jeweller, </i>December
1984, p 6. </span><o:p></o:p></span></div>
</div>
<div id="ftn7">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[7]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span>Anon, “Urgent need for government hall-mark system”, <i>The </i><i><span lang="EN-US">Diamond News and the
S.A.Watchmaker and Jeweller, </span></i><span lang="EN-US">August
1942, pp 30-31. See also, anon, “More jewellery marking worries”, <i>The Diamond News and the S.A. Jeweller,</i>
November 1958, p 32, as well as anon, “Proposed marking up of all jewellery”, <i>The Diamond News and the S.A. Jeweller,</i>
September 1958, p 5.</span><o:p></o:p></span></div>
</div>
<div id="ftn8">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[8]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span>L. Dellatola, “Jewellery Council”, <i>South African Panorama,</i> 18, 12, 1973,
p4.<o:p></o:p></span></div>
</div>
<div id="ftn9">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref9" name="_ftn9" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[9]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> J. Hobbs, “SA hallmarking – one step
nearer”, <i>Diamond News and S.A. Jeweller, </i>December
1984, pp 3, 6 & 32. </span><o:p></o:p></span></div>
</div>
<div id="ftn10">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref10" name="_ftn10" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[10]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> National Gazette no 34233, 29 April 2011,
vol 550, p 17 based on the SABS’ South African National Standards (SANS) 29
version 4, section 6.2.2. See also, Anon, ZA stamp compulsory for all locally
produced products, <i>SA Jewellery News, </i>March 2013, p 8, as well as L.
Loyd, “SA stamp compulsory for all locally produced products”, <i>SA Jewellery-biz News, </i>2013, week 07,
p1.</span><o:p></o:p></span></div>
</div>
<div id="ftn11">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref11" name="_ftn11" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[11]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> M.N. Morrison, <i>The silversmiths and
goldsmiths of the Cape of Good Hope, 1652-1850,</i> (Johannesburg), 1936.<o:p></o:p></span></span></div>
</div>
<div id="ftn12">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref12" name="_ftn12" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[12]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> D. Bax, <i>Het oudste Kaapse Silver
1669-1751,</i> (Noord Hollandsche Uitgevers Maatschappij, Amsterdam/London),
1974.<o:p></o:p></span></span></div>
</div>
<div id="ftn13">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref13" name="_ftn13" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[13]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> S. Welz, <i>Cape Silver and Silversmiths, </i>(AA
Balkema uitgevers, Cape Town/Rotterdam), 1976.<o:p></o:p></span></span></div>
</div>
<div id="ftn14">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref14" name="_ftn14" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[14]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> The following texts containing summaries of
the legacies of noted gold- and silversmiths who worked in South Africa between
1900 and 1980, were published in the <i>South
African Journal of Cultural History: <o:p></o:p></i></span></span></div>
<div class="MsoFootnoteText">
<span lang="EN-US" style="font-weight: normal;">Joe Calafato:
A late twentieth century South African precious metal artist, June 2010, 24, 1,
pp 126-149.<o:p></o:p></span></div>
<div class="MsoFootnoteText">
<span lang="EN-US" style="font-weight: normal;">Erich Frey
and Associates: A bold contribution to South African silver- and goldsmith
design, June 2011, 25, 1, pp 148-179.<o:p></o:p></span></div>
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><span lang="EN-US">Early and mid-twentieth century South Africa: Legacies of local gold- and
silversmiths, June 2013, 27, 1, pp 139-163.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoFootnoteText">
<span lang="EN-US" style="font-weight: normal;">An overview of noted gold- and silversmiths in South Africa in South
Africa in the 1950s, June 2014, 28, 1, pp 90-113.<o:p></o:p></span></div>
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><span lang="EN-US">South African precious metal design between 1960 and 1980, June 2015, 29,
1, pp 22-57.</span><span lang="EN-US"> <o:p></o:p></span></span></div>
</div>
<div id="ftn15">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref15" name="_ftn15" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[15]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> See footnote 14 above.<o:p></o:p></span></span></div>
</div>
<div id="ftn16">
<div class="MsoNormal">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref16" name="_ftn16" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[16]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span>F. van Staden, <span lang="EN-US">Twentieth
century jewellery design in South Africa, <i>South African Journal of Cultural
History,</i> June 2016, 30,1, pp 119-143.<o:p></o:p></span></span></div>
</div>
<div id="ftn17">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref17" name="_ftn17" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[17]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> J. Ritchy, Specification for marking
articles made of gold, ref. 15/12/1, <i>SABS
Bulletin</i> No. 29, 01 March 1948. Specifications for the assay of 22ct, 18ct,
15ct and 9ct gold was provided. <o:p></o:p></span></span></div>
<div class="MsoFootnoteText">
<span lang="EN-US" style="font-weight: normal;">J.
Ritchy, Specification for marking
articles made of sterling silver, ref. 15/12/1,<i> SABS Bulletin </i>No. 30, 01 March 1948. See also, M. Vowles, Hallmarking in South
Africa: dead or alive?, <i>SABS Bulletin, </i>7, 2, June 1998, pp 5, 7 & 8.<o:p></o:p></span></div>
</div>
<div id="ftn18">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref18" name="_ftn18" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[18]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> A. Boddy, Letter addressed to the South
African Mint, 15 January 1973.<o:p></o:p></span></span></div>
</div>
<div id="ftn19">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref19" name="_ftn19" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[19]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> J. van Heerden, Hallmarks on SA silver,
SABS, Letter to Mr A. Boddy, 12 November 1975.<o:p></o:p></span></span></div>
</div>
<div id="ftn20">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref20" name="_ftn20" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[20]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> From the Boddy portfolio: Notes on the work
of Radoslav Kirov from R & G Metal Art indicate that he continued using the
dating mark until completion of the series in 1999.<o:p></o:p></span></span></div>
</div>
<div id="ftn21">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref21" name="_ftn21" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[21]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> L. Loyd, “ZA stamp compulsory for all
locally produced products”, <i>SA Jewellery
News, </i>March 2013, p 1, week 07, 8. See also, Anon, “ZA stamp comes to
Jewellex 2014”, <i>SA Jewellery News,</i>
May 2014, p 8.<o:p></o:p></span></span></div>
</div>
<div id="ftn22">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref22" name="_ftn22" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[22]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span>Interview: Mr Lourens Maré, CEO, Jewellery Council of
South Africa, Parktown, Johannesburg, 10 April 2012.<o:p></o:p></span></div>
</div>
<div id="ftn23">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref23" name="_ftn23" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[23]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> SABS Standards Division, <i>South African
National Standard: Articles made of precious metals,</i> SANS document 29:
2011, Edition 4, March 2011. The document “…specifies the range of fineness and
the composition of precious metals, and lays down requirements for the marking
of articles made of precious metals<i>”, </i>p 3. The table indicating the
designation of precious metal content and its marking is provided on p 6.<o:p></o:p></span></span></div>
</div>
<div id="ftn24">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref24" name="_ftn24" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[24]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> SABS Standards Division, <i>South African
National Standard: Articles made of precious metals,</i> SANS document 29:2011,
Edition 4, March 2011, p 8.<o:p></o:p></span></span></div>
</div>
<div id="ftn25">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref25" name="_ftn25" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[25]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span>Interview: Mr G. Foden, creative jeweller and owner of
the Haglund workshop, Johannesburg, 28 October 2009. See also, <span lang="EN-US"><a href="http://www.goldinsouthafrica.com/"><span lang="EN-ZA">www.goldinsouthafrica.com</span></a></span>, <i>Gold in South Africa Report, </i>Chapter 4, p 84, 2005, accessed on 16
February 2012. <o:p></o:p></span></div>
</div>
<div id="ftn26">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref26" name="_ftn26" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[26]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Anon, “A hallmarking system for South
Africa”, <i>SABS Bulletin, </i>4, 2, October 1974, p 31. See also, Anon,
untitled clipping from the Boddy portfolio, <i>SABS Bulletin, </i>4, 10, June
1975, pp 222-226.<o:p></o:p></span></span></div>
</div>
<div id="ftn27">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref27" name="_ftn27" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[27]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Background on the Excalibur mark is
confusing, since the mark was also found on Sheffield silverplate cutlery in
the Dubarry design (1940s/1950s). The matter was further complicated by the
existence of cutlery sets where only the name EXCALIBUR (without the hand
holding the sword) was stamped together with the metal content. As no
further evidence or information on this mark could be found in reference materials
or on the internet so far, the country of origin and the connection to South
African silver remain uncertain. Further research is necessary. E-mail: C.
Meyer-F. van Staden, <i>Goldsmiths hallmarks
final</i>, 18 June 2015.<o:p></o:p></span></span></div>
</div>
<div id="ftn28">
<div class="MsoNormal">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref28" name="_ftn28" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[28]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> E-mail: D. Boddy - F.van Staden, <i>RE: Updated version, </i>19 June 2014 provided the following synoptic biography of
his father Arthur Henry Boddy: <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-weight: normal;"><span lang="EN-US">Born in 1904 - Worked for Guardian Insurance Company retiring in April
1968. His son David, began collecting silver as a 14 year old boy, and Arthur
started to create his yellow card index system registering over 6000
silversmiths of whom there was either a photographic reference to their work or
prices realized at auction. These were collated from the Connoisseur Magazines
together with hundreds of silver sale catalogues, books and pamphlets on the
subject. In the early 1970’s he started research on post 1948 South African
silver compiling a research record of this history and a list of silversmiths
and their marks. This gave him hours of pleasure. His son David did the
collecting whilst Arthur did the research, a warm father/son collaboration. At
the age of 73 Arthur suddenly passed away in 1977 of a heart attack. His
retired son continues the work his father began all those years ago</span><span lang="EN-US">.<o:p></o:p></span></span></div>
</div>
<div id="ftn29">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref29" name="_ftn29" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[29]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> The listing of maker’s marks were
summarised from the notes of Mr A. Boddy. The information was confirmed by
letters from the silversmiths themselves, or the South African Bureau of
Standards or the Jewellery Manufacturers Association of South Africa , or the
South African Mint, or by published articles.<o:p></o:p></span></span></div>
</div>
<div id="ftn30">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref30" name="_ftn30" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[30]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> A.H. Boddy, letter addressed to Mr A.H.
Fahn, Empangeni, 25 January 1975.<o:p></o:p></span></span></div>
</div>
<div id="ftn31">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref31" name="_ftn31" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[31]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> W.S. van As, S.A. Mint, Letter to Mr A
Boddy, 13 November 1972. See also a follow up letter by Boddy, (dated 15
January 1973), requesting an indication of the number of hallmark punches that
were sold by the Mint, appears to have been ignored. The Boddy portfolio also
includes a letter from Mrs. G. E. P How (of Edinburgh), residing in St. James
street, London, dated 8 March 1973 in which she regrets the lack of
co-operation Boddy was receiving from the S.A. Mint.<o:p></o:p></span></span></div>
</div>
<div id="ftn32">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref32" name="_ftn32" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[32]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> A.H. Boddy, letter to Mr E.S. Fyfe,
Director of the Jewellery Council of South Africa, 13 December 1974. <o:p></o:p></span></span></div>
</div>
<div id="ftn33">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref33" name="_ftn33" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[33]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> J. van Heerden, Director General: SABS,
letter to Mr A Boddy titled <i>Hallmarks on
SA silver</i>, 24 November 1972.<o:p></o:p></span></span></div>
</div>
<div id="ftn34">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref34" name="_ftn34" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[34]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Apart from being listed by the SABS, no
additional information could be obtained.<o:p></o:p></span></span></div>
</div>
<div id="ftn35">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref35" name="_ftn35" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[35]</span></span><!--[endif]--></span></span></a><span lang="EN-US">L. Muller (for the proprietor F.A. De
Meillon), letter to Mr A Boddy, 28 February 1973. In 1972 Frans de Meillon and
Ron Stuart produced a 5 piece silver tea service based on protea designs,
weighing 125 troy ounces (newspaper
cutting from the Boddy portfolio: Anon, Poetry in silver, <i>Tribune,</i> 03
December 1972). <o:p></o:p></span></span></div>
</div>
<div id="ftn36">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref36" name="_ftn36" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[36]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Notes from the Boddy portfolio.<o:p></o:p></span></span></div>
</div>
<div id="ftn37">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref37" name="_ftn37" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[37]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Anon, Henry Joseph & Sons (Pty.) Ltd.:
Premier manufacturers of silverplate and pewter ware, in a monograph titled <i>Kempton
Park, Transvaal</i>, Felstar Publishers, Johannesburg, pp. 136-139, 1967.<o:p></o:p></span></span></div>
</div>
<div id="ftn38">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref38" name="_ftn38" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[38]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Anon, <i>Up to the Mark</i><i>, </i>newspaper clipping from the Boddy
portfolio, 3 October 1975. See also, J. van Heerden, SABS, letter to Mr A.
Boddy, 12 November 1975.<o:p></o:p></span></span></div>
</div>
<div id="ftn39">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref39" name="_ftn39" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[39]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> N. Groenewald, S.A. Mint, letter to Mr A
Boddy, 9 August 1972. See also, F. van Staden, Legacies of immigrant gold- and
silversmiths during early and mid-twentieth century South Africa, <i>South
African Journal of Cultural History, </i>27,1, June 2013, pp 143-144.<o:p></o:p></span></span></div>
</div>
<div id="ftn40">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref40" name="_ftn40" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[40]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> S. English, Sales manager: E Tiessen (Pty)
Ltd., Letter to Mr A. Boddy, 24 January 1973.<o:p></o:p></span></span></div>
</div>
<div id="ftn41">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref41" name="_ftn41" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[41]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> R. Venables, Norman Watson Engraver &
Manufacturing Jeweller, letter to Mr A Boddy, 16 March 1973.<o:p></o:p></span></span></div>
</div>
<div id="ftn42">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref42" name="_ftn42" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[42]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> B. Fitzgerald, Manufacturing to the mark of
quality, <i>SABS Bulletin, </i>June 1998, pp
25-26.<o:p></o:p></span></span></div>
</div>
<div id="ftn43">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref43" name="_ftn43" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[43]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> From the Boddy portfolio: Anon,
Standardisation marks of the SABS, March 1974, p iii. Apart from being listed,
no additional information could be obtained.<o:p></o:p></span></span></div>
</div>
<div id="ftn44">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref44" name="_ftn44" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[44]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> D. Wemyss, Bounty of silver, <i>South
African Garden & Home, </i>December 1992, p 168.<o:p></o:p></span></span></div>
</div>
<div id="ftn45">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref45" name="_ftn45" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[45]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> From the Boddy portfolio: Article on p 25,
scrapbook nr 9.<o:p></o:p></span></span></div>
</div>
<div id="ftn46">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref46" name="_ftn46" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[46]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> L.J. Coombes, Secretary of the Jewellery
Manufacturers’ Association of South Africa (Transvaal Branch), letter addressed
to Mr. A. Boddy, 2 November, 1972.<o:p></o:p></span></span></div>
</div>
<div id="ftn47">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref47" name="_ftn47" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[47]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Unpublished document, <i>Constitution of
the Goldsmiths Guild of South Africa</i><i>,</i>
signatories of founding members, 1973. <i> </i>Shortly thereafter, another well-known
goldsmith Franz Huppertz, joined the Guild.</span><o:p></o:p></span></div>
</div>
<div id="ftn48">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref48" name="_ftn48" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[48]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span>Peter Cullman and founder members, <i>Constitution of the Goldsmiths Guild of
S.A./Goudsmede Gilde van Suid-Afrika</i>,<i>
</i>1973, p 1. <o:p></o:p></span></div>
</div>
<div id="ftn49">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref49" name="_ftn49" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[49]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span>Interview: Mr D. Shilofsky, manufacturing jeweller and
gemmologist, Lynnwood, Pretoria, 2009-09-30. Membership of the Jewellery Council
was also optional.<o:p></o:p></span></div>
</div>
<div id="ftn50">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref50" name="_ftn50" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[50]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span>B. Maree, Skoonheid uit die natuur, <i>Suid-Afrikaanse Panorama, </i>January 1986,
p 37.<o:p></o:p></span></div>
</div>
<div id="ftn51">
<div class="MsoNormal">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref51" name="_ftn51" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[51]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span>L. Dellatola, Precious jewels, <i>South African Panorama,</i> January 1975, pp 32-33. See also, Anon, Eg
Suid-Afrikaanse sierade, <i>Die Huisgenoot, </i>18
Junie 1976, p 69, and E. Phillips, They are creating beauty in metal, 1975,
unreferenced newspaper clipping courtesy of goldsmith Hartmut Jäger.<span lang="EN-GB"><o:p></o:p></span></span></div>
</div>
<div id="ftn52">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref52" name="_ftn52" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[52]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Anon, Smiths open Rosebank Gallery, <i>Diamond News and S.A. Jeweller, </i>August
1979, pp 6-7. Anon, Gold gleaning, <i>Diamond
News and S.A. Jeweller, </i>November 1979, pp 13 and 42. See also, unknown
author, Timeless gold keeps pace with the latest fashions, <i>Diamond News and S.A. Jeweller,</i> September 1981, pp 25 & 27.</span><o:p></o:p></span></div>
</div>
<div id="ftn53">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref53" name="_ftn53" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[53]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span>F. van Staden, South African metal design between 1960
and 1980, <i>South African Journal of
Cultural History</i>, 2015, 29(1), 22-57.<i>
</i><span lang="EN-US">E-mail correspondence: K.
Donau – F. van Staden, <i>Kurt Donau</i><i>,
</i>01 February<i> </i>2012.
</span><i><o:p></o:p></i></span></div>
</div>
<div id="ftn54">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref54" name="_ftn54" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[54]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> E-mail correspondence: K. Donau – F. van
Staden, <i>Kurt Donau</i><i>,</i> 01 February<i> </i>2012. </span><o:p></o:p></span></div>
</div>
<div id="ftn55">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref55" name="_ftn55" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[55]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span>Strauss & Co, <i>Catalogue
for the auction of South African art, jewellery and decorative arts,</i> on 06
February 2012 in Cape Town<i>,</i> Strauss
& Co (Pty) Ltd, pp 84-87, 2012.<i> </i><o:p></o:p></span></div>
</div>
<div id="ftn56">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref56" name="_ftn56" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[56]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> E-mail, H. Jäger – F. van Staden, <i>Ilse,
Hartmut and the SA Goldsmiths Guild</i>,
13 December 2012. See also, e-mail, H. Jäger – F. van Staden, <i>3<sup>rd</sup>
lot of pictures from Hartmut</i><i>,</i> 15
December 2012 and e-mail, H. Jäger – F.
van Staden, <i>A few more answers</i><i>,</i>
17 December 2012. </span><span lang="DE">E-mail, L. Kratz - F. van Staden, <i>Re: Goldsmiths: E & L Kratz</i>,
14 August, 2012. </span>E-mail,
P Cullman – F. van Staden, <i>Goldsmiths Guild et al</i><i>,</i> 12 July 2012 and <i>Re: Goldsmiths Guild et al,</i> 14 July
2012.<o:p></o:p></span></div>
</div>
<div id="ftn57">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref57" name="_ftn57" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[57]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span>Interview: Mr & Mrs Coetzee, goldsmith owners of
Erich Frey Jewellers, Montana, Pretoria, 18 September 2009. See also, <span lang="EN-US">J. Hobbs, “SA hallmarking – one step
nearer”, <i>Diamond News and S.A. Jeweller, </i>December
1984, pp 3, 6 & 32.</span><o:p></o:p></span></div>
</div>
<div id="ftn58">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref58" name="_ftn58" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[58]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span>S.B. Wyler, <i>The
Book of Old Silver</i>, (Crown Publishers, New York), undated. See also, R.
& T. Kovel. <i>Kovel’s American Silver
Marks 1650 to the Present,</i> (Crown
Publishers, New York), 1986.<o:p></o:p></span></div>
</div>
<div id="ftn59">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref59" name="_ftn59" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[59]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span>One of
the SAJCH reviewers of this manuscript provided valuable additional information
on makers’ marks in use. This information was integrated in this table. <o:p></o:p></span></div>
</div>
<div id="ftn60">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref60" name="_ftn60" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[60]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> See footnote 14. <o:p></o:p></span></span></div>
<div class="MsoFootnoteText">
<br /></div>
</div>
<div id="ftn61">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref61" name="_ftn61" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[61]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Felix Vetter was a master goldsmith with
sophisticated engraving talents with which he created sculptural roses as part
of his designs. After casting his jewellery pieces he would shape them by
carving and engraving the pieces with self-fabricated tools. He was interred in
Namibia during WWII. During this time he created rings with flower patterns
engraved on the inner band along with his maker’s mark. The stones he used were
ground by hand. In the early 1950s he won first prize in the creative jewellery
section of the Sao Paulo Biennale in Brazil. He had exceptional upper body/arm
strength. He was married in the 1950s to the Berlin-born Editha. They had no
children. He died of a heart attack one afternoon in the late 1960s in his Jeppe
Street studio. E-mail: P Muser, (Oakville, Ontario, Canada - F van Staden, 19
January 2014), 'He was a true renaissance gentleman’. Felix Vetter was a close
friend of Muser’s father.<o:p></o:p></span></span></div>
</div>
<div id="ftn62">
<div class="MsoFootnoteText">
<span style="font-weight: normal;"><a href="file:///C:/Users/Vstadfj/Documents/Goldsmiths%20hallmarks%20final%201.docx#_ftnref62" name="_ftn62" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman" , serif;">[62]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> F. van Staden, “Joe Calafato: A late
twentieth century South African precious metal artist”, <i>South African
Journal of Cultural History, </i>24, 1, June 2010, pp 130-131.</span></span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
</div>
Fredhttp://www.blogger.com/profile/08076362684798612013noreply@blogger.com87tag:blogger.com,1999:blog-2651480711748885554.post-74005767741289427082012-05-17T14:41:00.001+02:002014-01-14T11:48:00.979+02:00Rooted in the 1950's: An overview of noted gold- and silversmiths in South Africa<br />
<div align="center" class="MsoNormal" style="line-height: 150%; text-align: center;">
<b><span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Fred van Staden<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<b><span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Department
of Psychology, University of South Africa, PO Box 392, Pretoria, 0003<o:p></o:p></span></span></b></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white;"><span lang="IT" style="font-size: 10pt;"> </span><span lang="IT" style="font-size: 10pt; font-weight: bold; line-height: 115%;"> </span></span></span></div>
<div class="MsoNormal">
<span style="background-color: white; font-size: 10pt; line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="background-color: white; font-size: 10pt; line-height: 115%;"><i><span style="font-family: Arial, Helvetica, sans-serif;">(to be published in the South African Journal of Cultural History, June 2014)</span></i></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><span style="font-size: 10pt; line-height: 115%;">Geanker in die 1950’s: </span></b><b><span lang="EN-ZA" style="font-size: 10pt; line-height: 115%;">‘n Oorsig van bekende goud- en silwersmede in
Suid-Afrika.<o:p></o:p></span></b></span></div>
<div class="MsoNormal" style="line-height: 115%;">
<span lang="EN-ZA" style="font-size: 10pt; line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;">In hierdie opvolg artikel<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-ZA" style="font-size: 10pt;">[1]</span></span></span></a> word ‘n oorsig verskaf van
‘n aantal goud- en silwersmede wat hulle werkwinkels tussen 1950 en 1959 in
Suid Afrika kom vestig het. Gebaseer op koerantberigte, joernaal en tydskrifartikels,
boek publikasies, tersaaklike e-pos skrywes en internet soeke is ‘n oorsig
saamgestel. Onderhoude is gevoer met goudsmede of hulle nasate, en spesialiste
in die industrie soos juweelkenners, stempelsnyers en graveerders. Opsommings
met tersaaklike inligting oor die vervaardigers en hulle uitsette is vervolgens
saamgestel. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 115%;">
<br /></div>
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="DE-CH" style="font-size: 10pt; line-height: 115%;">Sleutelwoorde:</span></b><span lang="DE-CH" style="font-size: 10pt; line-height: 115%;"> edelmetaalkunstenaar,
goudsmid, silwersmid, vervaardigende juwelier, vervaardigersmerk, twintigste
eeu Suid-Afrika.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 115%;">
<br /></div>
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-ZA" style="font-size: 10pt; line-height: 115%;">This follow-up article<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-ZA" style="font-size: 10pt;">[2]</span></span></span></a> </span><span style="font-size: 10pt; line-height: 115%;">concentrates
on 20<sup>th</sup> century manufacturing gold- and silversmiths in South Africa
who established their workshops from 1950 to 1959.</span><span lang="EN-ZA" style="font-size: 10pt; line-height: 115%;"> A review is composed, based
on newspaper reports, journal and magazine articles, book publications,
relevant e-mail exchanges and internet searches. Interviews were conducted with
gold- and silversmiths or their descendants and other specialists such as
gemmologists, die sinkers and engravers. Précis with pertinent information on
the gold- and silversmiths and their outputs were then composed.<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><span style="font-size: 10pt;">Key words:</span></b><span style="font-size: 10pt;"> precious metal
artist, goldsmith, silversmith, manufacturing jeweller, maker’s mark, twentieth
century South Africa.<b><o:p></o:p></b></span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<b><span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Introduction<o:p></o:p></span></span></b></div>
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<br /></div>
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<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">In twentieth century South
Africa, market demands played a central role in the development of a mix of
mass and individual metal art businesses. Some workshops that employed a great
number of artisans specialising in the various facets of jewellery making, incorporated
mass production techniques to provide more affordable products for the market
place. In some cases, the ‘bread and butter’ lines of a few workshops were
based on the local market for manufactured medals, pins, badges and insignia.
This notwithstanding, throughout the twentieth century, the majority of local gold-
and silversmiths preferred to maintain small studios that focused only on designing
and making individually crafted jewellery pieces (mostly on commission), along
with repairing and remoulding existing pieces. Often, a retail section with
wholesale items, was also included in the business mix. In the early and mid
twentieth century, the sale of imported watches and their repairs served as a
primary means of income, with jewellery making and repairs as a sideline. But
in line with international trends and with the development of the local
economy, over the latter half of the twentieth century, the market became
increasingly sophisticated along with a demand for locally manufactured as well
as handmade jewellery and other precious metal artefacts.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 10pt; line-height: 150%;">The aftermath of the Second
World War resulted in a wave of immigrants skilled in the various facets of
jewellery making (die sinking, engraving, soldering, cutting and polishing of
precious stones) – thereby contributing significantly to the development of a local
handmade and manufactured jewellery.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[3]</span></span></span></a>
After the war, the South African Government encouraged the immigration of
skilled artisans to South Africa. In the early 1950’s in Pretoria alone, the
Lazar Brothers (who had a workshop in Church street) imported a fair number of
Lithuanian craftsmen such as Messrs. Alswang, Lever, Abbratt Fine, Sherman,
Bregman, Novis, Nochamovitz, Hyme Milstein, Meinke, Nowitz, Hope and Arthur
Kaplan.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[4]</span></span></span></a>
Other contingents came from Italy, Austria, Germany, Switzerland and the UK. </span><span lang="EN-ZA" style="font-size: 10pt; line-height: 150%;">Being immigrants, they
brought a freshness of perception and appreciation of South African cultures
and landscapes to the fore. </span><span style="font-size: 10pt; line-height: 150%;">At the beginning of the 1950’s the stage
was set for new growth in the output of South African gold- and silversmiths –
a growth that was to prosper over the latter half of the 20<sup>th</sup>
century.<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><span style="font-size: 10pt; line-height: 150%;">Gold-
and silversmiths in South Africa: The early development of organisational
structures</span></b><span style="font-size: 10pt; line-height: 150%;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">In the midst of the Second
World War the South African Jeweller’s Association Ltd. came to life in
Johannesburg in March 1942. Within fifteen years it had successfully
established branches countrywide (Border, Port Elizabeth, Durban, East London,
Cape Town, Pretoria, Johannesburg and Kimberley, with Provincial branches in
the Transvaal, Free State, Natal and the Western Province). The Johannesburg
Branch was the most differentiated of all the structures and comprised of three
sections that represented the concerns of wholesale jewellers and manufacturers,
with separate representation for the retail jewellers and the manufacturing jewellers.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[5]</span></span></span></a> In
the1955 the Cape Jewellery Manufacturing Association was formed and seceded
from the S. A. Jewellery Manufacturer’s’ Association but remained affiliated
with the mother body, the S.A. Jeweller’s Association. The main reason for
seceding was that decisions were made by the S.A. Jewellers’ Association that
did not represent their interests.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[6]</span></span></span></a> <a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[7]</span></span></span></a>
For the rest of the 20<sup>th</sup> century the Cape Jewellery Manufacturers’
Association kept functioning as a separate interest group until it amalgamated
with the Jewellery Council of South Africa in 2012 due to low membership.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[8]</span></span></span></a><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Apart from the initial
Transvaal Jewellery Manufacturers’ Association (under the umbrella of the S.A.
Jewellery Association) and the Cape Jewellery Manufacturers’ Association,
the creation and manufacturing of
precious metal artefacts (be it jewellery, flat- or hollow ware) in South
Africa was regulated by an Industrial Council for the Jewellery and Precious
Metal Industry. It was constituted under the Industrial Conciliation Act in
November 1945.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[9]</span></span></span></a> Together,
they defined four main sections of creative precious metal artisanship –
designing, making, setting and polishing – and laid down an ethical code along
with training and production requirements. No specialisation took place and apprentices
had to be competent in all categories of the trade.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn10" name="_ftnref10" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[10]</span></span></span></a>
Under the job reservations act, Africans were only allowed to be trained as
polishers.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn11" name="_ftnref11" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[11]</span></span></span></a><o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">The early S.A. Jewellers’
Association was successful in lobbying the government to ease manufacturing and
trading restrictions. An important milestone was reached in 1955 when custom
tariffs on watches and jewellery were relaxed.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn12" name="_ftnref12" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[12]</span></span></span></a>
The following jewellery related items were entirely removed from the ‘restricted’
list: <o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><i><span style="font-size: 10pt; line-height: 150%;">…imitation
jewellery and rolled gold, enamel or gilt jewellery; precious stones and pearls
and imitations thereof, cut or polished and whether mounted or unmounted;
completed portions or parts of any article of jewellery, imitation or otherwise;
bangles, necklaces, girdles, muff chains, clasps and similar articles of
adornment.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn13" name="_ftnref13" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><b><span style="font-size: 10pt;">[13]</span></b></span></span></a></span></i><span style="font-size: 10pt; line-height: 150%;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">The relaxation of duty
tariffs also meant that local gold – and sliversmiths faced increased
competition from other countries and from the South African Mint.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn14" name="_ftnref14" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[14]</span></span></span></a> In
1956 they successfully petitioned the government to restrict open market
related activities by the South African Mint.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn15" name="_ftnref15" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[15]</span></span></span></a> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">An issue that grappled the
attention of the Association already from the 1950’s and beyond was how to
unlock a growing African market.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn16" name="_ftnref16" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[16]</span></span></span></a><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<b><span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Method<o:p></o:p></span></span></b></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">This study concentrates on 20<sup>th</sup>
century gold- and silversmiths that established businesses in South Africa from
1950 to 1959. The aim was to record the complete history of the studio or workshop
until its demise, or present status. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 10pt; line-height: 150%;">A literature search of
publications in academic journals, books and suitable magazines such as the
South African Panorama, Lantern, Artlook Magazine, </span><span lang="EN-ZA" style="font-size: 10pt; line-height: 150%;">The S.A. Jeweller and the Diamond News</span><span style="font-size: 10pt; line-height: 150%;"> as
well as </span><span lang="EN-ZA" style="font-size: 10pt; line-height: 150%;">The Diamond News and
The S.A. Watchmaker and Jeweller,</span><span style="font-size: 10pt; line-height: 150%;"> yielded an initial list of gold-
and silversmiths whose work was noted and commented on. Afterwards, internet
searches on local manufacturers who originally established their businesses
during the 1950’s were conducted. In all cases, effort was made to contact gold-
and silversmiths still alive or their descendents for more information about
their background and work as well as to corroborate existing information – also
in relation to other jewellers of the time. </span><span lang="EN-ZA" style="font-size: 10pt; line-height: 150%;">In addition</span><span style="font-size: 10pt; line-height: 150%;">, makers’ marks on jewellery
and other metal artefacts at collectors’ fairs and antique shops were noted and
attempts were made to trace their origins through the interviews.</span><span style="font-size: 10pt; line-height: 150%;"> </span><span style="font-size: 10pt; line-height: 150%;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-ZA" style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">The interviews and all pertinent e-mail exchanges were content analysed
and referenced against a synthesis of the available literature. An initial draft was submitted to a few
experienced practitioners for review. Where warranted, the text was adapted.<span class="MsoFootnoteReference"> <a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn17" name="_ftnref17" title=""><span class="MsoFootnoteReference"><span lang="EN-ZA" style="font-size: 10pt;">[17]</span></span></a></span><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-ZA" style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">The work of gold- and silversmiths along with local makers’ marks that
were included in this review could be classified in the following categories,
namely:<o:p></o:p></span></span></div>
<div class="MsoListParagraphCxSpFirst" style="line-height: 150%; mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-ZA" style="line-height: 150%;">-<span style="font-size: 7pt; line-height: normal;">
</span></span><span style="font-size: 10pt; line-height: 150%;">Handmade metal creations where one-off
artefacts were either exclusively or primarily made by hand. In some cases
small scale casting was also done. These include the work of Egon Guenther,
Colonel Gilroy and Jo King, George Xanthides and Eone de Wet.</span><span lang="EN-ZA" style="font-size: 10pt; line-height: 150%;"><o:p></o:p></span></span></div>
<div class="MsoListParagraphCxSpLast" style="line-height: 150%; mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 150%;">-<span style="font-size: 7pt; line-height: normal;">
</span></span><span style="font-size: 10pt; line-height: 150%;">Manufactured metal creations produced on
medium and large scale. These include the work of the Metal Art workshop, Mauro
Pagliari, as well as studios or workshops that used the following marks Riviera, Simba, Kruger Park and Mari
Lou.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 10pt; line-height: 150%;">In order to adhere to the
historical timeline, the above studios and workshops</span><span lang="EN-ZA" style="font-size: 10pt; line-height: 150%;"> are chronologically
presented below.<b> <o:p></o:p></b></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<b><span lang="EN-ZA" style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Noted gold- and silversmiths that established their
businesses in South Africa during the 1950’s<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn18" name="_ftnref18" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><b><span lang="EN-ZA" style="font-size: 10pt;">[18]</span></b></span></span></a><o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><i><span style="font-size: 10pt; line-height: 115%;">Egon Guenther</span></i></b><i><span style="font-size: 10pt; line-height: 115%;"> (Johannesburg, 1951 - 1969)<o:p></o:p></span></i></span></div>
<div class="MsoNormal" style="line-height: 115%;">
<br /></div>
<div class="MsoFootnoteText" style="line-height: 150%; margin-bottom: 12.0pt;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Egon Guenther was born in Mannheim in
Germany in 1921, with both parents working as jewellers. Under the guidance of
his parents he served a full apprenticeship in Pforzheim, Germany along with
formal studies at the Vereinigte Goldschmiede Kunst- und Werkschule. Afterwards
he worked in his father’s studio. But this was not enough for the young Egon to
keep his artistic interests stimulated. He opened an art gallery featuring
abstract and surrealist works. <o:p></o:p></span></div>
<div class="MsoFootnoteText" style="line-height: 150%; margin-bottom: 12.0pt;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Guenther and his wife immigrated to
South Africa in 1951 where he worked for a short while at the Haglund workshop<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn19" name="_ftnref19" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference">[19]</span></span></a>
before opening his own studio. In 1957 he again opened an art gallery called
the ‘Egon Günter Gallery’ where he featured African art (including wood
sculptures, masks, bronze casts) alongside exhibitions of abstract and
surrealist works. As he got older he began to concentrate more on the gallery
than his jewellery work and in 1969 he sold his workshop to Kurt Donau, a Swiss
immigrant who worked for a number of years in the Guenther workshop.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn20" name="_ftnref20" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference">[20]</span></span></a> <a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn21" name="_ftnref21" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference">[21]</span></span></a> <a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn22" name="_ftnref22" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference">[22]</span></span></a><o:p></o:p></span></div>
<div class="MsoFootnoteText" style="line-height: 150%; margin-bottom: 12.0pt;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Guenther was a versatile goldsmith and
schooled in engraving techniques similar to the woodcuts used by fine artists.
Given this well honed technical ability, he was asked to make some lithographic
printing work for Cecil Skotnes. <a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn23" name="_ftnref23" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference">[23]</span></span></a> <span lang="EN-ZA"><o:p></o:p></span></span></div>
<div class="MsoFootnoteText" style="line-height: 150%; margin-bottom: 12.0pt;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"> He worked in gold and silver and often made
use of South African semi-precious stones. He was an ardent gemmologist and
believed that all jewellers should be well versed in the field of gemmology. His
jewellery work was strongly influenced by schools of post-war painters,
architects and sculptors. His inspiration for his designs was also found in the
landscape, sunshine and the mix of cultures and races in Johannesburg. Most of
his designs were sketched beforehand, starting with combining simplified lines
to capture a particular mood or aesthetic - driven by the interaction between
romanticism and formalisation. His design work was both consciously imposed and
intuitively extracted from the qualities of the materials he used. His
creations included the full jewellery range including cuff links and tie pins
for men.<o:p></o:p></span></div>
<div class="MsoFootnoteText" style="line-height: 150%; margin-bottom: 12.0pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoFootnoteText" style="line-height: 150%; margin-bottom: 12.0pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1VPBqKXducQ4LXIqBKFJjanbrjTKlQTNVG4VnUy_0EVTewxnq44Ssp2T-TVeIzW9MYsPHIKf5IE9Khq5s_AFhPB8XFnV97rX43dgViU0AVlB8nOdcAKfL2Pv45El7_9A3bz_s2WMJnJ4d/s320/Egon+Guenther,The+Diamond+News+and+the+S.A.+Watchmaker+and+Jeweller,+February+1957,+p.+10.jpg" />
</span></div>
<div class="MsoFootnoteText" style="line-height: 150%; margin-bottom: 12.0pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><o:p></o:p></span></div>
<div class="MsoFootnoteText" style="line-height: 150%;">
<b><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Figure 1: Egon Guenther
at work in 1957.<o:p></o:p></span></b></div>
<div class="MsoFootnoteText" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">(Photo: The Diamond News and the S.A. Watchmaker and
Jeweller, February 1957, p. 10)<o:p></o:p></span></div>
<div class="MsoFootnoteText" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><o:p></o:p></span></div>
<div class="MsoFootnoteText" style="line-height: 150%;">
<br /></div>
<div class="MsoFootnoteText" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0oAByAiHV6CD1zz5DVKTtkaZit-bUgKRXLa2Rv2rnRTqqi9ZL3YbpiM7bCACOMPP1JKFIgtH6QwRuv7P_kzQILao7rcPozLtTvBtOdbf0tBc_x-pPZlvxSs8Q_SlOjqhTbySk8JSy2gYX/s320/Scan.jpg" />
</span></div>
<div class="MsoFootnoteText" style="line-height: 150%;">
<b><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Figure 2: Designs by
Egon Guenther in 1957. The brooch was made in silver with Almandine and a moonstone,
the ring and earrings are from oxidised silver with Amethyst, Zircon and
Citrine.<o:p></o:p></span></b></div>
<div class="MsoFootnoteText" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">(Photo: The Diamond News and the S.A. Watchmaker and
Jeweller, February 1957, p. 10)<o:p></o:p></span></div>
<div class="MsoFootnoteText" style="line-height: 150%;">
<br /></div>
<div class="MsoFootnoteText" style="line-height: 150%; margin-bottom: 12.0pt;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">In 1957, Egon Guenther’s jewellery
design and making were commented upon as follows:<o:p></o:p></span></div>
<div class="MsoFootnoteText" style="line-height: 150%; margin-bottom: 12.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 0cm;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><i>…there is the rare blending of a man
who has the feeling and ability to create artistic designs, allied with the
craftsmanship with which to execute them.
…produce work typical of our time as related to the development of
modern art and architecture.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn24" name="_ftnref24" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><b>[24]</b></span></span></a></i><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><i><span style="font-size: 10pt; line-height: 150%;">Metal Art </span></i></b><i><span style="font-size: 10pt; line-height: 150%;">(Pretoria, 1951 - )<o:p></o:p></span></i></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 10pt; line-height: 150%;">In 1951 a number of
jewellers in Pretoria joined Joe Calafato (designer) and Bob Campbell (die
sinker) to establish a workshop, which they named Metal Art, at 146 Watt Road
in Pretoria West. Amongst the jewellers and die sinkers were names such as
Messrs Eddie Luther and Boet de Lange (die sinker), Becklake, Percy Cave
(engraver) and Bill Myburg (specialising in medal and badge designs), as well
as Messrs Bob Taylor (engraver) and Hendriks, all from the South African Mint.</span><a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn25" name="_ftnref25" title=""><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[25]</span></span></span></span></a><span style="font-size: 10pt; line-height: 150%;"> It
developed into a big workshop with nearly 200 workers amongst whom were at
least seven die sinkers, four engravers and a fair number of solderers.</span><a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn26" name="_ftnref26" title=""><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[26]</span></span></span></span></a><span style="font-size: 10pt; line-height: 150%;"> In
1953 a number of the partners broke away to start their own workshops and
studios, and the Metal Art company was bought by Mr Henry Ocker along with Mr
Boet de Lange and Mr Rupel. They decided to discard the workshop’s jewellery
manufacturing line in favour of the manufacturing of pins, badges, medals, and
military insignia. Their work was marked <b>METAL
ART POSBUS 1483 BOX PRETORIA</b> (capitals, bold). Apart from the South African Mint they were
initially the only other medal manufacturing company in Pretoria.<span class="MsoFootnoteReference"> <a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn27" name="_ftnref27" title=""><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[27]</span></span></a></span> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIfjZOwjpVQIbqy02nztrcot3wFw1HcBgo79gUYu3erR1QOXfyvKnugrqooxn1GZvkBbI_w4aXSBsBKcdbgR1jqBHayzRTDohCoMbh0ppPkIejoiZGnJ4K71c0XFH3m9HkHNhJxtjPYbNX/s320/insignia+badges+&+buttons.JPG" />
</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><span style="font-size: 10pt; line-height: 150%;">Figure</span></b><span style="font-size: 10pt; line-height: 150%;"> <b>3: A collage of insignia, buttons, pins and
badges manufactured by Metal Art.</b><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">(Photograph: F. van Staden,
Pretoria, 2012-01-31)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">For a while, they also
manufactured curios for the Kruger Park. Although not marked, they produced a
collection of miniature (about 6 cm in height) animals that included an
elephant, a lioness, a rhino, a gecko, a tortoise and a horse. These were spin
cast in oxidised silver and attest to exceptional workmanship.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn28" name="_ftnref28" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[28]</span></span></span></a> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Since the workshop did not
manufacture jewellery, they were allocated to the Industrial Council for the
steel manufacturing trade and not the jewellery trade. This anomaly still
exists, even though the refined nature of their work is more akin to jewellery
manufacturing than steel processing.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Around 1987 the business
moved to Ekandustria to capitalise on Government incentives to stimulate rural
development projects. Because it was a labour intensive industry, it was
financially advantageous at the time to relocate the business to a proclaimed
homelands area. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">In 1998, Mr Jakkie Erasmus
and his parents-in-law, Mr and Mrs A.P.J. Dique bought the Metal Art Company
from the then owner Malcolm McNorton.
