For some of my new necklaces various chain lengths are available as each woman has a unique physique and her own preferences. In this short Blog post I will explain and show how each length differs so that you are able to make the right choice.

For all other one-off or limited edition necklaces, please see the individual item page which usually includes a model photograph to illustrate the length.

Available Chain lengths:

The photograph below shows the following available lengths (which include the clasp):

• 16’’ (40 cm) – this is a short necklace for slender necks, which sits just above the collarbone

• 18’’ (45 cm) – this necklace sits a little lower, just dangling over the neckline of a normal T-shirt

• 20’’ (50 cm) – this length comfortably dangles over a T-shirt.

This is a more ‘traditional’ blog, in which I’ll share some of my recent activities and news.

Next week, from 10-12th March 2023, I will be taking part in the Craft Festival at Cheltenham Town Hall. It will be my first time there and I am really looking forward to it. I have been busy making some new pieces and have worked a lot on my display, which I have been wanting to change for some time. Difficult to summarise, but probably best if I share photos of my stand when I am in Cheltenham.

On Thursday, 2nd March at 2pm I will also be chatting to Sarah James, Director of the Craft Festival, live on Instagram. To watch, log onto the Craft Festival page on Instagram at 2pm tomorrow.

In case you are near Cheltenham and would like to visit the next week, here are a few details and links:

Dates:

10-12th March 2023

Venue:

Cheltenham Town Hall, Cheltenham, GL50 1QA

Stand: 21

Opening times:

10-5pm Friday & Saturday

10-4pm Sunday

Tickets:

You can purchase tickets in advance by clicking this link. I also still have one free ticket to give away. To find out how to have a chance to win, please see my Instagram post of 28th February – it is super easy to enter.

Activities:

There will be lots on offer this weekend, including workshops, craft demonstrations, talks and activities for the whole family and children in particular. There will be a café on site and of course around 100 fantastic makers and their work. Click here for further details.

Exhibitors:

For a preview of all the 100 exhibitors, click here.

Below are some of the new pieces I shall be taking to