Earlier on in 1984, the Dique’s already acquired the Joe Calafato<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn29" name="_ftnref29" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[29]</span></span></span></a>
trade mark. They retained the separate company names. It is interesting that
Joe Calafato, who was a founding partner of Metal Art in 1951, later broke away
with his own company called ‘Joe Calafato’, and more than 40 years later the
two companies were again brought under the same management. The circle has been
completed.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Though they have some of the
dies from Joe Calafato’s business and from the older Metal Art workshop, the
business continues to focus on pins, medals, badges, military insignia and cuff
links. Some of their work is also done in gold.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn30" name="_ftnref30" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[30]</span></span></span></a> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><i><span style="font-size: 10pt; line-height: 150%;">Colonel Gilroy and Jo King</span></i></b><b><span style="font-size: 10pt; line-height: 150%;"> </span></b><i><span style="font-size: 10pt; line-height: 150%;">(Pretoria,1953
– late 1960’s)</span></i><span style="font-size: 10pt; line-height: 150%;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Colonel
Gilroy King and his wife Jo were stationed in Upington during the Second World
War. He was the Commanding Officer of the North Western Cape command. He hailed
from an established military family and she was the granddaughter of General
Andries Brink. Being avid anglers they noticed the array of colourful stones
found in the Orange River where they often fished. Fascinated with the stones
and with instruction books ordered from America, they taught themselves the art
of cutting and polishing stones. After the Second World War, a retired Colonel
King and his wife Jo, opened a jewellery studio on Edward Street next to the
Apies River in Pretoria in 1953. They named the studio, ‘King’s Jewels’. They
concentrated on the setting of precious and semi precious gemstones. Mrs King
was responsible for the cutting and polishing of the stones and the Colonel was
responsible for the mounting and setting of the stones. The design of the
settings was discussed and co-created by the two of them after the stones were
cut. In 1957 they were founder members of the ‘Northern Transvaal Klipspringers
Club’ which was the forerunner to the ‘Pretoria Gem and Mineral Club’.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn31" name="_ftnref31" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[31]</span></span></span></a> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">The
studio was one of the first workshops in South Africa to incorporate cabochon
cut semi-precious stones in their designs, thereby making jewellery more
affordable. They also created hollow ware such as fruit bowls and chalices, as
well as figurines in beaten brass. Probably because their work celebrated local
gemstones, it was popular amongst international travellers and diplomats
stationed in Pretoria. <a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn32" name="_ftnref32" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[32]</span></span></span></a> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">They
worked in silver, gold and platinum and also made use of enamel. Their work was
typified as simple and unpretentious. In 1963 examples of their work were selected
(along with that of Egon Guenthter, Kurt Jobst, Eone de Wet, Pauline Horwitz,
Frida Blumenberg and Johan van Heerden) to represent South Africa at the
International World Crafts exhibition held in Washington D.C.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn33" name="_ftnref33" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[33]</span></span></span></a><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Erich
Frey (a noted goldsmith during the 1960’s and 1970’s) worked as designer and
craftsman in the Kings’ studio from 1956 to 1961. Later on Frey incorporated
and adapted this new approach of combining semi precious gemstones with precious
metal settings in designs under his own name. <a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn34" name="_ftnref34" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[34]</span></span></span></a>
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn35" name="_ftnref35" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[35]</span></span></span></a><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><i><span style="font-size: 10pt; line-height: 150%;">George
Xanthides</span></i></b><i><span style="font-size: 10pt; line-height: 150%;"> (Pretoria, 1953 - )<o:p></o:p></span></i></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">George
Xanthides apprenticed under Joe Calafato from 1947 until 1949 as a die sinker
and engraver. He continued to work in the Metal Art workshop (see review
elsewhere in the text) until 1953 after which he opened his own studio named
George Xanthides Jewellery on the corner of Paul Kruger and Blood street,
Pretoria. He moved to the President Arcade from 1960 to 1999. After three
robberies in town, the studio moved for security reasons to Colbyn, a suburb of
Pretoria, where however, it was again burgled twice during the past decade .<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn36" name="_ftnref36" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[36]</span></span></span></a>
<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOZspHkrvgJCC7IpTN5xtF1oau3CgrXlQxYVS8Ur0VoTMkN7DQOgIed-H207ttClS7_ovRB_RXRhDYEhnO-2RjN8wztBa12AvuOT2JLSBmkAH4zc9eyoMTNFecVm7KEzMqBG3dnQeqzVxY/s320/George+Xanthides+late+1950's.jpg" />
</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<b><span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Figure 4: George Xanthides
in his workshop showroom in President Arcade, Pretoria in 1960. <o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">(Photograph:
From the Xanthides family resumé.)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM1j0HVCCCVGIwfn4P9Tb2DF7jlXcSncdMMJgpBj3DbVu7hgkp0NzFU7JF-oJaSgrWM9JfTYKOOyCXxh2WN4CG_Lp4HPNgMO3Yzh4u_C35qLFIqYypTF1O6tgc29UM7HTSey81H_V0xKLK/s320/GX+carved+dies.JPG" />
</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<b><span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Figure 5: Dies carved by
George Xanthides early in his career and used in jewellery composition. <o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">(Photograph:
F.van Staden, Pretoria, 2009-10-21)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">His
son Mark and daughter Bridgitte joined the studio in 1981 as manufacturing gold-
and silversmiths. George and Bridgitte use the maker’s mark <b>GX</b> on their
work, whilst Mark uses his initials <b>MX</b> on his designs. Whereas George
Xanthides’ work is typified by much scroll work and drops (perhaps stemming
from the<i> retro moderne</i> period of the
late 1940’s), his children’s work is more simplistic in line.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn37" name="_ftnref37" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[37]</span></span></span></a> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><i><span style="font-size: 10pt; line-height: 150%;">Riviera </span></i></b><i><span style="font-size: 10pt; line-height: 150%;">(Place not established, possibly 1953)<o:p></o:p></span></i></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">According to engraving, the <b>Riviera</b>
mark was registered in 1953. The jewellery range consists of at least five
different brooches depicting Afrikaner folk dancers in traditional dress. The
work was cast in sterling silver and expresses a refined three dimensional
approach with attention paid to detail. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Imported clasps that carried
expensive import duties were used. It seems likely that this was a one off
range made for a specific function and market. It was possibly created for the
1953 Volkspele tour (that consisted of around a hundred dancers) to seven
European countries. It appears that the creations may have been a limited
casting edition and produced by a sculptor, especially since the manufacturer’s
mark was etched in a hand engraving and not a punch mark.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn38" name="_ftnref38" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[38]</span></span></span></a> Two
publications on the standardising of volkspele dances and dress during this
time contain sketches by Katrine Harries of dancers that capture the mood of
the brooches.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn39" name="_ftnref39" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[39]</span></span></span></a> <a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn40" name="_ftnref40" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[40]</span></span></span></a> The
designer and maker have not yet been determined.<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;"><a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn41" name="_ftnref41" title="">[41]</a></span></span><a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn41" name="_ftnref41" title=""></a></span> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 10pt; line-height: 150%;"> </span><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKS7tV2bk5M3S2dsyeJhTxbZvfxIMnHYLTKyhMrW-fkOPPxCd1z0skZVbPoDyd9mOawu_5kZPztDMDPZjlUxE30JCsrmb_zn03JdwklBrUyLLo6SWI6g6QtOTnWteeUkVWfveYWKMZQIDz/s320/Riviera+1.JPG" style="background-color: white;" /></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span><br />
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<b><span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Figure
6: Examples of the Riviera stamped brooches.<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">(Photo: F. van Staden,
Pretoria, 2009-09-25)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><i><span style="font-size: 10pt; line-height: 150%;">Simba </span></i></b><i><span style="font-size: 10pt; line-height: 150%;">(Pretoria, 1954 to late 1970’s).<o:p></o:p></span></i></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Perhaps one splinter group
of note that formed after the original Metal Art workshop broke up in 1953 was
that of Messrs J. Joubert, Neil Dreyer (die sinker) and Stanford who began
manufacturing jewellery and curios expressly for the tourist trade.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn42" name="_ftnref42" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[42]</span></span></span></a>
They designed and produced unusual three dimensional African landscape and
animal studies. Their workshop was located in Rosslyn near Pretoria.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn43" name="_ftnref43" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[43]</span></span></span></a>
They worked in silver, silver plate and copper. Sometimes hardened plastic or a
flat perspex sheet as background material was mixed with metal cut-outs of
three dimensional animal compositions. Collectors’ spoons with finials
depicting a number of South African cities’ coats of arms were also
produced. A background of woven grass
used on some metal bracelets attest to the innovative and experimental approach
of the workshop. The Simba workshop also used polished lion and leopard claws
as centre pieces in earrings and brooches, thereby contributing to a trend of
using animal hair, claws and teeth in formal jewellery design during the
decades that followed.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn44" name="_ftnref44" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[44]</span></span></span></a><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">The workshop lasted until
around 1980. Perhaps because of increased competition, cheaper materials tended
to be used in their later work. The Simba maker’s mark was twice registered with
the South African Companies and Intellectual Property Registration Office, the
first time on 02 June 1971 and then again on 04 July 1975. The maker’s mark registration
was not renewed indicating that the company disbanded somewhere between the
late 1970’s or early 1980’s. <a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn45" name="_ftnref45" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[45]</span></span></span></a><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">The earlier Simba ware was
marked with the framed words <b>AFRICA</b>,
<b>Simba </b>and <b>Handmade</b> as maker’s mark. In later work only the word <b>Simba</b> was used, and sometimes <b>REGD</b> (since 1971) was added. The Simba
group also exported some of their work to Southern Rhodesia/Zimbabwe using the
stamp <b>VICTORIA FALLS</b> on the inside
of the clasp mounted brooches. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Perhaps because of a limited
manufacturing period and the fascinating African themes<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn46" name="_ftnref46" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[46]</span></span></span></a>
destined for the curio market, the Simba mark is often seen at collectors’
fairs and has retained its collectors’ interest.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYfgeDbrGulSa7ITYMlL77NTlYau8QowVNN8GrmC3Hbz4ur_woX9vMfI33GsIW9ZdMPftXl9thIpbNDS2kXARrhEWGk3OGZ4qHNsdFicl-LWnXYd44DUbhTrr7oPTsq7ugsXbTYoTOHdNB/s320/DSC02237.JPG" />
</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><span style="font-size: 10pt; line-height: 150%;"></span></b><b><span style="font-size: 10pt; line-height: 150%;"><o:p></o:p></span></b></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<b><span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Figure
7: A composition of Simba marked ware with the maker’s mark in the top right.
Note the use of woven grass as background on one of the bracelets. <o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">(Photograph: F.van Staden,
Pretoria, 2012-01-23)<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><i><span style="font-size: 10pt; line-height: 150%;">National Parks Board </span></i></b><i><span style="font-size: 10pt; line-height: 150%;">(mid 1950’s to mid 1970’s)<o:p></o:p></span></i></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">The National Parks Board
commissioned, from various manufacturers (including Joe Calafato’s workshop and
the Simba group), a wide range of curios and jewellery to be sold in their
curio shops. Different forms of the Kruger Park mark were used. The most
prolific mark is <b>WILDTUIN KRUGER PARK</b>
and sometimes<b> REGD </b>was added.
Another form of the maker’s mark merely states <b>KRUGER PARK</b>. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">The most interesting mark is
circular (1 cm. in diameter), where <b>KRUGER</b>
was stamped across the middle of the circle with a rounded <b>WILDTUIN </b>at the top and <b>PARK</b>
at the bottom. Some articles with this mark bear both the manufacturer’s mark
and the Kruger Park mark (e.g. the Simba, Carina and Velia marks indicating
that it was in use around the mid 1970’s). Marks for other National Parks such
as <b>ADDO PARK</b> were also used. There
is evidence that the marks were used from the mid 1950’s (as indicated by a
1958 date stamp on a good quality brooch) to the late 1970’s.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn47" name="_ftnref47" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[47]</span></span></span></a>
The materials used were silver, silver plate and copper, sometimes combined
with perspex or hardened plastic. <o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBSidG4AetwIi0zX6zrlnVPwTaI2w8zjYMEpTyGTpxaR6cTRq0jy67E89F-q4_Yd3reZw88Bn-SADi6jNzr-t1fMjqx_yTHWUbovzcG2HMrz-6mUlqGQQlKjGVJlYRlwwVXeqdeFpG5TMC/s320/Kruger+Park.JPG" />
</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<b><span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Figure
8: Examples of wares sold under the Kruger Park mark.<o:p></o:p></span></span></b></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><i><span style="font-size: 10pt; line-height: 150%;">Eone de Wet </span></i></b><i><span style="font-size: 10pt; line-height: 150%;">(Pretoria/Johannesburg, 1956 -2011)<o:p></o:p></span></i></span></div>
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<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Born in 1928 in
Bloemfontein, Eone de Wet obtained a fine arts degree from Rhodes University
College in 1950 specialising in design and History of Art. In1952 she studied
drawing, painting and sculpture under
Lippy Lipschitz and Maurice van
Essche at the Michaelis School of Fine
Art in Cape Town. From 1954 to 1955 she studied textile design along with jewellery
design and making at the Central School of Arts and Crafts in London under the
tutelage of Mary Kessel, Alan Davie, Robert Adams and Eduardo Paolozzi. The
letters of reference from her tutors consistently remark upon her
perceptiveness, dedication and intellectual engagement with her work. The
following comments illustrate their appraisals:<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><i><span style="font-size: 10pt; line-height: 150%;">She
is a good designer … her work is lively,
bold and vigorous… the jewellery she has
made has delighted staff and influenced students… has shown a rare talent… good sense of form in a great variety of
media.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn48" name="_ftnref48" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><b><span style="font-size: 10pt;">[48]</span></b></span></span></a></span></i><span style="font-size: 10pt; line-height: 150%;"><o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">In 1956 she held a
critically acclaimed exhibition with more than 50 of her jewellery creations in
Pretoria at the Green Clogs Gallery. One critic characterised it as <i><o:p></o:p></i></span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<i><span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">...emphatically sculptural work derived
from primitive sources… its African
quality seemed especially pronounced…
one found simplicity without austerity, and achievement without contrivance…<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn49" name="_ftnref49" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><b><span style="font-size: 10pt;">[49]</span></b></span></span></a> <o:p></o:p></span></span></i></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">She worked primarily in
silver, copper and brass but also made use of wood and leather along with
semi-precious stones. She even held an
exhibition of stone sculptures in her later years, displaying her ability to work
with a wider range of materials than most of her contemporaries.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn50" name="_ftnref50" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[50]</span></span></span></a>
Besides African cultural images (such as masks and weaving patterns) she also
made use of animal impressions along with abstracted symbols reminiscent of
ancient South American Andean culture. <a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn51" name="_ftnref51" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[51]</span></span></span></a><o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">She began to exhibit her
work regularly at various galleries in Johannesburg, Bloemfontein and
Sasolburg.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn52" name="_ftnref52" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[52]</span></span></span></a> International highlights included the
exhibition of her work at various centres across the world, for example London,
Bern, Florence and the World Craft exhibition in Washington D.C. with the
support of the Government’s National Department of Information.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn53" name="_ftnref53" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[53]</span></span></span></a> <a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn54" name="_ftnref54" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[54]</span></span></span></a><o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">In 1962 she received the
Adler Fielding Gallery award for best artist in its annual competition <i>Artists of Fame and Promise. </i>Her entry
consisted of a group of two small statuettes in bronze and one in beaten copper
– a horse, an African bust and a male figure.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn55" name="_ftnref55" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[55]</span></span></span></a>
She concentrated on jewellery design up until the mid 1960’s after which she
began to sculpt on a larger scale. Apart from household objects such door knockers,
wall plates and candelabra, her creations also included murals, façades, doors
and crests. In 1968 she was commissioned to create large decorative wall panels
for two dining rooms at the (then) Jan Smuts International Airport along with
two copper doorplates for the airport’s formal reception hall for important
persons. Other commissions included copper wall panels for the entrance halls
of the South African Bureau of Standards in Groenkloof, as well as the
erstwhile offices of the Department of Foreign Affairs in the city centre of
Pretoria. Four striking door plates were also forged for the Nederduitse
Gereformeerde Kerk in Waverley, Pretoria <a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn56" name="_ftnref56" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[56]</span></span></span></a>
along with the façade of the Springs Civic Centre (1974), the crests for the
Phalaborwa Civic Centre and for Grey College in Bloemfontein. A celebrated
exhibition at the then Rand Afrikaans University of 25 copper panels depicting
the main themes of NP van Wyk-Louw’s epic poem Raka took place during July and
August 1975 in honour of the <i>Afrikaanse Taalfeesjaar (</i>a year in which the formal existence of
the Afrikaans language was commemorated). She worked from a studio attached to
her home in Johannesburg. <a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn57" name="_ftnref57" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[57]</span></span></span></a> <o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-teGDxdO2CRHcyQGDtdomhpVS40KZmA8gswwIORKH7jCrah60-vfKiMf8j4Bjwbp7Y-cQUk9iIFvzOqkVzMNu6x7gHyDMttEFiAf0qMpvn3KK_h8mI0mCt1FG0Pm1AmCuAmSgrNNk40pm/s320/Raka+series+-+Koki+and+warrior+1975.jpg" />
</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<b><span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Figure
9: Two of the 25 copper panels depicting Koki and a Warrior from the epic poem
Raka, created in 1975.<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">(Photograph: From De Wet’s
personal resumé.)<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrr13vmT3zS4nCxlDWPfpm28VnjZ_YNYw3isIn53LcYExrAFPAVLkD1e1QGthQvV-FFfi42L_DEecV9yY3WutvP6e9xUZ4c_j3aloipdGuzwfklmbFbpIETa9-mKOcQ_FriFvlz4_n3VPg/s320/Style+magazine,+sept+1981+p94.jpg" />
</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<b><span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Figure
10: Eone de Wet in 1981, modelling an array of her jewellery work.<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">(Photograph: <i>Style </i>magazine, September 1981, p.94)<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Throughout her working
career, she never completely abandoned her jewellery making, coming forth with
new and innovative ideas such hair bands and adornments for footwear. Her
jewellery works were always ‘one offs’ and spanned the full range of bodily
ornamentation that included wristbands, pins, breast plates, and ankle rings.
Interestingly, De Wet was in the habit of wearing her jewellery creations
whilst in the process of fashioning them, thereby testing and developing the
aesthetics of a piece whilst ensuring that it is also wearable. <a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn58" name="_ftnref58" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[58]</span></span></span></a> <a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn59" name="_ftnref59" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[59]</span></span></span></a><o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Although much of her work is
not marked, she did at times (especially during her later years) use the image
of a waterwheel consisting of eight spikes, as signifier. The symbol was
adopted from the De Wet family crest.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn60" name="_ftnref60" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[60]</span></span></span></a><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Apart from being one of the
first generation of local female silversmiths, Eone de Wet was unique in that
her work evolved from primarily jewellery design to larger sculpting
expressions – making her one of the country’s first full time female metal
artists.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn61" name="_ftnref61" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[61]</span></span></span></a> <o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><i><span style="font-size: 10pt; line-height: 150%;">Mauro Pagliari </span></i></b><i><span style="font-size: 10pt; line-height: 150%;">(Cape Town, 1957 – 2001, 2001 - )<o:p></o:p></span></i></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 10pt; line-height: 150%;">Mauro Pagliary </span><span lang="EN-ZA" style="font-size: 10pt; line-height: 150%;">was born in 1913 in the Italian town of Scanno. He
received his training from Gampoli, a well known master engraver during the
1930’s. As prisoner of war in India and Ceylon<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn62" name="_ftnref62" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-ZA" style="font-size: 10pt;">[62]</span></span></span></a>,
he drew attention to his remarkable creations of engraved flatware from scrap
metal. He was conscripted in 1939 to serve in North Africa and was taken
prisoner on the first day of hostilities. He spent the whole of the war in
camps where he used tools made from scrap metal to create engraved cigarette
cases, jewellery boxes and even surgical instruments. A highlight during this
period of his life was the presentation of a hand engraved tray presented to
Edwina, the wife of Lord Mountbatten.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Pagliary arrived in 1952 in
Cape Town, and as a classically trained<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn63" name="_ftnref63" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[63]</span></span></span></a>
master engraver and die sinker with extensive experience, his skills were
sought after. He worked with the Lehman Brothers until 1957 when he opened his
own workshop.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn64" name="_ftnref64" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[64]</span></span></span></a><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Pagliary was a perfectionist
and a workaholic with an unswerving drive to create designs. He initially
concentrated on hollow ware such as precious metal chalices, trophies and bowls
as well as maces and medals. He sometimes manufactured designs from Joe
Calafato who was a good colleague and friend.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn65" name="_ftnref65" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[65]</span></span></span></a>
He was the first person to open a private mint in the Western Cape in 1978.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn66" name="_ftnref66" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[66]</span></span></span></a><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">In 1961 he was commissioned
by the first South African Government to produce an 18ct gold Parliamentary
Mace. It was to be the largest piece of worked gold in the country. It was
designed by Mr C. Pama (Chair of the Heraldic Society of South Africa), made by
Mr T.S. Quinlin (goldsmith, Cape Town), with engraving by Mr J. Pagliary. It
took nine months to complete.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn67" name="_ftnref67" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[67]</span></span></span></a>
Later, and attesting to their continued high standing amongst competitors, the
Pagliari Group shared a commission to produce the Parliamentary People’s Mace
of the republic of South Africa (2004) as well as the making of the Black Rod
for the national council of Provinces of the Republic of South Africa (2005) as
well as the new Parliamentary emblems for the National Assembly as well as the
National Council of Provinces (2007).<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHgqrUcHu2_GXgOUT9-nIr2WdmD2j-KNdthF4XYZRw_sl1VQ2hlHLEh0awG8T_sPVkzeduQ7L51EnyVhERsvs7-uwljCZZ7Dgzl9xG-TkoSPDcK7goK4cI6X_Hd56p_OruYzKGKziJPJou/s320/Scan_Pic0001.jpg" />
</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<b><span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Figure
11: Parliamentary mace commissioned in 1961, displaying the skills of master
goldsmith T S Quinlin and master engraver Mauro Pagliary.<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">(Photograph: From the
Pagliari resumé.)<o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">The workshop was also
commissioned by the South African Government to produce a hand crafted silver
rose bowl as a wedding gift to crown Prince Naruhito of Japan (1995), as well
as a silver Chalice presented to Pope John Paul II by President Mandela in
1995. Other achievements include presenting President Mandela in 1994 with a 24
ct gold <i>Unity</i> medal on his 50th day
in office as well as having been commissioned by the <i>Società Italiana per l’Edizioni d’ Arte</i> to represent the African
continent in creating a Millennium 2000 Aurea medal. It consisted of 24 ct gold
and was set with 64 diamonds. The collection formed part of the year 2000
celebrations, and consisted of five medallions other medallion designs from
mints in Australia, China, Italy and Mexico.
A fair number of other high quality medals in gold and silver were also
produced, most notable of which were a medal commemorating the royal wedding of
Prince Charles and Diana, and a later one commemorating the birth of Prince
William. As a community engagement project, the workshop also created a range
of Islam inspired coins in 24ct gold and sterling silver to help fund the
building and maintenance of the Masjidul Quds complex in Cape Town. <o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Following the designs of Tretchikoff,
he created a collection of ten gold medallions depicting the <i>Ten Commandments</i>. Because of its
religious content and the ‘earthly riches’ that gold represent, a minor moral
stir was caused in local social circles.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn68" name="_ftnref68" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[68]</span></span></span></a> <o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyhfp8pxC2VYAJ6tvB7pGZucwI6yqOeCRIXEoQfLs_TYo6adQJ9GvkvlmW5K7to0442NqUBbVsnkZzrafpBv14_Tv0a3AgD5yrjjCFDhPXpqayxGGPxayOKDYp29967pcl7MVhAVN9BPsp/s320/Pagliari-Trechikoff+10+commandments.JPG" />
</span></div>
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<b><span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Figure
12: Twenty four carat gold medallions depicting two of the Ten Commandments
designed by Tretchikoff and produced by Pagliari.<o:p></o:p></span></span></b></div>
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<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">(Photograph: F. van Staden,
Pretoria, 2010-12-04.)<o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">In 1980 Pagliary was
responsible for the creation of the <i>Kruger
Kilo,</i> the first one kilogram 18ct gold coin manufactured in the world. <i> </i>In
addition, the workshop also produced a range of prestigious national and
international sport trophies. The business continues to produce proof quality
coins, medals, trophies, awards and plaques.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn69" name="_ftnref69" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[69]</span></span></span></a> <o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">For many years, the workshop
has been running a fully equipped tool-room and minting facility.
Hand modelling, sculpting and engraving as well as many types of machine
engraving and etching are carried out under one roof at 15A Buitensingel Street
in Cape Town. A decade ago they also started making use of computer
technology in their designing and manufacturing. In-house training continues to
take place.<o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">During his lifetime Pagliary
gained both national and international recognition for his work. In 1980 he was
awarded a <i>Commendatore</i> by the Italian
Government for his art achievements outside Italy. This was followed in 1988 by
a silver Order of Merit by the South African Government as well as an award in
2000 at the Fair of Vincenza in Italy for his lifelong contribution to the
precious metal manufacturing industry. He was also generally regarded by his
peers in South Africa as one of the best metal art craftsmen of his generation.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn70" name="_ftnref70" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[70]</span></span></span></a> <a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn71" name="_ftnref71" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[71]</span></span></span></a> <i><o:p></o:p></i></span></span></div>
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<br /></div>
<div class="MsoFootnoteText" style="line-height: 150%;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Mauro Pagliari’s initial workshop<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn72" name="_ftnref72" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference">[72]</span></span></a>,
which consisted of himself and only one machine operator, grew exponentially
into a business presently consisting of various companies that employ more than
55 staff members concerned with engraving, die-making and minting. <a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn73" name="_ftnref73" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference">[73]</span></span></a> <span lang="EN-ZA">From
the start he also defied the labour laws of the time by employing coloured
staff in artisan positions and providing in-house training on all facets of the
production processes. </span>Since
his death in 2001 the business continues to be run by family members, Alberto
Regasto and Toni Pagliari. The Pagliary group houses the largest and oldest
engraving company on the sub-continent.<span lang="EN-ZA"><o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">The majority of their work
is stamped with any of the following marks: <b>PAGLIARY</b>, <b>CAPE MINT</b>, <b>CAPE SILVER</b>, <b>CM</b>, <b>CS</b> and <b>K</b>.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn74" name="_ftnref74" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[74]</span></span></span></a><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><i><span style="font-size: 10pt; line-height: 150%;">Mari Lou </span></i></b><i><span style="font-size: 10pt; line-height: 150%;">(Pretoria, late 1950’s to early 1970’s)<o:p></o:p></span></i></span></div>
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<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Messrs Eddie Luther (die sinker)
and Ryno Erasmus also broke away from the original Metal Art workshop in
Pretoria and opened ‘Mari Lou Jewellers’ in the late 1950’s.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn75" name="_ftnref75" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[75]</span></span></span></a>
The workshop and its showroom were situated in Church Street close to Potgieter
Street.<span class="MsoFootnoteReference"> <a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn76" name="_ftnref76" title=""><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[76]</span></span></a></span> <a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn77" name="_ftnref77" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[77]</span></span></span></a> The mark <b>MARI LOU</b> along with <b>STER
SILV</b> or just <b>SILVER </b>was used.
They used die pressed work that could be turned out in volume. Making use of
imitated filigree, granulation and marcasite representations in their designs,
their work was clearly aimed at the middle to lower end of the market.
Nevertheless some of the designs are rather <i>avant
garde</i> for their time. It also shows some affinity with the designs at the
time from the American jewellery manufacturing centres on Rhode Island.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn78" name="_ftnref78" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[78]</span></span></span></a> <o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Though some of the Mari Lou
designs express a likeness with the work of Joe Calafato, they also contain a
refinement of design that at times surpasses Calafato’s work.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn79" name="_ftnref79" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[79]</span></span></span></a> <o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhincUotZhvC2QxgJ6jijV3qWR9VAEZSSpEeO0Q5genZ6BA_OxRY110vsU247bkp64S1AfDEgW9tZzBuYz317TD7cDr3hcvj9WBOK8TiC1mKLv8t6h0TubelN6MLmVNf4huUcQV28D8u2ZM/s320/Mari+Lou.JPG" />
</span></div>
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<b><span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Figure
13: A collection of brooches and ear rings manufactured under the Mari Lou
insignia displaying a wide range of styles. The book brooch in the top left
corner is opened at a readable Lord’s Prayer.<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">(Photograph: F.van Staden,
Pretoria, 2012-01-23.)<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<b><span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Concluding
remarks<o:p></o:p></span></span></b></div>
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<br /></div>
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<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">The South African jewellery market
during the 1950’s was in general not as sophisticated as their European and
North American counterparts. Local gold- and silversmiths tended to regard South
African tastes as lagging somewhat behind first world trends. During this
decade, they were also slow to appreciate the new introduction of semi-precious
stones into jewellery design.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn80" name="_ftnref80" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[80]</span></span></span></a>
Nevertheless, some jewellers did comment on experiencing an openness and
willingness from customers to learn.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn81" name="_ftnref81" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[81]</span></span></span></a><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">Crime directed at jewellers
and their businesses was already prevalent during the 1950’s. Burglaries,
smash-and-grab attacks on window displays and assault on jewellers were
regularly commented upon.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn82" name="_ftnref82" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[82]</span></span></span></a> In
one such incident in 1957, it was reported that Mr I Gordimer, a well known
Springs jeweller and the father of South African authoress Nadine Gordimer, was
assaulted and robbed in his jeweller’s shop.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn83" name="_ftnref83" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[83]</span></span></span></a> <o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">The 1955 relaxation of
import controls and tariffs on jewellery parts that included clasps (or
catches) has become an important watershed indicator of the age of jewellery
pieces. Before 1955, the importation of pre-manufactured clasps was prohibitive
and jewellers had to make do with their own hand made clasps, usually
consisting of a simple hook to catch and hold the pin. After 1955 the use of
imported mass manufactured clasps (containing a latch) became popular amongst
local manufacturers since it’s cost was reasonable and its use saved on labour.
This also provides an important time line for historians and collectors, since
the use of mass produced clasps will indicate a manufacturing date later than
1955, and the use of a handmade hook indicates that the jewellery piece was in
all likelihood manufactured before 1955. <a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftn84" name="_ftnref84" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[84]</span></span></span></a> <o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: 10pt; line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">After the Second World War,
in contrast to the first half of the twentieth century, the country as a whole
enjoyed sustained economic development throughout the latter half of the
century. This was also the case with the growth of the creative precious metal
market precious metal manufacturing industry. It was the decade of the 1950’s that
initiated prosperity and growth in this sector of the South African economy.</span><span style="font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
<div>
<br />
<hr align="left" size="1" width="33%" />
<div id="ftn1">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[1]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Hierdie artikel volg op ‘n oorsig van vervaardigende
goud- en silversmede wat tydens die eerste helfte van die Twintigste eeu in
Suid Afrika werksaam was. Dit is vervat in F. van Staden, Early and mid
Twentieth Century South Africa: Legacies of manufacturing gold- and
silversmiths, <i>South African Journal of
Cultural History, </i>ingedien ter oorweging vir publikasie, April 2012. <o:p></o:p></span></div>
</div>
<div id="ftn2">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[2]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">This article follows on a review of manufacturing
gold- and silversmiths working in South Africa during the first half of the
century. See F. van Staden, Early and mid Twentieth Century South Africa:
Legacies of manufacturing gold- and silversmiths, <i>South African Journal of Cultural History, </i>submitted for review,
April 2012.<o:p></o:p></span></div>
</div>
<div id="ftn3">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[3]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Author unknown, Uit die rotse kom voort skoonheid, <i>Suid-Afrikaanse Panorama,</i> Februarie
1966, p.29.<o:p></o:p></span></div>
</div>
<div id="ftn4">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[4]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Interview: Mr V. Thompson, engraver, Pretoria,
2009-09-30. Not all were manufacturing gold- and silversmiths, some
concentrated on retailing.<o:p></o:p></span></div>
</div>
<div id="ftn5">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[5]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Mr M Cohen, The South African Jeweller’s Association
Ltd., <i>The Diamond News and The S.A.
Watchmaker and Jeweller</i>, September 1950, p. 42. <o:p></o:p></span></div>
</div>
<div id="ftn6">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[6]</span></span></span></span></a><span style="font-size: 8pt;"> The Cape Jewellery Manufacturers’ Association
continued to function well into the 21<sup>st</sup> century as an independent
body.</span><span lang="EN-ZA" style="font-size: 8pt;"><o:p></o:p></span></div>
</div>
<div id="ftn7">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[7]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Mr J B Pinn, Past year most beneficial to the
Jewellery trade: Activities of Western Province Branch of Association reviewed
by chairman, <i>The Diamond News and The
S.A. Watchmaker and Jeweller</i>, April 1955, p. 57. <o:p></o:p></span></div>
</div>
<div id="ftn8">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[8]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Interview: Mr Lourens Maré, Chief executive officer,
The Jewellery Council of South Africa, Parktown, Johannesburg, 2012-04-10.<o:p></o:p></span></div>
</div>
<div id="ftn9">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref9" name="_ftn9" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[9]</span></span></span></span></a><span style="font-size: 8pt;"> Author unknown, Manufacturing Jewellers’ Industrial
Council: Success of Johannesburg Experiment, </span><i><span lang="EN-ZA" style="font-size: 8pt;">The
Diamond News and The S.A. Watchmaker and Jeweller</span></i><span lang="EN-ZA" style="font-size: 8pt;">, January 1949, p.17.<o:p></o:p></span></div>
</div>
<div id="ftn10">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref10" name="_ftn10" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[10]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">L. Dellatola, Jewellery Council, <i>South African Panorama,</i> December 1973, p. 2. <o:p></o:p></span></div>
</div>
<div id="ftn11">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref11" name="_ftn11" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[11]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">F. van Staden, Joe Calafato: A late twentieth century
South African precious metal artist, <i>S.A.
Journal of Cultural History,</i> 24(1), June 2010, p. 148.<o:p></o:p></span></div>
</div>
<div id="ftn12">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref12" name="_ftn12" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[12]</span></span></span></span></a><span style="font-size: 8pt;"> M. do Rosário Pinto Pereira da Silva, <i>From Dynamism to Dormancy: The Jewellery Industry
in Johannesburg: 1925-2003</i>, D.Phil. thesis submitted to the Faculty of
Humanities, University of the Witwatersrand, Johannesburg, May 2007.</span><span lang="EN-ZA" style="font-size: 8pt;"><o:p></o:p></span></div>
</div>
<div id="ftn13">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref13" name="_ftn13" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[13]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Author unknown, Relaxation of Import control measures
on Jewellery Lines, <i>Diamond News and The
S.A. Watchmaker and Jeweller</i>, November 1954, p. 57. <o:p></o:p></span></div>
</div>
<div id="ftn14">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref14" name="_ftn14" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[14]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Author unknown, 200 trained jewellers unemployed, <i>The S.A. Jeweller and the Diamond News</i>,
August 1957, p7. Also, according to a number of interviewees, on the open
market in the 1950’s to the 1960’s, gold could not be exported in its ‘raw’
form as ingots. It had to be transformed into a value added product. Thus it
happened that mostly on commission, some gold- and silversmiths casted objects
such as weighty ashtrays in 24 carat gold for export. <o:p></o:p></span></div>
</div>
<div id="ftn15">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref15" name="_ftn15" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[15]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Author unknown, Jewellers’Association Protests against
‘Unfair Activities’ of S.A. Mint, <i>The
Diamond News and the S.A. Watchmaker and Jeweller, </i>pp. 66-67, April 1956.<i><o:p></o:p></i></span></div>
</div>
<div id="ftn16">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref16" name="_ftn16" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[16]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Editorial, New Year – New Direction, <i>The Diamond News and the S.A. Watchmaker and
Jeweller, </i>p. 3, January 1958. Also, author unknown, Union’s trade with the
non-whites: Big new customer slowly emerging, <i>The Diamond News and the S.A. Watchmaker and Jeweller, </i>p. 21,
August, 1959<i>.<o:p></o:p></i></span></div>
</div>
<div id="ftn17">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref17" name="_ftn17" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[17]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Reviewers were Messrs. Vic Thomson and Charles Kgosana
(engravers, Pretoria), D Schilofsky (jeweller, gemmologist, Pretoria) and F.
Haenggi (art dealer, Basel, Switzerland).<o:p></o:p></span></div>
</div>
<div id="ftn18">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref18" name="_ftn18" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[18]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">It should be noted that the list is not conclusive but
contains only an initial record of noted manufacturing gold- and silversmiths
who used a maker’s mark. Indeed, according to Mr F. Haenggi (co-owner of the
Johannesburg situated Gallery101 from 1961-1973, and owner of Gallery 21 from
1972-1993) a fair number of jewellers who were active in the 1950’s and 1960’s
exhibited their work at his galleries. These include names like Peter Davis,
Renée le Roux, Sandra Rosenberg, Marion Gottlieb. As yet, no more information
could be obtained about them. Perhaps some were only active for a short while.
E-mail: Mr F Haenggi – F. van Staden, <i>20th
century artists working in South Africa</i>, 2011-09-14, </span><a href="http://www.pelmama.org/Johannesburg_artscene_Gallery101_history"><span lang="EN-ZA" style="color: windowtext; font-size: 8pt;">www.pelmama.org/Johannesburg_artscene_Gallery101_history</span></a><span lang="EN-ZA" style="font-size: 8pt;">, accessed on
2011-12-05.<o:p></o:p></span></div>
</div>
<div id="ftn19">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref19" name="_ftn19" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[19]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">F. van Staden, early and mid Twentieth Century South
Africa: Legacies of manufacturing gold- and silversmiths, <i>South African Journal of Cultural History, </i>26(2), manuscript
submitted for review and publication in December 2012. <i><o:p></o:p></i></span></div>
</div>
<div id="ftn20">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref20" name="_ftn20" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[20]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Karel Nel, The Egon Guenther family collection: A
conversation with Karel Nel, </span><a href="http://www.randafricanart.com/Egon_Guenther_Interview.html"><span lang="EN-ZA" style="font-size: 8pt;">www.randafricanart.com/Egon_Guenther_Interview.html</span></a><span lang="EN-ZA" style="font-size: 8pt;">, accessed on
2012-05-10.<o:p></o:p></span></div>
</div>
<div id="ftn21">
<div class="MsoFootnoteText" style="line-height: 115%;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref21" name="_ftn21" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt; line-height: 115%;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[21]</span></span></span></span></a><span style="font-size: 8pt; line-height: 115%;"> </span><span lang="EN-ZA" style="font-size: 8pt; line-height: 115%;">Author
unknown, Die wêreld sien hoe ons vroue getooi word, <i>Sarie Marais, </i>27 March 1963, p. 41. <o:p></o:p></span></div>
</div>
<div id="ftn22">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref22" name="_ftn22" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[22]</span></span></span></span></a><span style="font-size: 8pt;"> E_mail: </span><span lang="EN-ZA" style="font-size: 8pt;">F Haenngi to F van Staden, <i>Kurt Donau & SA Goldsmith manuscript</i>, 24 January 2012.<o:p></o:p></span></div>
</div>
<div id="ftn23">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref23" name="_ftn23" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[23]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Interview: Geoph Foden, Johannesburg, 2009-10-28.<o:p></o:p></span></div>
</div>
<div id="ftn24">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref24" name="_ftn24" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[24]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Author unknown, Egon Günter, <i>The S. A. Jeweller and the Diamond News</i>, April 1957, pp. 16-17.<i> The S. A. Jeweller and the Diamond News</i>,
February 1957, pp. 9-10.<o:p></o:p></span></div>
</div>
<div id="ftn25">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref25" name="_ftn25" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[25]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Interview: Mr B. Taylor, worked in the early Metal Art
workshop and again between 1970-1979 for Joe Calafato, Pretoria, 2005-10-27. <o:p></o:p></span></div>
</div>
<div id="ftn26">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref26" name="_ftn26" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[26]</span></span></span></span></a><span style="font-size: 8pt;"> Interview: Mr G. Blything, worked in the 1970’s for
Joe Calafato as a medal die sinker, Pretoria, 2005-07-08.</span><span lang="EN-ZA" style="font-size: 8pt;"><o:p></o:p></span></div>
</div>
<div id="ftn27">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref27" name="_ftn27" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[27]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Interview: Mr T Sasseen, apprenticed and employed as
die sinker at the SA Mint 1950 – 1974, Pretoria, 2010-06-02.<o:p></o:p></span></div>
</div>
<div id="ftn28">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref28" name="_ftn28" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[28]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Interview: Mr J. Erasmus, co-owner of the Metal Art
and Joe Calafato companies, Pretoria, 2009-09-10. <o:p></o:p></span></div>
</div>
<div id="ftn29">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref29" name="_ftn29" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[29]</span></span></span></span></a><span style="font-size: 8pt;"> Joe Calafato’s work under the maker’s marks of
Candida, Velia, Carina, Dawu, JC and Joe Calafato has been extensively recorded
in an earlier article: F. van Staden, Joe Calafato: A late twentieth century
South African precious metal artist, <i>South Africa Journal of Cultural
History</i>, 24 (1), pp. 126-149.</span><span lang="EN-ZA" style="font-size: 8pt;"><o:p></o:p></span></div>
</div>
<div id="ftn30">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref30" name="_ftn30" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[30]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Interviews: Mr J. Erasmus, Pretoria, 2005-06-05,
2005-07-05 and 2005-10-24. <o:p></o:p></span></div>
</div>
<div id="ftn31">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref31" name="_ftn31" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[31]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Author unknown, The Kings of King’s Jewels, <i>The S. A. Jeweller and the Diamond News</i>,
April 1957, pp. 16-17.<o:p></o:p></span></div>
</div>
<div id="ftn32">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref32" name="_ftn32" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[32]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Interview: Mr D. Shilofsky, manufacturing jeweller and
gemmologist, Lynnwood, Pretoria, 2009-09-30.<o:p></o:p></span></div>
</div>
<div id="ftn33">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref33" name="_ftn33" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[33]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Author unknown, Die wêreld sien hoe ons vroue getooi
word, <i>Sarie Marais, </i>27 March 1963, p.
41.<o:p></o:p></span></div>
</div>
<div id="ftn34">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref34" name="_ftn34" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[34]</span></span></span></span></a><span style="font-size: 8pt;"> E. Smit, <i>Erich
Frey 25 years</i> (Pretoria Art Museum, 31 July – 18 August 1985), p.2.<o:p></o:p></span></div>
</div>
<div id="ftn35">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref35" name="_ftn35" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[35]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Interview: Mr B. Minster, Pretoria, 2005-12-14 and
2005-12-15.<o:p></o:p></span></div>
</div>
<div id="ftn36">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref36" name="_ftn36" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[36]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Interviews: Mr G. Xanthides, Pretoria, 2004-11-16,
2004-11-17 and 2009-10-21. In interviews
with other jewellers it emerged that criminality became a major issue and expense over the
final decade of the 20<sup>th</sup> century. <o:p></o:p></span></div>
</div>
<div id="ftn37">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref37" name="_ftn37" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[37]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Interview: Mr George Xanthides, Mr Mark Xanthides and
Ms Bridgit Xanthides, Pretoria, 2009-10-21. <o:p></o:p></span></div>
</div>
<div id="ftn38">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref38" name="_ftn38" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[38]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Interview: Geoph Foden, Johannesburg, 2009-10-28. <o:p></o:p></span></div>
</div>
<div id="ftn39">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref39" name="_ftn39" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[39]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">C. de Ridder, <i>Volkspele
uit sonnige Suid-Afrika</i>, Van Schaiks, Pretoria, 1953.<o:p></o:p></span></div>
</div>
<div id="ftn40">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref40" name="_ftn40" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[40]</span></span></span></span></a><span lang="DE-CH" style="font-size: 8pt;"> Uniale Raad vir
Volksang en Volkspele, <i>Ons eie Volkspele</i>,
Pretoria, 1955. <o:p></o:p></span></div>
</div>
<div id="ftn41">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref41" name="_ftn41" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[41]</span></span></span></span></a><span lang="DE-CH" style="font-size: 8pt;"> R.van der Lith – F.
van Staden, e-mail: RE: Volkspele borsspelde, </span><a href="mailto:Reinette@volkspele.co.za"><span lang="DE-CH" style="color: windowtext; font-size: 8pt;">Reinette@volkspele.co.za</span></a><span lang="DE-CH" style="font-size: 8pt;">, 2009-09-28.<o:p></o:p></span></div>
</div>
<div id="ftn42">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref42" name="_ftn42" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[42]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Interview: Mrs K. Milbrandt, daughter of Mr Haug, a
die sinker for the Simba group, Pretoria, 2008-10-11. <o:p></o:p></span></div>
</div>
<div id="ftn43">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref43" name="_ftn43" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[43]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Interview: Mr H.F. Gatticchi, silver- and goldsmith,
Pretoria, 2009-09-12.<o:p></o:p></span></div>
</div>
<div id="ftn44">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref44" name="_ftn44" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[44]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Examples are contained in the author’s private
collection.<o:p></o:p></span></div>
</div>
<div id="ftn45">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref45" name="_ftn45" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[45]</span></span></span></span></a><span style="font-size: 8pt;"> </span><a href="http://ipnewpto/zaptolemy/web/IP/trademark/tmapplication/list.aspx"><span lang="EN-ZA" style="color: windowtext; font-size: 8pt;">http://ipnewpto/zaptolemy/web/IP/trademark/tmapplication/list.aspx</span></a><span lang="EN-ZA" style="font-size: 8pt;">, 2009-04-15. At the
time maker’s marks had to be renewed every 10 years.<o:p></o:p></span></div>
</div>
<div id="ftn46">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref46" name="_ftn46" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[46]</span></span></span></span></a><span style="font-size: 8pt;"> Archives of the National Museum for Cultural History,
Pretoria, </span><span lang="EN-ZA" style="font-size: 8pt;">A collection of photo’s depicting a few of the Simba ranges as
photographed by Martin Gibbs.<o:p></o:p></span></div>
</div>
<div id="ftn47">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref47" name="_ftn47" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[47]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Comparison of examples in the Van Staden collection.
The collection contains extensive examples of Joe Calafato’s work along with
that of Simba, Kruger Park, Haglund, Erich Frey, Mari-lou and Riviera. <o:p></o:p></span></div>
</div>
<div id="ftn48">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref48" name="_ftn48" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[48]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Excerpts from testimonials in the De Wet portfolio
which include L. Lipschitz and R.N Sheppard (Director) of the Michaelis School
of Fine Art (1952) and DM Batts, M
Kessel and W Johnstone (Principal) of the Central School of Arts and Crafts in
London (1955).<o:p></o:p></span></div>
</div>
<div id="ftn49">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref49" name="_ftn49" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[49]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Author unknown, Jewel Craft: Eone de Wet, <i>Lantern</i>, March 1957, pp.289 & 291.<o:p></o:p></span></div>
</div>
<div id="ftn50">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref50" name="_ftn50" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[50]</span></span></span></span></a><span lang="DE-CH" style="font-size: 8pt;"> Ms B. Maree,
Uitstalling van beelde: Saadjie jare gelede geplant, <i>Die Transvaler,</i> 16 October 1981, p. 8. </span><span lang="EN-ZA" style="font-size: 8pt;">Sculptures from the serpentine
stone family were exhibited at the Pretoria branch of the South African Art
Association in October 1981. <o:p></o:p></span></div>
</div>
<div id="ftn51">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref51" name="_ftn51" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[51]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Ms M. van Biljon, Jewellery… inspired by Africa, <i>Panorama</i>, nr. 7, 1957, p. 29.<o:p></o:p></span></div>
</div>
<div id="ftn52">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref52" name="_ftn52" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[52]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Mr R. Daneel, <i>Award
winner Eone de Wet</i>, catalogue of Adler Fielding Galleries exhibition named
Artist of Fame and Promise 1962, p.3.<o:p></o:p></span></div>
</div>
<div id="ftn53">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref53" name="_ftn53" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[53]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Ms Barbara, S.A. artist for U.K., <i>The Friend, </i>Bloemfontein, 14 March 1962, p.10.<i> </i> <o:p></o:p></span></div>
</div>
<div id="ftn54">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref54" name="_ftn54" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[54]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Author unknown, Die wêreld sien hoe ons vroue getooi
word, <i>Sarie Marais, </i>27 March 1963,
pp. 9, 10 & 41.<o:p></o:p></span></div>
</div>
<div id="ftn55">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref55" name="_ftn55" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[55]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Mr R. Daneel, <i>Award
winner Eone de Wet</i>, catalogue of the Adler Fielding Galleries exhibition
named Artist of Fame and Promise 1962, pp. 3 & 4.<o:p></o:p></span></div>
</div>
<div id="ftn56">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref56" name="_ftn56" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[56]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Author unknown, Eone de Wet, <i>Lantern</i>, March 1972, pp.37 - 39.<o:p></o:p></span></div>
</div>
<div id="ftn57">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref57" name="_ftn57" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[57]</span></span></span></span></a><span lang="DE-CH" style="font-size: 8pt;"> Ms P. Breytenbach,
Eone se Raka – ‘n waardige bydrae, <i>Die
Transvaler,</i> 22 Julie 1975, p. 4. <o:p></o:p></span></div>
</div>
<div id="ftn58">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref58" name="_ftn58" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[58]</span></span></span></span></a><span lang="DE-CH" style="font-size: 8pt;"> M. Pieterse, Die
skoene hou vir ewig, <i>Klaradyn bylae tot
Die Transvaler</i>, 27 April 1978, p. 3.<o:p></o:p></span></div>
</div>
<div id="ftn59">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref59" name="_ftn59" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[59]</span></span></span></span></a><span lang="DE-CH" style="font-size: 8pt;"> Ms M Kromberg,
Inflasie dryf Eone van groot kuns na juwele, <i>Die Vaderland, </i>31 Maart 1978, p.11.<o:p></o:p></span></div>
</div>
<div id="ftn60">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref60" name="_ftn60" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[60]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Interview: Mr Lucian Harington, son of Ms De Wet,
Johannesburg, Parktown North, 2011-12-13.<o:p></o:p></span></div>
</div>
<div id="ftn61">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref61" name="_ftn61" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[61]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Others were Else Wongtschowski (1936 – 1970’s/1980’s),
Margaret Richardson (late 1940’s – early 1970’s) and Maia Holm (1962 - ).<o:p></o:p></span></div>
</div>
<div id="ftn62">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref62" name="_ftn62" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[62]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Unpublished resumé from Pagliary’s personal file. <o:p></o:p></span></div>
</div>
<div id="ftn63">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref63" name="_ftn63" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[63]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Author unkown, Pagliary: Master craftsman, <i>Flying Springbok, </i>July 1984, pp. 37-38<o:p></o:p></span></div>
</div>
<div id="ftn64">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref64" name="_ftn64" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[64]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Ms F Regasto, letter addressed to F. van Staden, <i>Basic history on the founding of Pagliari</i>,
28 October 2009.<o:p></o:p></span></div>
</div>
<div id="ftn65">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref65" name="_ftn65" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[65]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Interview: Ms Z. Calafato, daughter of Joe Calafato,
Colbyn, Pretoria, 2009-09-19. Also, F. van Staden, Joe Calafato: A late
twentieth Century South African precious metal artist, <i>South African Journal of Cultural History</i>, 24(1), June 2010, p.
142.<o:p></o:p></span></div>
</div>
<div id="ftn66">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref66" name="_ftn66" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[66]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Ms B West, International honour for two city
jewellers, <i>Cape Times, </i>2000-07-10, p.5.<o:p></o:p></span></div>
</div>
<div id="ftn67">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref67" name="_ftn67" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[67]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Author unknown, Symbol of Power, <i>South African Panorama,</i> April 1963, p. 12.<o:p></o:p></span></div>
</div>
<div id="ftn68">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref68" name="_ftn68" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[68]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Unpublished resumé from Pagliary’s personal file.<o:p></o:p></span></div>
</div>
<div id="ftn69">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref69" name="_ftn69" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[69]</span></span></span></span></a><span lang="IT" style="font-size: 8pt;"> Pagliary
Group://www.pagliarigroup.com/index_2.htm, 2009-08-12.<o:p></o:p></span></div>
</div>
<div id="ftn70">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref70" name="_ftn70" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[70]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Interview: Mr H.F. Gatticchi, silver- and goldsmith,
Pretoria, 2009-09-12.<o:p></o:p></span></div>
</div>
<div id="ftn71">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref71" name="_ftn71" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[71]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Unpublished resumé from Pagliary’s personal file.<o:p></o:p></span></div>
</div>
<div id="ftn72">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref72" name="_ftn72" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[72]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Pagliary’s first contract was signed with the
Rembrandt Tobacco Group for producing the dies used for embossing labels on the
cigarette boxes. <o:p></o:p></span></div>
</div>
<div id="ftn73">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref73" name="_ftn73" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[73]</span></span></span></span></a><span style="font-size: 8pt;"> The Pagliari Group now consists of the following
companies who deal with gold/silver smiting, industrial engraving and die
sinking, medal and coinage manufacturing:
Pagliari (Pty) Ltd., The Cape Mint (Pty) Ltd., Sports Medallions (Pty)
Ltd., Gia Jewellery CC and Cape Silver (Pty) Ltd. </span><span lang="EN-ZA" style="font-size: 8pt;"><o:p></o:p></span></div>
</div>
<div id="ftn74">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref74" name="_ftn74" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[74]</span></span></span></span></a><span lang="IT" style="font-size: 8pt;"> E-mail, Roberto Pagliari,
RE: Pagliari History, 2009-10-15. </span><span lang="EN-ZA" style="font-size: 8pt;">She also states that Pagliari <i>..slept very little as his brain was always
working overtime. He would always make notes (even when in bed) so as to
remember and put his thoughts into action at work.</i> <i><o:p></o:p></i></span></div>
</div>
<div id="ftn75">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref75" name="_ftn75" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[75]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Interview: Mr B. Minster, Goldsmith, Pretoria,
2009-12-14 and 2009-12-15.<o:p></o:p></span></div>
</div>
<div id="ftn76">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref76" name="_ftn76" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[76]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Interview: Mr H.F. Gatticchi, silver- and goldsmith,
Pretoria, 2009-09-12.<o:p></o:p></span></div>
</div>
<div id="ftn77">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref77" name="_ftn77" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[77]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Interview: Mr S. Vorster, Goldsmith, Plettenberg Bay,
2007.<o:p></o:p></span></div>
</div>
<div id="ftn78">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref78" name="_ftn78" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[78]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Interview: Geoph Foden, Johannesburg, 2009-10-28.<o:p></o:p></span></div>
</div>
<div id="ftn79">
<div class="MsoNormal">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref79" name="_ftn79" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[79]</span></span></span></span></a><span style="font-size: 8pt;"> In discussions with dealers in antiques and
collectibles, it is often speculated that the <b>Mari Lou</b> mark represents
the work of a student of Joe Calafato because they made use of the same style
and lettering type in their trade marks. Instead, it was made by his
contemporaries who were competing for the same market.<o:p></o:p></span></div>
</div>
<div id="ftn80">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref80" name="_ftn80" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[80]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Author unknown, The Kings of King’s Jewels, <i>The S. A. Jeweller and the Diamond News</i>,
April 1957, p. 16.<o:p></o:p></span></div>
</div>
<div id="ftn81">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref81" name="_ftn81" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[81]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Author unknown, Egon Günter, <i>The S. A. Jeweller and the Diamond News</i>, April 1957, pp. 16-17.<i> The S. A. Jeweller and the Diamond News</i>,
February 1957, pp. 9-10. Also, N. Gordimer, Kurt Jobst, <i>Artlook,</i> June 1971, p.13.<o:p></o:p></span></div>
</div>
<div id="ftn82">
<div class="MsoFootnoteText">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref82" name="_ftn82" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[82]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Author unknown, Jewellers act to cut burglary losses, <i>Diamond News and the S.A. Jeweller</i>,
February 1958, p. 31. <o:p></o:p></span></div>
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<div id="ftn83">
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<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref83" name="_ftn83" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[83]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Author unknown, Springs jeweller assaulted, <i>The S.A. Jeweller and the Diamond News</i>,
October 1957, p. 22. He died in 1962 and
lived in Springs since 1904 after arriving in South Africa from Latvia. Author
unknown, Death of Mr. I Gordimer, <i>Diamond
News and the S.A. Jeweller</i>, October
1962, p. 49.. <o:p></o:p></span></div>
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<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths50's.docx#_ftnref84" name="_ftn84" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt;"><span class="MsoFootnoteReference"><span style="font-family: 'Times New Roman', serif; font-size: 8pt;">[84]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">F. van Staden, Joe Calafato: A late twentieth century
South African precious metal artist, <i>S.A.
Journal of Cultural History,</i> 24(1), June 2010, p. 131. Here it is wrongly
stated that the import controls and tariff duties were eased in 1966 whereas it
already happened 11 years earlier in 1955.<i><o:p></o:p></i></span></div>
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Fredhttp://www.blogger.com/profile/08076362684798612013noreply@blogger.com7tag:blogger.com,1999:blog-2651480711748885554.post-70193373130722589042012-05-16T18:08:00.000+02:002014-01-14T11:48:46.335+02:00Early and mid Twentieth Century South Africa: Legacies of local gold- and silversmiths.<div align="center" class="MsoNormal" style="text-align: center;">
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Legacies
of immigrant gold- and silversmiths during early and mid-twentieth century
South Africa.<o:p></o:p></span></b></div>
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Fred van Staden<o:p></o:p></span></b></div>
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Department
of Psychology, University of South Africa, PO Box 392, Pretoria, 0003<o:p></o:p></span></b></div>
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<b><span lang="IT" style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-ansi-language: IT;">E-mail: </span></b><b><span lang="IT" style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-ansi-language: IT;"> vstadfj@unisa.ac.za</span></b><strong><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; font-weight: normal; line-height: 150%; mso-bidi-font-weight: bold;"><o:p></o:p></span></strong></div>
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<b><span lang="IT" style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-ansi-language: IT;">
</span></b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-bidi-font-weight: bold;"><o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-bidi-font-weight: bold;">(<i>Published in the South African Journal of Cultural History, June 2013)</i> </span></div>
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<b><span lang="AF" style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-ansi-language: AF; mso-bidi-font-style: italic;">Nalatenskap
van immigrante goud- en silwersmede gedurende die vroeë en middel twintigste
eeu in Suid-Afrika.<o:p></o:p></span></b></div>
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<span lang="EN-ZA" style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-ansi-language: EN-ZA; mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">Hierdie artikel
bestaan uit ‘n oorsig van</span><span lang="AF" style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-ansi-language: AF; mso-bidi-font-style: italic;"> bekende Suid-Afrikaanse immigrante goud- en
silwersmede se werk tydens die vroeë en middel twintigste eeu. Die aantekeninge
is op ’n oorsig van koerantberigte, tydskrif- en joernaalartikels,
boekpublikasies, tersaaklike e-posse en
internetsoektogte gebaseer. Hierdie inligting is verder geïntegreer met bydraes
uit onderhoude wat met goudsmede en spesialiste in die industrie gevoer is.
Waar moontlik is die goudsmede se vervaardigerstempels opgeteken. <o:p></o:p></span></div>
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<b><span lang="AF" style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-ansi-language: AF; mso-bidi-font-style: italic;">Sleutelwoorde:</span></b><span lang="AF" style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-ansi-language: AF; mso-bidi-font-style: italic;"> edelmetaalkunstenaar,
goudsmid, silwersmid, vervaardigerjuwelier, vervaardigersmerk, twintigste-eeuse
Suid-Afrika.<o:p></o:p></span></div>
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<span lang="EN-ZA" style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-ansi-language: EN-ZA; mso-bidi-font-style: italic;">The work of noted South African immigrant gold-
and silversmiths during the early and mid twentieth century is reviewed in this
article. The summaries are based on a review of newspaper reports, magazine and
journal articles, book publications, relevant e-mail exchanges and internet
searches. This information was integrated with contributions from interviews with
gold- and silversmiths and specialists in the industry. Where possible,
the makers’ stamps have been recorded.<o:p></o:p></span></div>
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Key
words:</span></b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"> precious metal artist, goldsmith, silversmith,
manufacturing jeweller, maker’s mark, twentieth-century South Africa<b><o:p></o:p></b></span></div>
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Introduction<o:p></o:p></span></b></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">The Arts and Crafts movement
in the European world emerged as a reaction to the mechanisation and mass
production processes developed during the Industrial Revolution. Since then the
tension between individualised creation and mass production of precious metal
artefacts has been ever present. This tension is also found in differentiations
that are drawn between ‘art’ and ‘craft’. In addition, in the case of jewellery
design, the demand of functionality has also placed additional challenges to
its definition as Fine Art. In an attempt to solve the dilemma, the Germans
have defined a third category of ‘high craft’ known as <i>Kunsthandwerk</i>, a discipline in its own right, where craft
approaches the ambitions of fine art.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[1]</span></span><!--[endif]--></span></a> <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">One critic, in 1957
described jewellery as being <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">… <i>ideally a form of sculpture on a small
scale, combining beauty with a decorative function … a standard that includes
the triple combination of sculpture, beauty and utility … controlled by its
function (and) the materials used in its making. The functional quality of
jewellery seems to have affected its development as a form of art. It became
associated with decoration and ornament and so escaped the discipline and
protection that were ensuring the sound development of painting and sculpture.
Modern technology has had … (a) … devaluating effect.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="font-size: 10pt;">[2]</span></b></span><!--[endif]--></span></a></i><o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Nevertheless, as the
Scandinavian designers (both in Scandinavia and those who emigrated to the
United States) of the early twentieth century have shown, the dilemma of
mechanical reproduction and aesthetics can to some extent be resolved with
refined designs that reflect high levels of aesthetic appreciation, along with
sophisticated quality-controlled manufacturing processes that include both hand-
and machine work.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[3]</span></span><!--[endif]--></span></a> <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">During the first half of the
twentieth century, it appears that the creative processing of precious metals was
not a widespread practice in South Africa. The discovery of diamonds in Kimberley
in 1867 and shortly thereafter gold in 1886 stimulated an initial trickle of</span><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-ansi-language: EN-ZA; mso-bidi-font-weight: bold;"> <span lang="EN-ZA">European gold-
and silversmiths. This notwithstanding, the </span></span><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">socioeconomic
devastation caused by the South African War (1899-1902) set the context for a
lack of growth in the field of precious metal jewellery making at the turn of
the century. This was followed by the First World War (1914-1918), the global
economic depression in the 1930s and the Second World War (1939-1945). The
aftermath of the Second World War had a benefit for South Africa though, for it
resulted in a wave of skilled immigrants that lasted until the early 1970’s –
thereby contributing significantly to the development of a South African
inspired legacy of precious metal artefacts.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[4]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Method<o:p></o:p></span></b></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">This study concentrates on noted
early twentieth century gold- and silversmiths who established their workshops before
1950.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[5]</span></span><!--[endif]--></span></a> A
literature search of publications in academic journals, books and suitable
magazines such as the <i>South African
Panorama</i>, <i>Lantern</i>, <i>Artlook Magazine</i>, </span><i><span lang="EN-ZA" style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-ansi-language: EN-ZA;">The
S.A. Jeweller</span></i><span lang="EN-ZA" style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-ansi-language: EN-ZA;"> <i>and the</i> <i>Diamond News</i></span><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"> as well as </span><i><span lang="EN-ZA" style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-ansi-language: EN-ZA;">The Diamond News</span></i><span lang="EN-ZA" style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-ansi-language: EN-ZA;"> and<i> The S.A.
Watchmaker and Jeweller</i></span><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"> yielded an initial list of gold- and
silversmiths whose work was noted and commented on. Internet searches on local
studios and workshops were then conducted. Interviews were held with (mostly
retired) gold- and silversmiths and specialists in the field to extend and corroborate
existing information. </span><span lang="EN-ZA" style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-ansi-language: EN-ZA;">Where
possible, the goldsmith makers’ marks have been recorded, as well as the years
during which they were used.<o:p></o:p></span></div>
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<span lang="EN-ZA" style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-ansi-language: EN-ZA;">An initial draft was submitted to a few experienced practitioners for
review. It was also posted on the internet and comments from readers were
invited.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-ZA" style="font-size: 10pt;">[6]</span></span><!--[endif]--></span></a>
Where warranted, the text was adapted.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-ZA" style="font-size: 10pt;">[7]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<b><span lang="EN-ZA" style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-ansi-language: EN-ZA;">Some noted manufacturing gold-
and silversmith workshops established during the early to mid twentieth century
in South Africa<o:p></o:p></span></b></div>
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<b><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">A Sidersky & Son </span></i></b><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">(Johannesburg, 1902</span></i><i><span style="font-family: "Agency FB","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-bidi-font-family: Arial;">—</span></i><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">2006)<o:p></o:p></span></i></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Adolph
Sidersky was schooled in Leipzig, Germany as an engraver, setter and jeweller.
He immigrated to South Africa in the late 1800s and participated in the South
African War on the side of the Boers. After the war, in 1902 he opened his own
manufacturing jeweller studio in Surrey House near the Rissik Street Post Office
in Johannesburg. In 1928 his son Max entered the studio and was trained as a jeweller
by his father. He took over the business ten years later when his father died.
In 1959 Anthony Sidersky (Max’s son) became the third generation to enter the
Sidersky jewellery manufacturing business. In 1973 a retail shop was opened in
Sandton City, where they traded until the business was sold in 2006. With more
than 100 years of continued trading, it was the oldest family-run jewellery
manufacturing concern in the country.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">The
studio specialised in the mounting and setting of gemstones in platinum or gold
as primary mediums of their designs. Throughout the years a number of authors
have commented on the exceptional quality of their jewellery craftsmanship.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[8]</span></span><!--[endif]--></span></a>
This is further borne out by commissions from a South Rhodesian firm for
decorative jewellery that was presented to the young British Princess Elizabeth
and later to the Queen Mother and Princess Margaret. It consisted of three
identical brooches in the form of the flame lily flower, each consisting of 300
diamonds set in platinum.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[9]</span></span><!--[endif]--></span></a>
Among other achievements are two mayoral chains that were made for the city of
Johannesburg. The first was made by Adolph Sidersky in 1910 and was replaced in
1950 by a newly designed chain made by Max Sidersky. In both cases the mayoral
chains were commissioned by the gold mines operating within the city limits.
The chains were hand-carved and chased.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn10" name="_ftnref10" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[10]</span></span><!--[endif]--></span></a> The
Sidersky workshop partook in an early De Beers’ initiative to stimulate market
interest in buying diamonds by contributing two diamond parure sets designed
and made by Max Sidersky, which featured as central displays in the ‘Jewel Box’
at the Diamond Pavilion of the Rand Easter Show in 1963.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn11" name="_ftnref11" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[11]</span></span><!--[endif]--></span></a> In
1979 the studio introduced, with good success, matching sets of engagement and
wedding rings (a one-ring-only look) to the South African public.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn12" name="_ftnref12" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[12]</span></span><!--[endif]--></span></a> <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt7ox__8ti73cQgbe4JYdWvOw5bNgRuJ_BOoZ6fNb1FfUmwFA6UU7bmYRHSjkhXP2QSLBTb1uOhSS_O80QWBzdeDuWq9Cc1Pg_NNPTZpkeVgjKfF0Sv_sCFwVVFZ7GApAN3fU4Lcmk8_rw/s1600/The+flame+lily+brooch+for+British+royal+family.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt7ox__8ti73cQgbe4JYdWvOw5bNgRuJ_BOoZ6fNb1FfUmwFA6UU7bmYRHSjkhXP2QSLBTb1uOhSS_O80QWBzdeDuWq9Cc1Pg_NNPTZpkeVgjKfF0Sv_sCFwVVFZ7GApAN3fU4Lcmk8_rw/s320/The+flame+lily+brooch+for+British+royal+family.jpg" width="164" /></a></div>
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure 1: The flame lily brooch with 300
diamonds by A Sidersky & Son in the early 1950s. The original was made as a
gift for the British Princess Elizabeth, with later replicas made for the Queen
Mother and Princess Margaret.<o:p></o:p></span></b></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">(Photograph:
<i>The Diamond News</i> <i>and the</i> <i>S.A. Watchmaker and
Jeweller</i>, July 1952, p. 57)<o:p></o:p></span></div>
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure 2: A ruby and diamond brooch
consisting of Diamonds, rubies and emeralds mounted on a platinum base by Max
Siderski in 1957, responding to De Beer’s call to local jewellers to make more
use of diamonds in their designs.<o:p></o:p></span></b></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">(Photograph:
<i>The Diamond News</i> <i>and the</i> <i>S.A. Watchmaker and
Jeweller</i>, August 1957, p.10)<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Max
Sidersky was also active in the organisational side of the diamond and
jewellery industry. For a number of years in the late 1950s he was chairman of
the South African Manufacturing Jewellers Association.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn13" name="_ftnref13" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[13]</span></span><!--[endif]--></span></a>
His progressive attitude to the development of the local jewellery
manufacturing sector was illustrated in a letter to <i>The Diamond News and S.A. Jeweller </i>in 1958 where he cogently argued
the case for instituting a standardised jewellery marking system.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn14" name="_ftnref14" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[14]</span></span><!--[endif]--></span></a> His
call fell on deaf ears, for it took another 55 years before the first concrete
legislation in establishing a South African hallmarking system was introduced
in 2013.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn15" name="_ftnref15" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[15]</span></span><!--[endif]--></span></a> <o:p></o:p></span></div>
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<b><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">South African Mint </span></i></b><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">(Pretoria, 1923</span></i><i><span style="font-family: "Agency FB","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-bidi-font-family: Arial;">—</span></i><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"> )<o:p></o:p></span></i></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Following an Act of Parliament,
the Pretoria branch of the Royal Mint was established in 1923 under the
auspices of the newly proclaimed South African Reserve Bank. In 1941 this was
to become the South African Mint. It was situated, until the early 1960s, at
the corner of Paul Kruger and Visagie Streets – currently the building houses
the Ditsong National Museum of Cultural History in Pretoria. Between 1923 and
1932 the Mint produced British gold sovereigns that carried the Royal Mint of
Pretoria mark. Apart from producing coins, the Mint also made medals, mayoral
chains, masonic jewels, cigarette boxes, commemorative trays, chalices as well
as the Historic Monuments Commission’s brass plaques. During the Second World
War under the directorship of Mr E Nayler (who was chief die sinker at the Mint),
they also manufactured an array of munitions.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn16" name="_ftnref16" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[16]</span></span><!--[endif]--></span></a>
After the war this extended range of the Mint’s manufacturing activities shrank
with an undertaking by the South African government that it would not compete
on the open market. With this assurance, a large number of die sinkers,
engravers and gold- and silversmiths left the Mint to open their own businesses
on the open market. Among them were Bob Campbell (die sinker), Joe Calafato
(designer, jeweller), Boet de Lange, Percy Cave (designer, die sinker,
engraver)<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn17" name="_ftnref17" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[17]</span></span><!--[endif]--></span></a>, Bill
Myburg (die sinker), Gordon Blything, Eddie Luther (die sinker), Bob Taylor,
Photis Sboros, and Messrs Becklake, Hendriks, Ralph Lindup, Bousset (a Belgian)
and Mr Stanford.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn18" name="_ftnref18" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[18]</span></span><!--[endif]--></span></a> The
release of these artisans into the open market along with an influx of gold-
and silversmiths from Lithuania and Germany stimulated a significant growth in
the local precious metal manufacturing market in the 1950s.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn19" name="_ftnref19" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[19]</span></span><!--[endif]--></span></a> <o:p></o:p></span></div>
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure
3: One of the first coins to be minted by the South African branch of the Royal
Mint was the 1923 one penny. In March 2013 it was on sale for R920.<o:p></o:p></span></b></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">(Photograph retrieved from </span><a href="http://www.pricecheck.co.za/search/1923_South_Africa_penny"><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">www.pricecheck.co.za/search/1923_South_Africa_penny</span></a><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">,
January 2013. Also, </span><a href="http://www.samint.co.za/history"><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">www.samint.co.za/history</span></a><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">,
January 2013) <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Over the years, much medal
work continued to be done. Mr Dick Bradstreet took over from Mr Nayler as chief
die sinker, medal designer and engraver for a year, and then Mr Tommy Sasseen
took over from 1959 to 1974. Sasseen used the maker’s mark TMS (Transvaal
Medallion Society) and later reduced it to TS.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn20" name="_ftnref20" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[20]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<b><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Jack
Friedman </span></i></b><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">(Johannesburg,
1933–1995, 1995</span></i><i><span style="font-family: "Agency FB","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-bidi-font-family: Arial;">—</span></i><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"> )<o:p></o:p></span></i></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Jack Friedman was born in
1908 in Riga, Latvia from three generations of jewellers and starting at the
age of 13 he gained his skills in jewellery design and watchmaking from his
father. In 1928 at the age of 20 he arrived in Johannesburg as a qualified
journeyman. In 1933 he started his own workshop in Pioneer House, Loveday Street
with only a handful of workmen. The business was called J.<i> </i>Friedman, Manufacturing Jeweller and Diamond Setter<i>. </i>It expanded rapidly and in 1938 he
moved to larger premises in Fox Street behind the old Colosseum Theatre. Twelve
years later he moved to 291 Bree Street in Braamfontein. Here he concentrated
on the manufacturing of jewellery through the setting of diamonds. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">For a while during the early
1950s Friedman had his own diamond-cutting factory where he secured the sole
agency in South Africa to produce profile cut diamonds (Princess Cut).<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn21" name="_ftnref21" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[21]</span></span><!--[endif]--></span></a>
In terms of jewellery design he was an innovator giving expression to the
opportunities and demands of his time. For example, in the early 1960s he was
one of the first local manufacturing jewellers to heed Mr Harry Oppenheimer’s
call for local gold- and silversmiths to include small diamonds in their
designs. Friedman made use of combinations of mounted clusters and dispersed
small diamonds to optimise its reflective effect.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn22" name="_ftnref22" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[22]</span></span><!--[endif]--></span></a>
True to the dominant style during the 1970s, J. Friedman Jewellers created <o:p></o:p></span></div>
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<i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">… geometric, clear cut lines which
combine elegantly with the glitter of diamonds.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn23" name="_ftnref23" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="font-size: 10pt;">[23]</span></b></span><!--[endif]--></span></a></span></i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">In the early 1960s his son
Frank Friedman trained as a jeweller under his father’s tutelage after which he
studied for a year in Pforzheim, Germany and in England specialising in
gemmology. On returning from his studies he spent a number of years with his
father before opening his own workshop called Frank Friedman Jewellers in the
late 1980s.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn24" name="_ftnref24" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[24]</span></span><!--[endif]--></span></a> <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">One of Jack Friedman’s first
apprentices was Joe Calafato who qualified in 1937 and who later became a
recognised manufacturing jeweller in his own right.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn25" name="_ftnref25" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[25]</span></span><!--[endif]--></span></a> Other
well-known jewellers who worked for him were the husband-and-wife team Ewald
Kratz and Liz Bezuidenhout-Kratz. Early signs of their promise were already
evident when they won the Fourth Chamber of Mines Gold Jewellery Competition
prize in 1973 for the best overall entry while working for J. Friedman
Jewellers. Their piece consisted of a combination necklace made from black onyx
and an 18-carat gold set with thirteen diamonds. The necklace could be divided
into a choker and a bracelet.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn26" name="_ftnref26" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[26]</span></span><!--[endif]--></span></a>
With this award, J. Friedman Jewellers received its fifth overall grand prix
prize in the South African Chamber of Mines gold jewellery competitions.
Proving in 1979 that the family design tradition stood strong, his daughter
Lorna Fervier won two prizes for jewellery design at the De Beers Diamonds
Today competition.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn27" name="_ftnref27" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[27]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure
4: Mr Jack Friedman is being congratulated by Mrs and Dr Nic Diederichs, the Minister
of Finance, on his winning entry in the 1973 Chamber of Mines Gold Jewellery
Competition. The model is wearing the winning choker.</span></b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"> <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">(Photograph: <i>The Diamond News and S.A. Jeweller</i>,
April 1973, p. 30)<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Friedman stated the following
regarding the interdependent nature of design and demand:<o:p></o:p></span></div>
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<i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">The design develops itself. The stone is
the beginning of the creation, and the materials used around it develop and
proportion itself in its natural cause.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn28" name="_ftnref28" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="font-size: 10pt;">[28]</span></b></span><!--[endif]--></span></a></span></i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">For most of his working
life, Friedman was active in establishing and developing formal associations
for diamond cutters and jewellery manufacturers. He served in all the top
positions of the early Johannesburg Jewellers’ Association, the Manufacturing
Jewellers’ Association, the Industrial Council and the Diamond Club.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn29" name="_ftnref29" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[29]</span></span><!--[endif]--></span></a> <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Friedman died in 1995 and
the business continues to be run by his daughter Lorna and grandson Howard
Fervier. Their main factory in Eastgate, Johannesburg employs five full-time
jewellers. They also have branches in Cape Town and Sandton. They specialise in
fine jewellery with custom-made exclusive designs.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn30" name="_ftnref30" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[30]</span></span><!--[endif]--></span></a><span class="MsoFootnoteReference"> </span>Perhaps they are best known for their
Edwardian collection, originally designed by Jack and later extended by Howard.
His name <b><i>Jack Friedman</i></b> (in cursive font) continues to be used as a maker’s
mark.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn31" name="_ftnref31" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[31]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-fareast-language: EN-GB; mso-no-proof: yes;"><v:shape alt="jack sketches 7" id="Picture_x0020_1" o:spid="_x0000_i1038" style="height: 211.5pt; mso-wrap-style: square; visibility: visible; width: 306.75pt;" type="#_x0000_t75">
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure
5: Original pre-World War ll drawings of Jack Friedman, initiating the
development of his Edwardian collection. <o:p></o:p></span></b></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">(Photograph: Undated, from
the Friedman resumé)<o:p></o:p></span></div>
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure
6: An example of the Edwardian collection designed by Jack Friedman.<o:p></o:p></span></b></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">(Photograph: Undated, from
the Friedman resumé)<o:p></o:p></span></div>
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<b><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Kurt Jobst </span></i></b><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">(Johannesburg, 1935</span></i><i><span style="font-family: "Agency FB","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-bidi-font-family: Arial;">—</span></i><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">1971)<o:p></o:p></span></i></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">With Austrian and Italian
parentage, Kurt Jobst was born in 1905 in Ascona, Switzerland – a town known
for its accommodation of alternative naturist lifestyles that included a nudist
colony. He studied widely at goldsmith academies in Hanau, Nürnberg and
Offenbach in Germany. Here he followed a classical apprenticeship in gold- and
silversmithing and became skilled in jewellery making, enamel work, hammer
work, metal engraving, wood carving and wrought iron work. He opened his first
workshop in Germany in 1926 at the young age of 21 and his first commissions
included clerical items such as altar candlesticks, crosses and communion chalices.
In reaction to the rising Nazi sentiments in Germany he relocated in 1935 to
South Africa. The passage for him and his family was paid for with money he
earned from a commission by Hitler’s office.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn32" name="_ftnref32" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[32]</span></span><!--[endif]--></span></a>
His skilled execution of precious metal <i>objets
d’art</i> was already recognised by the future German state and would probably
have been further rewarded had he stayed in Germany. But instead, he sensed the
imminent destruction of Europe, and at the age of 30 he arrived in Johannesburg,
where he opened a workshop called <i>The
Jobst Shop</i>. His creations were individually crafted and bore the mark of a
unicorn or the linked letters <b>Jk</b>.
Sometimes he added his surname <b>Jobst</b>
to the marks.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn33" name="_ftnref33" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[33]</span></span><!--[endif]--></span></a> <o:p></o:p></span></div>
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<b><o:p></o:p></b><br />
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure
7: A copper and enamel engraving announcing the wedding of Kurt and Lotte Jobst
in 1926. At this early stage his creative and skilled versatility was already
obvious.<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">(Photograph: D & A
Jobst, <i>Kurt Jobst Goldsmith and
Silversmith, </i>Johannesburg, 1979, p.4</span>)<o:p></o:p></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">In defiance of the
separatist <i>Zeitgeist</i> of the time, he
employed both white and black South Africans in his workshop and trained both
in the intricacies of bench work.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn34" name="_ftnref34" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[34]</span></span><!--[endif]--></span></a>
In the early 1970s he was invited by the Swazi government to partake in a project
aimed at training young Swazis in jewellery design and manufacture. Again,
partly in reaction to the rising entrenchment of apartheid policies he planned
to relocate his workshop. However, he died in 1971 at the age of 68 in a car
accident on the way back from Mbabane.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn35" name="_ftnref35" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[35]</span></span><!--[endif]--></span></a>
His staff tried to keep the workshop afloat, but without the master metal smith
the business declined and closed within a few years.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn36" name="_ftnref36" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[36]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">A versatile artist, Jobst
produced a wide array of metal creations including jewellery made in gold,
silver and copper, often encrusted with semi-precious and precious stones and
pearls. His designs, which were described as <i>classical, pure </i>and <i>timeless</i>.
It defied the trend at the time to produce chunky and less refined work.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn37" name="_ftnref37" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[37]</span></span><!--[endif]--></span></a>
He was fond of gold granulation, and also made use of wire work in his designs.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn38" name="_ftnref38" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[38]</span></span><!--[endif]--></span></a>
His cutlery and table ware, both hand-beaten and smooth, consisted of forged
silver with mostly clean unembellished lines. Beakers, vases, candlesticks,
bowls, tea sets and trays in pewter, copper or silver were hammer raised. His
church work included chalices, wine and baptismal jugs, collection plates and
crosses, mostly in hammered silver or copper along with some enamelling. He
also created multicoloured stained glass windows. His hand-forged wrought iron
grilles, rails, fire grates, chandeliers, gates and garden furniture are well
known (some examples can be found at the Loreto Convent in Pretoria and in a
Benoni church, along with an oxidised copper light fitting for a synagogue in
Germiston). His work is interesting, unusual, and avant-garde for his time.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn39" name="_ftnref39" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[39]</span></span><!--[endif]--></span></a> <o:p></o:p></span></div>
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure
8: A gold lily cross pendant set with a turquoise centre, Japanese pearls,
cabochon amethysts and topaz by Kurt Jobst during the 1960s<o:p></o:p></span></b></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">(Photograph:</span><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-ansi-language: EN-ZA;"> <i><span lang="EN-ZA">Optima,</span></i><span lang="EN-ZA"> September 1970, p. 108)</span></span><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">During his 36-year-long
career in South Africa, Jobst did commissioned work for the South African
government, notable organisations and individuals. Among his achievements are government
gifts to HRH Princess Elizabeth, commemorating the royal tour of South Africa
in 1947. It consisted of a gold box containing a diamond, as well as a silver
box containing a diamond necklace along with a hand-beaten silver powder bowl
with a Tudor rose mounted on the lid as a wedding gift. A cigar box as well as
tableware such as a vegetable dish with his coat of arms were made for Sir
Ernest Oppenheimer. A 22-carat gold chalice was commissioned by the Johannesburg
Stock Exchange for presentation to the London Stock Exchange. In addition, he
was commissioned by the South African government to design and produce a
(possibly jewellery) box with a golden effigy of an elephant on its lid as a
gift to Lady MacMillan, wife of Lord MacMillan during their visit to South
Africa in 1960. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">During the 1950s and 1960s Jobst
taught for sixteen years at the School for Arts and Crafts at the Wits
Technical College in Johannesburg.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn40" name="_ftnref40" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[40]</span></span><!--[endif]--></span></a> <o:p></o:p></span></div>
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure
9: Kurt Jobst in 1959, working on a government commissioned gift (containing
the image of a golden elephant) for Lady Macmillan<o:p></o:p></span></b></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">(Photograph: D & A
Jobst, <i>Kurt Jobst Goldsmith and
Silversmith, </i>Johannesburg, 1979, p.5</span>) <span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnrtb3rLvEqqjrhmFkRubDKthyphenhyphenkGwd4DU3o4hv-MrR-0dggWOk9HGfxKTCoJ9NRH0HwqO5dNxcYTQey5tt7ZHll48_7QJh4JMQ2kg0O-FHx_5D2TCRLpNqaYWOgdJmViUVGmOjzOy-aWDR/s1600/Kurt+Jobst+mark+copper+bowl.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnrtb3rLvEqqjrhmFkRubDKthyphenhyphenkGwd4DU3o4hv-MrR-0dggWOk9HGfxKTCoJ9NRH0HwqO5dNxcYTQey5tt7ZHll48_7QJh4JMQ2kg0O-FHx_5D2TCRLpNqaYWOgdJmViUVGmOjzOy-aWDR/s320/Kurt+Jobst+mark+copper+bowl.JPG" width="222" /></a></div>
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-fareast-language: EN-GB; mso-no-proof: yes;"><v:shape alt="Kurt Jobst mark copper bowl" id="Picture_x0020_3" o:spid="_x0000_i1034" style="height: 150.75pt; mso-wrap-style: square; visibility: visible; width: 156pt;" type="#_x0000_t75">
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure
10: An example of Jobst’s maker’s mark<o:p></o:p></span></b></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">(Photograph: F van Staden,
Pretoria, 2010)<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Jobst was regarded as a
pioneer in metal and jewellery art work in South Africa. Artistically, he
developed and maintained a broad base of skills rather than specialising in one
form of artistry only. Already in his lifetime he was acknowledged as a <o:p></o:p></span></div>
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<i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">… master
in sculpturing, silversmithing, goldsmithing, gem and metal art work in
general, decorative woodcarving and stained-glass work <a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn41" name="_ftnref41" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="font-size: 10pt;">[41]</span></b></span><!--[endif]--></span></a><o:p></o:p></span></i></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Jobst attributed some of his
artistic development to the influence of William Morris (1834</span><span style="font-family: "Agency FB","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-bidi-font-family: Arial;">—</span><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">1896), a leading member of the European
Arts and Crafts movement that specialised in textile, wallpaper and tapestry
designs. In agreement with Morris, Jobst held the opinion that the aesthetics
of fine art should be incorporated in commercial design, therefore elevating
the quality of machine-made articles, rather than dismissing mass production as
inferior by definition. He resisted the abstract tendencies of the post World
War Two era, and often gained his inspiration from the ascetic but striking
aesthetic content of twelfth century expressions. He insisted that no art can
be produced without intimate engagement with the qualities of the medium that
is used. The mastery of technical working skills was a fundamental precondition
for the successful construction of any design.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn42" name="_ftnref42" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[42]</span></span><!--[endif]--></span></a> <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">In a tribute to Kurt Jobst,
Nadine Gordimer typified him as a master craftsman preoccupied with strong
forms, an aesthete able to combine function with a well-developed sense of
beauty in his creations.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn43" name="_ftnref43" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[43]</span></span><!--[endif]--></span></a>
Another author characterised his jewellery work as <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"> <i>Timeless,
enchanting...<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn44" name="_ftnref44" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="font-size: 10pt;">[44]</span></b></span><!--[endif]--></span></a><o:p></o:p></i></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Mr Antony Wiley, a noted
South African antiquarian, commented as follows:<o:p></o:p></span></div>
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<i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">His work has not achieved the
recognition that say Lynnware or Kalahari pottery have, even though it is far
more important. Today.. he is rather forgotten – which is sad.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn45" name="_ftnref45" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="font-size: 10pt;">[45]</span></b></span><!--[endif]--></span></a></span></i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Perhaps reflecting his
Bohemian background, Jobst had quirky habits such as spicing up his food in
restaurants with cayenne pepper that he kept in the hollow handle of his
walking stick.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn46" name="_ftnref46" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[46]</span></span><!--[endif]--></span></a> He had
an outgoing personality and often entertained at home. He was generally recognised
by the affluent Johannesburg society of the day as a metal artist of
exceptional skill. As such, he exerted some influence on the local development
of style appreciation from the 1940s until his death.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn47" name="_ftnref47" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[47]</span></span><!--[endif]--></span></a> <o:p></o:p></span></div>
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<b><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Else Wongtschowski </span></i></b><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">(Cape Town/Johannesburg, 1936–late 1970s/early
1980s)<b><o:p></o:p></b></span></i></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Else Wongtschowski (née
Reinheimer) was born in 1914 in Frankfurt-am-Main, Germany. In 1933 she
relinquished a career in medicine in favour of an apprenticeship with Messrs G
and H Warnecke in Frankfurt.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn48" name="_ftnref48" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[48]</span></span><!--[endif]--></span></a>
Under their guidance she specialised in enamelling, copper and silversmithing. At
the onset of the Second World War in 1936, she immigrated to South Africa. She
worked for Kurt Jobst for a year after which she opened her own studio. During
this time she extended her skills base by becoming a competent engraver. A
creative period in her working life followed when she relocated to Cape Town
from 1947 to 1949. She finally settled in Johannesburg in 1950. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Initially much of
Wongtschowski’s product range consisted of copper and silver utensils, but from
the mid-1950s she began to concentrate on jewellery with enamelling as a central
medium in her work. Her work was typified by the setting of gemstones in
various (often contrasting) colours in enamelling. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Her design inspiration was
instinctual rather than analytical, guided by the particular combination of
semi-precious stones at hand. She was of the opinion that it is <o:p></o:p></span></div>
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<i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">…far better to have a well-fashioned
semi-precious ring or brooch than an ill-designed diamond ornament.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn49" name="_ftnref49" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="font-size: 10pt;">[49]</span></b></span><!--[endif]--></span></a></span></i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"> <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYRYKmIA3uGT-SEJRsDNYkJt175PTCMQXQBzQFQeV2B5AN8H4xLLYtrCZPEVAxJK9TeRaHn1qaHKmlyzsHFhQKZfzy-1_ASOW5nIGGyGyantfzZ3fuMdd96tEGH9wDOgFzY911bpZs735Y/s1600/Else+Wongtschowski+1970's.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYRYKmIA3uGT-SEJRsDNYkJt175PTCMQXQBzQFQeV2B5AN8H4xLLYtrCZPEVAxJK9TeRaHn1qaHKmlyzsHFhQKZfzy-1_ASOW5nIGGyGyantfzZ3fuMdd96tEGH9wDOgFzY911bpZs735Y/s320/Else+Wongtschowski+1970's.jpg" width="161" /></a></div>
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure
11: An undated newspaper photo of Else Wongtschowski at work, possibly around
1970 <o:p></o:p></span></b></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">(Clipping by courtesy of Mr
F Haenggi, Basel, Switzerland)<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Ms Wongtschowski and her
husband Hans were ardent mountaineers and mapped a number of hiking routes in
the Drakensberg recorded by the Mountain Club of South Africa.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn50" name="_ftnref50" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[50]</span></span><!--[endif]--></span></a>
In the mountains they came across San rock paintings. In 1949 this served as
the inspiration behind the creation of a bracelet containing representations of
San art. She was one of the first local artist jewellers to set the tone for
the development of a South African design style that was later to become known
as Safari jewellery. She was known as an innovator and was the first to
introduce multicoloured bracelets (often with stones she collected herself) to
the South African market. She was also the first to locally introduce a broad-type
wedding band in silver and gold. A critic described her work as follows:<o:p></o:p></span></div>
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<i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">… she displays the broad rich strokes of
the artist, who thinks in big terms and avoids any suggestion of finnickiness
and unnecessary elaboration.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn51" name="_ftnref51" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="font-size: 10pt;">[51]</span></b></span><!--[endif]--></span></a></span></i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"> <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Her work was internationally
recognised by the German publication, <i>Goldschmiede
Zeitung</i>.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn52" name="_ftnref52" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[52]</span></span><!--[endif]--></span></a> It is not
clear when Ms Wongtschowski closed the doors of her studio, possibly during the
late 1970s or early 1980s.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn53" name="_ftnref53" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[53]</span></span><!--[endif]--></span></a> <o:p></o:p></span></div>
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<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<b><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Margaret Richardson</span></i></b><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"> (Johannesburg, late 1940s–early 1970s)<o:p></o:p></span></i></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Margaret Richardson did her apprenticeship
at the Fachschule Schwäbisch-Gmund in the 1930s after which she worked in
Königsberg and then in Palestine. After the Second World War she immigrated to
South Africa and established a studio in Cape Town until 1957, when she moved
to Johannesburg. There she initially rented studio rooms in the Von Brandis
Building in Johannesburg. Finally she settled at 909 Philadelphia Court in Von
Wielligh Street. In the early 1970s she relocated to the United Kingdom and
died shortly thereafter.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Her preferred mediums were
copper, sterling silver and, upon commission, gold. Throughout her career in
South Africa she was enamoured with the beauty of South African gemstones. She
was a member of the Witwatersrand Gem and Mineral Club and spent much of her
time searching at gemmological sites for stones she could use in her designs.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn54" name="_ftnref54" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[54]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Her maker’s mark consisted
of the letters <b>M</b> and <b>R</b>, where the right vertical leg of the
letter M is merged with the left vertical leg of the letter R. The M was
situated in a slightly uppercase position in relation to the R.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn55" name="_ftnref55" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[55]</span></span><!--[endif]--></span></a> A
collection of her silver work consisting of pendants, earrings, rings and a
bangle (all of which were inlaid with semi-precious Southern African stones) was
auctioned in 2008 in the United Kingdom for prices ranging from £90 to £300
(around R1 000 to R3 500 when translated to their 2008 rand values). Her work
continues to have international appeal.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn56" name="_ftnref56" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[56]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<v:shape alt="Margaret Richardson silver stamp and signet" id="Picture_x0020_4" o:spid="_x0000_i1033" style="height: 69.75pt; mso-wrap-style: square; visibility: visible; width: 82.5pt;" type="#_x0000_t75">
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure
12: Margaret Richardson’s maker’s mark<o:p></o:p></span></b></div>
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<span lang="DE-CH" style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-ansi-language: DE-CH;">(Photograph: </span><a href="http://www.art-archives-southafrica.ch/Richardson.htm"><span lang="DE-CH" style="color: windowtext; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-ansi-language: DE-CH;">http://www.art-archives-southafrica.ch/Richardson.htm</span></a><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-ansi-language: DE-CH;"> <span lang="DE-CH">courtesy of Mr F Haenngi)<o:p></o:p></span></span></div>
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure
13: Example of Margaret Richardson’s work on exhibition in 1970<o:p></o:p></span></b></div>
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<span lang="DE-CH" style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-ansi-language: DE-CH;">(Photograph: </span><a href="http://www.art-archives-southafrica.ch/Richardson.htm"><span lang="DE-CH" style="color: windowtext; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-ansi-language: DE-CH;">http://www.art-archives-southafrica.ch/Richardson.htm</span></a><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-ansi-language: DE-CH;"> <span lang="DE-CH">courtesy of Mr F Haenngi, Basel,
Switzerland)<o:p></o:p></span></span></div>
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<b><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Joe Calafato</span></i></b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">
(Pretoria, 1947–1984)<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Guiseppe Leonardo Calafato
established his first workshop in 1947 under the name of Metal Art Creations.
From 1947 until 1984 he was responsible for the design and manufacture of
jewellery under the maker’s marks of Candida, Carina, Velia, JC, Joe Calafato
and Dawu. Calafato’s work has been extensively discussed in an earlier article.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn57" name="_ftnref57" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[57]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<b><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Haglund</span></i></b><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"> <b>Jewellers </b>(Johannesburg, 1948–1952, 1953</span></i><i><span style="font-family: "Agency FB","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-bidi-font-family: Arial;">—</span></i><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">2007)<o:p></o:p></span></i></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Birger Haglund was born in the
small town of Sveg in Sweden in 1918. He apprenticed as goldsmith in Köping and
Kristianstad in Sweden after which he worked in Stockholm for various jewellers.
In 1948 he relocated to South Africa and immediately presented a solo
exhibition of his work in Johannesburg.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn58" name="_ftnref58" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[58]</span></span><!--[endif]--></span></a>
Here he also opened a workshop where he worked until 1952, when he was forced
to return to Sweden after having come into conflict with the country’s growing
apartheid nationalism. He paid European wages to his black workers – this was deemed
to be unacceptable at the time. He continued to have a notable career as a
Swedish silversmith and diplomat.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn59" name="_ftnref59" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[59]</span></span><!--[endif]--></span></a>
He died in 2006 and international recognition of his work is increasing.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn60" name="_ftnref60" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[60]</span></span><!--[endif]--></span></a> <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">He was productive during the
five years he stayed in South Africa, producing mostly silver jewellery. His
training was rigorous and led him to create souvenir jewellery and ornamental
utensils of high quality, displaying originality in engaging with his subject
matter. Whereas his contemporaries in South Africa such as Joe Calafato were
still embracing the <i>retro moderne</i>
design style of the 1940s (geometric shapes combined with scrolls and swirls), the
work of Haglund expressed a typically Scandinavian organic simplicity <a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn61" name="_ftnref61" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[61]</span></span><!--[endif]--></span></a>
through which he interpreted primarily themes from his European background
along with some minimalist abstractions concentrating on line and form. The
thematic and technical sophistication of his work attest to a skilled artist
and craftsman.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn62" name="_ftnref62" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[62]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">His maker’s mark consisted
of the words <b>HAGLUND</b>, <b>SOUTH AFRICA </b>and <b>STERLING SILVER </b>(in bold capitals). Sometimes a date
or <b>HAND MADE </b>was added. He imported
some mass manufactured clasps used for securing brooches, a practice that was
regarded by the jewellers of this time as prohibitively expensive. Until the
mid 1950s when high tariff duties on imported jewellery items were lifted, most
local jewellers made their own clasps.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn63" name="_ftnref63" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[63]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Hans Georg Blum spent his
childhood in South Africa before he entered the Goldschmiedeschule in Pforzheim,
Germany where he completed his training as a master jeweller and goldsmith.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn64" name="_ftnref64" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[64]</span></span><!--[endif]--></span></a>
Afterwards he worked with various gold- and silversmiths in Switzerland and
France, also gaining experience in precious metal alloy making for the
jewellery market. Traditionally, all newly apprenticed craftsmen were expected
to gain a few years of experience under different taskmasters before setting up
their own workshop.<span class="MsoFootnoteReference"> </span>In 1951 he returned
to South Africa and began to work with Birger Haglund. Blum then convinced his
cousin Rolf Waizenegger and his wife (both schooled as master gold- and
silversmiths at Pforzheim in Germany) to relocate to Johannesburg where they
initially worked for a jeweller called
S. O’Reilly. In 1953 the two cousins bought the Haglund workshop. They retained
the name Haglund Jewellers (Pty) Ltd. They continued to make use of the Haglund
mark, perhaps in order to keep the clientele that were established by their
predecessor. Along with the Haglund mark, in 1955 they started using a stylised
pair of jewellery pliers (may also be mistaken as Springbok horns) as a mark on
their manufactured products. This was used until the mid 1980s as an additional
signature of the Haglund workshop’s products. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Initially Blum and
Waizenegger carried on with the Scandinavian schooled designs of Birger Haglund
and, to some extent, followed it through in their own designs. Soon, African
designs consisting of traditional African cultural life and wildlife images
dominated their work, along with a measure of decorative stamp engraving as
well as hand engraving included in some designs. Like Else Wongtschowsky a few
years before them, they also gained inspiration from the local images of San
rock art for some of their souvenir jewellery designs.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn65" name="_ftnref65" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[65]</span></span><!--[endif]--></span></a> <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Given his extensive training
in Germany, Hans Blum became one of the foremost practitioners of precious
metal piercing in the country. This consisted of using a hacksaw to cut fine
silhouette outlines from oxidised silver plate. Waizenegger contributed to
their design base through stylised wiring expressions of animals in addition to
the modelling of relief designs of wild fauna in plasticine and pewter for
silver casting. In Germany, Waizenegger worked for a year at a mass production
jewellery workshop, where he gained experience in modern techniques of die
making and casting. This experience he invested in the design of their product
ranges. Working primarily in silver, their jewellery consisted of a combination
of handmade and casting techniques. According to one author in 1957, their
designs were underpinned by the conciliation of aesthetics and the qualities of
the material they worked with. The successful harmony between art and technique
was a fundamental force in their designs. Early in their careers, their work
was described as<o:p></o:p></span></div>
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<i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">… one of purity and simplicity. In their
work can be seen the clean, clear lines of the modern school – in which they
generously acknowledge the influence of their predecessor.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn66" name="_ftnref66" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="font-size: 10pt;">[66]</span></b></span><!--[endif]--></span></a></span></i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"> <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">In 1973 Geophrey Foden
joined the business and completed an all-round apprenticeship with them in
gold- and silversmithing, precious stone setting and mounting, as well as hand
engraving. Hereafter Foden joined the business on a permanent basis. He began
training Able Mahontsi (initially employed at the workshop as cleaner/tea
maker) in jewellery design and manufacturing. In quiet defiance of the law,<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn67" name="_ftnref67" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[67]</span></span><!--[endif]--></span></a>
they devised a warning system to ensure that the gold and diamond police,
government officials and apprenticeship inspectors did not discover the
specialised training that was taking place. During the 1980s Foden and Mahontsi
became bolder and started training a number of black South Africans to gain at
least good production bench skills, with the more talented apprentices moving
onto design and goldsmith skills. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">The business continued to
expand and in 1976 they began to export their work on a small scale to
Australia and the USA. From the mid 1970s their early work became increasingly
refined and reconceptualised to reflect the tastes of the time whilst integrating
the latest design and manufacturing technologies. They continued to incorporate
San art in their jewellery designs, along with the setting of locally available
semi-precious stones. Given the sharp rise in the gold price during the late
1970s, Waizenegger and Foden began to manufacture jewellery in vermeil (gold-plated
sterling silver) for a while instead of using nine-carat gold.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn68" name="_ftnref68" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[68]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">In 1981 Marchand van Tonder,
a graduate in jewellery design from the University of Stellenbosch joined the
business as fourth partner. Hans Blum and Able Mahontsi died in the mid 1980s
and Rolf Waizenegger began to withdraw from the running of the business until
he retired in 1996.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn69" name="_ftnref69" title=""><span class="MsoFootnoteReference"><i><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="font-size: 10pt;">[69]</span></b></span><!--[endif]--></i></span></a>
<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_X_oTBye5mP_ZOI-gZfkKI7RGI3V_Lh7VEitV5_AZuybfme18A2fdLYrvxXFKroOHxyGTuuy2wFPVPktPdw1mdtYzDqwtr1Q_p5n3R4tD8_bS-J_SgJrD7rn8UjXT4n7JxyFsdv-k-Ljp/s1600/Haglund+pastiche.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_X_oTBye5mP_ZOI-gZfkKI7RGI3V_Lh7VEitV5_AZuybfme18A2fdLYrvxXFKroOHxyGTuuy2wFPVPktPdw1mdtYzDqwtr1Q_p5n3R4tD8_bS-J_SgJrD7rn8UjXT4n7JxyFsdv-k-Ljp/s400/Haglund+pastiche.JPG" width="400" /></a></div>
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-fareast-language: EN-GB; mso-no-proof: yes;"><v:shape alt="Haglund Examples" id="Picture_x0020_9" o:spid="_x0000_i1032" style="height: 199.5pt; mso-wrap-style: square; visibility: visible; width: 266.25pt;" type="#_x0000_t75">
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure
14: Examples of early Haglund designs as well as maker’s marks. The top two
rows contain the work of Birger Haglund and the rest was made by Hans Blum and
Rolf Waizenegger.<o:p></o:p></span></b></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">(Photograph: H Wilhelm,
Pretoria, 2012)<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Foden and Van Tonder partook
in a number of jewellery design competitions and exhibitions, such as Intergold’s (now the World Gold Council) <i>Gold in Fashion</i> competition.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn70" name="_ftnref70" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[70]</span></span><!--[endif]--></span></a> A
range of corporate jewellery contracts were secured, such the South African
Airways Tourism awards and the Johannesburg Centenary celebrations. Commissioned
work included a number of trophies of which the highlight was a trophy for The
Young President’s league in the form of a detailed eagle. In 1985, Foden’s work
was selected by Intergold in collaboration with an international fashion
research bureau as representative of contemporary international fashion styles at
the time.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn71" name="_ftnref71" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[71]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">State gifts to President
Clinton and his wife presented by President Mandela in 1998 were also
commissioned. These consisted of African beaded cuff links in 18ct gold and a
matching choker with presentation gemstone boxes. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Displaying a commitment to
the organisational and training development of the industry, Foden served four
terms as Chairman of the South African Jewellery Council, and contributed to
the development of the first curriculae for the Jewellery Manufacturing School
of the Jewellery Council of South Africa as well as the Technikon
Witwatersrand’s Jewellery Department in 1990. Since the 1990s the Haglund
workshop has also contributed significantly to a long-standing jewellery
manufacturing training project in Atteridgeville, Pretoria.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn72" name="_ftnref72" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[72]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">During the 1990s the company
became a target for organised crime that compelled the partners to relocate the
business three times. In 2003 Marchand van Tonder withdrew from the business
and in 2006 Geophrey Foden formed his own company, Foden Manufacturing (Pty)
(Ltd). As maker’s mark he chose the impression of a giraffe. In 2007 he sold
the Haglund trademark which disappeared from the market within a year.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn73" name="_ftnref73" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[73]</span></span><!--[endif]--></span></a> Foden died in 2012. The business is continued
by his son.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Haglund Jewellery was one of
the first local manufacturers that began to specialise in African-inspired
jewellery (since the mid-1950s). Through cultural images, such as headdresses
and village life, their early work captures anthropological tones and continues
to gain in collector’s value. In 2008 a pair of sterling silver screwback
earrings (modernist with Koi San hunting and dancing motifs) was offered on the
internet for $US125 (around R1000 in 2008 market value).<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn74" name="_ftnref74" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[74]</span></span><!--[endif]--></span></a><b><o:p></o:p></b></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Early manufacturing
commissions abroad </span></b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Because of a limited local
capacity during the first half of the twentieth century, some jewellery and
souvenir metal manufacturing work was commissioned from manufacturers in
Europe, especially from Norway, Great Britain and the Netherlands.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn75" name="_ftnref75" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[75]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">During the 1930s a fair
amount of Birmingham plate was imported. For example, the Bowls Club of the
Pretoria Country Club commissioned their commemorative spoons from Birmingham
containing hallmarks ranging between 1929–1936 and a manufacturer’s mark of <b>D&F</b>. Similarly, an enamelled lapel
pin of the Vryheid Bowls Club’s coat of arms is marked Thomas Fattorini Ltd,
Regent St, Birmingham.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn76" name="_ftnref76" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[76]</span></span><!--[endif]--></span></a> <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">In 1949, advertisements were
placed in <i>Die Transvaler</i> newspaper
for ordering sterling silver teaspoon sets (six spoons and a sugar spoon) that
were designed by the South African artist WH Coetzer. They were manufactured by
Gilpin in Sheffield, United Kingdom and bear the inscription <b>1949 SVK UWB</b>. They were designed to
commemorate the inauguration of the Voortrekker Monument on 16 December 1949.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn77" name="_ftnref77" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[77]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Some of the work of Thorvald
H Marthinsen was also commissioned and imported. The company was established in
1883 in Tonsberg, Norway, and is currently run by the third generation of
Marthinsens. They are well known for their limited edition silver spoons.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn78" name="_ftnref78" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[78]</span></span><!--[endif]--></span></a>
Around the mid-1950s they exported elaborately designed silver-plated souvenir
spoons with African motifs such as a lion’s head or an African shield with
assegai and knobkierrie on the finials of the spoons to the local market.
Sometimes the words <i>National Kruger Park
– Nasionale Kruger Park</i> or <i>South
Africa – Suid Afrika</i> were embossed on the inside hollows of the spoons. The
mark on the back handle of the spoons read <b>T.H.
MARTHINSEN NORWAY</b> and occasionally a registered number would also be
provided.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">During the early 1950s a
number of commissioned flatware and hollowware items were produced by the Royal
Dutch Silverworks under the Elwezetta line in Voorschoten. They contained South
African motifs such as a bowl with African wildlife scenes and a cake lifter
with the relief of an ox wagon on the finial.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn79" name="_ftnref79" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[79]</span></span><!--[endif]--></span></a> Teaspoons
in silver with the crest of the City of Johannesburg containing the following
mark at the back: <b>1G </b>encircled, <b>Made in Holland </b>encircled, <b>90</b> encircled were also imported from
the Elwezetta workshop.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn80" name="_ftnref80" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[80]</span></span><!--[endif]--></span></a><b><o:p></o:p></b></span></div>
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<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixB8-PZNyZ9JBi0q7eRXFsND1qLWf-0lISqq2CCp_q0-Um93B34eS07AUMhDEQBcyFCdGHdrELRJ0Ud0inaO4UzzaBP18NN4ucYibB9kVM670gMBVz-j94sy2ztg2natEAFhZzOzPQyUmE/s1600/Imoprted+wares.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixB8-PZNyZ9JBi0q7eRXFsND1qLWf-0lISqq2CCp_q0-Um93B34eS07AUMhDEQBcyFCdGHdrELRJ0Ud0inaO4UzzaBP18NN4ucYibB9kVM670gMBVz-j94sy2ztg2natEAFhZzOzPQyUmE/s320/Imoprted+wares.JPG" width="320" /></a></div>
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-fareast-language: EN-GB; mso-no-proof: yes;"><v:shape alt="Imoprted wares" id="Picture_x0020_16" o:spid="_x0000_i1031" style="height: 187.5pt; mso-wrap-style: square; visibility: visible; width: 249.75pt;" type="#_x0000_t75">
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</v:imagedata></v:shape></span></b><b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></b></div>
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure
15: Examples of Norwegian, British and Dutch imports from early to mid
twentieth century. Note the North European influence in the spelling of
‘Krijger Park’ instead of ‘Kruger Park’ on the enamelled Norwegian-made brooch.<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">(Photograph: F van Staden,
Pretoria, 2012)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Traces
of early gold- and silversmiths and marks used in South Africa<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">The names of some gold- and
silversmiths and makers’ marks appear from time to time on items at the South
African collectibles market with little more information than perhaps a place
name or a workshop logo on the inside of the jewellery box. Similarly a number
of gold- and silversmiths are briefly mentioned in the literature without any
further reference. Since they belong to the greater South African collective
heritage of precious metal artistry, some of the bits of information that have
thus far come to light are presented below – not only to place it on record
again, but also in the hope that it may help uncover new sources of
information. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<b><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Henry Wade</span></i></b><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"> (Pietermaritzburg, 1884</span></i><i><span style="font-family: "Agency FB","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-bidi-font-family: Arial;">—</span></i><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">1933)<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Henry Wade was a watchmaker
and a jeweller from Pietermaritzburg, KwaZulu-Natal, who stamped his work with
the words <b>H Wade,</b><i> </i><b>Maritzberg. </b>His work is fairly
rare and represents exceptional skill in the ability to combine different
metals in one composition without making use of soldering. He worked in gold,
sterling silver and copper.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn81" name="_ftnref81" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[81]</span></span><!--[endif]--></span></a>
According to a British-South African immigrant record, Henry William Wade was
born in 1853 in Dublin and emigrated to South Africa in 1883. He married Maria
Winkley (a widow with two daughters) in 1885.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn82" name="_ftnref82" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[82]</span></span><!--[endif]--></span></a> Another
source states that Henry Wade opened a watchmaker and jeweller’s workshop at
107 Church Street in Pietermaritzburg, where he traded for around fifty years,
from 1883/84 to 1933.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn83" name="_ftnref83" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[83]</span></span><!--[endif]--></span></a> <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqr9Lmwh2bzll0L2IHsKb6-LH4QL0I_SRX0P55Pv9T9jkPnc48pAxc-dwTPhOudwgtjUcISpxVLFBZ9JZXOEKXex6vpV37JRDyfu4ThGoPfxeTQ3xcGDbbNpA20gePahKBDVpJc6TzT2eT/s1600/H+Wade+1883-1933.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqr9Lmwh2bzll0L2IHsKb6-LH4QL0I_SRX0P55Pv9T9jkPnc48pAxc-dwTPhOudwgtjUcISpxVLFBZ9JZXOEKXex6vpV37JRDyfu4ThGoPfxeTQ3xcGDbbNpA20gePahKBDVpJc6TzT2eT/s320/H+Wade+1883-1933.JPG" width="320" /></a></div>
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"><v:shape id="_x0000_i1029" style="height: 156.75pt; width: 208.5pt;" type="#_x0000_t75">
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</v:imagedata></v:shape><o:p></o:p></span></b></div>
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure
16: Examples of the work of H Wade. The pin is still in an original Henry Wade jeweller’s
box.</span></b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">(Photograph: F van Staden,
Pretoria, 2012)<o:p></o:p></span></div>
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<br /></div>
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<b><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Southern Cross brooches</span></i></b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"> <i>(Origins unknown, perhaps postWorld War l)</i><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Brooches made from gold in
the form of a Southern Cross with glass stones representing the five stars have
been appearing on the collectible and antique markets in recent years. Most of
the pieces were forged by hand in 9ct gold and with no maker’s mark, with
exceptions such as a <b>JO</b> mark on some
pieces. Judging from the variable quality as well as different core designs, it
seems that a number of gold- and silversmiths contributed to a call for a war
veteran support project.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn84" name="_ftnref84" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[84]</span></span><!--[endif]--></span></a>
An interesting anomaly is also found in the setting of coloured glass in 9ct
gold.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuYKf90IxvIMdMiIKeuOEHP6Bsjcg-dULPr2kT0xO4dZbQJlcU-B28j9T-lbeG5lu-DdtqUBhIHasCLvTrmHzAG-9IK1xfCyco3tUrVkFRUXHwNpkuea6-Zb1kMxH6B5f1mP6K0kmtM3gB/s1600/Pre+WWI.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuYKf90IxvIMdMiIKeuOEHP6Bsjcg-dULPr2kT0xO4dZbQJlcU-B28j9T-lbeG5lu-DdtqUBhIHasCLvTrmHzAG-9IK1xfCyco3tUrVkFRUXHwNpkuea6-Zb1kMxH6B5f1mP6K0kmtM3gB/s320/Pre+WWI.JPG" width="320" /></a></div>
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"><v:shape id="_x0000_i1030" style="height: 156.75pt; width: 234pt;" type="#_x0000_t75">
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</v:imagedata></v:shape><o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure
17: Examples of the Southern Cross brooches in 9ct gold with handmade clasps,
perhaps stemming from post World War 1<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">(Photograph: F van Staden,
Pretoria, 2012)<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<b><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Felix Vetter </span></i></b><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">(Johannesburg, 1947</span></i><i><span style="font-family: "Agency FB","sans-serif"; font-size: 10.0pt; line-height: 150%; mso-bidi-font-family: Arial;">—</span></i><i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"> mid 1960s?)</span></i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Felix Vetter was born in
Munich, Germany around the turn of the century. Both his parents hailed from a
long line of jewellers dating back to the 1700s. At the tender age of 14 he was
accepted into a seven-and-a-half-year-long apprenticeship in Pforzheim after
which he spent another six years at art schools both in Pforzheim and in
Munich. With such extensive training behind him he worked over the next years
in fourteen different countries for internationally known jewellery houses that
included Friedländer in Berlin, Cartier
in Paris and Tiffany’s in New York. He came to South Africa in 1932 where he
worked for a Johannesburg jeweller during the war years. In 1947 he opened his
own studio in Jeppe Street, Johannesburg, where he created exclusively handmade
jewellery.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn85" name="_ftnref85" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[85]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">He was known for his ability
to set a range of stones in one setting – combining gems such as rubies,
sapphires, emeralds, tourmalines and pearls in gold and platinum settings. He
made lavish use of these stones in his designs. He also produced work in
silver.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn86" name="_ftnref86" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[86]</span></span><!--[endif]--></span></a> <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">No further reference to his studio
or his work could be traced after the mid 1960s.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Conclusion<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">The initial decades of the
twentieth century were tumultuous and challenging for South Africa as an emerging
economy that still had to develop its markets. Those skilled in the practice of
precious metal crafting were few and far between. The establishment of a local
Mint was possibly the most significant event of the early decades in nurturing
a local core of independent gold- and silversmiths. As a parastatal
organisation it brought skilled artisans together and provided them with a
secure income.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">An important indicator of a
more systematically organised future for local jewellers was the formation of
the South African Jeweller’s Association Ltd in Johannesburg in March 1942. This
set the wheels in motion for greater cooperation among jewellers in South
Africa and provided them for the first time with a mouthpiece through which
concerns could be voiced and guidance to develop business opportunities could
be provided.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn87" name="_ftnref87" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[87]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 150%;">Whereas jewellery making during
the initial decades of the twentieth century served only a small well-heeled
client base, the era was marked with experienced artisans who were thoroughly
trained and who produced work comparable to the best on the international
market.<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftn88" name="_ftnref88" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[88]</span></span><!--[endif]--></span></a>
In most cases they were artist jewellers. By the middle of the century, partly
machine-made jewellery began to appear on the market. Since this resulted in lower
prices, the local market began to show the first signs of a market appetite for
wearable and more affordable objects of beauty, an appetite that would grow
throughout the second half of the century.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<br /></div>
<div>
<div style="text-align: left;">
<br /></div>
<!--[if !supportFootnotes]-->
<br />
<hr size="1" style="text-align: left;" width="33%" />
<!--[endif]-->
<br />
<div id="ftn1">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> E Smit (ed.), An appreciation, <i>Erich Frey 25 years</i> (Pretoria Art Museum, 31 July–18 August 1985),
p 4. I</span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">nterview:
Mr A Pass, Goldsmith, Cape Town, 2009-09-30.</span><span style="font-size: 8.0pt;"><o:p></o:p></span></div>
</div>
<div id="ftn2">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[2]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown: Jewel Craft: Eone de Wet, <i>Lantern</i>, March 1957, pp 289 & 290.<o:p></o:p></span></div>
</div>
<div id="ftn3">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[3]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> C Truman (ed.), <i>Sotheby’s
Concise Encyclopedia of Silver</i> (Conran Octopus Ltd, London, 1993), pp 164</span><span style="font-family: "Agency FB","sans-serif"; font-size: 8.0pt;">—</span><span style="font-size: 8.0pt;">165, 167</span><span style="font-family: "Agency FB","sans-serif"; font-size: 8.0pt;">—</span><span style="font-size: 8.0pt;">168. </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn4">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[4]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, Uit die rotse kom voort skoonheid, <i>Suid-Afrikaanse Panorama,</i> Februarie
1966, p 29.<o:p></o:p></span></div>
</div>
<div id="ftn5">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[5]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> The original gold- and silversmiths mentioned in this
article all happened to be immigrants, which reflect a lack of significant home
grown gold- and silversmiths at the time. Goldsmiths who became known from 1950
onwards, fall outside the ambit of this article and will be dealt with in
follow up articles. These include names such as such Egon Guenter, Colonel
Gilroy and Jo King, George Xanthides, Eone de Wet, Mauro Pagliari, Peter
Cullman, Kurt Donau and others fall outside the ambit of this article. The work of Erich Frey, Maia Holm, Stephen
Colgate and Maurice Pitol is described in: F. van Staden, Erich Frey and
associates: a bold contribution to South African silver- and goldsmith design.<i> South African Journal of Cultural History</i>,
25(1), june 2011, pp. 148-179.</span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn6">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[6]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">See </span><a href="http://www.goldsmiths.org.za/"><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">www.goldsmiths.org.za</span></a><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">.<o:p></o:p></span></div>
</div>
<div id="ftn7">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[7]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Reviewers were Messrs Vic Thomson and Charles Kgosana
(engravers, Pretoria), D Schilofsky (jeweller, gemmologist, Pretoria) and F
Haenggi (art dealer, Basel, Switzerland).<o:p></o:p></span></div>
</div>
<div id="ftn8">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[8]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, Outstanding example of South African
craftmanship, <i>The Diamond News and the
S.A. Watchmaker and Jeweller, </i>April 1942, p 23. Also: Author unknown, The
Latest, <i>The Diamond News and S.A.
Jeweller,</i> August 1963, p 57. Author unknown, Best seen in South Africa, <i>The Diamond News and S.A. Jeweller,</i>
April 1963, pp 35, 37 & 51.<o:p></o:p></span></div>
</div>
<div id="ftn9">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref9" name="_ftn9" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[9]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, Rhodes’ centenary gift to Queen Mother
and Princess Margaret, <i>The Diamond News
and the S.A.Watchmaker and Jeweller,</i>July 1952, p 57. <o:p></o:p></span></div>
</div>
<div id="ftn10">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref10" name="_ftn10" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[10]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, Johannesburg’s new mayoral chain, <i>The Diamond News and the S.A.Watchmaker and
Jeweller, </i>October 1950, p 49. The original mayoral chain was presented to
the MuseumAfrica in Johannesburg. In
1950 a nine-carat gold mayoral chain was also made for the municipal council of
Potgietersrus (now Mokopane).<o:p></o:p></span></div>
</div>
<div id="ftn11">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref11" name="_ftn11" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[11]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, Best yet seen in South Africa, <i>The Diamond News and S.A. Jeweller, </i>April
1963, pp 35, 38 & 51.<o:p></o:p></span></div>
</div>
<div id="ftn12">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref12" name="_ftn12" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[12]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">M Neri, Golden gleanings, <i>The Diamond News and S.A. Jeweller, </i>August 1979, p 15.<o:p></o:p></span></div>
</div>
<div id="ftn13">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref13" name="_ftn13" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[13]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, Man of the month: Mr Max Sidersky, <i>The Diamond News and S.A. Jeweller,</i>
February 1958, p 16.<o:p></o:p></span></div>
</div>
<div id="ftn14">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref14" name="_ftn14" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[14]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">M Sidersky, Merchandise act: Marking of jewellery, <i>The Diamond News and S.A. Jeweller,</i>
October 1958, p 25.<o:p></o:p></span></div>
</div>
<div id="ftn15">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref15" name="_ftn15" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[15]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Interview: Mr Lourens Maré, chief executive officer,
The Jewellery Council of South Africa, Parktown, Johannesburg, 2012-04-10.<o:p></o:p></span></div>
</div>
<div id="ftn16">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref16" name="_ftn16" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[16]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> Unisa archives, Pretoria: </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">The S.A. Numismatic Society, <i>Van Riebeeck Centenary Numismatic Exhibition</i>
booklet, Cape Town, pp 33</span><span lang="EN-ZA" style="font-family: "Agency FB","sans-serif"; font-size: 8.0pt; mso-ansi-language: EN-ZA;">—</span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">34, 1952.<o:p></o:p></span></div>
</div>
<div id="ftn17">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref17" name="_ftn17" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[17]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Mr Cave became a noted artisan of his time being
multi-skilled in die sinking, engraving, tool-making, wood- and ivory carving.
He opened his own business after World War II with two other colleagues. He
obtained the commissions to manufacture nine maces for the various proclaimed
South African homelands. In D van Heerden, Mace Maker: All in a day’s work, <i>Panorama, </i>February 1973, pp 44</span><span lang="EN-ZA" style="font-family: "Agency FB","sans-serif"; font-size: 8.0pt; mso-ansi-language: EN-ZA;">—</span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">45.<o:p></o:p></span></div>
</div>
<div id="ftn18">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref18" name="_ftn18" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[18]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">There was also a reluctance to resign from the Mint
during the war, which would have sent the artisans straight to the war front.
However after the war, opportunity in the open market became an attractive
alternative, and the South African Mint appears to have spawned this
‘renaissance’ in the South African manufacturing silver- and goldsmith
fraternity. Interview: Mr T Sasseen, apprenticed and employed as die sinker at
the SA Mint 1950–1974, Pretoria, 2010-06-02.<o:p></o:p></span></div>
</div>
<div id="ftn19">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref19" name="_ftn19" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[19]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Interview: Mr V Thompson, engraver, Pretoria,
2009-09-30.<o:p></o:p></span></div>
</div>
<div id="ftn20">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref20" name="_ftn20" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[20]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Interview: Mr T Sasseen, apprenticed and employed as
die sinker at the SA Mint 1950–1974, Pretoria, 2010-06-02.<o:p></o:p></span></div>
</div>
<div id="ftn21">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref21" name="_ftn21" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[21]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, An active leader in the Diamond Trade,
<i>The Diamond News and S.A. Jeweller,</i>November
1962, pp 51 & 53.<o:p></o:p></span></div>
</div>
<div id="ftn22">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref22" name="_ftn22" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[22]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, S.A. Jewellery in Diamond Pavilion, <i>The Diamond News and S.A. Jeweller, </i>March
1963, p 48. Also, Author unknown, Best yet seen in South Africa, <i>The Diamond News and S.A. Jeweller, </i>April
1963, pp 35, 38 & 51. Until this time, manufacturing jewellers made almost
exclusive use of only large stones in their designs. <o:p></o:p></span></div>
</div>
<div id="ftn23">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref23" name="_ftn23" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[23]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> Mirella Neri, Gold Gleanings, </span><i><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">The Diamond News and S.A. Jeweller,</span></i><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"> August 1979, p 15.<o:p></o:p></span></div>
</div>
<div id="ftn24">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref24" name="_ftn24" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[24]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> Alice Weil, Friedman opens innovative shop in Sandton
City, </span><i><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">The Diamond News and S.A.
Jeweller,</span></i><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"> January 1984, pp 15 & 17. Also, Alice Weil, Honours for Sandton
jewellers, <i>The Diamond News and S.A.
Jeweller, October 1988, </i>p 11.<o:p></o:p></span></div>
</div>
<div id="ftn25">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref25" name="_ftn25" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[25]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> F van Staden, Joe Calafato: A late twentieth century
South African precious metal artist, <i>South African Journal of Cultural History</i>,
24 (1), pp 126</span><span style="font-family: "Agency FB","sans-serif"; font-size: 8.0pt;">—</span><span style="font-size: 8.0pt;">149.</span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn26">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref26" name="_ftn26" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[26]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, High standards at gold jewellery
competition, <i>The Diamond News and S.A.
Jeweller, </i>April 1973, pp 30, 31 & 33.<o:p></o:p></span></div>
</div>
<div id="ftn27">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref27" name="_ftn27" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[27]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, Diamonds Today 1979, <i>The Diamond News and S.A. Jeweller,</i> May
1979, p 3.<o:p></o:p></span></div>
</div>
<div id="ftn28">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref28" name="_ftn28" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[28]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> Author unknown, award winning jewellery, <i>Artlook, </i>May 1973, p 27.</span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn29">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref29" name="_ftn29" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[29]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, Man of the month: Mr Jack Friedman, <i>The Diamond News and S.A. Jeweller,</i> July
1958, p 16. Also, Author unknown, Manufacturing Jewellers’ Industrial council,
Success of Johannesburg experiment, <i>The
Diamond News and the S.A. Watchmaker and Jeweller,</i> January 1949, p 37. <o:p></o:p></span></div>
</div>
<div id="ftn30">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref30" name="_ftn30" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[30]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> Jack Friedman – History, </span><a href="http://www.jfriedman.co.za/History.htm"><span style="color: windowtext; font-size: 8.0pt;">http://www.jfriedman.co.za/History.htm</span></a><span style="font-size: 8.0pt;">, 2009-10-08.</span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn31">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref31" name="_ftn31" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[31]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">E-mail: H Friedman, Re: Jack Friedman history,
2009-10-08.<o:p></o:p></span></div>
</div>
<div id="ftn32">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref32" name="_ftn32" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[32]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> Author unknown, Kurt Jobst, <i>Artlook,
</i>June 1968, p 11.</span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn33">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref33" name="_ftn33" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[33]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Updates Live: Kurt Jobst, Goldsmith and Silversmith, </span><a href="http://updateslive.blogspot.com/"><span lang="EN-ZA" style="color: windowtext; font-size: 8.0pt; mso-ansi-language: EN-ZA;">http://updateslive.blogspot.com</span></a><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">
/2208/09/kurt-jobst-goldsmith-and-silversmith.html, 2009-07-03. <o:p></o:p></span></div>
</div>
<div id="ftn34">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref34" name="_ftn34" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[34]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> D & A Jobst, <i>Kurt
Jobst Goldsmith and silversmith </i>(Johannesburg, 1979), p 3.<o:p></o:p></span></div>
</div>
<div id="ftn35">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref35" name="_ftn35" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[35]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> D & A Jobst, <i>Kurt
Jobst Goldsmith and silversmith </i>(Johannesburg, 1979), pp 2, 3 & 44</span><span style="font-family: "Agency FB","sans-serif"; font-size: 8.0pt;">—</span><span style="font-size: 8.0pt;">46. Also, </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">N Gordimer, Kurt Jobst: 1904-1971, <i>Artlook,</i> June 1971, p 13.</span><span style="font-size: 8.0pt;"><o:p></o:p></span></div>
</div>
<div id="ftn36">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref36" name="_ftn36" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[36]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> A Wiley, Master craftsman forgotten by time, <i>Sunday Times,</i> Metro section, The Magpie
column, 1999-11-21, p 14.</span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn37">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref37" name="_ftn37" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[37]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, Die wêreld sien hoe ons vroue getooi
word, <i>Sarie Marais, </i>27 March 1963, p
10.<o:p></o:p></span></div>
</div>
<div id="ftn38">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref38" name="_ftn38" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[38]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">G Hughes, The renaissance of the Artist Jeweller, <i>Optima,</i> September 1970, pp 108 & 110. <o:p></o:p></span></div>
</div>
<div id="ftn39">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref39" name="_ftn39" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[39]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> D & A Jobst, <i>Kurt
Jobst Goldsmith and Silversmith </i>(Johannesburg, 1979), pp 9</span><span style="font-family: "Agency FB","sans-serif"; font-size: 8.0pt;">—</span><span style="font-size: 8.0pt;">14 & 17–43. </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, Kurt
Jobst, <i>Artlook, </i>June 1968, pp 10</span><span lang="EN-ZA" style="font-family: "Agency FB","sans-serif"; font-size: 8.0pt; mso-ansi-language: EN-ZA;">—</span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">11.</span><span style="font-size: 8.0pt;"><o:p></o:p></span></div>
</div>
<div id="ftn40">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref40" name="_ftn40" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[40]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, Kurt Jobst, <i>Artlook, </i>June 1968, pp 10</span><span lang="EN-ZA" style="font-family: "Agency FB","sans-serif"; font-size: 8.0pt; mso-ansi-language: EN-ZA;">—</span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">11. <o:p></o:p></span></div>
</div>
<div id="ftn41">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref41" name="_ftn41" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[41]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, Kurt Jobst, <i>S.A. Jeweller and the Diamond News, </i>June 1957, p 9.<o:p></o:p></span></div>
</div>
<div id="ftn42">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref42" name="_ftn42" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[42]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, Kurt Jobst, <i>S.A. Jeweller and the Diamond News, </i>June 1957, pp 9</span><span lang="EN-ZA" style="font-family: "Agency FB","sans-serif"; font-size: 8.0pt; mso-ansi-language: EN-ZA;">—</span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">11.<o:p></o:p></span></div>
</div>
<div id="ftn43">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref43" name="_ftn43" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[43]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> D & A Jobst, <i>Kurt
Jobst Goldsmith and Silversmith </i>(Johannesburg, 1979), pp 44</span><span style="font-family: "Agency FB","sans-serif"; font-size: 8.0pt;">—</span><span style="font-size: 8.0pt;">46.<o:p></o:p></span></div>
</div>
<div id="ftn44">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref44" name="_ftn44" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[44]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, Kurt Jobst<i>, Artlook, </i>June 1968<i>, p 10.<o:p></o:p></i></span></div>
</div>
<div id="ftn45">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref45" name="_ftn45" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[45]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> A Wiley, Master craftsman forgotten by time, <i>Sunday Times,</i> Metro section, The Magpie
column, 1999-11-21, p 14.</span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn46">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref46" name="_ftn46" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[46]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Jobst contracted polio as a child, an affliction that
required the use of a walking stick in his later years. <o:p></o:p></span></div>
</div>
<div id="ftn47">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref47" name="_ftn47" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[47]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> A Wiley, Master craftsman forgotten by time, <i>Sunday Times,</i> Metro section, 1999-11-21,
p 14.</span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">
Also e-mail: A Wiley – F van Staden, <i>Article
on Kurt Jobst,</i> 2012-01-23.<o:p></o:p></span></div>
</div>
<div id="ftn48">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref48" name="_ftn48" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[48]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">H Wongtschowski, <i>Catalogue
for the Hans Ludwig Katz retrospective exhibition</i>, S.A. National Gallery,
Cape Town, 1994.<o:p></o:p></span></div>
</div>
<div id="ftn49">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref49" name="_ftn49" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[49]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, Else Wongtschowski, <i>The S.A. Jeweller and the Diamond News,</i>
September 1957, p 13.<o:p></o:p></span></div>
</div>
<div id="ftn50">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref50" name="_ftn50" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[50]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Hans and Else Wongtschowski, The Bell: Wong’s route
(North East Face), <i>The Mountain Club of
S.A Journal, </i>1944, pp 23&24.<i><o:p></o:p></i></span></div>
</div>
<div id="ftn51">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref51" name="_ftn51" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[51]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, Else Wongtschowski, <i>The S.A. Jeweller and the Diamond News,</i>
September 1957, pp 13 & 14.<o:p></o:p></span></div>
</div>
<div id="ftn52">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref52" name="_ftn52" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[52]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Eberhard Dechow, Arbeiten aus Südafrika, <i>Goldschmied Zeitung</i> 68(4), 1970, p 416.<o:p></o:p></span></div>
</div>
<div id="ftn53">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref53" name="_ftn53" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[53]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">B Woodhouse, Hans Wongtschowski: A tribute, <i>The Digging Stick</i> 13(1), April 1996, p
12.<o:p></o:p></span></div>
</div>
<div id="ftn54">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref54" name="_ftn54" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[54]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Author unknown, She creates artistic ‘pieces’: Mrs.
Margaret Richardson’s jewellery exhibit, <i>S.A.
Jeweller and the Diamond News, </i>September 1958, p 29.<o:p></o:p></span></div>
</div>
<div id="ftn55">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref55" name="_ftn55" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[55]</span></span><!--[endif]--></span></span></a><span lang="DE-CH" style="font-size: 8.0pt; mso-ansi-language: DE-CH;"> Eberhard Dechow,
Arbeiten aus S</span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">ü</span><span lang="DE-CH" style="font-size: 8.0pt; mso-ansi-language: DE-CH;">dafrika,
<i>Goldschmied Zeitung,</i> 1970, 68(4), p
416. Also, </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Margaret Richardson, Silver jewellery, </span><a href="http://www.art-archives-southafrica.ch/RICHARDSON.htm"><span lang="EN-ZA" style="color: windowtext; font-size: 8.0pt; mso-ansi-language: EN-ZA;">www.art-archives-southafrica.ch/RICHARDSON.htm</span></a><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">, (2011-06-18).</span><span lang="DE-CH" style="font-size: 8.0pt; mso-ansi-language: DE-CH;"><o:p></o:p></span></div>
</div>
<div id="ftn56">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref56" name="_ftn56" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[56]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> Auctioneer </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Dreweatts 1759: 20thCent.design & decorative
Arts, Donnington Priory, Newbury Berkshire UK – 24<sup>th</sup> June 2008, lots
365, 367, 368, 371, 376, 377, 378 &381: </span><a href="http://www.dnfa.co.uk/"><span lang="EN-ZA" style="color: windowtext; font-size: 8.0pt; mso-ansi-language: EN-ZA;">www.dnfa.co.uk</span></a><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">, (2011-06-18).<o:p></o:p></span></div>
</div>
<div id="ftn57">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref57" name="_ftn57" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[57]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> F van Staden, Joe Calafato: A late twentieth century
South African precious metal artist,</span> <i><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">South African
Journal of Cultural History,</span></i><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"> June 2010, 24(1), pp 126</span><span lang="EN-ZA" style="font-family: "Agency FB","sans-serif"; font-size: 8.0pt; mso-ansi-language: EN-ZA;">—</span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">149.<o:p></o:p></span></div>
</div>
<div id="ftn58">
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<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref58" name="_ftn58" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[58]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Birger Haglund </span><span lang="EN-ZA" style="font-family: "Agency FB","sans-serif"; font-size: 8.0pt; mso-ansi-language: EN-ZA;">—</span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">
biography,
http://74.125.93,132/translate_c?hl=en&sl=sv&u=http:/www.designmuseum.se/haglund,
2009-09-08.<o:p></o:p></span></div>
</div>
<div id="ftn59">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref59" name="_ftn59" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[59]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">C. Truman (ed.), <i>Sotheby’s
concise encyclopaedia of silver</i> (London, 1999), p 183.<o:p></o:p></span></div>
</div>
<div id="ftn60">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref60" name="_ftn60" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[60]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Birger Haglund National Encyclopedia, </span><a href="http://74.125.93%2C132/translate_c?hl=en&sl=sv&u=http:/www.ne.se/birger-haglund"><span lang="EN-ZA" style="color: windowtext; font-size: 8.0pt; mso-ansi-language: EN-ZA;">http://74.125.93,132/translate_c?hl=en&sl=sv&u=http:/www.ne.se/birger-haglund</span></a><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">, 2009-09-08.<o:p></o:p></span></div>
</div>
<div id="ftn61">
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<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref61" name="_ftn61" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[61]</span></span><!--[endif]--></span></span></a><span lang="DE-CH" style="font-size: 8.0pt; mso-ansi-language: DE-CH;"> Birger Haglund,
http://74.125.93,132/translate_c?hl=en&sl=sv&u=http:/www.designmuseum.se/haglund,
2009-09-08.<o:p></o:p></span></div>
</div>
<div id="ftn62">
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<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref62" name="_ftn62" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[62]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Comparison of examples in the Van Staden collection. <o:p></o:p></span></div>
</div>
<div id="ftn63">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref63" name="_ftn63" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[63]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">F van Staden , Joe Calafato: The story of a South
African fine metal artist, <i>Reflections of
Yesteryear</i> 2(3), 2001, pp 13</span><span lang="EN-ZA" style="font-family: "Agency FB","sans-serif"; font-size: 8.0pt; mso-ansi-language: EN-ZA;">—</span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">17. <o:p></o:p></span></div>
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<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref64" name="_ftn64" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[64]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Blum emigrated as a child to South Africa in the
1930s. During World War II he volunteered his services to the Red Cross in
Europe. Interview: Geoph Foden, Johannesburg, 2009-10-28.<o:p></o:p></span></div>
</div>
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<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref65" name="_ftn65" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[65]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> Author unknown, Two young craftsmen and their work. <i>The S.A. Jeweller and Diamond News, </i>July
1957, pp 6</span><span style="font-family: "Agency FB","sans-serif"; font-size: 8.0pt;">—</span><span style="font-size: 8.0pt;">7.</span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
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<div id="ftn66">
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<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref66" name="_ftn66" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[66]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> Author unknown, Two young craftsmen and their work. <i>The S.A. Jeweller and Diamond News, </i>July
1957, p 7.</span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn67">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref67" name="_ftn67" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[67]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> Chronic skilled and semi-skilled shortages undermined
the implementation of the 1956 Job Reservations Act in South Africa. Almost
immediately the clandestine training of blacks took place. It became
increasingly widespread over the next three decades and by 1984 the jobs
reservations system was all but abandoned</span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">. C Feinstein, <i>An economic history of South Africa:
Conquest, discrimination and development</i>, Cambridge, Cambridge University
Press, 2005.<o:p></o:p></span></div>
</div>
<div id="ftn68">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref68" name="_ftn68" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[68]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> Author unknown, Haglund presentation at 30<sup>th</sup>
anniversary, <i>Diamond News and S.A.
Jeweller, </i>May 1982, p 23.</span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn69">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref69" name="_ftn69" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[69]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Interview: Geoph Foden, Johannesburg, 2009-10-28. <o:p></o:p></span></div>
</div>
<div id="ftn70">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref70" name="_ftn70" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[70]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> AWeil, Intergold encourages innovation,</span><span style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"> </span><i><span style="font-size: 8.0pt;">Diamond News and S.A. Jeweller,</span></i><span style="font-size: 8.0pt;"> September 1981, p 15.</span><span lang="EN-ZA"><o:p></o:p></span></div>
</div>
<div id="ftn71">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref71" name="_ftn71" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[71]</span></span><!--[endif]--></span></span></a>
<span style="font-size: 8.0pt;">Author unknown, Capturing jewellery fashions for
1985, <i>Diamond News and S.A. Jeweller, </i>March
1984, pp 23</span><span style="font-family: "Agency FB","sans-serif"; font-size: 8.0pt;">—</span><span style="font-size: 8.0pt;">25.</span><span lang="EN-ZA"><o:p></o:p></span></div>
</div>
<div id="ftn72">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref72" name="_ftn72" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[72]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Foden Jewellery Manufacturer,
http//:www.fodenman.com/history.html, 2009-02-06. Also, K Seanego, Gem of a
future awaits skilled youth: Jewellery project set to improve lives of
historically disadvantaged, <i>Pretoria
News, </i>Focus section, 2010-07-06, p 6.<o:p></o:p></span></div>
</div>
<div id="ftn73">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref73" name="_ftn73" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[73]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">E-mail: Mr G Foden – F van Staden, <i>Jewellery</i>, 2009-10-29.<o:p></o:p></span></div>
</div>
<div id="ftn74">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref74" name="_ftn74" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[74]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Vintage Sterling Silver Modernist Birger Haglund
Studio Screwback Earrings, </span><a href="http://www.rubylane.corn/shops/quick-red%20-fox/item/JF04080803"><span lang="EN-ZA" style="color: windowtext; font-size: 8.0pt; mso-ansi-language: EN-ZA;">http://www.rubylane.corn/shops/quick-red
-fox/item/JF04080803</span></a><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">, 2008-12-6. <o:p></o:p></span></div>
</div>
<div id="ftn75">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref75" name="_ftn75" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[75]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Interview: Ms M Holm, goldsmith and early student of
Erich Frey, Pretoria, Meyerspark, 2009-11-16.<o:p></o:p></span></div>
</div>
<div id="ftn76">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref76" name="_ftn76" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[76]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">The Moore collection of 16 spoons of which the finials
are shaped in the form of a round medallion with an enamelled circle containing
the words ‘Pretoria Country Club’. The insides of the medallions were then
engraved with the dates of the tournaments and the initials of individual
players along with their scores. <o:p></o:p></span></div>
</div>
<div id="ftn77">
<div class="MsoNormal" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref77" name="_ftn77" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[77]</span></span><!--[endif]--></span></span></a><span lang="DE-CH" style="font-size: 8.0pt; mso-ansi-language: DE-CH;"> Teelepelstel, <i>Die Voortrek, Spesiale Byvoegsel tot Die
Transvaler,</i> 1949-12-15, p.4. </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">SVK is an acronym for the Sentrale Volksmonumente
Komitee that was responsible for raising funds to build the Voortrekker Monument.
The original design of WH Coetzer is recorded in the <i>Catalogue of Pictures in the Africana Museum,</i> vol 6, p 157, housed
at the Museum Africa in Johannesburg. In 2011 the spoon set was on sale for R2
400. </span><a href="http://leopardantiques.com/object/stock/listall/periodgroup_uid/4"><span lang="EN-ZA" style="color: windowtext; font-size: 8.0pt; mso-ansi-language: EN-ZA;">http://leopardantiques.com/object/stock/listall/periodgroup_uid/4</span></a><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">, 2010-02-11.</span><span style="font-size: 8.0pt;"><o:p></o:p></span></div>
</div>
<div id="ftn78">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref78" name="_ftn78" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[78]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> Antique Appraisals and Online Valuations, </span><a href="http://whatsit/"><span style="color: windowtext; font-size: 8.0pt;">http://whatsit</span></a><span style="font-size: 8.0pt;">worthtoyou.com/index.cfm?fuseaction=appraisal,certificate&act=form
, 2009-08-04.</span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn79">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref79" name="_ftn79" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[79]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Silver plated, </span><a href="http://bidorbuy.co.za/item13809049/REDUCED_ROYAL_DUTCH_SILVERWORKS"><span lang="EN-ZA" style="color: windowtext; font-size: 8.0pt; mso-ansi-language: EN-ZA;">http://bidorbuy.co.za/item13809049/REDUCED_ROYAL_DUTCH_SILVERWORKS</span></a><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">, 2009-09-30.<o:p></o:p></span></div>
</div>
<div id="ftn80">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref80" name="_ftn80" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[80]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">The author’s collection.<o:p></o:p></span></div>
</div>
<div id="ftn81">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref81" name="_ftn81" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[81]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">From the author’s personal collection. Printed on the
inside of a presentation box of a gold tie pin are the words: watchmaker and
jeweller, Henry Wade, ©, 233 xxx (street name is unintelligible) St.
Maritzburg, Natal.<o:p></o:p></span></div>
</div>
<div id="ftn82">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref82" name="_ftn82" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[82]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> www. </span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Archiver.rootsweb.com/th/read/SOUTH-AFRICA-IMMIGRANTS-BRITISH/2003-10/1067649975.
Entry number 164. <o:p></o:p></span></div>
</div>
<div id="ftn83">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref83" name="_ftn83" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[83]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> </span><a href="http://books.google.co.za/books?ei=Zr5yS8vMI4WGnAeK2eSYCw&ct=result&q=Henry%20Wade"><span style="color: windowtext; font-size: 8.0pt;">http://books.google.co.za/books?ei=Zr5yS8vMI4WGnAeK2eSYCw&ct=result&q=Henry%20Wade</span></a><span style="font-size: 8.0pt;">, accessed 2010-02-10. This information still needs to
be verified.</span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn84">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref84" name="_ftn84" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[84]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> Interview: Mr
Vic Thompson, Pretoria, 2012-01-27.</span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn85">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref85" name="_ftn85" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[85]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> Author unknown, Rand jeweller in the old tradition, <i>The Diamond News and the S.A Jeweller</i>, May
1962, p 63.</span><span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;"><o:p></o:p></span></div>
</div>
<div id="ftn86">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref86" name="_ftn86" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[86]</span></span><!--[endif]--></span></span></a>
<span style="font-size: 8.0pt;">Photograph with caption, The hands of a master
craftsman, <i>The Diamond News and the S.A
Jeweller</i>, July 1962, p 55. Author unknown, R2 000 000 gems and jewellery on
display, <i>The Diamond News and the S.A
Jeweller</i>, April 1963, pp 37 & 50.</span><span lang="EN-ZA"><o:p></o:p></span></div>
</div>
<div id="ftn87">
<div class="MsoFootnoteText" style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref87" name="_ftn87" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[87]</span></span><!--[endif]--></span></span></a>
<span lang="EN-ZA" style="font-size: 8.0pt; mso-ansi-language: EN-ZA;">Mr M Cohen,
The South African Jeweller’s Association Ltd, <i>The Diamond News and the S.A. Watchmaker and Jeweller</i>, September
1950, p 42.</span><span lang="EN-ZA"><o:p></o:p></span></div>
</div>
</div>
<div style="text-align: left;">
<a href="file:///C:/Documents%20and%20Settings/Fred/My%20Documents/Goldsmiths%20early.docx#_ftnref88" name="_ftn88" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[88]</span></span></span></span></a><span style="font-size: 8pt;"> </span><span lang="EN-ZA" style="font-size: 8pt;">Author unknown, South African craftsmanship, <i>The Diamond News and the S.A. Watchmaker and
Jeweller,</i> August 1941, p 32.</span> </div>
</div>
</div>
Fredhttp://www.blogger.com/profile/08076362684798612013noreply@blogger.com3tag:blogger.com,1999:blog-2651480711748885554.post-74973636705093457712011-07-14T08:24:00.000+02:002011-07-14T08:24:32.562+02:00Erich Frey & Stephen Colegate: The Unisa connection<b>Unlocking memories of landmark moments</b><br />
(Published in Unisawise, summer 2010, pp. 51-56, copyrighted)<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQlfr5_EPDxFS7v_3rOUb4sf6jragBoRWcuwLmj4zPBi-VDZwqzD0nkP7i6jLdvWRCVl1zUcRIcHCmO_xiq9WbBlJMqidlIwXJIb_rddeSyCufE9XPDLMp_ABczP1hwbzASWPHnHdel3L0/s1600/Scan_unis+art.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" m$="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQlfr5_EPDxFS7v_3rOUb4sf6jragBoRWcuwLmj4zPBi-VDZwqzD0nkP7i6jLdvWRCVl1zUcRIcHCmO_xiq9WbBlJMqidlIwXJIb_rddeSyCufE9XPDLMp_ABczP1hwbzASWPHnHdel3L0/s320/Scan_unis+art.jpg" width="239" /></a></div>Fredhttp://www.blogger.com/profile/08076362684798612013noreply@blogger.com1tag:blogger.com,1999:blog-2651480711748885554.post-92190990184233314992011-07-12T10:18:00.001+02:002012-06-28T14:59:48.469+02:00South African Goldsmiths: Erich Frey, Stephen Colegate, Maia Holm, Maurice Pitol<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;"> Erich Frey and his associates: A unique contribution to South African jewellery design and its goldsmith tradition.</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Fred van Staden</span></b></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Department of Psychology, University of South Africa, PO Box 392, Pretoria, 0003</span></i></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">(Article published in the South African Journal of Cultural History, July 2011, </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">copyrighted by the SAJCH) </span></div>
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<strong>Summary</strong></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">German born goldsmith Erich Frey (1917 – 2004) spent 25 years of his career (1952 – 1977) in South Africa. During this time he brought innovation to the design approach of local manufacturing goldsmiths. This article focuses on the career of Erich Frey whilst in South Africa along with the reflections and careers of associates Maia Holm, Stephen Colegate, Ronald Hacquebord and Maurice Pitol who worked with him. He incorporated materials other than precious stones (such as wood and ivory) in his designs and explored these materials’ natural form, texture and colour in composing their precious metal settings. By making use of semi-precious stones he helped stimulate the development of a gemmological industry in the country. He also contributed to the development of formal tertiary training in precious metal design in South Africa. </span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">Key words:</span></b><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;"> Erich Frey, precious metal artist, goldsmith, silversmith, precious metal design, manufacturing jeweller, jewellery design, maker’s mark, gemmology, Maia Holm, Stephen Colegate, Ronald Hacquebord, Maurice Pitol.<b style="mso-bidi-font-weight: normal;"></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Introduction</span></b></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">During his 25 years in South Africa (1952 – 1977), the striking nature of Erich Frey’s designs attracted much attention – a fact attested to by numerous magazine and newspaper articles. His peers are unanimous in their respect and regard for him as a goldsmith of the highest calibre. He made a unique contribution to the establishment of a South African identity in the manufacturing silver and goldsmith fraternity. His use of semi precious stones and organic materials (ivory, bone and wood) represents a landmark moment in the history of local precious metal design. His associates and successors have followed in this idiom through which they also have found sculptural expression of their own perceptions of composition, colour, pattern, texture, relief, space and functionality.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[1]</span></span></span></a> </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">The aim of this article is to compose a coherent impression of the contributions of Erich Frey and his co-workers (Maia Holm, Stephen Colegate, Ronald Hacquebord and Maurice Pitol) to the development of goldsmith design in South Africa. </span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Method</span></b><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;"></span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">A qualitative descriptive approach is used in this study, where narratives, archival material and records of precious metal artifacts or collections are integrated and referenced against each other to enhance the trustworthiness of the text’s construction.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[2]</span></span></span></a> Interviews, follow-up interviews and e-mail correspondence were conducted with all four of Frey’s associates. A </span><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">semi-structured interview schedule was used where interviewees were requested to reflect on Frey’s career as well as on their own careers. This included issues such as their apprenticeships (as well as those they supervised), a characterisation of their work, important commissions, achievements, maker’s marks and formal recognition. The interviewees also provided archival documentation such as letters written by Frey, some of his sketch books, video material, exhibition notes, catalogues, a testimonial and newspaper clippings.</span><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;"> Referrals to manufacturing goldsmiths who were acquainted with Frey were followed up and their reflections on Frey’s work were recorded. </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">A literature search of publications in academic journals, books and suitable magazines such as the <i style="mso-bidi-font-style: normal;">South African Panorama, the Lantern, Artlook </i>newsletter and <i style="mso-bidi-font-style: normal;">SA Jeweller </i>yielded corroborative background information and served as temporal markers on the careers of Erich Frey and his associates. </span></div>
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<span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">The interview information and all pertinent e-mail exchanges were content analysed, compared and integrated with pertinent archival information. </span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Erich Frey: Biography</span></b><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;"> </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Erich Frey was born on 03 April 1917 in Düsseldorf, Germany in a house where the teaching of handcrafts was the order of the day and passed on in his family for a number of generations. His father was head of a technical college. From 1934 until 1938 Frey underwent a traditional apprenticeship in silver- and goldsmith designf under Hans Beckman in Düsseldorf. However his apprenticeship was interrupted by the Second World War. From 1938 – 1945 he was drafted into an anti-aircraft battalion. To augment his income during this time, he made and sold buttons from discarded pieces of metal.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[3]</span></span></span></a> After the war he continued his apprenticeship and was accepted in 1947 as a member of the German gold- and silversmith guild. Already attesting to his promise and sophistication of technical skills, he was asked to lecture in metal art at the Kunst und Werkschule in Düsseldorf from 1948 -1951. To give expression to his creativity (and further hone his skills) he also opened a studio of his own.</span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">He arrived in 1952 in South Africa and began his career in Pretoria working for six months in the workshop of Joe Calafato. Along with Calafato he planned a range of jewellery collages (such as a brooch with a motif of running horses, and other pieces consisting of pastiches of flowers) to be cast in silver and set with semi-precious stones. Only the prototypes were made, and the designs go into production though. This was an early indication that Frey would never enter the mass market in the way that Calafato did.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[4]</span></span></span></a></span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">In 1953 he married his first wife Ilze whom he met earlier at the Kunst und Werkschule where she studied to become a professional jewellery shop assistant. From 1953 to 1956 he worked with Mr Heinrich Ocker (Ocker’s Jewellers in the Tudor building, Church str., Pretoria) who initially invited him to South Africa. The workshop consisted of four goldsmitfhs namely Heinrich Schultis-Schwar, Heinrich Ocker, Dieter Schilofsky and Erich Frey. From 1956 to 1961 he worked as designer with Gilroy and Jo King (King’s Jewels in Edward street, Arcadia next to the Apies river), but found their specialisation on the setting of gemstones too restrictive.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[5]</span></span></span></a> </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">In 1961 Frey opened his own workshop in the Tudor building off Church Square in Pretoria and called it Erich Frey Master Goldsmith Pty. (Ltd). In the same year Maia Holm started working as a student with him.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[6]</span></span></span></a> At the end of 1961 Frey and his wife had to satisfy their wanderlust. He sold his workshop with all his equipment to Maia Holm and for two years he travelled extensively in West Africa, the Middle East, Iran and India before ending up lecturing yet again, on gold and silversmith practices at the Kunst und Werkschule in Dusseldorf. </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">But the lure of a sunny and prosperous South Africa was too strong, and in 1964 he returned to Pretoria and opened a new workshop with a shop front in Esselen Street, Sunnyside. Initially, it comprised a double bench at the back of the showroom, divided by a curtain. This caused some frustration since any hammering or noise from the workshop had to be curtailed when customers were in the showroom. The premises was attached to the old Pigalle cinema, and when the business grew profitable enough, the showroom was extended by moving the workshop in 1968 to below the staircase of the cinema. The acid baths used for cleaning and polishing newly created pieces were situated in a narrow alleyway behind the cinema. </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">In 1964 Stephen Colegate joined Frey as his apprentice, and in 1968 Dieter Steglich joined them from West Germany. In 1969 Neville Jones briefly joined the studio as journeyman (assists with the manufacturing of large or complicated commissions or work and trains others) with Frey for a year, after which he and Steglich left the business to set up a studio of their own under the name D. Steglich Jewellers in Polley’s Arcade, Pretoria City Centre. They used a stylistic symbol of the sun as maker’s mark on their work.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn7" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[7]</span></span></span></a> </span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 115%;"> Figure 1: Erich Frey in 1966 at the age of 49.</span></b></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 115%;"> (Photo: S. Colegate, Knysna)</span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 115%;"> Figure 2: A page from Erich Frey’s sketch books. </span></b></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 115%;"> (Photo: F. van Staden, Pretoria, 2009)</span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Because of the increased output and popularity of the workshop’s designs, he appointed Ronald Hacquebord in 1970 as jewellery consultant, initially to assist with the retail part of the business. Frey had a general appreciation of contemporary Danish approaches to precious metal design, and on the retail side of the business he imported some of the more affordable commercial work of the Danish designer manufacturer Georg Jensen’s workshop for sale.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn8" name="_ftnref8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[8]</span></span></span></a> </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">After Frey divorced his wife who dealt with the retail side of his business, Hacquebord took over her responsibilities. Later, Frey married a German speaking South African. A year after the Soweto riots in 1976, he sold his studio as a going concern to Stephen Colegate and Ronald Hacquebord. As part of the sale, he left with them a number of his design sketchbooks.</span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">In 1977 at the age of sixty he then relocated to Berglicht in Germany, close to Idar Oberstein (known for its gemmological crafting) where his parents were born. Here he continued lecturing, exhibiting, designing and manufacturing jewellery and other metal articles. In 1989 he stopped giving formal training classes and continued to work from home. He continued to engage creatively with different materials, colours and textures such as wooden beads and the colouring of ivory with Henna solutions.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn9" name="_ftnref9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[9]</span></span></span></a> However, during this time he became withdrawn.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn10" name="_ftnref10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[10]</span></span></span></a> He also developed an allergy to some of the solvents he used in his work which placed a burden on his manufacturing abilities. He died in 2004 at the age of 87 with lung failure – possibly aggravated by chronic exposure to toxic solvents such as ammonia. He had a son Uwe and a daughter Uta from his first marriage.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn11" name="_ftnref11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[11]</span></span></span></a> </span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Maker’s marks</span></b></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Frey made use of a number of maker’s marks. The first mark he used when he arrived in South Africa, consisted of the imprint of a <b style="mso-bidi-font-weight: normal;">hand</b> (symbolising in his words <i style="mso-bidi-font-style: normal;">the most important creative human tool</i>) with stylistic lower case letters <b style="mso-bidi-font-weight: normal;">e </b>and <b style="mso-bidi-font-weight: normal;">f </b>below the hand. The bottom leg of the letter e was extended to form the horizontal cross of the letter f. A small o was placed in the bottom right hand corner. The bulk of his own work only really started in 1964. From around this time he also used the marks <b style="mso-bidi-font-weight: normal;">EFREY</b> (uppercase) and later on <b style="mso-bidi-font-weight: normal;">efrey</b> (lowercase) on his creations.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn12" name="_ftnref12" style="mso-footnote-id: ftn12;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[12]</span></span></span></a></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;"> Figure 3: The Erich Frey maker’s mark in use since the mid 1960s.</span></b></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;"> (Photo: Hellmut Wilhelm, Pretoria, 2011)</span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Inspiration and influences</span></b></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">As a young man in his twenties, Frey lived through the horrors of the Second World War and the devastation of his <i style="mso-bidi-font-style: normal;">heimat</i>. Whereas this may have been a significant part of the impetus for his emigration to South Africa, it also influenced his approach to life – a yearning to be freed from the dictates of a guild and the strictures of the culture in which it was embedded, to be free to create objects of beauty through an intimate engagement with the qualities and characteristics of the materials he used.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn13" name="_ftnref13" style="mso-footnote-id: ftn13;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[13]</span></span></span></a> His designs have indeed been regarded as free from European, British or American trends or guild requirements.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn14" name="_ftnref14" style="mso-footnote-id: ftn14;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[14]</span></span></span></a></span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">In South Africa he drew inspiration from the South African landscape, plant life, African art and the abundance of local precious and semi-precious stones. He had a small farm close to Cullinan where he kept horses as part of the therapy of his son Uwe who was brain damaged at the age of two in a car accident. Here he also installed a workbench. As is the case with most true artists, he was driven to design and was compelled to create. He worked after hours at his home and over weekends on his farm. </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Frey had an affinity for Etruscan art (700 – 650BC) that predated Tuscan Art. Etruscan jewellery is represented by a design style of intricate quality and technique. These early Roman jewellers made liberal use of a complex technique of granulation that consisted of creating minute beads of precious metal and used as decorative elements of punctuation in the design.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn15" name="_ftnref15" style="mso-footnote-id: ftn15;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[15]</span></span></span></a> Frey also incorporated granulation elements in some of his work, where he put it to good effect in enhancing or emphasising abstracted dimensionality in his designs.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn16" name="_ftnref16" style="mso-footnote-id: ftn16;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[16]</span></span></span></a> </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Frey had good contact with other artists such as Walter Batiss, Alexis Preller, Cecil Skotness, Danie de Jager, Karin Skawran (artist and former Chair of the Department of Visual Arts, University of South Africa) and the sculptors Ernst Ullman, Hennie Potgieter, Hennie van Heerden and Edoardo Villa. As a token of friendship, Alexis Preller presented Frey with a medallion around the late 1960’s – made from sterling silver with imprints of designs by Preller himself along with Preller’s signature.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn17" name="_ftnref17" style="mso-footnote-id: ftn17;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[17]</span></span></span></a> Silver- and goldsmiths with whom Frey had sustained contact include Kurt Jobst, Kurt Donau, Egon Günther, Dieter Schilofski and Dieter Dill (former chair of the degree programme in Jewellery design, University of Stellenbosch). These artists had an inherent creative bearing in common, expressing their originality without primary focus on the market place.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn18" name="_ftnref18" style="mso-footnote-id: ftn18;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[18]</span></span></span></a> </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Apart from his West African and Middle Eastern jaunts, Frey travelled widely in Southern Africa and to far off places such as the Balkans, Peru and Brazil.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn19" name="_ftnref19" style="mso-footnote-id: ftn19;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[19]</span></span></span></a> He had an interest in all handicraft and especially antique jewellery. He had a fair collection of gold artefacts and ancient jewellery.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn20" name="_ftnref20" style="mso-footnote-id: ftn20;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[20]</span></span></span></a> He also had a collection of wooden spoons from all over the world, reflecting an appreciation for the artistic skill that can be embedded in the functionality of a humble kitchen utensil.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn21" name="_ftnref21" style="mso-footnote-id: ftn21;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[21]</span></span></span></a> Perhaps this interest also inspired a number of his spoon designs. Apart from wooden spoons he also had collections of wax seals, coins and various <i style="mso-bidi-font-style: normal;">objets d’art</i>.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn22" name="_ftnref22" style="mso-footnote-id: ftn22;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[22]</span></span></span></a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCh0DzM0Y6UTuFGmNpM_E11thQ5SXmb7TOonis3oJrLVmLsTTo3akml78iEjuLqWctvGApa2Jhyx8RvpdFWtBct0GOTnhYKKgrMWx5X_feABJ4j0gS6YDLgMVe8Vbft6utaZqouBYJYwJS/s1600/Figure+3+-+Examples+of+Erich+Frey+designs.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCh0DzM0Y6UTuFGmNpM_E11thQ5SXmb7TOonis3oJrLVmLsTTo3akml78iEjuLqWctvGApa2Jhyx8RvpdFWtBct0GOTnhYKKgrMWx5X_feABJ4j0gS6YDLgMVe8Vbft6utaZqouBYJYwJS/s320/Figure+3+-+Examples+of+Erich+Frey+designs.jpg" width="273" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 115%;">Figure 4: Examples of Erich Frey’s work.</span></b></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 115%;">(Photo: From the retrospective exhibition booklet entitled <i style="mso-bidi-font-style: normal;">Erich Frey 25 years, </i>1985, p.8)</span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Frey’s designs were also influenced by client commissions. Emphasis was placed (also during the later eras of the studio) on engaging with the design ideas of the clients who would wear them. At least four alternative designs were made for a particular piece, each was then discussed with the client to decide on a final design. He regarded contact and good communication with the client as an essential part of the design process in order to ensure customer satisfaction.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn23" name="_ftnref23" style="mso-footnote-id: ftn23;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[23]</span></span></span></a></span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Frey had a mystical and intuitive orientation towards his designs, which was pointed out by European critiques of his work.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn24" name="_ftnref24" style="mso-footnote-id: ftn24;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[24]</span></span></span></a> Reviewers typified his work with comments such as </span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">having a strong aesthetic sense of texture and form...</span></i><a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn25" name="_ftnref25" style="mso-footnote-id: ftn25;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[25]</span></span></span></span></a><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;"> a sense of simplicity, balance and harmony... never a tendency to over refinement... somewhat Teutonic chunkiness...<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn26" name="_ftnref26" style="mso-footnote-id: ftn26;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[26]</span></b></span></span></a> <a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn27" name="_ftnref27" style="mso-footnote-id: ftn27;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[27]</span></b></span></span></a>Contemporary designs based on powerful organic forms... deep aesthetic sensibility...<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn28" name="_ftnref28" style="mso-footnote-id: ftn28;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[28]</span></b></span></span></a></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">...using symbols from his environment and the black cultures of southern Africa… secretive, mystical, earthy aura... interpreting symbols deriving from Africa... his work relating as it does to history and symbolism...<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn29" name="_ftnref29" style="mso-footnote-id: ftn29;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[29]</span></b></span></span></a>... harmonious use of positive and negative volumes. <a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn30" name="_ftnref30" style="mso-footnote-id: ftn30;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[30]</span></b></span></span></a> </span></i><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">…<i style="mso-bidi-font-style: normal;">expressing joy, balance, flowing pleasing rhythms and punctuations, movement, a positive life force.</i><a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn31" name="_ftnref31" style="mso-footnote-id: ftn31;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[31]</span></span></span></a> .<i style="mso-bidi-font-style: normal;">..transcendent... elevated design</i>.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn32" name="_ftnref32" style="mso-footnote-id: ftn32;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[32]</span></span></span></a></span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Frey had an intellectual bearing and showed some interest in the archetypical symbolism of the psychologist Carl Gustaf Jung.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn33" name="_ftnref33" style="mso-footnote-id: ftn33;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[33]</span></span></span></a> Reflecting on his own work in 1985, Frey appears to have found pleasure in the analogy of forms that capture emotive qualities, the extrapolation of symbolism as expressed in the interplay between gems and precious metals.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn34" name="_ftnref34" style="mso-footnote-id: ftn34;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[34]</span></span></span></a> This interest in gemmological symbolism he later explored further with an exhibition in 1987 in the Museum at Idar-Oberstein depicting the historical relationship between humanity and precious stones.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn35" name="_ftnref35" style="mso-footnote-id: ftn35;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[35]</span></span></span></a> He acquainted himself with the myths and magical or healing/protecting qualities ascribed by different cultures to precious and semi-precious stones. He was fascinated by the allure of gemstones and throughout his life he continued to study their historical mystical and mythical attributions. This was augmented by studies in Archaeology, Ancient History and Ethnology.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn36" name="_ftnref36" style="mso-footnote-id: ftn36;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[36]</span></span></span></a> In his later years he planned to publish a book entitled <i style="mso-bidi-font-style: normal;">A Genesis of Precious Stones</i>. Possibly due to ill health, this did not materialise, even though the manuscript was largely completed.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn37" name="_ftnref37" style="mso-footnote-id: ftn37;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[37]</span></span></span></a></span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">The work of Frey in Germany after he left South Africa was somewhat less exuberant or colourful and at times contained a sombre note, perhaps less nuanced. It may be related to the Northern European context of a more structured goldsmith guild and the availability of materials – perhaps it also reflected his belief that jewellery designs are intimately tied to the temporal socio-cultural, economic and environmental contexts of the country in which the designs originate.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn38" name="_ftnref38" style="mso-footnote-id: ftn38;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[38]</span></span></span></a> </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Frey was a generous supervisor and enjoyed the role of teaching. He allowed his apprentices the freedom to search for, and express, their own natural sense of balance in their designs. He tried to instil in them a spirit of disciplined innovation.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn39" name="_ftnref39" style="mso-footnote-id: ftn39;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[39]</span></span></span></a> Stephen Colegate, his first apprentice comments as follows:</span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Erich had a profound influence on me that changed my life and encouraged me to use talents that I had no idea I possessed.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn40" name="_ftnref40" style="mso-footnote-id: ftn40;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[40]</span></b></span></span></a></span></i><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;"></span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Patient and encouraging, Frey possessed a masterful understanding of the processes involved, and skills to be acquired, in order to become a creative manufacturing goldsmith. <a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn41" name="_ftnref41" style="mso-footnote-id: ftn41;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[41]</span></span></span></a> He was a meticulous and precise person, preferring order above chaos around him, a sensibility that was also expressed in explaining his designs with great clarity to his apprentices and would-be clients. He was a refined, reserved, calm gentleman and a humble person.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn42" name="_ftnref42" style="mso-footnote-id: ftn42;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[42]</span></span></span></a> He had a private demeanour and did not easily divulge personal information. Not only in his personal life, but also in his designs he retained a controlled decorum and style that did not allow indulgences such as ‘art for the sake of art’. <a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn43" name="_ftnref43" style="mso-footnote-id: ftn43;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[43]</span></span></span></a></span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">If there were a philosophy behind his work, it would be to reflect on the building blocks of life, the ancient origins of evolution and how time transforms everything.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn44" name="_ftnref44" style="mso-footnote-id: ftn44;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[44]</span></span></span></a> The images he created were sculptural in their own right. Each appears to express a message of wholesomeness, integratedness and beauty. Where materials other than precious metals were used, the inherent character, texture, colour and patterns of the matter (be it precious/semi-precious stones, ivory, wood or combinations thereof) were used as <i style="mso-bidi-font-style: normal;">leitmotivs</i> for the design, and were extrapolated into the precious metal setting of the piece – enhancing and extending the centre point(s). This represented a modernisation in local jewellery design that was soon recognized and emulated throughout the country. <a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn45" name="_ftnref45" style="mso-footnote-id: ftn45;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[45]</span></span></span></a> This approach was continued by Stephen Colegate and Ronald Hacquebord and the designers who worked for them.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn46" name="_ftnref46" style="mso-footnote-id: ftn46;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[46]</span></span></span></a> Hacquebord commented as follows on the essence of Erich Frey designs:</span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Using earth’s bounty stimulates the imagination to create miniature sculptures which are wearable… Each piece (also) portrays the character of its creator… …designs are contemporary, timeless and enduring.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn47" name="_ftnref47" style="mso-footnote-id: ftn47;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[47]</span></b></span></span></a></span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhThBBQZU31lJCmoeJxshznbgVJgiTYHVIyV799-eFSlOmYHjFQRyHY7bdIri5Nw7zbOuhpQBGYmd9idk96yYyWeIE71Po6zKoMn3pOjg7YVJ9e5eE1rDeNByS-DirBI4zWLvvPwQgKnuDs/s1600/Pendants+and+rings+in+sterling+silverand+9+carat+gold%252C+topaz+%2526+opal+designed+by+Erich+Frey.+Note+the+characteristic+square+design+of+the+ring+bands.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="282" m$="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhThBBQZU31lJCmoeJxshznbgVJgiTYHVIyV799-eFSlOmYHjFQRyHY7bdIri5Nw7zbOuhpQBGYmd9idk96yYyWeIE71Po6zKoMn3pOjg7YVJ9e5eE1rDeNByS-DirBI4zWLvvPwQgKnuDs/s320/Pendants+and+rings+in+sterling+silverand+9+carat+gold%252C+topaz+%2526+opal+designed+by+Erich+Frey.+Note+the+characteristic+square+design+of+the+ring+bands.JPG" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Figure 5: Examples of pendants and rings in sterling silver and 9 carat gold designed by Erich Frey. Note the characteristic square design of the ring bands.</span></b></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">(Photo: Hellmut Wilhelm, Pretoria, 2011)</span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Design guidelines</span></b><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;"></span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">According to Frey, a well designed piece of jewellery is original, wearable and reflects a sophisticated level of craftsmanship. <a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn48" name="_ftnref48" style="mso-footnote-id: ftn48;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[48]</span></span></span></a> In an appreciation of his skill as a precious metal designer artist, Eleonore Smit stated that Erich Frey’s work embodied all the qualities of a master designer: talent, technique, taste, tenacity and ‘tongue’ (in order to explain or interpret his designs). His technical abilities to work with metals had to be of the highest standard in order to give meaningful expression to his often complicated designs. <a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn49" name="_ftnref49" style="mso-footnote-id: ftn49;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[49]</span></span></span></a> </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Furthermore, his work expressed sculptural qualities since it gave expression to guidelines used in the art of sculpting. The Frey collection as a whole clearly contains all the following s<span style="color: black;">culptural characteristics:<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn50" name="_ftnref50" style="mso-footnote-id: ftn50;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="color: black; font-family: Arial, sans-serif; font-size: 10pt;">[50]</span></span></span></a></span></span></div>
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<span lang="EN-GB" style="color: black; font-family: Symbol; font-size: 10pt; line-height: 150%;">·<span style="font-family: 'Times New Roman';"> </span></span><span lang="EN-GB" style="color: black; font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Balance between open space and solid mass (negative and positive space)</span></div>
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<span lang="EN-GB" style="color: black; font-family: Symbol; font-size: 10pt; line-height: 150%;">·<span style="font-family: 'Times New Roman';"> </span></span><span lang="EN-GB" style="color: black; font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Equilibrium (textural effects and rhythmic proportions)</span></div>
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<span lang="EN-GB" style="color: black; font-family: Symbol; font-size: 10pt; line-height: 150%;">·<span style="font-family: 'Times New Roman';"> </span></span><span lang="EN-GB" style="color: black; font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Harmony amongst line, mass and point (wire, plate and drop/bead)</span></div>
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<span lang="EN-GB" style="color: black; font-family: Symbol; font-size: 10pt; line-height: 150%;">·<span style="font-family: 'Times New Roman';"> </span></span><span lang="EN-GB" style="color: black; font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Juxtaposition of casting and smiting/wrought work (casting representing sentiments of femininity, elegance rhythm, smoothness; smiting/wrought work representing sentiments of masculinity, strength, energy)</span></div>
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<span lang="EN-GB" style="color: black; font-family: Symbol; font-size: 10pt; line-height: 150%;">·<span style="font-family: 'Times New Roman';"> </span></span><span lang="EN-GB" style="color: black; font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Combination of surface textures: mat and glossy, smooth and coarse, bold and fine</span></div>
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<span lang="EN-GB" style="color: black; font-family: Symbol; font-size: 10pt; line-height: 150%;">·<span style="font-family: 'Times New Roman';"> </span></span><span lang="EN-GB" style="color: black; font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Combination of metals and other materials (precious/semi-precious stones, ivory, wood, sea shells, corals, pearls etcetera). </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Frey believed that good jewellery design is characteristically found in a sense of proportionality and harmony, along with the basic rules of simplicity, meaningful design and good balance.<span class="MsoFootnoteReference"><span style="color: black;"> <a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn51" name="_ftnref51" style="mso-footnote-id: ftn51;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB" style="color: black; font-family: Arial, sans-serif; font-size: 10pt;">[51]</span></span></a></span></span><span style="color: black;"> </span></span></div>
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<span lang="EN-GB" style="color: black; font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">It should however, also be remembered that a technical analysis of any creation does not reveal the nature of the initial inspiration or genesis of a design. The inevitability of creating is perhaps better captured by the artist’s inherent yearnings for expressions of hope and faith in wholesomeness, beauty and joy.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn52" name="_ftnref52" style="mso-footnote-id: ftn52;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="color: black; font-family: Arial, sans-serif; font-size: 10pt;">[52]</span></span></span></a></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Materials, manufacturing processes and range</span></b></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">The materials Frey used, can be classified according to three main forms of matter on earth, namely mineral (gem stones and metals), plant (amber and various forms of wood) and animal (ivory and bone). In an evolutionary sense, gem stones in their various forms are the most ancient and are also expressed as punctuation points in many of his designs. <a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn53" name="_ftnref53" style="mso-footnote-id: ftn53;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[53]</span></span></span></a> <a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn54" name="_ftnref54" style="mso-footnote-id: ftn54;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[54]</span></span></span></a> </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Manufacturing processes includes traditional goldsmithing techniques such as cuttlefish casting, wax carving and casting, soapstone carving as well as the making of rubber moulds for reproduction. In gold and silver jewellery, Frey combined the following techniques in the manufacturing process: Smitten as well as flat metal plates were joined with wire work to create an interesting tension.<span class="MsoFootnoteReference"> <a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn55" name="_ftnref55" style="mso-footnote-id: ftn55;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[55]</span></span></a></span> The different applications resulted in individually designed and manufactured pieces of jewellery which were one-offs as well as small editions of pieces which were mostly cast.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn56" name="_ftnref56" style="mso-footnote-id: ftn56;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[56]</span></span></span></a> </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Frey designed and manufactured jewellery, cutlery, trophies, mirrors, miniature statues, boxes and articles of religious significance (such as chalices in silver, a baptismal font with a dome in copper, communion plates) and even mirror frames. He is well known for the square designs of the bands of his rings, which are still manufactured.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn57" name="_ftnref57" style="mso-footnote-id: ftn57;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[57]</span></span></span></a></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Some notable commissions and achievements</span></b></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">When Dr H. F. Verwoerd was shot at the opening of the Witwatersrand Exposition in April 1960, his wife Betsie commissioned Frey to design and manufacture single pieces of jewellery for every nurse and the wives of the male doctors that tended to him.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn58" name="_ftnref58" style="mso-footnote-id: ftn58;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[58]</span></span></span></a></span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">During the early 1970’s, Walter Batiss commissioned some medals for his alternative Fook Island world. These were manufactured through a die casting method and were cast in silver and in gold.<span class="MsoFootnoteReference"> <a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn59" name="_ftnref59" style="mso-footnote-id: ftn59;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[59]</span></span></a></span> During the mid 1970’s the Afrikaans teacher’s College in Pretoria (Normaal Kollege Pretoria) commissioned a sculpture in the form of a hollowed spiral pointing upwards (much like a curled aloe leaf) that appears to represent aspiration, resilience and the will to overcome challenges. A 15 - 20 meter concrete version was cast by the architect Albert te Groen, encrusted with small white mosaic tiles and placed on its Sunnyside campus, facing Rissik street. <a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn60" name="_ftnref60" style="mso-footnote-id: ftn60;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[60]</span></span></span></a></span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">When the first University of South Africa building on Lukasrand in Pretoria was inaugurated in 1972, Frey was commissioned by the architect Brian Sandrock to manufacture the symbolic inauguration key in sterling silver along with a commemorative pendant in gold and gem stones. The key was designed in the form of the architect’s line drawing of the building, with a modernised crest of the university mounted on the left hand side and the letters UNISA attached to the lower right hand side. A three dimensional 18 carat gold and ivory pendant in the form of a stylistic architect’s model of the first phase of the new Lukasrand campus development was presented to Mrs Pauw, wife of the retiring principal at the time, Prof Samuel Pauw. Four rectangular cut Transvaal jades and an emerald cut diamond were used to complete the design of the pendant.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn61" name="_ftnref61" style="mso-footnote-id: ftn61;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[61]</span></span></span></a> The next year, in 1973, the University purchased a large metal screen made by Frey in 1966-1967, for decorative use in the office complex of the Unisa Rectorate. The screen was originally commissioned and designed according to an idea by Alexis Preller and was used as a screen to divide the living area from the sleep and bathroom areas of the guest cottage on the Preller estate near Hartbeespoortdam. It consists of a brass panel containing multiple rectangular angles capturing sunlight by day and reflecting candle light by night.<span class="MsoFootnoteReference"> <a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn62" name="_ftnref62" style="mso-footnote-id: ftn62;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[62]</span></span></a></span> In appreciation, Preller also presented Frey with a small painting and a note of thanks.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn63" name="_ftnref63" style="mso-footnote-id: ftn63;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[63]</span></span></span></a></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Figure 6: An 18 carat gold and ivory pendant encrusted with Transvaal jade and an emerald cut diamond pendant. The pendant is shaped in a three dimensional impression of the Theo van Wijk building and parking area. Made by Erich Frey and Stephen Colegate as his journeyman.</span></b></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">(Photo: S. Colegate, Pretoria, 1972)</span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Technically speaking, Frey’s use of cut and faceted semi-precious stones and innovative ways of setting stones, opened a new dimension of gemmological use in local design of precious metal jewellery and other articles.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn64" name="_ftnref64" style="mso-footnote-id: ftn64;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[64]</span></span></span></a> As such, he made a significant contribution to the establishment of a gemmological industry in South Africa.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn65" name="_ftnref65" style="mso-footnote-id: ftn65;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[65]</span></span></span></a> In 1966 the local semi-precious stone mining, cutting and polishing industry was still limited to only a few individual gemmological enthusiasts or hobbyists and its use in jewellery design was still in its infancy.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn66" name="_ftnref66" style="mso-footnote-id: ftn66;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[66]</span></span></span></a> He was also a founder member of the Pretoria Gem and Mineral Club in the late 1950s. </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Frey lectured at universities both in South Africa and in Germany. Making use of his collegial contacts in Germany from the Pforzheim school he helped in setting up the first degree course in precious metal design at the University of Stellenbosch in 1966.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn67" name="_ftnref67" style="mso-footnote-id: ftn67;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[67]</span></span></span></a> He was also a co-founder of the Goldsmiths’ Guild of South Africa in 1974. Over the years, he clearly gained the respect of his peers both locally and in Germany as having made a unique contribution to the design and manufacture of precious metal works of art, as well as the teaching thereof.<span class="MsoFootnoteReference"> <a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn68" name="_ftnref68" style="mso-footnote-id: ftn68;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[68]</span></span></a></span> <a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn69" name="_ftnref69" style="mso-footnote-id: ftn69;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[69]</span></span></span></a></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Exhibitions</span></b></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Throughout his career, Frey gained both national and international exposure, not only through lecturing, but also through regularly partaking in exhibitions. He received prizes for jewellery design at the Rand Easter Expositions in 1965 and in 1969. In 1965 as well as in 1970 his exhibitions represented South Africa at international design exhibitions in London. In 1968 he exhibited his work in Cape Town (at ‘Index ‘68’) and in Munich.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn70" name="_ftnref70" style="mso-footnote-id: ftn70;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[70]</span></span></span></a> In 1971 the studio’s work was a first prize winner at the Biennial Intergold Competition, Chamber of Mines in Johannesburg.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn71" name="_ftnref71" style="mso-footnote-id: ftn71;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[71]</span></span></span></a> He contributed to an exhibition by the Association of Goldsmith Art in Germany for handmade mirrors. In 1974 he exhibited his work at the acclaimed Inhorgenta International jewellery exposition in Munich.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn72" name="_ftnref72" style="mso-footnote-id: ftn72;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[72]</span></span></span></a> In 1975 he contributed to the award winning South African exhibition at the 39<sup>th</sup> International Arts and Crafts show in Florence, Italy. </span><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">In this year he was also appointed as chairman of the Intergold competition held in Johannesburg.</span><span class="MsoFootnoteReference"><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;"> </span></span><a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn73" name="_ftnref73" style="mso-footnote-id: ftn73;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[73]</span></span></span></span></a><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;"></span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">To celebrate the 25 years that Frey worked in South Africa, a retrospective exhibition of his work was held from 31 July to 18 August 1985 by the Pretoria Art Museum.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn74" name="_ftnref74" style="mso-footnote-id: ftn74;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[74]</span></span></span></a> Frey wrote a foreword to the exhibition notes but couldn’t attend the opening since he was not well. Due to its popularity the exhibition was extended with a week. It comprised more than 600 pieces – the vast majority on loan from clients.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn75" name="_ftnref75" style="mso-footnote-id: ftn75;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[75]</span></span></span></a> </span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 115%;">Figure 7: A view of one of the display tables of the retrospective exhibition of Erich Frey’s work held in 1985 at the Pretoria Art Museum. The exhibition consisted of more than 600 pieces with over 4000 visitors having attended.</span></b></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 115%;">(Photo: S. Colegate, Pretoria, 1985)</span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Associates</span></b></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Associates of Erich Frey who worked with him and who became exponents of the design oeuvre in which he worked, include Maia Holm, Stephen Colegate, Ronald Hacquebord and Maurice Pitol. Emphasis in this review is placed on their interface with Frey.</span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Maia Holm</span></i></b><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;"></span></i></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Maia Holm is along with Elsa Wongchongtsky<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn76" name="_ftnref76" style="mso-footnote-id: ftn76;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[76]</span></span></span></a>, Eone de Wet and Margaret Richardson<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn77" name="_ftnref77" style="mso-footnote-id: ftn77;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[77]</span></span></span></a>, one of the first generation of female goldsmiths in South Africa<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn78" name="_ftnref78" style="mso-footnote-id: ftn78;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[78]</span></span></span></a> and the only one still practicing her art. As such she can be regarded as the first fulltime South African female gold- and silversmith.</span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Holm was born into a family of <i style="mso-bidi-font-style: normal;">Kunsthandwerker</i> on 20 August 1941 in Berlin. Her father was a South African from Bethulie who studied History of Art and Classical Archaeology and her mother was German with a background in Graphic Art. In 1948 the family resettled in South Africa at Hartbeespoort. She had five siblings, all of whom had some art education at home.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn79" name="_ftnref79" style="mso-footnote-id: ftn79;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[79]</span></span></span></a> Her mother Elly Holm became internationally known for her slate relief work .<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn80" name="_ftnref80" style="mso-footnote-id: ftn80;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[80]</span></span></span></a> </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Maia Holm became acquainted with Erich Frey when he sought advice from her father on opening his own manufacturing studio in South Africa. Afterwards Frey rented a house at Hartebeespoort from Dr Holm and became a family friend. When still a young teenager, Holm asked Frey to alter the wedding bands of her parents as a present she wished to give them, and upon witnessing the process of alteration, she decided that precious metals would become her main medium of creativity.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn81" name="_ftnref81" style="mso-footnote-id: ftn81;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[81]</span></span></span></a></span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Because she was raised in an artistic family, Holm was for the most part an autodidact as far as her goldsmith training was concerned. She did not do a conventional apprenticeship, but underwent selected training to refine her skills. She studied for a year under Prof. Gerhard Gollwitzer at the Kunstakademie in Stuttgart.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn82" name="_ftnref82" style="mso-footnote-id: ftn82;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[82]</span></span></span></a> </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpf9nwezpli-ZC46AehyphenhyphenPRyvsKFY4N-mEO3Zt05KKetvRx2Umb3eZwzrrISYbXUOPGU3U6mFKMeL4qXPfTwpdQ9c8VTJkKEMNkDmA5Op1uEHTU-S5Qk4yFbmb_tSQU4SafXmyqm1iJkU3u/s1600/Early+1960%2527s.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" m$="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpf9nwezpli-ZC46AehyphenhyphenPRyvsKFY4N-mEO3Zt05KKetvRx2Umb3eZwzrrISYbXUOPGU3U6mFKMeL4qXPfTwpdQ9c8VTJkKEMNkDmA5Op1uEHTU-S5Qk4yFbmb_tSQU4SafXmyqm1iJkU3u/s320/Early+1960%2527s.jpg" width="258" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 115%;">Figure 8: Maia Holm as a young goldsmith in the early 1960’s.</span></b></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 115%;">(Photo: M. Holm, published in the South African Panorama, February 1966, p.27)</span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Upon opening his own workshop in 1961, Erich Frey immediately employed Holm as a student. A year later, Frey left for an extended world tour, and she took over the studio equipment from him and opened a workshop in the same premises under her own name.</span><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;"> </span><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">To further develop her technical skills, in 1963 she enrolled for a semester of masters studies in precious metals and jewellery design with the Goldschmiedklasse der Werkkunstschule in Düsseldorf under Prof. Friedrich Becker who had a strong technical machine building background. At that time Erich Frey was also teaching at the Werkkunstschule. </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">During her visits to Europe, Holm travelled extensively around Northern Europe, gaining more insight into different design approaches. When Frey returned to South Africa in 1964 she shared some commissioned work with him as a colleague and not as a student anymore. From their earliest acquaintance he became her mentor and continued to hold her regard and respect as an innovative designer manufacturer with a wholesome ethos towards his craft as a goldsmith. </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">From 1965 until 1999 she moved house and her workshop to various locations that included Colbyn, Hatfield, Sunnyside, Meyerspark (Pretoria) and even Franschoek (1973 – 1975), and in between returned to Hartbeespoort, the place of her childhood. The workbench and tools that she bought from Frey, moved with her, as did her client base, many of whom became friends.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn83" name="_ftnref83" style="mso-footnote-id: ftn83;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[83]</span></span></span></a> This is reflected in her approach to design which is strongly based on the functionality as well as the intimate nature of the piece. Personal meaningfulness for the owner is an essential element of the product.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn84" name="_ftnref84" style="mso-footnote-id: ftn84;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[84]</span></span></span></a> </span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Maker’s mark and range</span></i></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Holm uses an encircled cross that briefly points outside the circle as her maker’s mark – representing an orientation symbol divided into four quadrants, similar to a compass where (in her own words) <i style="mso-bidi-font-style: normal;">godly and earthly inspirations cross</i>, but also representing a moving wheel. The mark is about 4mm x 4mm in size. Later on, from the mid 1980’s she used a smaller stamp mark about 1,5mm x 1,5mm in size with the same design. In 1999 the quarter circle spanning one of the quadrants in the mark broke, but she continues to use the stamp on her work. Her work can thus be dated according to the use of a larger mark, a smaller mark and the same small mark with a missing quadrant.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn85" name="_ftnref85" style="mso-footnote-id: ftn85;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[85]</span></span></span></a></span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Apart from precious metals she also makes use of shell, bone, wood (once even a peach pip!), porcelain and fused dichroic glass. In the late 1970’s to early 1980’s she made use of copper in her designs producing larger and chunkier forms of jewellery. Taking up on her mother’s fascination with encaustics (an ancient complex technique dating back to 400BC in Egypt, involving painting on slate with pigments and bees wax, sometimes with added chiselled relief work) she also became one of very few encaustic painters the world over. None of her designs have been mass produced.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn86" name="_ftnref86" style="mso-footnote-id: ftn86;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[86]</span></span></span></a></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJQ-Lr5bkL1IhVy8YXQuuSeM0Om9Ed8VUyPG4CediDJWMAbBeA2xJ7G7lgaxDzQLKlWKzOJvORPv3o1p2xwAvDDpjCL4cPwXbaXZqQ0z_ahXSAby3FprIPO_fa1lEWF0_TrtzN4BvQdTd5/s1600/Maia+maker%2527s+mark.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="131" m$="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJQ-Lr5bkL1IhVy8YXQuuSeM0Om9Ed8VUyPG4CediDJWMAbBeA2xJ7G7lgaxDzQLKlWKzOJvORPv3o1p2xwAvDDpjCL4cPwXbaXZqQ0z_ahXSAby3FprIPO_fa1lEWF0_TrtzN4BvQdTd5/s320/Maia+maker%2527s+mark.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Figure 9: Maia Holm’s maker’s mark. </span></b></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">(Photo: F. van Staden, Pretoria, 2009)</span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Exhibitions and commissions</span></i></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">In 1963 Holm exhibited six of her jewellery items in Washington at an international exhibition on ‘The Adornment of Woman’ to critical acclaim.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn87" name="_ftnref87" style="mso-footnote-id: ftn87;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[87]</span></span></span></a> From 1966 until 1969 (and again in 1974) her work formed part of an annual South African exhibition at the International Arts and Crafts Exhibition held in Florence, Italy. Throughout these years, the exhibitions were awarded with gold medals. Some of the other jewellery designer manufacturers in the teams comprised Erich Frey, M.W. Fleming, Gordon Watson, Tessa Fleischer and Dieter Steglich.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn88" name="_ftnref88" style="mso-footnote-id: ftn88;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[88]</span></span></span></a></span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Throughout her working life she has presented her work on average at least once a year, alone or with her mother, siblings and children at exhibitions throughout the country in cities such as Johannesburg, Pretoria, and Bloemfontein to smaller towns such as Lichtenburg and Klerksdorp.<span class="MsoFootnoteReference"> <a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn89" name="_ftnref89" style="mso-footnote-id: ftn89;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[89]</span></span></a></span> In 2008 she successfully exhibited her work with her daughter Meta at the annual Nieu Zealand National Jewellery Showcase in Wellington.<span class="MsoFootnoteReference"> <a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn90" name="_ftnref90" style="mso-footnote-id: ftn90;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[90]</span></span></a></span> </span><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 115%;">Figure 10: Examples of brooches and necklaces by Maia Holm circa 1966</span></b></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 115%;">(Photo: M. Holm, Pretoria)</span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">In the late 1960’s Holm was commissioned by the National Department of Arts and Culture to contribute to a national exhibition that celebrated the work of women in South African art and crafts. Long before European jewellery designers of her time, she expressed in her art in this exhibition through incorporating extensive beading (analogous to the beadwork of the Ndebele) in her designs. The exhibition gained critical acclaim and was sent on a yearlong tour around the country.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn91" name="_ftnref91" style="mso-footnote-id: ftn91;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[91]</span></span></span></a> During the same time she also designed a range of jewellery for children.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn92" name="_ftnref92" style="mso-footnote-id: ftn92;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[92]</span></span></span></a></span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Upon the death of Dr H.F. Verwoerd in 1966 she presented his wife Betsie with a mourning pendant containing a piece of black volcanic glass. The glass was picked up on Marion Island during an earlier exploration expedition by the geologist son of Dr Verwoerd.<span class="MsoFootnoteReference"> <a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn93" name="_ftnref93" style="mso-footnote-id: ftn93;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[93]</span></span></a></span> </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">In 1971 she was commissioned to create a panel of about 7m x 2,5m for the connecting hall between the International and domestic terminal buildings at the (then) Jan Smuts International Airport. It consists of iron, gold plate and semi-precious stones depicting the versatility of the metals and the wealth of natural local material.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn94" name="_ftnref94" style="mso-footnote-id: ftn94;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[94]</span></span></span></a></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Inspiration</span></i></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">In 2008 Holm wrote the following on the driving force and inspiration behind her work:</span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Because I was born during a world war, in a heavily bombarded city, desperate circumstances were almost part of my view on life. At the same time my mother, who was a well trained practicing artist, was an example of doing art as a way of coping with extremes. As well as a means of survival: she would barter her works of art for food etc. during that time.</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">When times became better, art became a modus Vivendi. We had regular art lessons as a family. Since my father was an art historian and working from home, I was fortunate to have been exposed to ongoing discussions and instructions during the whole of my school going years. At the end of which I was quite ‘literate’ as well as technically skilled in many forms of the fine arts. With the WHY, WHAT and HOW more or less in place, further studies did hone certain aspect and techniques.</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Art remains closely linked to survival: speaking for the voiceless, saying the unspeakable.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn95" name="_ftnref95" style="mso-footnote-id: ftn95;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[95]</span></b></span></span></a></span></i></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">For her, designs are best conceived and produced within a ‘giving’ mindset or spirit rather than an attitude of ‘gaining’ something from the product.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn96" name="_ftnref96" style="mso-footnote-id: ftn96;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[96]</span></span></span></a> One reviewer described her work as</span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">..characterised by simplicity and elegance without following a specific fashion.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn97" name="_ftnref97" style="mso-footnote-id: ftn97;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[97]</span></b></span></span></a></span></i><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;"></span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Her son Tobias Beyers is following in his mother’s footsteps as practicing manufacturing goldsmith.<span class="MsoFootnoteReference"> <a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn98" name="_ftnref98" style="mso-footnote-id: ftn98;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[98]</span></span></a></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Stephen Colegate </span></i></b><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;"></span></i></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">The youngest of six children, Stephen Colegate was born in 1947 in Somerset County, England. At school he was drawn to woodwork, technical drawing and art. In 1963 his parents relocated for the second time to South Africa and sent him to the Pretoria Boys High School where he took art classes from Walter Batiss and Larry Scully.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn99" name="_ftnref99" style="mso-footnote-id: ftn99;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[99]</span></span></span></a> He knew that he wanted to work with his hands, and fell upon the opportunity when almost by accident when an acquaintance arranged for him an interview to apply for an apprenticeship with Frey. He was accepted into an apprenticeship consisting of a formal training contract of five years, and from 1965 until 1970 he became Erich Frey’s sole apprentice, focusing on silver- and goldsmithing, the mounting and setting of precious stones and all types of repair work. <i style="mso-bidi-font-style: normal;"></i></span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Later, in 1970 he travelled around Europe for six months. Upon return, Frey instated him to the position of senior journeyman and workshop manager. He also assisted Frey with the training of new apprentices.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn100" name="_ftnref100" style="mso-footnote-id: ftn100;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[100]</span></span></span></a> </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPNnawl9Aw6EgWsc80CkTgrQhm0A4Hb-TwcAVH5LpNih7r-twUTf91fh9T6wikhm0tT1hFa-Qa-B9RHSEVv21HhiX3yuc-L0w3nYZPw401OgrHkYGeYwRWQpqMQHrdjdaWwIKZYeEhwUwj/s1600/Munchen+exhibition+19870001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="232" m$="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPNnawl9Aw6EgWsc80CkTgrQhm0A4Hb-TwcAVH5LpNih7r-twUTf91fh9T6wikhm0tT1hFa-Qa-B9RHSEVv21HhiX3yuc-L0w3nYZPw401OgrHkYGeYwRWQpqMQHrdjdaWwIKZYeEhwUwj/s320/Munchen+exhibition+19870001.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 115%;">Figure 11: Cover of the exhibit notes presented at the international Inhorgenta jewellery exhibition in 1987 in Munchen. Designs by Stephen Colegate.</span></b></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 115%;">(Photo: R. Hacquebord, Johannesburg)</span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Achievements, commissions and inspiration</span></i></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">During the mid 1970’s Frey entrusted Stephen Colegate with restoring the mounting on a Faberge chalice and later a Faberge bowl and lid. The pieces were presented to the South African government by Csar Nicholas II of Russia upon forming the Union of South Africa in May 1910. The mountings of an imperial Russian double headed eagle with a crown came loose and had to be repaired. The pieces were ornately decorated with under glazed motifs of flowers and eagles.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn101" name="_ftnref101" style="mso-footnote-id: ftn101;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[101]</span></span></span></a> </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">In 1977 Colegate became co-director of the business and continued to work as principal designer in the manner of Erich Frey.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn102" name="_ftnref102" style="mso-footnote-id: ftn102;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[102]</span></span></span></a> The following decade included high commendations at the De Beers <i style="mso-bidi-font-style: normal;">Diamonds Today</i> competitions (1979, 1984) along with a first prize in 1982 for a neck piece at the <i style="mso-bidi-font-style: normal;">Intergold</i> national jewellery competition.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn103" name="_ftnref103" style="mso-footnote-id: ftn103;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[103]</span></span></span></a> In 1983 he was invited by the Chamber of Mines and Intergold to design jewellery to compliment the work of Anne de Frederikz for a fashion parade at the Witwatersrand Exposition (Rand Easter Show).<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn104" name="_ftnref104" style="mso-footnote-id: ftn104;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[104]</span></span></span></a> Between 1985 and 1999 he exhibited his work nine times locally (in venues such as the Pretoria Art Museum, the Northern Transvaal Association of Arts and the Potchefstroom Art Museum), and held two exhibitions in Germany (the Inhorgenta exhibition in Munchen in 1985 and 1987), two exhibitions at The Art Workshop Ojai in California (1987 and 1999) and one at the Driftwood Gallery in Cornwall, England in 2006.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn105" name="_ftnref105" style="mso-footnote-id: ftn105;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[105]</span></span></span></a> His work was also included in the 1985 retrospective exhibition on Erich Frey’s legacy at the Pretoria Art Museum. </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">The opening of the new Unisa administration building in 1980 on its Lukasrand campus was celebrated with an inaugural key manufactured by Stephen Colegate. It was done in the form of a horizontal impression of the building, with a round moonlike disk mounted behind the shortened cross-bars representing the top floors of the building, giving the impression of a moving ship in front of an ascending moon. It was manufactured in sterling silver. As follow up commissions, Colegate was again requested by the architects to manufacture the symbolic keys for the inauguration of the main Unisa Library in March 1988 as well as for the opening of the Unisa Regional Office in Durban in 1989. The octagonal finial of the symbolic key for the library consists of ivory surrounding a granulated 18ct gold square and is set in sterling silver. The gold square is repeated on the front part of the key. This abstraction was taken even further with his design of the inaugural key for the Unisa regional offices in Durban. It consists of a brushed and smooth sterling silver basis, with the finial set in a skewed four sided ivory base and punctuated with an 18ct gold fused plate centre. The teeth (or notches) of the key consist of uneven silver bars attached to a rectangular shaped Lapis Lazuli gemstone.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn106" name="_ftnref106" style="mso-footnote-id: ftn106;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[106]</span></span></span></a> <a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn107" name="_ftnref107" style="mso-footnote-id: ftn107;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[107]</span></span></span></a></span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Colegate was cited in 1986 as a noted South African goldsmith designer manufacturer in the European Goldschmiede Zeitung – a token of international recognition.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn108" name="_ftnref108" style="mso-footnote-id: ftn108;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[108]</span></span></span></a> In a number of letters, Frey commented as follows on Colegate’s work:</span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">…your work has always been very pleasing and your design will be much appreciated... ..your artistic talent found the right outlet... ...exhibition with some of your work are very interesting and very much to my liking... ...I am very proud, that you so well understood the essentials of a good design, because you have the intuitive feeling for proportions and harmony (and of course fantasy).<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn109" name="_ftnref109" style="mso-footnote-id: ftn109;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[109]</span></b></span></span></a> </span></i></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Another reviewer described is work as containing <i style="mso-bidi-font-style: normal;">..fine artistic balance.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn110" name="_ftnref110" style="mso-footnote-id: ftn110;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[110]</span></b></span></span></a> </i>In 1985, Colegate expressed his design inspiration as follows</span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">..to draw inspiration from the landscape, plant life and African art to create designs that are harmonious with our environment.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn111" name="_ftnref111" style="mso-footnote-id: ftn111;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[111]</span></b></span></span></a></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Apprentices and maker’s mark</span></i></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Notable apprentices whilst still with the Erich Frey studio included Noelle Hellet, Colleen Schmulow (awarded joint winner for the Best Traditional Piece in the professional category at the 11<sup>th</sup> PlatAfrica 2009 competition)<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn112" name="_ftnref112" style="mso-footnote-id: ftn112;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[112]</span></span></span></a>, Uwe Frey, Maurice Pitol, Lauren de Lange (who won third prize and two high commendations at the South African Jewellery Council’s S.A. Apprentice Talent competition in 1984 and 1985), Ingrid Hahn and Shane Lategan. Lauren de Lange became Colegate’s journeyman and later they got married. After 23 years in the Erich Frey studio, he and his wife left the studio in 1987. For a while they worked from home, but on 23 August 1988 they opened a showroom in the Hatfield Plaza in Pretoria called Stephen Colegate Jewellers with their workshop located in Sunnyside. From 1986 onwards Lauren Colegate participated as manufacturing goldsmith in her own right in all Stephen Colegate’s exhibitions.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn113" name="_ftnref113" style="mso-footnote-id: ftn113;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[113]</span></span></span></a> In the early 1990’s Stephen Colegate’s son as well as two of his cousins apprenticed under Colegate as goldsmiths.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn114" name="_ftnref114" style="mso-footnote-id: ftn114;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[114]</span></span></span></a> </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">From 1987 onwards Colegte used the stamp <b style="mso-bidi-font-weight: normal;">SC</b> (arial font capitals) on all the pieces he designed – also when he still worked for Erich Frey, he placed his mark alongside that of Frey’s when the design was his own. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhleW4-mTlk8hxGklmQcrk4P6YhqYaY0WQ98qhM6BYMDASNKBAdRWqBi1XsyTyPvgThcSU8wEbj8q0RbLgHoBJ-noabPA-8yqhCWBxQNke4KD5mgMLSWA4lcCFMBONRhIO2Br4f7Lq9S1tZ/s1600/Maker%2527s+mark+Stephen+Colegate.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="252" m$="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhleW4-mTlk8hxGklmQcrk4P6YhqYaY0WQ98qhM6BYMDASNKBAdRWqBi1XsyTyPvgThcSU8wEbj8q0RbLgHoBJ-noabPA-8yqhCWBxQNke4KD5mgMLSWA4lcCFMBONRhIO2Br4f7Lq9S1tZ/s320/Maker%2527s+mark+Stephen+Colegate.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Figure 12: Maker’s mark used by Stephen Colegate</span></b></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">(Photo: F. van Staden, Pretoria, 2010)</span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Sculptural work</span></i></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">In 1993 Stephen Colegate created for their showroom a large sculptural window display consisting of swimming fish. The display attracted attention and he began creating more large scale sculptures made from steel. With his experience as a designing and manufacturing goldsmith in good stead, he extended his repertoire to sculpting. He is one of very few goldsmiths that expanded from small scale jewellery design to large scale sculpting.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn115" name="_ftnref115" style="mso-footnote-id: ftn115;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[115]</span></span></span></a> </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">In 1997 Colegate and his wife sold the Hatfield business to his cousin Andrew Colegate and his wife Leanne Dickson-Colegate (both trained as goldsmiths under him) and moved to Knysna where they opened a new workshop gallery named Metalcraft Gallery. Here he concentrates on his sculpting work whilst the jewellery line was separately registered under the name Stephen Colegate Jewellers at the Waterfront in Knysna.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn116" name="_ftnref116" style="mso-footnote-id: ftn116;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[116]</span></span></span></a> </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Similar to his use of semi-precious stones in his jewellery designs, he incorporates large semi-precious stones and coloured glass in his sculpting designs. With his sculpting work he has embraced the use of laser technology within the manufacturing process, which opened a range of new possible design avenues.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn117" name="_ftnref117" style="mso-footnote-id: ftn117;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[117]</span></span></span></a> He has often received international commissions for his sculptures, especially from Germany and as far away as Japan. In 2002 the South African government commissioned a sculpture for the emperor of Japan. It consisted of three mounted stainless steel fish with large blue agate settings.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn118" name="_ftnref118" style="mso-footnote-id: ftn118;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[118]</span></span></span></a></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Ronald Hacquebord</span></i></b></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Of Austrian and Dutch parentage, Ronald Hacquebord was born in 1946 in Northern Rhodesia (Zambia) where he spent his childhood days. He was sent to boarding school in Stellenbosch during his high school years, after which he relocated to Pretoria in 1964.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn119" name="_ftnref119" style="mso-footnote-id: ftn119;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[119]</span></span></span></a> He worked for a while at a bank next to the Frey workshop and was soon attracted to the workmanship of the studio’s window displays. In 1970 he joined the workshop as a jeweller’s assistant. Along with Frey’s wife, he concentrated on the retail component of the business. In 1977 when Frey resettled in Germany, Hacquebord became co-director of the business with Stephen Colegate.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn120" name="_ftnref120" style="mso-footnote-id: ftn120;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[120]</span></span></span></a> Demand for designs in Erich Frey’s style was high and the business continued to grow. At one stage they accommodated 15 workbenches and exported some merchandise to the United States of America.<span class="MsoFootnoteReference"> <a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn121" name="_ftnref121" style="mso-footnote-id: ftn121;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[121]</span></span></a></span> </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2cVLeKU7EJTSJHZvSRMKE_x8KoV-dtIL-cxQU_Q_-mQVu0N-3LWijaOep7fOQ1OeL_gqWb28ehiKeZFFjwpoLyEwL5-UK8YMq3d3rvz1ekvcRHpCDKPHWkQRrHObIXMvzFGvxQr4rN1Eo/s1600/Figure+6+-+Stephen+Colegate+and+Ronald+Hacquebord+in+1985.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" m$="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2cVLeKU7EJTSJHZvSRMKE_x8KoV-dtIL-cxQU_Q_-mQVu0N-3LWijaOep7fOQ1OeL_gqWb28ehiKeZFFjwpoLyEwL5-UK8YMq3d3rvz1ekvcRHpCDKPHWkQRrHObIXMvzFGvxQr4rN1Eo/s320/Figure+6+-+Stephen+Colegate+and+Ronald+Hacquebord+in+1985.jpg" width="196" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 115%;">Figure 13: Stephen Colegate and Ronald Hacquebord in 1985.</span></b></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 115%;">(Photo: C. Snyman, South African Panorama, January 1986, p.36)</span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">In 1987 Ronald Hacquebord bought the majority of Stephen Colegate’s shares in the business and became the major shareholder. In October 1992 the studio in Esselen street was partially destroyed by a fire and was relocated to Minni street in Clydesdale, Pretoria. Here a number of introductory goldsmith courses were offered over the years under the guidance of goldsmith Maurice Pitol and later Nerissa Coetzee as principal designers. In 1993, the studio accommodated 16 students. Also in 1993 an exhibition was held at the Volkskas Art Centre of the Northern Transvaal Art Association in Mackie Street in Pretoria.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn122" name="_ftnref122" style="mso-footnote-id: ftn122;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[122]</span></span></span></a> During this phase of the Frey studio, Ronald Hacquebord envisioned a workshop with a good number of students who would form (if only for a while) an artist community, influencing and learning from each other. A fairly open ended training programme was developed with four qualified designer instructors to provide training.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn123" name="_ftnref123" style="mso-footnote-id: ftn123;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[123]</span></span></span></a> </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">In 1999 Hacquebord sold the trade name Erich Frey Gold and Silversmiths to two gold- and silversmiths Nerissa and Kobus Coetzee who were in his employee. Nerissa Coetzee was already employed for 15 years in the studio and has become its principal designer when Maurice left in 1991.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn124" name="_ftnref124" style="mso-footnote-id: ftn124;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[124]</span></span></span></a> They continue to use the<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"> efrey</i></b> mark on their designs.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn125" name="_ftnref125" style="mso-footnote-id: ftn125;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[125]</span></span></span></a></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Maurice Pitol</span></i></b></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Maurice Pitol was born on 29 November 1967 in Pretoria and started working in the studio during school holidays as a cleaner, He graduated to polisher during the last three years of Frey’s stay in South Africa. During this time Frey took a personal interest in Maurice Pitol’s skills development in the trade. In 1981 at the age of 16 Pitol started a formal apprenticeship under Stephen Colegate. His training was interrupted by a year’s military service and in 1984 he completed the terms of his apprentice contract. His apprentice programme was based on the old European format (slow and incremental exposure to every aspect of the studio’s designing, manufacturing and administrative processes).<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn126" name="_ftnref126" style="mso-footnote-id: ftn126;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[126]</span></span></span></a> In 1988 when Stephen Colegate left the business, Pitol bought 35% of the shares of the business and became the studio’s principal designer and co-director. He also became responsible for the training of apprentices and held a successful exhibit in Munich with Ronald Hacquebord. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqiVXt3B9c6ptJ-86__JPmmdd5vACUCH_H2-lOxZHIA6wABmC2ZT0yjsD5njlsjzhKFfKAfR-wg1w548CEi1LCz1aFlOwHEP6eDdEyHrZAYmQ0WVEBmswcRzsRaSM5IaZ8ujNLvv2Qz1LW/s1600/Figure+9+-+Chalice+Ivory+Coast.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" m$="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqiVXt3B9c6ptJ-86__JPmmdd5vACUCH_H2-lOxZHIA6wABmC2ZT0yjsD5njlsjzhKFfKAfR-wg1w548CEi1LCz1aFlOwHEP6eDdEyHrZAYmQ0WVEBmswcRzsRaSM5IaZ8ujNLvv2Qz1LW/s320/Figure+9+-+Chalice+Ivory+Coast.JPG" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 115%;">Figure 14: Chalice presented by the South African government to President Houphouet-Boigny of the Ivory Coast on the inauguration of the country’s landmark Basilica in 1990. Designed by Maurice Pitol, it consists of sterling silver and gold plate in the hollow of the chalice with an ivory cross inlay and a purple amethyst in the centre of the cross.</span></b></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 115%;">(Photo: M. Pitol, Knysna) </span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Pitol designed and manufactured an ornate silver chalice that was presented by then minister of Foreign Affairs, Mr Pik Botha, to President Houphouet-Boigny of the Ivory Coast at the inauguration in September 1990 of that country’s monumental Basilica that was based on the architectural design of Saint Peter’s Basilica in Rome . The chalice was gold plated on the inside with a large amethyst set in the middle of the cross. The Pope attended the inauguration.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn127" name="_ftnref127" style="mso-footnote-id: ftn127;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[127]</span></span></span></a></span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">In 1991 Pitol sold his shares in the business to Ronald Hacquebord and began to work from home. Shortly thereafter he took a three year sabbatical in Crete, where he worked for some time as journeyman for a manufacturing goldsmith on the island. Upon returning to South Africa, he worked in Pretoria for a while before deciding to settle in George in 1999. From 2007 onwards he uses a maker’s mark <b style="mso-bidi-font-weight: normal;">MV Pitol </b>encircled by an oval ring. The Letters M and P are vertically joined with the letter V superimposed on them.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn128" name="_ftnref128" style="mso-footnote-id: ftn128;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[128]</span></span></span></a> </span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Conclusion</span></b></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">Erich Frey regarded the 25 years he spent in South Africa as the most creative and productive of his professional life. It was a time where he could also train and teach others.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn129" name="_ftnref129" style="mso-footnote-id: ftn129;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[129]</span></span></span></a></span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">The question arises as to whether one can distinguish an Erich Frey school of thought within the context of a local precious metal design tradition? This should best be decided by future scholars performing longitudinal investigations. At the very least, it can be asserted that the introduction of materials other than precious stones and the exploration of these materials’ natural form, texture and colour with the use of precious metal design is perhaps the technical essence of his design innovation in the local world of precious metal art. As such though, his legacy does not lie within repetitions of his designs or the continued use of his maker’s mark, but lies in a mindset that includes the qualitative exploration of the materials with which one work and the abstracted nature of the compositions.<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftn130" name="_ftnref130" style="mso-footnote-id: ftn130;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt;">[130]</span></span></span></a></span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 150%;">All the above associates of Frey became adherents of his design approach. They share with him the values of commitment to their subject matter, through which they undertake the aesthetic exploration and enhancement thereof in relation to the human form, without consideration of mass production for a commercial market. And it is within this awareness, that they all developed their own distinctive styles of designing. They have made significant contributions over the past 50 years to the development of an indigenous South African manufacturing goldsmith tradition in contemporary jewellery design.</span></div>
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<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[1]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Ms B. Maree, Skoonheid uit die Natuur, <i style="mso-bidi-font-style: normal;">Suid-Afrikaanse Panorama, </i>January 1986, pp. 33 – 37.</span></span></div>
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<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[2]</span></span></span></span></a><span lang="EN-GB"><span style="font-size: x-small;"> </span><a href="http://en.wikipedia.org/w/index.php?title=Narrative_enquiry"><span style="font-size: x-small;">http://en.wikipedia.org/w/index.php?title=Narrative_enquiry</span></a><span style="font-size: x-small;"> , 2010-07-09.</span></span><span lang="EN-ZA"></span></div>
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<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[3]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Ms M. Holm, Gold Smith and early student of Erich Frey, Pretoria, Meyerspark, 2009-11-16.</span></span></div>
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<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[4]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">F. van Staden, Joe Calafato: A late twentieth century South African precious metal artist, <i style="mso-bidi-font-style: normal;">South African Journal of Cultural History, </i>24(1), pp. 126 – 149.</span></span></div>
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<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[5]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB">Ms E. Smit, A biography of Erich Frey, <i style="mso-bidi-font-style: normal;">Erich Frey 25 years</i> (Pretoria Art Museum, 31 July – 18 August 1985), p.2. Also, interview: Ms M. Holm, Pretoria, 2009-11-16.</span><span lang="EN-ZA"></span></span></div>
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<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[6]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Eberhard Dechow, Arbeiten aus Südafrika, <i style="mso-bidi-font-style: normal;">Goldschmiede Zeitung</i>, April 1970, vol.4, p. 415.</span></span></div>
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<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[7]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Mr S. Colegate, Goldsmith and first apprentice with Erich Frey, Knysna, 2009-11-23. Later, when Steglich opened his own studio, he used the mark DS (upper case).</span></span></div>
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<div id="ftn8" style="mso-element: footnote;">
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<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref8" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[8]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Mr S. Colegate, Knysna, 2009-11-23. </span></span></div>
</div>
<div id="ftn9" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref9" name="_ftn9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[9]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Mr E. Frey, Letters to Stephen Colegate dated 1989-02-08 and 1989-09-16.</span></span></div>
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<div id="ftn10" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref10" name="_ftn10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[10]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Ms U. Frey, Letter to Maia Holm, 1987-04-03. </span></span></div>
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<div id="ftn11" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref11" name="_ftn11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[11]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Ms C. Meyer, unpublished notes on Erich Frey, senior collection manager, <i style="mso-bidi-font-style: normal;">Ditsong Museums of South Africa, National Museum of Cultural History, </i>undated. Also, interview: Mr M. Pitol, Goldsmith, apprentice and journeyman to Stephen Colegate and principal designer in the Erich Frey studio 1988 - 1991, George, 2009-12-01.</span></span></div>
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<div id="ftn12" style="mso-element: footnote;">
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<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref12" name="_ftn12" style="mso-footnote-id: ftn12;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[12]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Mr S. Colegate, Knysna, 2009-11-23.</span></span></div>
</div>
<div id="ftn13" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref13" name="_ftn13" style="mso-footnote-id: ftn13;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[13]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> Mr E. Frey, Preface, <i style="mso-bidi-font-style: normal;">in</i> E. Smit, <i style="mso-bidi-font-style: normal;">Erich Frey 25 years</i> (Pretoria Art Museum, 31 July – 18 August 1985), p.1.</span><span lang="EN-ZA"></span></span></div>
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<div id="ftn14" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref14" name="_ftn14" style="mso-footnote-id: ftn14;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[14]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Ms B. Maree, Skoonheid uit die Natuur, <i style="mso-bidi-font-style: normal;">Suid-Afrikaanse Panorama, </i>January 1986, p. 37.</span></span></div>
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<div id="ftn15" style="mso-element: footnote;">
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<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref15" name="_ftn15" style="mso-footnote-id: ftn15;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[15]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">V. Becker, <i style="mso-bidi-font-style: normal;">Antique and Twentieth Century Jewellery (2<sup>nd</sup> ed.)</i> (N.A.G. Press, London, 1987), p. 179.</span></span></div>
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<div id="ftn16" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref16" name="_ftn16" style="mso-footnote-id: ftn16;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[16]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Examples from Frey’s sketch books. Figure 2 contains a number of designs in which the use of granulation is evident. </span></span></div>
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<div id="ftn17" style="mso-element: footnote;">
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<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref17" name="_ftn17" style="mso-footnote-id: ftn17;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[17]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Mr S. Colegate, Knysna, 2009-11-30. </span><span lang="EN-GB">It is not clear where, by whom and how many of these medallions were minted. The medallion contains the maker’s mark (consisting of the letter D), the letters STG (denoting its sterling metal content), a U-shaped mark (possibly a coat of arms), and the number 63 (this could refer to the 63<sup>rd</sup> medallion that was minted, or perhaps to the year 1963).</span><span lang="EN-ZA"></span></span></div>
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<div id="ftn18" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref18" name="_ftn18" style="mso-footnote-id: ftn18;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[18]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Mr R Hacquebord, shop assistant to Erich Frey, previous (co)owner of Erich Frey (Ltd.) 1977 -1999, Johannesburg, 2009-10-28.</span></span></div>
</div>
<div id="ftn19" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref19" name="_ftn19" style="mso-footnote-id: ftn19;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[19]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> Mr E. Frey, Preface, <i style="mso-bidi-font-style: normal;">in</i> E. Smit, <i style="mso-bidi-font-style: normal;">Erich Frey 25 years</i> (Pretoria Art Museum, 31 July – 18 August 1985), p.1.</span><span lang="EN-ZA"></span></span></div>
</div>
<div id="ftn20" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref20" name="_ftn20" style="mso-footnote-id: ftn20;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[20]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> Mr S Colegate, Erich Frey the Teacher, <i style="mso-bidi-font-style: normal;">in </i>E. Smit, <i style="mso-bidi-font-style: normal;">Erich Frey 25 years</i> (Pretoria Art Museum, 31 July – 18 August 1985), p.9.</span><span lang="EN-ZA"></span></span></div>
</div>
<div id="ftn21" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref21" name="_ftn21" style="mso-footnote-id: ftn21;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[21]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">K. Kempf, Erich Frey, <i style="mso-bidi-font-style: normal;">Lantern,</i> 21(2), December 1971, p.37.</span></span></div>
</div>
<div id="ftn22" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref22" name="_ftn22" style="mso-footnote-id: ftn22;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[22]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">K. Kempf, Erich Frey Master-jeweller, <i style="mso-bidi-font-style: normal;">Lantern,</i> February 1987, p.50.</span></span></div>
</div>
<div id="ftn23" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref23" name="_ftn23" style="mso-footnote-id: ftn23;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[23]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interviews: Mr R. Hacquebord, Johannesburg, 2009-10-28, and Mr K. & Mrs N Coetzee, present owners of Erich Frey Gold and Silversmiths, Montana, Pretoria, 2009-09-18.</span></span></div>
</div>
<div id="ftn24" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref24" name="_ftn24" style="mso-footnote-id: ftn24;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[24]</span></span></span></span></a><span lang="EN-GB"><span style="font-size: x-small;"> Ms E. Smit, Erich<i style="mso-bidi-font-style: normal;"> Frey 25 years</i> (Pretoria Art Museum, 31 July – 18 August 1985), p.9.</span></span></div>
</div>
<div id="ftn25" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref25" name="_ftn25" style="mso-footnote-id: ftn25;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[25]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Author unknown, Making the scene: Erich Frey, <i style="mso-bidi-font-style: normal;">Artlook,</i> May 1968, p. 14.</span></span></div>
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<div id="ftn26" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref26" name="_ftn26" style="mso-footnote-id: ftn26;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[26]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">K. Kempf, Erich Frey, <i style="mso-bidi-font-style: normal;">Lantern,</i> 21(2), December 1971, p.40</span></span></div>
</div>
<div id="ftn27" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref27" name="_ftn27" style="mso-footnote-id: ftn27;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[27]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Author unknown, Erich Frey se werk is voortreflik. <i style="mso-bidi-font-style: normal;">Die Burger, </i>31 January 1967, page number missing.</span></span></div>
</div>
<div id="ftn28" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref28" name="_ftn28" style="mso-footnote-id: ftn28;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[28]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Author unknown, Making the scene: Erich Frey, <i style="mso-bidi-font-style: normal;">Artlook,</i> May 1968, p. 14.</span></span></div>
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<div id="ftn29" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref29" name="_ftn29" style="mso-footnote-id: ftn29;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[29]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">K. Kempf, Erich Frey Master-jeweller, <i style="mso-bidi-font-style: normal;">Lantern,</i> February 1987, p.50.</span></span></div>
</div>
<div id="ftn30" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref30" name="_ftn30" style="mso-footnote-id: ftn30;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[30]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">B. Maree, Skoonheid uit die Natuur, <i style="mso-bidi-font-style: normal;">Suid-Afrikaanse Panorama, </i>January 1986, p. 33.</span></span></div>
</div>
<div id="ftn31" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref31" name="_ftn31" style="mso-footnote-id: ftn31;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[31]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Mr R. Hacquebord, Johannesburg, 2009- 10-28.</span></span></div>
</div>
<div id="ftn32" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref32" name="_ftn32" style="mso-footnote-id: ftn32;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[32]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Author unknown, Erich Frey se werk is voortreflik. <i style="mso-bidi-font-style: normal;">Die Burger, </i>31 January 1967, page number missing.</span></span></div>
</div>
<div id="ftn33" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref33" name="_ftn33" style="mso-footnote-id: ftn33;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[33]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">B. Maree, Skoonheid uit die Natuur, <i style="mso-bidi-font-style: normal;">Suid-Afrikaanse Panorama, </i>January 1986, p. 37.</span></span></div>
</div>
<div id="ftn34" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref34" name="_ftn34" style="mso-footnote-id: ftn34;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[34]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> E. Smit, Appreciation, <i style="mso-bidi-font-style: normal;">in</i> E. Smit, <i style="mso-bidi-font-style: normal;">Erich Frey 25 years</i> (Pretoria Art Museum, 31 July – 18 August 1985), p.5.</span><span lang="EN-ZA"></span></span></div>
</div>
<div id="ftn35" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref35" name="_ftn35" style="mso-footnote-id: ftn35;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[35]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">K. Kempf, Erich Frey Master-jeweller, <i style="mso-bidi-font-style: normal;">Lantern,</i> February 1987, p.49</span></span></div>
</div>
<div id="ftn36" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref36" name="_ftn36" style="mso-footnote-id: ftn36;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[36]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> E. Smit, Appreciation,<i style="mso-bidi-font-style: normal;"> in </i>E. Smit,<i style="mso-bidi-font-style: normal;"> Erich Frey 25 years</i> (Pretoria Art Museum, 31 July – 18 August 1985), p.2.</span><span lang="EN-ZA"></span></span></div>
</div>
<div id="ftn37" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref37" name="_ftn37" style="mso-footnote-id: ftn37;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[37]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">E. Frey, <i style="mso-bidi-font-style: normal;">A genesis of precious stones</i>, unpublished manuscript, Berglicht, Germany, April 1986. </span></span></div>
</div>
<div id="ftn38" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref38" name="_ftn38" style="mso-footnote-id: ftn38;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[38]</span></span></span></span></a><span lang="EN-ZA"><span style="font-size: x-small;"> B. Maree, Skoonheid uit die Natuur, <i style="mso-bidi-font-style: normal;">Suid-Afrikaanse Panorama, </i>January 1986, p. 37.</span></span></div>
</div>
<div id="ftn39" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref39" name="_ftn39" style="mso-footnote-id: ftn39;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[39]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> E. Frey, Preface, <i style="mso-bidi-font-style: normal;">in </i>E. Smit, <i style="mso-bidi-font-style: normal;">Erich Frey 25 years</i> (Pretoria Art Museum, 31 July – 18 August 1985), p.1.</span><span lang="EN-ZA"></span></span></div>
</div>
<div id="ftn40" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref40" name="_ftn40" style="mso-footnote-id: ftn40;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[40]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> E-mail, </span><span lang="EN-ZA">Mr S. Colegate-F.van Staden, <i style="mso-bidi-font-style: normal;">Information on Erich Frey from Stephen Colegate</i>, 2009-11-20.</span></span></div>
</div>
<div id="ftn41" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref41" name="_ftn41" style="mso-footnote-id: ftn41;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[41]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">B. Maree, Skoonheid uit die Natuur, <i style="mso-bidi-font-style: normal;">Suid-Afrikaanse Panorama, </i>January 1986, p. 37.</span></span></div>
</div>
<div id="ftn42" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref42" name="_ftn42" style="mso-footnote-id: ftn42;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[42]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> S. Colegate, Erich Frey the Teacher, <i style="mso-bidi-font-style: normal;">in</i> E. Smit, <i style="mso-bidi-font-style: normal;">Erich Frey 25 years</i> (Pretoria Art Museum, 31 July – 18 August 1985), p.9.</span><span lang="EN-ZA"></span></span></div>
</div>
<div id="ftn43" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref43" name="_ftn43" style="mso-footnote-id: ftn43;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[43]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Ms M. Holm, Pretoria, 2009-11-19.</span></span></div>
</div>
<div id="ftn44" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref44" name="_ftn44" style="mso-footnote-id: ftn44;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[44]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> E. Frey, Preface, <i style="mso-bidi-font-style: normal;">in</i> E. Smit, <i style="mso-bidi-font-style: normal;">Erich Frey 25 years</i> (Pretoria Art Museum, 31 July – 18 August 1985), p.1.</span><span lang="EN-ZA"></span></span></div>
</div>
<div id="ftn45" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref45" name="_ftn45" style="mso-footnote-id: ftn45;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[45]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">K. Kempf, Erich Frey Master-jeweller, <i style="mso-bidi-font-style: normal;">Lantern,</i> February 1987, p.49.</span></span></div>
</div>
<div id="ftn46" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref46" name="_ftn46" style="mso-footnote-id: ftn46;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[46]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">L. Fourie, Met fondamente in die verlede, maar eietyds deeglik ingespan, <i style="mso-bidi-font-style: normal;">Beeld Huisgids,</i> 1993-03-09, pp.8 & 9.</span></span></div>
</div>
<div id="ftn47" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref47" name="_ftn47" style="mso-footnote-id: ftn47;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[47]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">R. Humphries, Exclusive jewellery – ‘wearable miniatures’, <i style="mso-bidi-font-style: normal;">The Pretoria News</i>, 1993-03-06, p.3.</span></span></div>
</div>
<div id="ftn48" style="mso-element: footnote;">
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref48" name="_ftn48" style="mso-footnote-id: ftn48;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-size: 10pt;"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[48]</span></span></span></span></a><span lang="EN-ZA" style="font-size: 10pt;">B. Maree, Skoonheid uit die Natuur, <i style="mso-bidi-font-style: normal;">Suid-Afrikaanse Panorama, </i>January 1986, p. 37.</span><span lang="EN-GB" style="font-size: 10pt;"></span></div>
</div>
<div id="ftn49" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref49" name="_ftn49" style="mso-footnote-id: ftn49;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[49]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> E. Smit, Appreciation,<i style="mso-bidi-font-style: normal;"> in </i>E. Smit<i style="mso-bidi-font-style: normal;"> Erich Frey 25 years</i> (Pretoria Art Museum, 31 July – 18 August 1985), p.4.</span><span lang="EN-ZA"></span></span></div>
</div>
<div id="ftn50" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref50" name="_ftn50" style="mso-footnote-id: ftn50;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[50]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">K. Kempf, Erich Frey, <i style="mso-bidi-font-style: normal;">Lantern,</i> 21(2), December 1971, p.40.</span></span></div>
</div>
<div id="ftn51" style="mso-element: footnote;">
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<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref51" name="_ftn51" style="mso-footnote-id: ftn51;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[51]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">K. Kempf, Erich Frey Master-jeweller, <i style="mso-bidi-font-style: normal;">Lantern,</i> February 1987, p.51.</span></span></div>
</div>
<div id="ftn52" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref52" name="_ftn52" style="mso-footnote-id: ftn52;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[52]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Ms M. Holm, Pretoria, 2009-11-19.</span></span></div>
</div>
<div id="ftn53" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref53" name="_ftn53" style="mso-footnote-id: ftn53;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[53]</span></span></span></span></a><span lang="EN-GB"><span style="font-size: x-small;"> E. Smit, An appreciation, in E. Smit, <i style="mso-bidi-font-style: normal;">Erich Frey 25 years</i> (Pretoria Art Museum, 31 July – 18 August 1985), p.4.</span></span></div>
</div>
<div id="ftn54" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref54" name="_ftn54" style="mso-footnote-id: ftn54;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[54]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Mr R Hacquebord, Johannesburg, 2009-10-28.</span></span></div>
</div>
<div id="ftn55" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref55" name="_ftn55" style="mso-footnote-id: ftn55;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[55]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Mr R Hacquebord, Johannesburg, 2009-10-28.</span></span></div>
</div>
<div id="ftn56" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref56" name="_ftn56" style="mso-footnote-id: ftn56;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[56]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Mr S. Colegate, Knysna, 2009-11-23.</span></span></div>
</div>
<div id="ftn57" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref57" name="_ftn57" style="mso-footnote-id: ftn57;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[57]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Mr & Mrs Kobus and Nerissa Coetzee, present owners of Erich Frey Gold and Silversmiths, Montana, Pretoria, 2009-09-18.</span></span></div>
</div>
<div id="ftn58" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref58" name="_ftn58" style="mso-footnote-id: ftn58;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[58]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> Interview: Ms M. Holm, Pretoria, 2009-11-19.</span><span lang="EN-ZA"></span></span></div>
</div>
<div id="ftn59" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref59" name="_ftn59" style="mso-footnote-id: ftn59;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[59]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">E-mail: Mr R. Hacquebord – F. van Staden, <i style="mso-bidi-font-style: normal;">Fook Island,</i> 2009-11-03. </span></span></div>
</div>
<div id="ftn60" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref60" name="_ftn60" style="mso-footnote-id: ftn60;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[60]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Mr S. Colegate, Knysna, 2009-11-23.</span></span></div>
</div>
<div id="ftn61" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref61" name="_ftn61" style="mso-footnote-id: ftn61;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[61]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Ms S. Burger, Personal Assistant to the Principal of the University of South Africa, 1973-1994, Somerset West, 2010-06-23.</span></span></div>
</div>
<div id="ftn62" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref62" name="_ftn62" style="mso-footnote-id: ftn62;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[62]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">E. Berman & K. Nel, <i style="mso-bidi-font-style: normal;">Alexis Preller: Africa, the sun and shadows</i> (Johannesburg, 2009), p.256.</span></span></div>
</div>
<div id="ftn63" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref63" name="_ftn63" style="mso-footnote-id: ftn63;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[63]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">E-mail: Prof. K. Skawran – F. van Staden, <i style="mso-bidi-font-style: normal;">Re: Unisa Rissik straat</i>, 2010-02-02.</span></span></div>
</div>
<div id="ftn64" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref64" name="_ftn64" style="mso-footnote-id: ftn64;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[64]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> Interview: Ms M. Holm, Pretoria, 2009-11-19.</span><span lang="EN-ZA"></span></span></div>
</div>
<div id="ftn65" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref65" name="_ftn65" style="mso-footnote-id: ftn65;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[65]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">B. Maree, Skoonheid uit die Natuur, <i style="mso-bidi-font-style: normal;">Suid-Afrikaanse Panorama, </i>January 1986, p. 37.</span></span></div>
</div>
<div id="ftn66" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref66" name="_ftn66" style="mso-footnote-id: ftn66;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[66]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Author unknown, Uit die rotse kom die skoonheid voort, <i style="mso-bidi-font-style: normal;">Suid-Afrikaanse Panorama, </i>February 1966, p. 24.</span></span></div>
</div>
<div id="ftn67" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref67" name="_ftn67" style="mso-footnote-id: ftn67;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[67]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Eberhard Dechow, Arbeiten aus Sudafrika, <i style="mso-bidi-font-style: normal;">Goldschmiede Zeitung</i>, 68(4), April 1970, p. 412.</span></span></div>
</div>
<div id="ftn68" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref68" name="_ftn68" style="mso-footnote-id: ftn68;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[68]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Mr B. Minster, Retired Gold- and silversmith, Pretoria, 2005-12-14 and 2005-12-15.</span></span></div>
</div>
<div id="ftn69" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref69" name="_ftn69" style="mso-footnote-id: ftn69;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[69]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">J. Wolters. <i style="mso-bidi-font-style: normal;">Die Granulation: Geschichte und Technik einer alten Goldschmiedekunst</i> (Callway Verlag München, 1983), pp. 60, 66 & 287.</span></span></div>
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<div id="ftn70" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref70" name="_ftn70" style="mso-footnote-id: ftn70;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[70]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Author unknown, Making the scene: Erich Frey, <i style="mso-bidi-font-style: normal;">Artlook, </i>May 1968, p.14.</span></span></div>
</div>
<div id="ftn71" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref71" name="_ftn71" style="mso-footnote-id: ftn71;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[71]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">K. Kempf, Erich Frey, <i style="mso-bidi-font-style: normal;">Lantern,</i> 21(2), December 1971, p.40.</span></span></div>
</div>
<div id="ftn72" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref72" name="_ftn72" style="mso-footnote-id: ftn72;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[72]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Author unknown, S.A. wins gold Medal, <i style="mso-bidi-font-style: normal;">Artlook</i>, May 1974, p.28.</span></span></div>
</div>
<div id="ftn73" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref73" name="_ftn73" style="mso-footnote-id: ftn73;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[73]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">A. de Beer, Skitterende skeppings, <i style="mso-bidi-font-style: normal;">Suid-Afrikaanse Panorama</i>, Junie 1975, p. 10.</span></span></div>
</div>
<div id="ftn74" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref74" name="_ftn74" style="mso-footnote-id: ftn74;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[74]</span></span></span></span></a><span lang="EN-GB"><span style="font-size: x-small;"> E. Smit (ed.), <i style="mso-bidi-font-style: normal;">Erich Frey 25 years</i>, Pretoria Art Museum, 31 July – 18 August 1985.</span></span></div>
</div>
<div id="ftn75" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref75" name="_ftn75" style="mso-footnote-id: ftn75;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[75]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">B. Maree, Skoonheid uit die Natuur, <i style="mso-bidi-font-style: normal;">Suid-Afrikaanse Panorama, </i>January 1986, p. 33.</span></span></div>
</div>
<div id="ftn76" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref76" name="_ftn76" style="mso-footnote-id: ftn76;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[76]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> Elsa Wongtschowski did an apprenticeship in Frankfurt, immigrated to South Africa in 1936. She opened a workshop in a suburb of Johannesburg around 1960. From </span><span lang="EN-ZA">Eberhard Dechow, Arbeiten aus Sudafrika, <i style="mso-bidi-font-style: normal;">Goldschmiede Zeitung</i>, 68(4), 1970, p. 416.</span></span></div>
</div>
<div id="ftn77" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref77" name="_ftn77" style="mso-footnote-id: ftn77;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[77]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> Margaret Richardson, Johannesburg, apprenticed at the Fachschule Schwabisch, Gmund. She worked in Konigsberg, Gmund and in Palestine, and established a studio in Johannesburg after the 2<sup>nd</sup> World War. From </span><span lang="EN-ZA">Eberhard Dechow, Arbeiten aus Sudafrika, <i style="mso-bidi-font-style: normal;">Goldschmied Zeitung</i>, 68(4), 1970, p. 416.</span></span></div>
</div>
<div id="ftn78" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref78" name="_ftn78" style="mso-footnote-id: ftn78;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[78]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Author unknown, Maia Holm – ons enigste vroulike goud- en silwersmid, <i style="mso-bidi-font-style: normal;">Die volksblad,</i> 1964-11-19, p.4.</span></span></div>
</div>
<div id="ftn79" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref79" name="_ftn79" style="mso-footnote-id: ftn79;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[79]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> M. Holm, </span><span lang="EN-ZA">unpublished notes, Pretoria, 2009-11-19. </span></span></div>
</div>
<div id="ftn80" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref80" name="_ftn80" style="mso-footnote-id: ftn80;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[80]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Author unknown, A family affair in Klerksdorp: Elly Holm, Konstanze Harms & Maia Holm, <i style="mso-bidi-font-style: normal;">Artlook, </i>August 1968, pp. 30-31.</span></span></div>
</div>
<div id="ftn81" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref81" name="_ftn81" style="mso-footnote-id: ftn81;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[81]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> Interview: Ms M. Holm, Pretoria, 2009-11-27.</span><span lang="EN-ZA"></span></span></div>
</div>
<div id="ftn82" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref82" name="_ftn82" style="mso-footnote-id: ftn82;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[82]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Eberhard Dechow, Arbeiten aus Südafrika, <i style="mso-bidi-font-style: normal;">Goldschmied Zeitung</i>, 68(4), 1970, p. 415.</span></span></div>
</div>
<div id="ftn83" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref83" name="_ftn83" style="mso-footnote-id: ftn83;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[83]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> M. Holm, </span><span lang="EN-ZA">unpublished notes, Pretoria, 2009-11-19.</span></span></div>
</div>
<div id="ftn84" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref84" name="_ftn84" style="mso-footnote-id: ftn84;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[84]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Ms M. Holm, Pretoria, 2009-11-16.</span></span></div>
</div>
<div id="ftn85" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref85" name="_ftn85" style="mso-footnote-id: ftn85;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[85]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> E-mail: Ms M. Holm – F. van Staden,</span><i style="mso-bidi-font-style: normal;"><span lang="EN-ZA"> Knipsels en skrywes</span></i><span lang="EN-ZA">, 2009-11-27.</span></span></div>
</div>
<div id="ftn86" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref86" name="_ftn86" style="mso-footnote-id: ftn86;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[86]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> Interview: Ms M. Holm, Pretoria, 2009-11-27.</span><span lang="EN-GB"> </span><span lang="EN-ZA">Wikipedia: Dichroic glass contains layers of metal oxides which yield dichroic optical characteristics to the glass. Its artistic use dates back to at least 400 AD.</span></span></div>
</div>
<div id="ftn87" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref87" name="_ftn87" style="mso-footnote-id: ftn87;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[87]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Author unknown, Die gesin Holm: Die dam se kunstenaars, <i style="mso-bidi-font-style: normal;">Bylae tot Hoofstad,</i> 28 November 1968, p. 27.</span></span></div>
</div>
<div id="ftn88" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref88" name="_ftn88" style="mso-footnote-id: ftn88;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[88]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Author unknown, Kunsprestasie, <i style="mso-bidi-font-style: normal;">Suid-Afrikaanse Panorama,</i> Julie, 1974, p.20.</span></span></div>
</div>
<div id="ftn89" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref89" name="_ftn89" style="mso-footnote-id: ftn89;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[89]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Author unknown, A family affair in Klerksdorp: Elly Holm, Konstanze Harms & Maia Holm, <i style="mso-bidi-font-style: normal;">Artlook, </i>August 1968, pp. 30-31.</span></span></div>
</div>
<div id="ftn90" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref90" name="_ftn90" style="mso-footnote-id: ftn90;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[90]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Exhibition notes, National jewellery showcase, Michael Fowler Centre, Wellington, Nieu Zealand, 6-8 June 2008, p. 37.</span></span></div>
</div>
<div id="ftn91" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref91" name="_ftn91" style="mso-footnote-id: ftn91;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[91]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> M. Holm, </span><span lang="EN-ZA">unpublished notes, Pretoria, 2009-11-19.</span></span></div>
</div>
<div id="ftn92" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref92" name="_ftn92" style="mso-footnote-id: ftn92;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[92]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> Interview: Ms M. Holm, Pretoria, 2009-11-19, as well as unkown author, Maia Holm, <i style="mso-bidi-font-style: normal;">Artlook</i>, August 1968, p.31.</span><span lang="EN-ZA"></span></span></div>
</div>
<div id="ftn93" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref93" name="_ftn93" style="mso-footnote-id: ftn93;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[93]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> Interview: Ms M. Holm, Pretoria, 2009-11-19, as well as unkown author, Maia Holm, <i style="mso-bidi-font-style: normal;">Artlook</i>, August 1968, p.31.</span><span lang="EN-ZA"></span></span></div>
</div>
<div id="ftn94" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref94" name="_ftn94" style="mso-footnote-id: ftn94;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[94]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> F. Fourie, Pure silwer en koper by Jan Smuts, <i style="mso-bidi-font-style: normal;">Sarie Marais,</i> 1971-06-02, pp. 98 & 100.</span><span lang="EN-ZA"></span></span></div>
</div>
<div id="ftn95" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref95" name="_ftn95" style="mso-footnote-id: ftn95;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[95]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">M. Holm, signed unpublished note prepared for an exhibition on her wax drawings, 2008.</span></span></div>
</div>
<div id="ftn96" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref96" name="_ftn96" style="mso-footnote-id: ftn96;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[96]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> Interview: Ms M. Holm, Pretoria, 2009-11-27.</span><span lang="EN-ZA"></span></span></div>
</div>
<div id="ftn97" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref97" name="_ftn97" style="mso-footnote-id: ftn97;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[97]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Author unknown, S.A. wins Gold Medal, <i style="mso-bidi-font-style: normal;">Artlook</i>, May 1974, p. 28.</span></span></div>
</div>
<div id="ftn98" style="mso-element: footnote;">
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref98" name="_ftn98" style="mso-footnote-id: ftn98;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-size: 10pt;"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[98]</span></span></span></span></a><span lang="EN-GB" style="font-size: 10pt;"> </span><span lang="EN-ZA" style="font-size: 10pt;">Interview: Mr T. Beyers, Goldsmith and son of Maia Holm, Pretoria, 2009-10-15.</span><span lang="EN-GB" style="font-size: 10pt;"> He is a qualified entomologist which is reflected in some of his designs of insects and scarabs. His scientific background came to good stead when he was commissioned to design and manufacture a medal that was presented to President Jacob Zuma at the Academy for Science in the Developing World’s 11<sup>th</sup> Conference held in October 2009 in Durban. The medal was made of a mix of silver, gold and brass, precious stones, abalone shell, ammonite fossils and wood. His work was so successful that he was requested to design the presentation medal for their next conference in 2010. His maker’s mark consists of a <b style="mso-bidi-font-weight: normal;">tb</b> lower case design where the upright legs of the t and the b are fused and the top circular line of the b is extended to the left of the vertical leg. He started using this mark in the late 1980’s.</span></div>
</div>
<div id="ftn99" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref99" name="_ftn99" style="mso-footnote-id: ftn99;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[99]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">P. Boekkooi, Skeppings in Juwele, <i style="mso-bidi-font-style: normal;">Beeld, </i>18 January 1988, page number missing.</span></span></div>
</div>
<div id="ftn100" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref100" name="_ftn100" style="mso-footnote-id: ftn100;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[100]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Mr S. Colegate, Knysna, 2009-11-23.</span></span></div>
</div>
<div id="ftn101" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref101" name="_ftn101" style="mso-footnote-id: ftn101;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[101]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Mr S. Colegate, Knysna, 2009-11-23. Also, his personal files contain a photo of the chalice.</span></span></div>
</div>
<div id="ftn102" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref102" name="_ftn102" style="mso-footnote-id: ftn102;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[102]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">E-mail: Mr S. Colegate – F. van Staden, <i style="mso-bidi-font-style: normal;">Stephen Colegate,</i> 2009-11-29.</span></span></div>
</div>
<div id="ftn103" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref103" name="_ftn103" style="mso-footnote-id: ftn103;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[103]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> <span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[103]</span></span></span> </span><span lang="EN-ZA">P. Boekkooi, Skeppings in Juwele, <i style="mso-bidi-font-style: normal;">Beeld, </i>18 January 1988, page number missing.</span></span></div>
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<div id="ftn104" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref104" name="_ftn104" style="mso-footnote-id: ftn104;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[104]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Author unknown, Goud in die Mode, <i style="mso-bidi-font-style: normal;">Suid-Afrikaanse Panorama, </i>Julie 1983, p.48.<i style="mso-bidi-font-style: normal;"></i></span></span></div>
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<div id="ftn105" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref105" name="_ftn105" style="mso-footnote-id: ftn105;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[105]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">E-mail: Mr S. Colegate – F. van Staden, <i style="mso-bidi-font-style: normal;">Stephen Colegate</i>, 2009-11-29.</span></span></div>
</div>
<div id="ftn106" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref106" name="_ftn106" style="mso-footnote-id: ftn106;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[106]</span></span></span></span></a><span lang="EN-ZA"><span style="font-size: x-small;">Interview: Mr S. Colegate, Knysna, 2009-11-23. Also, pen sketches of the design on Brian Sandrock Architects stationary are contained in Mr Colegate’s personal files.</span></span></div>
</div>
<div id="ftn107" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref107" name="_ftn107" style="mso-footnote-id: ftn107;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[107]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Ms S. Burger, Personal Assistant to the Principal of the University of South Africa, 1973-1994, Somerset West, 2010-06-23.</span></span></div>
</div>
<div id="ftn108" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref108" name="_ftn108" style="mso-footnote-id: ftn108;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[108]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Author unknown, Stephen Colegate, <i style="mso-bidi-font-style: normal;">Goldschmiede Zeitung/European Jeweller, </i>S. Colegate’s personal archives, 1986. This recognition was also afforded to Erich Frey and to Maia Holm..</span></span></div>
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<div id="ftn109" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref109" name="_ftn109" style="mso-footnote-id: ftn109;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[109]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">E.Frey, letters to Stephen Colegate dated 1989-02-08, 1989-08-29, 1989-09-16 and 1992-03-09.</span></span></div>
</div>
<div id="ftn110" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref110" name="_ftn110" style="mso-footnote-id: ftn110;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[110]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> <span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[110]</span></span></span> </span><span lang="EN-ZA">P. Boekkooi, Skeppings in Juwele, <i style="mso-bidi-font-style: normal;">Beeld, </i>18 January 1988, page number missing.</span></span></div>
</div>
<div id="ftn111" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref111" name="_ftn111" style="mso-footnote-id: ftn111;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[111]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> S. Colegate, Erich Frey the Teacher , <i style="mso-bidi-font-style: normal;">in </i>E. Smit, <i style="mso-bidi-font-style: normal;">Erich Frey 25 years</i> (Pretoria Art Museum, 31 July – 18 August 1985), p.9.</span><span lang="EN-ZA"></span></span></div>
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<div id="ftn112" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref112" name="_ftn112" style="mso-footnote-id: ftn112;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[112]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Author unknown, Uthanda, <i style="mso-bidi-font-style: normal;">Shine True Love</i>, December 2009, pp. 8 & 9.</span></span></div>
</div>
<div id="ftn113" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref113" name="_ftn113" style="mso-footnote-id: ftn113;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[113]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> Interview: Ms L Colegate, Goldsmith, apprentice and later wife of Stephen Colegate, Knysna, 2009-11-23.</span><span lang="EN-ZA"></span></span></div>
</div>
<div id="ftn114" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref114" name="_ftn114" style="mso-footnote-id: ftn114;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[114]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> Mr Andrew Colegate & Mrs Leanne Dickson-Colegate, Goldsmiths and present owners of Stephen Colegate Jeweller in Hatfield, Pretoria, 2009-11-16.</span><span lang="EN-ZA"></span></span></div>
</div>
<div id="ftn115" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref115" name="_ftn115" style="mso-footnote-id: ftn115;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[115]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Mr S. Colegate, Knysna, 2009-11-23.</span></span></div>
</div>
<div id="ftn116" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref116" name="_ftn116" style="mso-footnote-id: ftn116;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[116]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> Interview: Mr & Mrs Leanne Dickson-Colegate, Goldsmiths, apprenticed with Stephen Colegate, Pretoria, 2009-11-16.</span><span lang="EN-ZA"></span></span></div>
</div>
<div id="ftn117" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref117" name="_ftn117" style="mso-footnote-id: ftn117;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[117]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Mr S. Colegate, Knysna, 2009-11-23.</span></span></div>
</div>
<div id="ftn118" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref118" name="_ftn118" style="mso-footnote-id: ftn118;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[118]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">E-mail: Mr S. Colegate – F. van Staden, <i style="mso-bidi-font-style: normal;">Stephen Colegate,</i> 2009-11-29.</span></span></div>
</div>
<div id="ftn119" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref119" name="_ftn119" style="mso-footnote-id: ftn119;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[119]</span></span></span></span></a><span lang="EN-ZA"><span style="font-size: x-small;"> E-mail: Mr R Hacquebord – F. van Staden, <i style="mso-bidi-font-style: normal;">Re: Beste wense</i>, 2010-01-11.</span></span></div>
</div>
<div id="ftn120" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref120" name="_ftn120" style="mso-footnote-id: ftn120;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[120]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Mr R Hacquebord, Johannesburg, 2009-10-28.</span></span></div>
</div>
<div id="ftn121" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref121" name="_ftn121" style="mso-footnote-id: ftn121;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[121]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">L. Fourie, Met fondamente in die verlede, maar eietyds deeglik ingespan, <i style="mso-bidi-font-style: normal;">Beeld Huisgids,</i> 1993-03-09, pp.8 & 9. </span></span></div>
</div>
<div id="ftn122" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref122" name="_ftn122" style="mso-footnote-id: ftn122;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[122]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">L. Fourie, Met fondamente in die verlede, maar eietyds deeglik ingespan, <i style="mso-bidi-font-style: normal;">Beeld Huisgids,</i> 1993-03-09, pp.8 & 9.</span></span></div>
</div>
<div id="ftn123" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref123" name="_ftn123" style="mso-footnote-id: ftn123;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[123]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Author unknown, Van groentjies tot ou hande leer hier smee, <i style="mso-bidi-font-style: normal;">Bylae tot Beeld</i>, p.6, 1990-07-06.</span></span></div>
</div>
<div id="ftn124" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref124" name="_ftn124" style="mso-footnote-id: ftn124;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[124]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Erich Frey website, </span><span lang="EN-GB"><a href="http://erichfreygoldandsilversmiths.net/profile.htm"><span lang="EN-ZA">http://erichfreygoldandsilversmiths.net/profile.htm</span></a></span><span lang="EN-ZA">, 2009-09-13.</span></span></div>
</div>
<div id="ftn125" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref125" name="_ftn125" style="mso-footnote-id: ftn125;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[125]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Mr & Mrs Kobus and Nerissa Coetzee, 2009-09-18.</span></span></div>
</div>
<div id="ftn126" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref126" name="_ftn126" style="mso-footnote-id: ftn126;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[126]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Mr R Hacquebord, Johannesburg, 2009-10-28.</span></span></div>
</div>
<div id="ftn127" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref127" name="_ftn127" style="mso-footnote-id: ftn127;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[127]</span></span></span></span></a><span lang="EN-GB"><span style="font-size: x-small;"> </span><a href="http://www.bookrags.com/biography/felix-houpouet-boigny/"><span lang="EN-ZA"><span style="font-size: x-small;">http://www.bookrags.com/biography/felix-houpouet-boigny/</span></span></a></span><span lang="EN-ZA"><span style="font-size: x-small;">, 2009-11-18.</span></span></div>
</div>
<div id="ftn128" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref128" name="_ftn128" style="mso-footnote-id: ftn128;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[128]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Mr M. Pitol, Manufacturing goldsmith, journeyman to Stephen Colegate, George, 2009-12-01.</span></span></div>
</div>
<div id="ftn129" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref129" name="_ftn129" style="mso-footnote-id: ftn129;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[129]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">B. Maree, Skoonheid uit die Natuur, <i style="mso-bidi-font-style: normal;">Suid-Afrikaanse Panorama, </i>January 1986, p. 37.</span></span></div>
</div>
<div id="ftn130" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/post-create.g?blogID=2651480711748885554#_ftnref130" name="_ftn130" style="mso-footnote-id: ftn130;" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 10pt;">[130]</span></span></span></span></a><span style="font-size: x-small;"><span lang="EN-GB"> </span><span lang="EN-ZA">Interview: Mrs M. Holm, Pretoria, 2009-11-19. </span></span></div>
</div>
</div>Fredhttp://www.blogger.com/profile/08076362684798612013noreply@blogger.com29tag:blogger.com,1999:blog-2651480711748885554.post-30958422066521051912011-07-12T08:28:00.000+02:002011-07-12T08:28:16.813+02:00Conference review<div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt;">Conference review: New Voices in Psychology</span></b></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA;">Review: Annual Conference of the South African Society of Cultural History, 11 and 12 June 2009, George. </span><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt;"></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA;">Prof Fred van Staden</span><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt;"></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA;">Department of Psychology</span><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt;"></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><place w:st="on"><placetype w:st="on"><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA;">University</span></placetype><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA;"> of <placename w:st="on">South Africa</placename></span></place><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt;"></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA;">July 2009</span><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt;"></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt;"></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA;">(Published in <em>New Voices In Psychology, Vol 5(2), pp 88-90, 2009. Copyrighted)</em></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA;">Silver and gold and platinum have always attracted me. The way that precious metal artists are able to mould their medium into visually and tactually pleasing works of art have always been a source of wonder to me. I think it is the lyrical nature of their work that fascinates me most, the yearning to express and capture aspects of beauty. This interest enticed me over many years to collect local expressions of South African silversmith manufacturing, ranging from table ware to jewellery to medals and pins. </span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA;">Being a social scientist, and somewhat obsessive - a good quality for both researchers and collectors to have - I began discussing our silversmith legacy with antique dealers and fellow collectors. Soon I was pointed in the direction of the precious metal artists themselves and the die sinkers and engravers who have helped to make their inspirations come to life. I decided to limit my interest in metal art manufacturing to the late 20th century in South Africa and began to record all the information I could get on the precious metal manufacturing work that was locally produced. Along with a fellow enthusiast, Istine Swart, I began to systematically record interviews with some metal artists and their families.</span><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt;"></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA;">Noticing that the South African Society for Cultural History will be holding their annual conference in mid June 2009 at the museum in George, was all the incentive I needed. My methodological background was well suited to systemise and collate the information we already collected. This included information on the lives of the artists and the artisans who worked with them, as well as cataloguing and dating their work and their trademarks, and then placing it within historical artistic and socio-cultural contexts. I was able to put together an initial impression of the South African silversmith work and climate over the past fifty years. </span><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt;"></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA;">With a power point presentation in my pocket, I flew down to the pastoral town of <city w:st="on"><place w:st="on">George</place></city>. The crispness in the air and the soft early winter sun added to its enchantment. Having only really been to Psychology conferences before (with their hard edged, futuristic, predictive edges), it was very refreshing to share thoughts with people who embrace a discipline that is almost exclusively founded on reflective or retrospective approaches to knowledge making. The presenters were from a range of backgrounds such as history, geography, archaeology, museum curation, tourism, conservation and restoration, and archival studies.</span><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt;"></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA;">Fascinating themes were presented. I listened to topics such as church architecture in the Southern Cape (and was reminded of our historical connectedness to cultures in our past), oral testimonies as a source for community history (and gained more insight in the role that oral traditions play in engendering a sense of community), and the Chinese in the Cape Colony (a small but culturally significant group whose history I was unaware of). There was also an archaeological paper on the Albisini ruins in the <place w:st="on"><placename w:st="on">Kruger</placename> <placetype w:st="on">Park</placetype></place>, as well as a forensic archaeological investigation of a19<sup>th</sup> century mine cemetery. And someone did and incisive analysis of early Afrikaans films and expressions of a social-conscience. </span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA;">My presentation seems to have been well received. Afterwards, a number of queries and discussions made me realise that I have merely begun to scratch the surface in gaining a coherent understanding of our local silver manufacturing traditions. </span><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt;"></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA;">One afternoon we were taken on a ‘field trip’ to the local Transport Museum, where two conference delegates shared with us their knowledge on the historical development of the railways in the Southern Cape and their attendant socio-economic influences. The last day was concluded with a picnic and a presentation at the George Botanical Gardens.<span style="mso-spacerun: yes;"> </span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA;">At the end of this intellectual feast of socio-cultural-environmental legacies, I was inspired, a convert. It was like having been on a whirlwind two day tour of a few cultural facets of our country. And even I could see that there is so much that should still be recorded, not only for our own enjoyment, wonder and awareness, but also for posterity. The multitude of cultural legacies in this country and its inter-connectedness is certainly the envy of many socio-cultural historians the world over. I registered as the newest member of the South African Society of Cultural History. I am already looking forward to next year's conference.</span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA;">Upon reflecting over the time I spent in George - a time that nurtured the intellect and fortified the senses - I realised how rewarding it was to venture outside the confines of my sub-fields of specialisation in main stream Psychology, and to taste what other social disciplines bring to the table of knowledge. It made me realise again that there is a whole extended family of Social Science disciplines out there, and they all try to understand life from their particular angles. And the insights that we generate, really do show affinity with each other, enhancing and informing each others’ understanding of the human condition in all its processes and expressions. The conference and its content matter also brought me under the impression of the central role that ’time’ or temporality and its expressions in terms of change and continuity plays in the lives of humans, be it during one lifetime or the course of generations. </span><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt;"></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA;">Be daring and try something different on the conference circuit next time. Who knows, it may just yield a long elusive understanding of the research contexts you've been grappling with...</span><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt;"></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><br />
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</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFw4twl1rybgq6jZ1LB38RIjmR_2Mp6DHacMG_oZMVg-k0Ey3J2angtKXDBbNNYMpiwkr9FhCgFPRDFCXw0tuCjXTzD2b2iLEfV9m5Q61eNP-Q6pTmWflLCrjS4g-PQ6VRr3wbkK5zYuUc/s1600/DSC00212.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" m$="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFw4twl1rybgq6jZ1LB38RIjmR_2Mp6DHacMG_oZMVg-k0Ey3J2angtKXDBbNNYMpiwkr9FhCgFPRDFCXw0tuCjXTzD2b2iLEfV9m5Q61eNP-Q6pTmWflLCrjS4g-PQ6VRr3wbkK5zYuUc/s320/DSC00212.JPG" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzmLMgzsF9M1dgS4k7ksrWgkUiQ-USI-q7JtaRUHsqgap2zz7UZDf_ZodpIkIjS8fKyM0TKhM6knlYCFKcBMlL8jmE-Fbs2NlNr8VnMF4opQ4tqZ5U2avuxR-Qb9sRXZYDrQ_RoBiL2ML3/s1600/DSC00214.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" m$="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzmLMgzsF9M1dgS4k7ksrWgkUiQ-USI-q7JtaRUHsqgap2zz7UZDf_ZodpIkIjS8fKyM0TKhM6knlYCFKcBMlL8jmE-Fbs2NlNr8VnMF4opQ4tqZ5U2avuxR-Qb9sRXZYDrQ_RoBiL2ML3/s320/DSC00214.JPG" width="320" /></a></div></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt;">These brooches hail from the early 1950’s and were manufactured in Pretoria by Joe Calafato who was one of the most prolific manufacturing silversmiths of his time (1947 -1982). </span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><br />
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</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt;"></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt;">Author’s biographical note:</span></b></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt;">Fred van Staden</span></b><span lang="EN-ZA" style="font-family: "Arial", "sans-serif"; font-size: 10pt; mso-ansi-language: EN-ZA; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt;"> is a professor in the Department of Psychology at Unisa. He has taught undergraduate and post graduate courses in personology, research methodology and environmental psychology. He is a past Chair of the Department of Psychology as well as a past coordinator of the Master’s Degree in Research Consultation. He is presently on a long overdue sabbatical.</span></div>Fredhttp://www.blogger.com/profile/08076362684798612013noreply@blogger.com5tag:blogger.com,1999:blog-2651480711748885554.post-63784673290437520862011-06-20T11:04:00.020+02:002012-06-28T15:00:59.595+02:00<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
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<b><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Joe Calafato: A late twentieth century South African precious metal artist.</span></b><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> </span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Fred van Staden</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Department of Psychology, University of South Africa, PO Box 392, Pretoria, 0003</span></b></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> (Published in the South African Journal of Cultural History, Vol24(1), June 2010, pp.126-150. Copyrighted by the SAJCH)</span></div>
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<strong>Summary</strong></div>
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<span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Thirteen semi-structured interviews with colleagues and some family members of Joe Calafato (1912 -1991) were held in order to compose a systematic profile of his contributions to the development of precious metal artistry in South Africa between 1947 and 1984. This information was integrated with available archival documentation, a sketch book, order books, autograph book, newspaper reports, along with photos of private collections of his work. Whereas specific attention was paid to his jewellery output, other lines of design in which he worked were also recognised. The development over time in his designs from Western oriented motifs to South African inspired designs is also highlighted. </span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Key words:</span></b><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> goldsmith; Joe Calafato; late twentieth century, Pretoria; precious metal artist; manufacturing jeweller; silversmith. </span></div>
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<b><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Introduction</span></b></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Over the past thirty years, the South African government has given increasing support to the development of the jewellery manufacturing sector through incentives and formal training programmes.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[1]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> </span><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">At present, at least 6 active jewellery manufacturing training programmes are on offer at local tertiary institutions: Tshwane University of Technology, Stellenbosch University, Cape Peninsula University of Technology, the College of Cape Town, the Central University of Technology in the Free State and the University of Johannesburg.</span><span class="MsoFootnoteReference"><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 11pt;">[2]</span></span></span></span><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> In 2009, t</span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">he industry has grown to around 350 manufacturing workshops all over the main centres of South Africa, some employing large numbers of staff and others remaining small studios.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[3]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> Though they are still mostly supplying the local market, some agreements have been made to export mass produced products such as chains.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[4]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> </span><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">However, up until the 1970’s South Africa’s jewellery manufacturing sector has been largely ignored and even suppressed by the state.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[5]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> For most of the twentieth century the jewellery manufacturing industry in South Africa remained small, possibly also because international markets were highly competitive and not likely to be positively inclined towards South African manufactured products. </span><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">The fledgling nature of the industry during this time is also reflected in a lack of systematic information about its past. Whereas some composite reference work on old Cape Silver</span><span class="MsoFootnoteReference"><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 11pt;">[6]</span></span></span></span><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> is available, the last 100 years of jewellery manufacturing in South Africa has yielded only a few tributary works.</span><span class="MsoFootnoteReference"><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 11pt;">[7]</span></span></span></span><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> </span><span class="MsoFootnoteReference"><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 11pt;">[8]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">One designer-manufacturer of the late twentieth century whose work has not been comprehensively recorded, is Joe Calafato (1912 -1991). He designed and manufactured jewellery and other precious metal artifacts for 37 years (1947 – 1984) in Pretoria. His work made an important contribution to the development of a uniquely South African precious metal art manufacturing tradition. </span></div>
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<b><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Method</span></b></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">After initial interviews with his wife and daughter, their referrals to Calafato’s colleagues and employees led to a purposive snowball sampling process where altogether 13 persons were interviewed </span><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">– they included die sinkers, enamellists, apprentices, engravers and jewellers.</span><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> </span><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">A semi structured interview schedule was used where interviewees were requested to talk chronologically about the time they worked with Calafato. Follow-up interviews to clarify, extend or to compare some information were done (in some cases up to two follow up interviews were recorded). The interviews were then transcribed and the content integrated with other sources of information. </span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></div>
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<span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">The Calafato family made available a portfolio of some of his documents such as letters, invoices, an autograph book and a sketchbook which added significantly to the information base. Mr J. Erasmus, the present owner of the Calafato business granted access to order books and photos. As with all qualitative descriptive research, the various sources of information were compared and corroborative information, anomalies and gaps were identified. This information was then used to compile the story of Guiseppe (Joe) Leonardo Calafato’s precious metal artistry <b style="mso-bidi-font-weight: normal;">(Figure 1)</b>. </span><br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Figure 1: Guiseppe (Joe) Leonardo Calafato (1912-1991)</span></b><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">(Photograph: Velia Calafato, Pretoria)</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[9]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></div>
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<b><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Biography</span></b><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Of Sicilian parentage, Calafato was born on 10 July 1912 in the then Lorenço Marques in Mozambique. His father died when he was still a young boy after which his mother moved with her children in the late 1920s to Johannesburg. Calafato considered becoming a couturier. Nevertheless, even though he was as a child not directly exposed to any specialized schooling in art, or to precious metal manufacturing (his parents were merchants), his instinctive sense of composition, thematic content and style soon led him to a career as a gold- and silversmith instead. In 1934 he was accepted as an apprentice by Jack Friedman who owned Friedman Jewellers in Braamfontein. Friedman was a Latvian immigrant who opened his workshop in Johannesburg in 1933 and later became a well known jewellery manufacturer and watchmaker on the Witwatersrand. </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">After his apprenticeship, Calafato worked for seven years (from April 1938 until June 1945) at the South African Mint as silversmith.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[10]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> </span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[11]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> He specialised as designer in the jewellery section of the Mint.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[12]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> To augment his income, he started designing and making jewellery during lunch hours at work. Soon other workers at the Mint joined him with mutual training taking place.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[13]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> He continued designing and manufacturing jewellery at home in the evenings. Initially, as a South African of Italian ancestry, his work at home was investigated by the wartime security forces who thought the hammering from his work place may be clandestine morse code messages. But when his activities were revealed to be nothing more than the first steps of a very promising jewellery designer manufacturer, he was left alone to sharpen and develop his jewellery making skills at night.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[14]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">In addition to being a fine metal artist and manufacturer, Calafato was also a businessman. In 1947 he formed a partnership with a former colleague at the South African Mint, Mr Bob Campbell (who was a ‘die sinker’ by trade)</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[15]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> and together they opened a jewellery workshop close to the corner of Potgieter and Schoeman streets in Pretoria. In the same year they employed Messrs Schalk Vorster</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[16]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">, Lorenzo Scribante and George Xanthides as apprentices.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[17]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> They called the business Metal Art Creations (<b style="mso-bidi-font-weight: normal;">Figure 2</b>) and used the name ‘Candida’ as maker’s mark on their jewellery (<b style="mso-bidi-font-weight: normal;">Figure 3)</b>.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[18]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">In 1951 a number of jewellers in Pretoria joined as partners in Calafato and Campbell’s business and they established a new workshop in Watt street in Pretoria West which they simply named Metal Art. Amongst the partners were names such as Messrs Becklake, Percy Cave (engraver, specializing in mace making) and Bill Myburg (specializing in medal and badge designs), Boet de Lange, Rumpelman (engraver) and Hendriks from the South African Mint, as well as Mssrs Bob Taylor (engraver) and Frenchie Gatticchi (apprentice).</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[19]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> It developed into a big workshop with nearly 200 workers amongst whom were at least seven die sinkers, four engravers and a fair number of soldering specialists</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[20]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">. However, there were too many partners and in 1953 Calafato and his original partner, Bob Campbell left Metal Art and opened a new business on their own in the city centre in Church street, Pretoria. Here they continued to produce a wide range of jewellery designs under the Candida name. They registered the business as Precise Die Makers and Engravers (Pty) Ltd. The dies they produced were cut by hand.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[21]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Figure 2: Metal Art Creations: The first precious metal manufacturing business established in 1947 close to the corner of Potgieter and Schoeman streets in Pretoria.</span></b><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">(Photograph: Mrs. Velia Calafato, Pretoria) </span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Figure 3: The two forms of the Candida maker’s mark that were used in Calafato’s workshops.</span></b></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">(Photograph: Hellmut Wilhelm, Pretoria, 2009-04-23)</span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">In 1966 the government lifted many of the import controls and tariff duties on imported jewellery and the increased competition severely affected the Candida sales. Whilst it was bad for business, it also meant that the workshop could import mass produced clasps (consisting of a matching catch, pin and joint) which they used in lieu of having to make their own hooks and pins. Consequently, brooches made with mass manufactured clasps represent the last Candida period from 1966 - 1972. The workshop continued to manufacture its own earring clips though. Possibly to keep his prices competitive, the jewellery manufactured for the retail market after 1966 was thinner than before, using less silver. Their commissioned work continued to flourish. For example, the wives of a number of cabinet ministers and a director-general as well as a number of corporate economists continued to order jewellery from them.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[22]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">In 1968 Campbell and Calafato dissolved their partnership. Campbell opened his own workshop in Visagie Street specializing in medal, pin and badge making.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[23]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> Calafato moved his workshop to a house at 232 Bloed Street and registered it under the name of Joe Calafato (Pty) Ltd.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[24]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">From 1972 he began to use new maker’s marks on his jewellery and flatware namely Velia, Carina and Dawu. He only occasionally still used the Candida mark on his jewellery.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[25]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> Some of the Candida, Velia and Dawu marked work shared the same original dies which were adapted by adding different backgrounds or replacing parts of the dies with new content. He also introduced the JC mark (the initials of his name JC within the outline of a shield). This was primarily used on hollow ware, and curios such as wall hangings and ash trays. He further diversified his output by designing badges, pins and some medals on which he his name, Joe Calafato, as a maker’s mark<b style="mso-bidi-font-weight: normal;"> (Figure 4)</b>. For a decade he traded his work in Bloed street</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[26]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> before moving to 730 Voortrekkers Road in 1982 where he sold the business in 1984 to Mr and Mrs A. P. J. Dique and their son in law, Mr J. Erasmus.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[27]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> The new owners retained the name of Joe Calafato for their business and because of government incentives for establishing businesses in the homelands, they moved the workshop to Ga-Rankuwa. They did not use the Carina, Velia and Dawu marks but continued for a while using his JC as well as the Joe Calafato maker’s marks. Later on they moved the workshop to Ekandustria. Because of low profitability, they stopped manufacturing jewellery and began to concentrate on producing sport medals, pins and badges. At present the workshop uses the mark ‘Metal Art’ and has employed a goldsmith to manufacture a limited line of jewellery. Some of the dies used over the years are still with the workshop</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[28]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">, while a number of dies are scattered amongst the artisans who worked for Calafato.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[29]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">After a long battle with cancer of the esophagus, the ‘King of Silver’,</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[30]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> Joe Calafato died on the 30<sup>th</sup> of December 1991 at the age of 79.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[31]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></div>
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<span class="Apple-style-span" style="margin-left: 1em; margin-right: 1em;"><a href="http://www.blogger.com/goog_990832957"><img border="0" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf5k8JyI1SUzLj_XXSIPZQ0Pda2Q1l6PNFyPLnYmEV3dmkdajf1RWSCtQkENsCroKXtTus-TR6wTx5-dyFTtfS5Yjjfoau9HQ6EnYwZjx2poVRo52JpM5kGAFKY-OcRsjghsU2AHf8jE4N/s320/Figure+4.JPG" width="320" /></a></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Figure 4: Examples of the Dawu, JC, Joe Calafato, Velia and Carina marks.</span></b></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">(Photograph: Hellmut Wilhelm, Pretoria, 2009-04-23)</span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Maker’s marks: Format, place and medium</span></b></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">In <b style="mso-bidi-font-weight: normal;">Table 1</b> a summary is provided of the maker’s marks used during Calafato’s career. It is not clear why such a range of marks was used – perhaps in order to distinguish to some extent between his copper and silver work as well as to distinguish amongst his badge/medal work, curios/souvenirs for the tourist market and his more specialised jewellery work.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[32]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> Not one of his maker’s marks were registered with the South African Companies and Intellectual Property Registration Office.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[33]</span></span></span></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></b></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Some gold was used under the Candida, Velia and Carina marks. Gold products were however mostly manufactured on commission,</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[34]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> hence the scarcity of examples of gold jewellery. Nevertheless, Calafato’s portfolio contains a photo and a few sketches of a number of sophisticated golden scrolled cameo pendant casings. <b style="mso-bidi-font-weight: normal;"></b></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Some souvenir spoons contain both the Carina and Kruger Park marks or the Velia and Kruger Park marks. Some copper souvenirs also contain both the JC and the Kruger Park marks. This indicates that some of his merchandise was sold to the National Parks Board who required that the mark Kruger Park be added to the merchandise sold in the park.. This was produced during the broad period of around 1972 – 1984.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[35]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Table 1: Maker’s marks used by Joe Calafato </span></b><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Name of mark </span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif;"></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Format of maker’s mark</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif;"></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Years in manufacture</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif;"></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Place</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif;"></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Medium</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial, sans-serif;"></span></b></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Candida</span><span style="font-family: Arial, sans-serif;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">CAndidA in calibri font and STER SILV imprint. </span><span lang="EN-GB" style="font-family: Arial, sans-serif;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">1947 – 1951</span><span style="font-family: Arial, sans-serif;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">- c/o Schoeman & Potgieter Sts, Pretoria</span><span style="font-family: Arial, sans-serif;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Sterling silver and some enamel work. </span><span style="font-family: Arial, sans-serif;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Candida</span><span style="font-family: Arial, sans-serif;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> CANDIDA and </span><span lang="EN-GB" style="font-family: Arial, sans-serif;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">STER SILV in arial font imprint. Sometimes also S.AFRICA and the name of some individual pieces.</span><span style="font-family: Arial, sans-serif;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">In gold: 9CT or 18CT </span><span style="font-family: Arial, sans-serif;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> 1947 – 1951</span><span style="font-family: Arial, sans-serif;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">1951 - 1953</span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">1953 – 1966</span></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">1966 - 1972</span></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">(Occasionally after 1972)</span><span lang="EN-GB" style="font-family: Arial, sans-serif;"></span></div>
</td><td style="background-color: transparent; border-bottom: #e2e2e2; border-left: windowtext 1pt solid; border-right: #e2e2e2; border-top: windowtext 1pt solid; height: 20.15pt; mso-border-left-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding-bottom: 0cm; padding-left: 5pt; padding-right: 5pt; padding-top: 0cm; width: 80.5pt;" valign="top" width="107"><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">- c/o Schoeman & Potgieter Sts,</span></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">-Watt St,</span><span style="font-family: Arial, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">- Church St,</span><span lang="EN-GB" style="font-family: Arial, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">-Bloed St,</span></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Pretoria</span><span lang="EN-GB" style="font-family: Arial, sans-serif;"></span></div>
</td><td style="background-color: transparent; border-bottom: #e2e2e2; border-left: windowtext 1pt solid; border-right: windowtext 1pt solid; border-top: windowtext 1pt solid; height: 20.15pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding-bottom: 0cm; padding-left: 5pt; padding-right: 5pt; padding-top: 0cm; width: 135pt;" valign="top" width="180"><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Sterling silver,</span><span lang="EN-GB" style="font-family: Arial, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Some semi-precious stones as well as enamel. Some gold and platinum. </span><span style="font-family: Arial, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Mostly jewellery. Some souvenir spoons.</span><span style="font-family: Arial, sans-serif;"></span></div>
</td></tr>
<tr style="height: 20.15pt; mso-yfti-irow: 3;"><td style="background-color: transparent; border-bottom: #e2e2e2; border-left: windowtext 1pt solid; border-right: #e2e2e2; border-top: windowtext 1pt solid; height: 20.15pt; mso-border-left-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding-bottom: 0cm; padding-left: 5pt; padding-right: 5pt; padding-top: 0cm; width: 75.9pt;" valign="top" width="101"><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Carina</span><span style="font-family: Arial, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/goog_990832957"><br />
</a></div>
</td><td style="background-color: transparent; border-bottom: #e2e2e2; border-left: windowtext 1pt solid; border-right: #e2e2e2; border-top: windowtext 1pt solid; height: 20.15pt; mso-border-left-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding-bottom: 0cm; padding-left: 5pt; padding-right: 5pt; padding-top: 0cm; width: 131.1pt;" valign="top" width="175"><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<i><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Carina</span></i><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> in cursive along with STER-SIL or SILVERPLATED and sometimes S<i>.</i>AFRICA or SOUTH AFRICA (arial font).</span><span style="font-family: Arial, sans-serif;"></span></div>
</td><td style="background-color: transparent; border-bottom: #e2e2e2; border-left: windowtext 1pt solid; border-right: #e2e2e2; border-top: windowtext 1pt solid; height: 20.15pt; mso-border-left-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding-bottom: 0cm; padding-left: 5pt; padding-right: 5pt; padding-top: 0cm; width: 81.5pt;" valign="top" width="109"><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">1972 – 1982</span></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">1982 – 1984</span><span lang="EN-GB" style="font-family: Arial, sans-serif;"></span></div>
</td><td style="background-color: transparent; border-bottom: #e2e2e2; border-left: windowtext 1pt solid; border-right: #e2e2e2; border-top: windowtext 1pt solid; height: 20.15pt; mso-border-left-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding-bottom: 0cm; padding-left: 5pt; padding-right: 5pt; padding-top: 0cm; width: 80.5pt;" valign="top" width="107"><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">- Bloed St, </span></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">- Voortrekkers Rd,</span><span style="font-family: Arial, sans-serif;"> </span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Pretoria.</span><span style="font-family: Arial, sans-serif;"></span></div>
</td><td style="background-color: transparent; border-bottom: #e2e2e2; border-left: windowtext 1pt solid; border-right: windowtext 1pt solid; border-top: windowtext 1pt solid; height: 20.15pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding-bottom: 0cm; padding-left: 5pt; padding-right: 5pt; padding-top: 0cm; width: 135pt;" valign="top" width="180"><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Sterling silver, silver plate and sometimes enamel. Mostly souvenir spoons and cutlery. Some jewellery. </span><span lang="EN-GB" style="font-family: Arial, sans-serif;"></span></div>
</td></tr>
<tr style="height: 20.15pt; mso-yfti-irow: 4;"><td style="background-color: transparent; border-bottom: #e2e2e2; border-left: windowtext 1pt solid; border-right: #e2e2e2; border-top: windowtext 1pt solid; height: 20.15pt; mso-border-left-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding-bottom: 0cm; padding-left: 5pt; padding-right: 5pt; padding-top: 0cm; width: 75.9pt;" valign="top" width="101"><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Velia</span></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/goog_990832957"><br />
</a></div>
</td><td style="background-color: transparent; border-bottom: #e2e2e2; border-left: windowtext 1pt solid; border-right: #e2e2e2; border-top: windowtext 1pt solid; height: 20.15pt; mso-border-left-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding-bottom: 0cm; padding-left: 5pt; padding-right: 5pt; padding-top: 0cm; width: 131.1pt;" valign="top" width="175"><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<i><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Velia</span></i><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> in cursive or in capitals (arial font) along with STER-SIL or SILVER PLATED or GENUINE COPPER and S.AFRICA or SOUTH AFRICA. </span><span lang="EN-GB" style="font-family: Arial, sans-serif;"></span></div>
</td><td style="background-color: transparent; border-bottom: #e2e2e2; border-left: windowtext 1pt solid; border-right: #e2e2e2; border-top: windowtext 1pt solid; height: 20.15pt; mso-border-left-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding-bottom: 0cm; padding-left: 5pt; padding-right: 5pt; padding-top: 0cm; width: 81.5pt;" valign="top" width="109"><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">1972 – 1982</span></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">1982 - 1984 </span></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/goog_990832957"><br />
</a></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/goog_990832957"><br />
</a></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/goog_990832957"><br />
</a></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/goog_990832957"><br />
</a></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/goog_990832957"><br />
</a></div>
</td><td style="background-color: transparent; border-bottom: #e2e2e2; border-left: windowtext 1pt solid; border-right: #e2e2e2; border-top: windowtext 1pt solid; height: 20.15pt; mso-border-left-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding-bottom: 0cm; padding-left: 5pt; padding-right: 5pt; padding-top: 0cm; width: 80.5pt;" valign="top" width="107"><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">- Bloed St,</span></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">- Voortrekkers Rd,</span><span style="font-family: Arial, sans-serif;"> </span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Pretoria.</span><span style="font-family: Arial, sans-serif;"></span></div>
</td><td style="background-color: transparent; border-bottom: #e2e2e2; border-left: windowtext 1pt solid; border-right: windowtext 1pt solid; border-top: windowtext 1pt solid; height: 20.15pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding-bottom: 0cm; padding-left: 5pt; padding-right: 5pt; padding-top: 0cm; width: 135pt;" valign="top" width="180"><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Silver, oxidised silver, silver plate, nickel plate, copper and sometimes enamel. </span><span lang="EN-GB" style="font-family: Arial, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Mostly jewellery, souvenir spoons and cake forks.</span><span style="font-family: Arial, sans-serif;"></span></div>
</td></tr>
<tr style="height: 47.65pt; mso-yfti-irow: 5;"><td style="background-color: transparent; border-bottom: #e2e2e2; border-left: windowtext 1pt solid; border-right: #e2e2e2; border-top: windowtext 1pt solid; height: 47.65pt; mso-border-left-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding-bottom: 0cm; padding-left: 5pt; padding-right: 5pt; padding-top: 0cm; width: 75.9pt;" valign="top" width="101"><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Dawu</span></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/goog_990832957"><br />
</a></div>
</td><td style="background-color: transparent; border-bottom: #e2e2e2; border-left: windowtext 1pt solid; border-right: #e2e2e2; border-top: windowtext 1pt solid; height: 47.65pt; mso-border-left-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding-bottom: 0cm; padding-left: 5pt; padding-right: 5pt; padding-top: 0cm; width: 131.1pt;" valign="top" width="175"><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">DAWU, COPPER and SOUTH ARFICA imprint (arial font). </span><span lang="EN-GB" style="font-family: Arial, sans-serif;"></span></div>
</td><td style="background-color: transparent; border-bottom: #e2e2e2; border-left: windowtext 1pt solid; border-right: #e2e2e2; border-top: windowtext 1pt solid; height: 47.65pt; mso-border-left-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding-bottom: 0cm; padding-left: 5pt; padding-right: 5pt; padding-top: 0cm; width: 81.5pt;" valign="top" width="109"><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">1972 – 1982</span></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">1982 – 1984</span><span lang="EN-GB" style="font-family: Arial, sans-serif;"></span></div>
</td><td style="background-color: transparent; border-bottom: #e2e2e2; border-left: windowtext 1pt solid; border-right: #e2e2e2; border-top: windowtext 1pt solid; height: 47.65pt; mso-border-left-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding-bottom: 0cm; padding-left: 5pt; padding-right: 5pt; padding-top: 0cm; width: 80.5pt;" valign="top" width="107"><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">- Bloed St,</span></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">- Voortrekkers Rd, Pretoria</span><span lang="EN-GB" style="font-family: Arial, sans-serif;"></span></div>
</td><td style="background-color: transparent; border-bottom: #e2e2e2; border-left: windowtext 1pt solid; border-right: windowtext 1pt solid; border-top: windowtext 1pt solid; height: 47.65pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding-bottom: 0cm; padding-left: 5pt; padding-right: 5pt; padding-top: 0cm; width: 135pt;" valign="top" width="180"><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Copper, sometimes combined with sterling silver. Jewellery.</span><span lang="EN-GB" style="font-family: Arial, sans-serif;"></span></div>
</td></tr>
<tr style="height: 20.15pt; mso-yfti-irow: 6;"><td style="background-color: transparent; border-bottom: #e2e2e2; border-left: windowtext 1pt solid; border-right: #e2e2e2; border-top: windowtext 1pt solid; height: 20.15pt; mso-border-left-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding-bottom: 0cm; padding-left: 5pt; padding-right: 5pt; padding-top: 0cm; width: 75.9pt;" valign="top" width="101"><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Kruger Park</span></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/goog_990832957"><br />
</a></div>
</td><td style="background-color: transparent; border-bottom: #e2e2e2; border-left: windowtext 1pt solid; border-right: #e2e2e2; border-top: windowtext 1pt solid; height: 20.15pt; mso-border-left-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding-bottom: 0cm; padding-left: 5pt; padding-right: 5pt; padding-top: 0cm; width: 131.1pt;" valign="top" width="175"><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">WILDTUIN KRUGER PARK imprint (this mark was also used by other manufacturers) along with the Carina, Velia and JC marks.</span><span style="font-family: Arial, sans-serif;"></span></div>
</td><td style="background-color: transparent; border-bottom: #e2e2e2; border-left: windowtext 1pt solid; border-right: #e2e2e2; border-top: windowtext 1pt solid; height: 20.15pt; mso-border-left-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding-bottom: 0cm; padding-left: 5pt; padding-right: 5pt; padding-top: 0cm; width: 81.5pt;" valign="top" width="109"><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">For a period between 1972 -1984</span><span lang="EN-GB" style="font-family: Arial, sans-serif;"></span></div>
</td><td style="background-color: transparent; border-bottom: #e2e2e2; border-left: windowtext 1pt solid; border-right: #e2e2e2; border-top: windowtext 1pt solid; height: 20.15pt; mso-border-left-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding-bottom: 0cm; padding-left: 5pt; padding-right: 5pt; padding-top: 0cm; width: 80.5pt;" valign="top" width="107"><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">- Bloed St, </span><span lang="EN-GB" style="font-family: Arial, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Pretoria.</span></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">- Voortrekkers Rd, Pretoria</span><span style="font-family: Arial, sans-serif;"></span></div>
</td><td style="background-color: transparent; border-bottom: #e2e2e2; border-left: windowtext 1pt solid; border-right: windowtext 1pt solid; border-top: windowtext 1pt solid; height: 20.15pt; mso-border-left-alt: solid windowtext .75pt; mso-border-right-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding-bottom: 0cm; padding-left: 5pt; padding-right: 5pt; padding-top: 0cm; width: 135pt;" valign="top" width="180"><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Copper, sterling silver, silver plate.</span><span style="font-family: Arial, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Jewellery and souvenir spoons</span><span lang="EN-GB" style="font-family: Arial, sans-serif;"></span></div>
</td></tr>
<tr style="height: 20.15pt; mso-yfti-irow: 7;"><td style="background-color: transparent; border-bottom: windowtext 1pt solid; border-left: windowtext 1pt solid; border-right: #e2e2e2; border-top: windowtext 1pt solid; height: 20.15pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding-bottom: 0cm; padding-left: 5pt; padding-right: 5pt; padding-top: 0cm; width: 75.9pt;" valign="top" width="101"><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">JC </span></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<a href="http://www.blogger.com/goog_990832957"><br />
</a></div>
</td><td style="background-color: transparent; border-bottom: windowtext 1pt solid; border-left: windowtext 1pt solid; border-right: #e2e2e2; border-top: windowtext 1pt solid; height: 20.15pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding-bottom: 0cm; padding-left: 5pt; padding-right: 5pt; padding-top: 0cm; width: 131.1pt;" valign="top" width="175"><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Shield outline containing the letters JC with the word <i>Copper</i> below when applicable.</span><span style="font-family: Arial, sans-serif;"></span></div>
</td><td style="background-color: transparent; border-bottom: windowtext 1pt solid; border-left: windowtext 1pt solid; border-right: #e2e2e2; border-top: windowtext 1pt solid; height: 20.15pt; mso-border-bottom-alt: solid windowtext .75pt; mso-border-left-alt: solid windowtext .75pt; mso-border-top-alt: solid windowtext .75pt; padding-bottom: 0cm; padding-left: 5pt; padding-right: 5pt; padding-top: 0cm; width: 81.5pt;" valign="top" width="109"><div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">1972 – 1982</span><span style="font-family: Arial, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">1982 - 1984</span></div>
<div class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">- Bloed St, </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">- Voortrekkers Rd,</span><span style="font-family: Arial, sans-serif;"> </span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Pretoria.</span><span lang="EN-GB" style="font-family: Arial, sans-serif;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Copper, Silver plate. </span><span style="font-family: Arial, sans-serif;"></span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Mostly curios e.g. wall plates & ash trays (copper)</span><span lang="EN-GB" style="font-family: Arial, sans-serif;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Joe Calafato</span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">JOE CALAFATO imprint. On badges and pins: BOX 1475 PRETORIA</span><span style="font-family: Arial, sans-serif;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">1972 – 1982</span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">1982 - 1984</span><span style="font-family: Arial, sans-serif;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">1984 – new owners: Mr & Mrs Dique</span><span style="font-family: Arial, sans-serif;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">- Bloed st, </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">- Voortrekkers Rd, Pretoria.</span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">- Garankuwa</span><span style="font-family: Arial, sans-serif;"></span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">- Ekandustria</span><span style="font-family: Arial, sans-serif;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Nickel plate, brass, enamel. </span><span style="font-family: Arial, sans-serif;"></span></div>
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<span lang="EN-GB" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Medals, pins, badges, and souvenir articles</span><span style="font-family: Arial, sans-serif;"></span></div>
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<b><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Manufacturing processes, materials and range of composition</span></b><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Calafato made use of mainly two processes for manufacturing his jewellery - a so-called ‘press method’ and a ‘die cast method’.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[36]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> The press method included the use of a weighted press on a flat bed of metal overlaying a carved die consisting of hardened steel. With this method the die sinker could produce fine detail such as relief and scroll work that gets chiseled in its negative form from the steel die before it is hardened.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[37]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> In the die cast method a rubber mould, wax, plaster of Paris and a centrifugal force to properly distribute the molten metal in the mould, were used.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[38]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> Some cuttlefish bone casting was also done. Chalices, cups and vases were hammered, hard casted as well as lathe spun.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[39]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Already early in his career, Calafato developed his versatile skills. In 1945, his employers at the South African Mint attested that his<i style="mso-bidi-font-style: normal;"> </i></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">..experience is very varied and includes many fine pieces which has added to the reputation of the Mint, such as large silver salvers, sports shields and cigarette boxes, etc.,as well as many varied items of enameled work. Mr Calafato was, moreover, in charge of his section.</span></i><span class="MsoFootnoteReference"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[40]</span></b></span></span></i></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">His jewellery designs consisted of individual pieces and any combination of bracelets, bangles, rings, brooches, pendants, necklaces and earrings. He also designed St Christopher pendants and the traditional cross pendant with a very detailed three dimensional Christ figure on it, as well as tie pins and cuff links.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[41]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> He worked mostly in sterling silver and copper but also made use of silver plate, some gold, platinum and enamel. He primarily used the cloisonné technique in which the enamel is placed in preformed hollows built into the metal base. In the early years, enamelling was done with Bunsen burners.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[42]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> Sometimes precious and semi-precious stones were also included in the compositions</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[43]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">. </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Demonstrating a professional standard of craftsmanship, his creations over the years displayed a fairly diverse range of styles - for example shifting from lyrical baroque designs to playful and romanticised human figures to minimalist abstract forms . Especially the bold and chunky designs of some of the early ensemble (or <i style="mso-bidi-font-style: normal;">parure) </i>pieces are well known. While he did not make use of <i style="mso-bidi-font-style: normal;">en tremblant </i>designs (a wire coiled spring mount technique), some brooches, pendants and earrings were designed with movable parts, allowing the pieces to echo the wearer’s movement.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[44]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Throughout his career, but especially during the time he worked in Bloed Street Calafato diversified his output to include all kinds of metal artwork. In a stylish full page magazine advertisement published in 1975, he stated that the workshop specialised in </span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Jewellery, medals and enamel,badges, service awards, sporting spoons, shields and trophies, as well as regalias. </span></i></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">In a second advertisement the following was added, displaying his ties to the South African Amateur Athletics Association, one of his biggest clients</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[45]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">:<i style="mso-bidi-font-style: normal;"></i></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Official suppliers of medals, plaques etc. to the SAAAU </span></i><span class="MsoFootnoteReference"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[46]</span></b></span></span></i></span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></i></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">The medals he made for athletics competitions, as well as other badges, buttons and pins often contained enamelled inlays and were bevelled in a labour intensive way instead of using the more expedient process of covering the design with a layer of resin. </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">A letterhead he used in Bloed street states that the business manufactures :</span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Candida gold and silver jewellery, silverware, presentation keys and trowels, jewels and mayoral chains, shields and trophies.</span></i><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Amongst the letters of appreciation received were the National Council of Chartered accountants (for a trophy, 1978), City Council of Boksburg (mayor’s trophy, 1976), the South African Games Association (medals manufactured for the South African Games in 1979).</span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Interestingly, he also made communion chalices for a few church congregations as well as religious crowns <span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[47]</span></span></span></span>. In one case, the church elders requested that he remove his JC insignia from their communion chalice, lest it be thought of as the signature of Jesus Christ.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[48]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> For the tourist trade he manufactured miscellaneous articles such as copper ash trays and wall plates, tea spoons, letter openers, money clasps and bookmarks. In addition, he produced flatware that included cake forks, tea spoons, sugar spoons and (commemorative) serving trays. These were adorned with scrolls, small proteas and animals on the spoon finials. They were made in silver or silver plate. He designed finials that captured images of giraffe, elephant, water buck, kudu and impala. These are all omnivores, and it seems likely that full sets were made (a sixth image is still missing), but the spoons were also sold as souvenir singles. The animal sets were marked with the Velia, Carina and Kruger Park maker’s marks. Some demitasse spoons were also manufactured. <span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[49]</span></span></span></span> </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">He also used enamel to create coats of arms representing a range of South African cities on the finials of souvenir tea spoons. These include the cities of Pretoria, Johannesburg, Cape Town and Durban. Six different colours of enamel were used for the colouring of the crests; yellow, black, white, red, brown and green.<span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[50]</span></span></span></span> Some spoons contained African village life or African wildlife scenes in the hollow of the spoons. The high quality and refined three-dimensional artistry on the hollows, hilts and finials of the spoons, reflected the custom of a discerning clientele <b style="mso-bidi-font-weight: normal;">(Figure 5)</b>.Under the Dawu mark he appears to have specialised in copper brooches and bracelets that focus specifically on African cultural themes.</span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Throughout his career, his business did not stock the work of other jewellers. Instead, he supplied others with some of his work. He also employed a number of representatives or distributors.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[51]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> Because of an adequate internal demand for his products, he never exported his wares.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[52]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><shape id="_x0000_i1025" style="height: 351pt; width: 468pt;" type="#_x0000_t75"><a href="http://www.blogger.com/goog_990832957"><imagedata o:title="Figure5 spoons" src="file:///C:\DOCUME~1\butlesl\LOCALS~1\Temp\msohtmlclip1\01\clip_image005.jpg"></imagedata></a></shape></span></div>
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<span class="Apple-style-span" style="margin-left: 1em; margin-right: 1em;"><a href="http://www.blogger.com/goog_990832957"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjInG8FLNNtnsXPtAbAVaGVwibgUQC59b6Cquxsxg7rrWqcg0f7jnegh8URe6rHFx4ZH_AlxfrP8o-3AM-1Rxb51lVmd8zUIAApNzdhWA4ZiiNfyOLHEkdcFly1gYHbusucs5CHQA-8sUWc/s320/Figure+5.JPG" width="320" /></a></span></div>
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<b><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Figure 5: Examples of sterling silver tea, sugar and collectors spoons manufactured under the Candida, Velia and Carina marks.</span></b></div>
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<b><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Some achievements</span></b></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Recognition of Calafato’s great skill in working with precious metals came early in his life when a group from the local Muslim community commissioned the South African Mint to design and manufacture a casket as a commemorative gift to the Shah Aga Khan during his visit to South Africa in 1945. Calafato designed and oversaw the manufacture of the casket. It was presented to the Shah by prime minister Field Marshall Jan Smuts.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[53]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Another highlight in his life occurred a few years later when the Master’s Diamond Cutters Association of South Africa commissioned him to make a small casket of 18 carat carved gold costing 3000 British pounds.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[54]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> It was presented in 1947 to Sir Ernest Oppenheimer in honour of his fiftieth year in the diamond industry. In 1973 its value was estimated to be R400 000. At present it is displayed at the head office of Minorca in London.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[55]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">At one time during the 1970s, Calafato also obtained the rights to manufacture a number of Walt Disney figures in sterling silver and gold</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[56]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">. He created at least 11 different figures barely more than a centimetre high in the form of bracelet charms that were only sold on the local market with no maker’s mark. These three dimensional figures were exceptionally detailed and made to delight the senses. Walt Disney himself acknowledged Calafato’s excellent artistry with a personal note of appreciation.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[57]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> This accolade is particularly telling, since it is known that Disney was very protective of his images and earlier on in 1939 had formed a partnership with Cartier to create a range of enameled bracelet charms of his cartoon characters.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[58]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">During the 1970s and early 1980s, bishop Edward Lekhanya of the Zionist Christian Church ordered his famous ZCC star badges, buttons, cuff links and tie pins on consignment from Joe Calafato’s workshop. Thus, one of the biggest churches in Africa also ordered its signifiers from him.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[59]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">In the 1970’s the artist Walter Battiss created the fantasy world of Fook Island,</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[60]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> complete with an imaginary king and queen, a written language of its own and its own currency. Fook Island did not only exist in his drawings, he also translated it into a small townhouse complex in Menlo Park. He commissioned Calafato to craft and mint the coins to be used in this mythical world. This request attests to the high regard Batiss had as an artist for the quality of Calafato’s work.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[61]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> Four coins were minted in different alloys. </span><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">One side of the coins contain a double image of a young lady with long hair. The two images are joined by the neck. The words ‘FOOK ISLAND’ appear on the left and Fook Island writing symbols appear on the right. The number 10 is stamped on the flipside along with an image of two halved deer (with horns but also with snouts similar to that of a jackal) looking in opposite directions and joined in their middles <b style="mso-bidi-font-weight: normal;">(</b></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Figure 6)</span></b><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">.</span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Figure 6: Fook Island ‘coins’ in different alloys.</span></b></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">The city councils of Springs and Gaberone commissioned their mayoral chains from him</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[62]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">. In addition, reference is made of a globe that was made for the South African Philatelic Society</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[63]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">, and a ceremonial staff created for the Loretto Convent in Pretoria.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[64]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></div>
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<b><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Influences and thematic content</span></b><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Joe Calafato was the principal designer of the work that was produced under his maker’s marks.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[65]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> As such, over time the Calafato jewellery collection from 1947 until 1984 was significantly inspired by a combination of major external jewellery design trends over the past hundred years that became increasingly rooted within a South African frame of reference .</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[66]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">His design inspiration appears to have been multifaceted and adapted to fashion trends and demands. It ranged from stimulations sparked by European and American jewellery magazines, occasional travels abroad,</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[67]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> apprentices who were often from Europe, commissioned works as well as the tastes of the general public of which the tourist trade became increasingly important over the years. He was particularly impressed by the nineteenth century Portuguese tradition of silver ware crafting.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[68]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> Perhaps this partially accounts for an emphasis on flowing scroll designs in his earlier work. He also regularly exchanged ideas with a fellow precious metal artist in Cape Town, Mauro Pagliari (die sinker) who established his workshop in 1957.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[69]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">His preferred medium was silver which was already well established as a popular jewellery base in the Arts and Crafts movement of the late nineteenth century. A number of the early Candida artifacts reflect the use of ‘cabochon’ cut (a rounded or oval cut with a flat base) semi-precious stones set in silver, as well as the use of enameling.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[70]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">The attention that African art received from Europe during the Art Deco period (1920-1939) resulted already then in African inspired designs manifesting in jewellery on an international platform. It is claimed that the characteristic lines used in Art Deco designs were also inspired by primitive motifs from the ancient Egyptians and tribal African designs.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[71]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> Traces of Art Deco inspirations can be found in a number of the Candida ensemble pieces where the emphasis is placed on geometric forms and patterns in the design of necklaces, bracelets, earrings and brooches.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[72]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> In the beginning of his career, components such as scroll patterns, round balls, small smooth half drops as well as riffled hollow cups were often reconfigured and soldered together in different designs. Later on, many of the African and wildlife images were also reconfigured in different pieces of jewellery.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[73]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Perhaps understandably, the dominant movement during the 1940s (recently differentiated as the ‘1940s retro’ style or ‘retro moderne’)</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[74]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> appears to have played a significant inspirational role during the early stages of Calafato’s designs under the Candida mark <b style="mso-bidi-font-weight: normal;">(Figure 7)</b>. Typical of the time, stark geometric shapes were combined with swirling and draped forms: loops and tendrils of metal "ribbon", scrolls, pleats, folds and ruffles in large and dramatic pieces. In addition, the hammered surfaces on some bon-bon dishes that he created in the 1950s reflect this period well.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[75]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">In the 1940s and 1950s, the use of wire to lighten items of jewellery and give texture to surfaces (introduced during the Arts and Crafts movement)</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[76]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> was again picked up and popularised by European manufacturers.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[77]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> Similarly, the use of wirework was also successfully incorporated as a design element in some Candida marked designs (Calafato did not however produce filigree work).</span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> From the late 1940’s, international jewellery houses such as Cartier, Tiffany and Van Cleef & Arpels began producing their versions of popular figurative jewellery motifs: animals, ballerinas and "novelty" figures such as clowns, scarecrows and flower-sellers.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[78]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> This line of inspiration was also expressed through a wide range of Candida figurines in the form of brooches <b style="mso-bidi-font-weight: normal;">(Figure 7)</b>. Jewellery was increasingly seen as an art form in its own right, not just as a fashion accessory, with precious metals being used for their intrinsic beauty and not just for mounting gemstones.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[79]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">In the midst of the proliferation of styles in the 1960s and 1970s, there was, however, also a trend towards a kind of ‘organic modernism’ stimulated by Scandinavian jewellers with many designers striving for an economy of line and form.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[80]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> This trend can also be detected in some of Calafato’s later designs under the Candida mark as well as amongst the range of designs he produced under the Carina and Velia marks <b style="mso-bidi-font-weight: normal;">(Figure 8)</b>.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[81]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Figure 7: </span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Examples of jewellery produced under the Candida mark </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></b></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">(Photograph: Hellmut Wilhelm, Pretoria, 2009-04-23)</span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Figure 8: These brooches and bracelets represent some of Joe Calafato’s later work produced under the Velia mark.</span></b></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">(Photograph: Hellmut Wilhelm, Pretoria, 2009-04-23)</span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">His work reflects a time line in terms of a fading European influence mingling with a strengthening African influence both in terms of inspiration and form. There is a clear migration from the original scroll abstractions to a more ‘organic realism’ in expressing plant, animal and human form, ending in an almost exclusive emphasis on African landscape, animal and village life. </span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[82]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> At the end, his work matured into extensively embracing images of the African continent, making him an African manufacturing jeweller in the full sense of the word.</span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">African themes formed an important line of inspiration in Joe Calafato’s work. His early African images (under the Candida mark) dealt almost exclusively with stylish African female figures clad with cultural accessories that include headdresses, large rounded earrings and beaded necklaces. It expressed a fascination with culturally traditional female African beauty. A few images of children were also included, one of which became noted in its own right. It was pressed in the form of a brooch and consists of a young boy eating from a three legged pot with a wooden spoon <b style="mso-bidi-font-weight: normal;">(Figure 9)</b>. Perhaps because of its endearing quality, it became one of very few compositions that was additionally stamped with a descriptive title, namely ‘lo umfaan’. </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">From 1972 onwards his depictions became more complex by adding rural background arrangements consisting of trees, rocks, tufts of grass, mountains, rondavels and aloes in bloom. Especially in this later work he incorporated traditional icons of African culture such the drum, the milling block with pounder, spear and shield, clay bowl, knobkerrie, amulets, ancle rings, reed mat, loin cloth and musical instruments. With these elements scenes such as hunting, drumming, dancing, maize pounding, socializing, music making and eating are composed. The designs pay lyrical homage to African expressions of nurturance, protection and beauty. </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Under the Velia mark he designed a range of scenes inspired by bushman cave paintings. Typical of the 1970s, the depictions were encapsulated in oval or rounded forms. To add depth to the images he added brown, black and white enamel (see left side brooch in <b style="mso-bidi-font-weight: normal;">Figure 8</b>).</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[83]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> Since Calafato was acquainted with Walter Batiss who became known for his aesthetic appreciation of rock art</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[84]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">, it is possible that Calafato’s bushman art designs were at least in part stimulated by the work of Walter Batiss. </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Calafato’s wildlife studies developed parallel with and in the same way as his African imagery. It started off as individual animal figures that over time expanded to more complex compositions placed within rural landscapes (almost like a small painting in metal). These include studies of the larger mammals such as elephant, giraffe, lion, leopard, various antelopes and zebra. Sometimes the wildlife and African cultural elements were combined in the </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">layout of the piece.</span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> Interestingly, the African as well as the wildlife compositions under the Candida and the later Velia, Carina and Dawu maker’s marks seem to have been made only as separate brooches, pendants, rings, bracelets, earrings, cuff links and key rings but not in the form of necklaces or ensemble pieces.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[85]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> </span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><shape id="_x0000_i1029" style="height: 457.5pt; width: 468pt;" type="#_x0000_t75"><a href="http://www.blogger.com/goog_990832957"><imagedata o:title="African Motifs Calafato" src=""></imagedata></a></shape></span></b></div>
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<span class="Apple-style-span" style="margin-left: 1em; margin-right: 1em;"><a href="http://www.blogger.com/goog_990832957"><img border="0" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1md6eJWpSckYYMdEfI4QjjeZq5U62wqdx3kdQ4OhaZ4uJps1yRcKxBEzdFo_RUWwPgUXdmZ2oye52BKOuH2oI1u3aQynhFmEYUlNLDBuP9tRO3MxHsZWu0SWhULoX1AgWbK1si4tTN23c/s320/Figure+9.JPG" width="320" /></a></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Figure 9: The African iconography of Calafato, moving from individual figures to more complex compositions of cultural life.</span></b></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">(Photograph: Hellmut Wilhelm, Pretoria, 2009-04-23)</span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> <b>Socio-political contexts</b></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Since job reservation laws during the apartheid years prevented Black South Africans from being trained in jewellery manufacturing, Calafato also attempted in the mid 1960’s to set up a workshop in Swaziland with the help of his brother, Antonio Calafato. However, due to logistical problems this outsourcing venture did not last long.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[86]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Clandestinely, Calafato trained some of his Black workers to do enamel work.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[87]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> They also attached pins to brooches, soldered, and did piercing, sawing and striking.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[88]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> During government inspections the workers returned to menial jobs.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[89]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Whilst Calafato and his partner undermined the labour restriction laws of the time, the nationalist government and parastatal organisations were clients of his. His work also reflected the need for nationalist symbols such as images of springbuck and proteas along with commissioned medals of ministers’ profiles to commemorate the fifth anniversary of the Republic of South Africa in 1965 along with the National Party’s 50<sup>th</sup> anniversary. For the latter, he made a medal depicting the profiles of its four prime ministers Strydom, Hertzog, Malan and Verwoerd.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[90]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">In the late 1960s Calafato’s request to import Italian artisans was refused by the Nationalist Government. Nevertheless, a number of local Italian prisoners of war who elected to stay in country were trained in various capacities in the manufacturing process. Earlier requests to allow German artisans to work with him, were granted though.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[91]</span></span></span></span><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></div>
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<b><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Market value</span></b></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Because of its good quality, attention to detail, pleasing interpretations, and containing maker’s marks, his work has always been in demand and has lent itself very well to the collectible market. Over time his legacy has also become increasingly sought after.<sup><sup><span style="font-family: Arial, sans-serif; font-size: 11pt;">[92]</span></sup></sup> A silver plated Velia pin with an elephant design sold in 1999 on e-bay for 31US$ (about R375 when translated to the 2009 rand value).</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[93]</span></span></span></span><b><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"></span></b></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">In 2009, average market prices were as follows: Earrings, brooches and pendants in sterling silver are separately on offer from R 400 to R900; bracelets sell between R1200 to R2000 each and the asking price for necklaces range from R1 800 to R 3 000. Ensemble or <i style="mso-bidi-font-style: normal;">parure </i>sets (consisting of 3 or more matching pieces) cost upwards from R5 000.</span><span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> <span class="MsoFootnoteReference"><span style="font-family: Arial, sans-serif; font-size: 11pt;">[94]</span></span></span></span><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> These do not often appear on the market though, since dealers find it easier to sell the pieces separately. </span></div>
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<b><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Conclusion</span></b><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Joe Calafato possessed a unique combination of skills with which he contributed significantly to South African cultural heritage. Not only was he a successful businessman and employer, but he also shared his talents and experience as an artist and a craftsman with many others. </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Whilst little is known about most of Calafato’s colleagues, the skill the above artists invested in their work, deserve our applause. These are people who have chosen to express their creativity in the difficult medium of metal, which requires great technical ability and a thorough understanding of the characteristics of different alloys. They also represent the last generation of metal artists who had to engaged directly with their medium without the clinical and automated effects of computer software and laser technology. </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"><a href="http://www.blogger.com/goog_990832957">________________________</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">Note:</span></b><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;"> My sincere thanks to Istine Swart for assisting with research, conducting interviews and for critically reviewing earlier drafts of this article (along with Zorina Calafato and Jakkie Erasmus). Also to Marit Greenwood for photographing Calafato artifacts and assisting with interviews. <span style="color: red;"></span></span></div>
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[1]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Diamond News: SA Government sends students to China in Diamond training deal (2006-02-20), http://www.israelidiamond.co.il/english.newsaspx?boneid=918&objid=1286.</span></span></div>
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[2]</span></span></span><span style="font-size: x-small;">Jewellery industry, </span><span style="font-size: x-small;">http://www.moneybiz.co.za/my_business/jewelllery_industry.asp</span><span style="font-size: x-small;">, 2009-08-15.<span lang="EN-ZA"></span></span></div>
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[3]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">An MBendi Profile: South Africa – Manufacturing jewellery, </span></span><span lang="EN-ZA"><span style="font-size: x-small;">http://www.mbendi.com/indy/mnfc/jewl/af/sa/p0005.htm</span></span><span lang="EN-ZA"><span style="font-size: x-small;">, 2009-04-14.</span></span></div>
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[4]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">IDC invests in gold and diamonds (2008-0516), </span></span><span lang="EN-ZA"><span style="font-size: x-small;">http://www.minweb.com/mineweb/view/mineweb/en/pages674?oid=53104&sn=detail</span></span><span lang="EN-ZA"><span style="font-size: x-small;">, 2009-08-15.</span></span></div>
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[5]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">M. da Silva, The jewellery industry in South Africa. <i style="mso-bidi-font-style: normal;">Urban Forum</i>, 10(2), June 1999, p.1.</span></span></div>
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[6]</span></span></span><span style="font-size: x-small;"> S. Welz, <i style="mso-bidi-font-style: normal;">Cape Silver & Silversmiths</i> (Cape Town, 1976).<span lang="EN-ZA"></span></span></div>
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[7]</span></span></span><span style="font-size: x-small;"> D. & A. Jobst, <i style="mso-bidi-font-style: normal;">Kurt Jobst Goldsmith and Silversmith </i>(Johannesburg, 1979).<span lang="EN-ZA"></span></span></div>
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[8]</span></span></span><span style="font-size: x-small;"> E. Smit, <i style="mso-bidi-font-style: normal;">Erich Frey 25 years</i> (Pretoria Art Museum, 31 July – 18 August 1985). <span lang="EN-ZA"></span></span></div>
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[9]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">The photograph was taken at the South African Mint in 1945 just before Calafato resigned. Interview: Mr T Sasseen, apprenticed and employed as die sinker at the SA Mint 1950 – 1974, Pretoria, 2010-06-02. </span></span></div>
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[10]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Juwelier maak nou medaljes, <i style="mso-bidi-font-style: normal;">Hoofstad</i>, 1982-10-27, p.6.</span></span></div>
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[11]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Testimonial issued by the South African Mint on 13 July 1945 upon Calafato’s resignation.</span></span></div>
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[12]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Interview: Mr T Sasseen, apprenticed and employed as die sinker at the SA Mint 1950 – 1974, Pretoria, 2010-06-02.</span></span></div>
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[13]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Interviews: Mrs. M. Powell, employed by Calafato, Pretoria, 2005-10-26, 2005-10-30 and 2005-12-06.</span></span></div>
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[14]</span></span></span> <span lang="EN-ZA" style="font-size: 10pt;">Interviews: Ms Z. and Mrs. V. Calafato (daughter and wife) as well as with Lorenzo Scribante (silversmith and life long colleague of Calafato), November 2000. These interviews were captured in F. van Staden , Joe Calafato: The story of a South African fine metal artist, <i style="mso-bidi-font-style: normal;">Reflections of Yesteryear</i> 2(3), 2001, pp. 13-17. Follow up interview: Ms Z. Calafato, Sunnyside, Pretoria, 2004-11-17.</span><span lang="EN-ZA" style="font-family: Arial, sans-serif; font-size: 10pt;"></span></div>
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[15]</span></span></span><span style="font-size: x-small;"> Interviews: Mr L. Scribante, silversmith, Pretoria, 2005-20-31 and 2005-11-09.<span lang="EN-ZA"></span></span></div>
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[16]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Interview: Mr S. Vorster, apprenticed under Calafato and worked for Metal Art Creations from 1947 to 1952, Plettenberg bay, 2007. </span></span></div>
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<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[17]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Interviews: Mr G. Xanthides, engraver and die sinker, Pretoria, 2004-11-16 and 2004-11-17. From 1947 he did a 4 year apprenticeship under Calafato. Thereafter he worked until 1953 in the Metal Art workshop.</span></span></div>
</div>
<div id="ftn18" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[18]</span></span></span><span lang="EN-ZA"><span style="font-size: x-small;">Interview: Mr S. Vorster, Plettenberg bay, 2007.</span></span></div>
</div>
<div id="ftn19" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[19]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Interview: Mr B. Taylor, worked in the early Metal Art workshop and again between 1970-1979 for Calafato, Pretoria, 2005-10-27. </span></span></div>
</div>
<div id="ftn20" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[20]</span></span></span><span style="font-size: x-small;"> Interview: Mr G. Blything, worked in the 1970’s for Calafato as a medal die sinker, Pretoria, 2005-07-08.<span lang="EN-ZA"></span></span></div>
</div>
<div id="ftn21" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[21]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Registrar of Companies, Certificate of Change of Name, 1968-10-29. Also, interview: Mr T. Sasseen, Pretoria, 2010 -06-02.</span></span></div>
</div>
<div id="ftn22" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[22]</span></span></span><span style="font-size: x-small;"> Interviews: Mr L. Scribante, Pretoria, 2005-20-31 and 2005-11-09.<span lang="EN-ZA"></span></span></div>
</div>
<div id="ftn23" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[23]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Interview: Mr T Sasseen, Pretoria, 2010-06-02</span></span></div>
</div>
<div id="ftn24" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[24]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Interviews: Mrs. M. Powell, Pretoria, 2005-10-26, 2005-10-30 and 2005-12-06. Also an approval note from the South African police to acquire gold ingots dated 2 August 1968 was sent to 232 Bloed street.</span></span></div>
</div>
<div id="ftn25" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[25]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Interviews: Mrs. M. Powell, Pretoria, 2005-10-26, 2005-10-30 and 2005-12-06. Also see the Van Staden collection.</span></span></div>
</div>
<div id="ftn26" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[26]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Juwelier maak nou medaljes, <i style="mso-bidi-font-style: normal;">Hoofstad</i>, 1982-10-27, p.6.</span></span></div>
</div>
<div id="ftn27" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[27]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Interviews: Mr J. Erasmus, co- owner of the Metal Art and Joe Calafato companies, Pretoria, 2005-06-05, 2005-07-05 and 2005-10-24.</span></span></div>
</div>
<div id="ftn28" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[28]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Interviews: Mr J. Erasmus, Pretoria, 2005-06-05, 2005-07-05 and 2005-10-24.</span></span></div>
</div>
<div id="ftn29" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[29]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Interviews: Mr G. Xanthides, Pretoria, 2004-11-16 and 2004-11-17.</span></span></div>
</div>
<div id="ftn30" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[30]</span></span></span><span style="font-size: x-small;"> Interviews: Mr L. Scribante, Pretoria, 2005-20-31 and 2005-11-09.<span lang="EN-ZA"></span></span></div>
</div>
<div id="ftn31" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[31]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">F. van Staden , Joe Calafato: The story of a South African fine metal artist, <i style="mso-bidi-font-style: normal;">Reflections of Yesteryear</i> 2(3), 2001, pp. 13-17. Follow up interview: Ms Z. Calafato, Pretoria, 2004-11-17.</span></span></div>
</div>
<div id="ftn32" style="mso-element: footnote;">
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[32]</span></span></span><span style="font-size: 10pt;"> </span><span lang="EN-ZA" style="font-size: 10pt;">Juwelier maak nou medaljes, <i style="mso-bidi-font-style: normal;">Hoofstad</i>, 1982-10-27, p.6.</span><span style="font-family: Arial, sans-serif; font-size: 11pt;"></span></div>
</div>
<div id="ftn33" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[33]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">A search by the national Registration Office back to 1943 yielded no information. </span></span><span lang="EN-ZA"><span style="font-size: x-small;">http://ipnewpto/zaptolemy/web/IP/trademark/tmapplication/list.aspx</span></span><span lang="EN-ZA"><span style="font-size: x-small;">, 2009-04-15.</span></span></div>
</div>
<div id="ftn34" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[34]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Interviews: Mrs. M. Powell, Pretoria, 2005-10-26, 2005-10-30 and 2005-12-06.</span></span></div>
</div>
<div id="ftn35" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[35]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Examples from the Van Staden collection.</span></span></div>
</div>
<div id="ftn36" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[36]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">J. Bace, <i style="mso-bidi-font-style: normal;">Collecting silver: The facts at your fingertips </i>(London, 2000), pp. 41& 43.</span></span></div>
</div>
<div id="ftn37" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[37]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Juwelier maak nou medaljes, <i style="mso-bidi-font-style: normal;">Hoofstad</i>, 1982-10-27, p.6.</span></span></div>
</div>
<div id="ftn38" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[38]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">F. van Staden , Joe Calafato: The story of a South African fine metal artist, <i style="mso-bidi-font-style: normal;">Reflections of Yesteryear</i> 2(3), 2001, pp. 13-17.</span></span></div>
</div>
<div id="ftn39" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[39]</span></span></span><span style="font-size: x-small;"> Interviews: Mr L. Scribante, Pretoria, 2005-20-31 and 2005-11-09.<span lang="EN-ZA"></span></span></div>
</div>
<div id="ftn40" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[40]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Testimonial issued by the South African Mint on 13 July 1945 upon Joe’s resignation.</span></span></div>
</div>
<div id="ftn41" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[41]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Interviews: Mr G. Xanthides, Pretoria, 2004-11-16 and 2004-11-17.</span></span></div>
</div>
<div id="ftn42" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[42]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Interview: Mr S. Vorster, Plettenberg bay, 2007.</span></span></div>
</div>
<div id="ftn43" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[43]</span></span></span><span style="font-size: x-small;"> Interviews: Ms Z. Calafato, Pretoria, 2004-11-17 and Mr L. Scribante, Pretoria, 2005-20-31 and 2005-11-09. Designs recorded in Calafato’s <span lang="EN-ZA"> sketch book.</span></span></div>
</div>
<div id="ftn44" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[44]</span></span></span><span style="font-size: x-small;"> Examples from the collections of Z. Calafato, S. Schultze I. Swart and F. van Staden. Combined, the collections hold more than 400 individual pieces of jewellery, as well as other artifacts produced by Joe Calafato. Also, <span lang="EN-ZA">interviews: Mr G. Xanthides, Pretoria, 2004-11-16 and 2004-11-17.</span></span></div>
</div>
<div id="ftn45" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[45]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Juwelier maak nou medaljes, <i style="mso-bidi-font-style: normal;">Hoofstad</i>, 1982-10-27, p.6.</span></span></div>
</div>
<div id="ftn46" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[46]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Only the advertisement pages are available. Though it does not have the name of the publication, an article on the reverse side of one of the advertisements points to 1975 as the year of publication.</span></span></div>
</div>
<div id="ftn47" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[47]</span></span></span><span style="font-size: x-small;"> Source: Photographs contained in Joe Calafato’s portfolio. </span></div>
</div>
<div id="ftn48" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[48]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">F. van Staden , Joe Calafato: The story of a South African fine metal artist, <i style="mso-bidi-font-style: normal;">Reflections of Yesteryear</i> 2(3), 2001, pp. 13-17.</span></span></div>
</div>
<div id="ftn49" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[49]</span></span></span><span style="font-size: x-small;"> Examples in the Calafato and Van Staden collections.</span></div>
</div>
<div id="ftn50" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[50]</span></span></span><span style="font-size: x-small;"> Examples in the Calafato and Van Staden collections.</span></div>
</div>
<div id="ftn51" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[51]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Interview: Ms Z. Calafato, Pretoria, 2004-11-17. </span></span></div>
</div>
<div id="ftn52" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[52]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Juwelier maak nou medaljes, <i style="mso-bidi-font-style: normal;">Hoofstad</i>, 1982-10-27, p.6.</span></span></div>
</div>
<div id="ftn53" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[53]</span></span></span><span style="font-size: x-small;"> H. V. Keshavjee, <i style="mso-bidi-font-style: normal;">The Aga Khan in Africa: His leadership and Inspiration, </i>(Durban, 1948), pp. 65 & 66.<span lang="EN-ZA"></span></span></div>
</div>
<div id="ftn54" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[54]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Juwelier maak nou medaljes, <i style="mso-bidi-font-style: normal;">Hoofstad</i>, 1982-10-27, p.6.</span></span></div>
</div>
<div id="ftn55" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[55]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Interview: Mr S. Vorster, Plettenberg Bay, 2007. Also, F. van Staden , Joe Calafato: The story of a South African fine metal artist, <i style="mso-bidi-font-style: normal;">Reflections of Yesteryear</i> 2(3), 2001, pp. 13-17.</span></span></div>
</div>
<div id="ftn56" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[56]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Juwelier maak nou medaljes, <i style="mso-bidi-font-style: normal;">Hoofstad</i>, 1982-10-27, p.6.</span></span></div>
</div>
<div id="ftn57" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[57]</span></span></span><span style="font-size: x-small;"> Interview: Ms Z. Calafato, Pretoria, 2004-11-17. Also, a<span lang="EN-ZA"> signed photo of Walt Disney containing a message of appreciation on file. </span></span></div>
</div>
<div id="ftn58" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[58]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">J Price, <i style="mso-bidi-font-style: normal;">Masterpieces of American jewelry</i>, (Philadelphia,2004), pp. 80.</span></span></div>
</div>
<div id="ftn59" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[59]</span></span></span><span style="font-size: x-small;"> Interviews: Mr L. Scribante, Pretoria, 2005-20-31 and 2005-11-09.<span lang="EN-ZA"></span></span></div>
</div>
<div id="ftn60" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[60]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Sean O’Toole, For Fook’s sake, <i style="mso-bidi-font-style: normal;">Sunday Times Lifestyle</i>, 2005-11-20, p. 10.</span></span></div>
</div>
<div id="ftn61" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[61]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">F. van Staden , Joe Calafato: The story of a South African fine metal artist, <i style="mso-bidi-font-style: normal;">Reflections of Yesteryear</i> 2(3), 2001, pp. 13-17. Also, </span></span><span lang="EN-ZA"><span style="font-size: x-small;">http://www.answers.com/topic/walter-batiss/</span></span><span lang="EN-ZA"><span style="font-size: x-small;">, 2009-08-04. Examples of the four coins in different alloys form part of the Van Staden collection. </span></span></div>
</div>
<div id="ftn62" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[62]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Drawings from Calafato’s sketch book, letter of appreciation from the city council of Springs (1982-07-14) , as well as a newspaper clipping photo of the mayor of Gaberone wearing his mayoral chain whilst accompanying Queen Elizabeth 11 on her state visit to Botswana in 1979. Also, Botswana – 1979 Royal Visit, </span></span><span lang="EN-ZA"><span style="font-size: x-small;">http://www.paws.dircon.co.uk/Bots7.htm</span></span><span lang="EN-ZA"><span style="font-size: x-small;">, 2009-07-13</span></span></div>
</div>
<div id="ftn63" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[63]</span></span></span><span style="font-size: x-small;"> Interviews: Mr L. Scribante, Pretoria, 2005-20-31 and 2005-11-09. Also two photo’s of the globe are contained in the Calafato portfolio.<span lang="EN-ZA"></span></span></div>
</div>
<div id="ftn64" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[64]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Interview: Mr S Vorster, Plettenberg bay, 2007.</span></span></div>
</div>
<div id="ftn65" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[65]</span></span></span><span style="font-size: x-small;"> Interviews: Mr L. Scribante, Pretoria, 2005-20-31 and 2005-11-09 and<span lang="EN-ZA"> Mrs. M Powell, Pretoria, 2005-10-26, 2005-10-30 and 2005-12-06.</span></span></div>
</div>
<div id="ftn66" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[66]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Interviews: Mr G. Xanthides, Pretoria, 2004-11-16 and 2004-11-17.</span></span></div>
</div>
<div id="ftn67" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[67]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Interviews: Mr G. Xanthides, Pretoria, 2004-11-16 and 2004-11-17.</span></span></div>
</div>
<div id="ftn68" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[68]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Interviews: Ms Z. Calafato, Pretoria, 2004-11-17 and Mr L. Scribante, Pretoria, 2005-10-31 and 2005-11-09. Also jewellery magazines filed in Calafato’s portfolio. </span></span></div>
</div>
<div id="ftn69" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[69]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Interviews: Mr B Hartland, employed by Joe from1979 to 1981, Pretoria, 2005-10-26 and </span>Mr L. Scribante, Pretoria, 2005-20-31 and 2005-11-09.<span lang="EN-ZA"></span></span></div>
</div>
<div id="ftn70" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt;">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[70]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">C. Truman (ed.), <i style="mso-bidi-font-style: normal;">Sotheby’s concise encyclopedia of silver </i>(London, 1999), pp. 150-152.</span></span></div>
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<div id="ftn71" style="mso-element: footnote;">
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[71]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Jewelry history and historic jewelry information, http//:www.gobjewelry.com/jewelryhistory.html, 2009-08-14.</span></span></div>
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<div id="ftn72" style="mso-element: footnote;">
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[72]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">C. Truman (ed.), <i style="mso-bidi-font-style: normal;">Sotheby’s concise encyclopedia of silver</i>, pp. 164.</span></span></div>
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<div id="ftn73" style="mso-element: footnote;">
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[73]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Examples in the Calafato, Swart, Schultze and Van Staden collections. </span>Also, the designs recorded in Calafato’s <span lang="EN-ZA"> sketch book.</span></span></div>
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<div id="ftn74" style="mso-element: footnote;">
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[74]</span></span></span><span style="font-size: x-small;"> Retro moderne designer notes, </span><span lang="EN-ZA"><span style="font-size: x-small;">http://www.emcity.com/refretro.htm</span></span><span lang="EN-ZA"><span style="font-size: x-small;">, 2009-08-14.</span></span></div>
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<div id="ftn75" style="mso-element: footnote;">
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[75]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Examples in the Calafato, Swart,Schultze and Van Staden collections. </span>Also, the designs recorded in Calafato’s <span lang="EN-ZA"> sketch book.</span></span></div>
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<div id="ftn76" style="mso-element: footnote;">
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[76]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">J. Bace, <i style="mso-bidi-font-style: normal;">Collecting silver: The facts at your fingertips </i>(London, 2000), p. 86.</span></span></div>
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<div id="ftn77" style="mso-element: footnote;">
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[77]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">History of wire crafted jewelry, </span></span><span lang="EN-ZA"><span style="font-size: x-small;">http://www.witswires.com/page/1079975</span></span><span lang="EN-ZA"><span style="font-size: x-small;">, 2009-08-14. </span></span></div>
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<div id="ftn78" style="mso-element: footnote;">
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[78]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">J. Price, <i style="mso-bidi-font-style: normal;">Masterpieces of American jewelry</i>, pp. 80, 89-92.</span></span></div>
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<div id="ftn79" style="mso-element: footnote;">
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[79]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Examples in the Calafato, Swart, Schultze and Van Staden collections.</span></span></div>
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<div id="ftn80" style="mso-element: footnote;">
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[80]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">C. Truman (ed.), <i style="mso-bidi-font-style: normal;">Sotheby’s concise encyclopedia of silver</i>, pp. 182-183. </span></span></div>
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<div id="ftn81" style="mso-element: footnote;">
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[81]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Examples in the Calafato, Swart, Schultze and Van Staden collections.</span></span></div>
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<div id="ftn82" style="mso-element: footnote;">
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[82]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Comparing outputs before 1972 in the Calafato, Swart, Schultze and Van Staden collections to the outputs after 1972.</span></span></div>
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[83]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Source: Photographs from Calafato’s personal files.</span></span></div>
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[84]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">E. Berman, Art and Artists of South Africa. </span></span><span lang="EN-ZA"><span style="font-size: x-small;">http://www.johansborman.co.za/artist</span></span><span lang="EN-ZA"><span style="font-size: x-small;"> biographies/batiss-walter, 2010/06/07</span></span></div>
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[85]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Examples in the Calafato, Swart, Schultze and Van Staden collections. </span>Also, the designs recorded in Calafato’s <span lang="EN-ZA"> sketch book.</span></span></div>
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<div id="ftn86" style="mso-element: footnote;">
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[86]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Interviews: Mr G. Xanthides, Pretoria, 2004-11-16 and 2004-11-17.</span></span></div>
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[87]</span></span></span><span style="font-size: x-small;"> Interview: Mr G. Blything, Pretoria, 2005-07-08. <span lang="EN-ZA"></span></span></div>
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[88]</span></span></span><span style="font-size: x-small;"> Interviews: Mr L. Scribante, Pretoria, 2005-20-31 and 2005-11-09.<span lang="EN-ZA"></span></span></div>
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[89]</span></span></span><span style="font-size: x-small;"><span lang="EN-ZA">Interviews: Ms Z. Calafato, Pretoria, 2004-11-17</span><span lang="EN-ZA"> </span>and<span lang="EN-ZA"> Mrs. M. Powell, Pretoria, 2005-10-26, 2005-10-30 and 2005-12-06.</span></span></div>
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[90]</span></span></span><span style="font-size: x-small;"> <span lang="EN-ZA">Juwelier maak nou medaljes, <i style="mso-bidi-font-style: normal;">Hoofstad</i>, 1982-10-27, p.6. Also, photo’s of the medals are contained in the Calafato portfolio.</span></span></div>
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<div id="ftn91" style="mso-element: footnote;">
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[91]</span></span></span><span style="font-size: x-small;"> Interviews: Mr L. Scribante, Pretoria, 2005-20-31 and 2005-11-09. Also, E. Frey, <i style="mso-bidi-font-style: normal;">Erich Frey 25 years</i>, p.2.<span lang="EN-ZA"></span></span></div>
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<div id="ftn92" style="mso-element: footnote;">
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<sup><span style="font-size: 10pt;"><sup><span style="font-family: 'Times New Roman', serif; font-size: 10pt;">[92]</span></sup></span></sup><span style="font-size: 10pt;">Only over the past 5 years the market prices of his jewellery have doubled in price, when comparing acquisition receipts of the Schultze, Swart and Van Staden collections.</span></div>
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[93]</span></span></span><span style="font-size: x-small;"> eBay bid history for South African Silver Plated Elephant Pin (item#74460923), </span><span lang="EN-ZA"><span style="font-size: x-small;">http://cgi3.ebay.com/aw-cgi/eBayISAPI.dll?ViewBids&item=74460923</span></span><span lang="EN-ZA"><span style="font-size: x-small;">, 1999-03-15.</span></span></div>
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<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 10pt;">[94]</span></span></span><span style="font-size: x-small;"><a href="http://www.blogger.com/goog_990832957"> </a><span lang="EN-ZA">Prices were averaged by comparing products available from Paisley’s (Pretoria), Things of Old (Johannesburg), the Antique Shop (Cape Town), the collectibles faire at the Voortrekker Monument (Pretoria) on 16 June 2009 along with the National Antiques and Decorative Arts Faire, Sandton Convention Centre, 24-26 July 2009.</span></span></div>
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</div>Fredhttp://www.blogger.com/profile/08076362684798612013noreply@blogger.com15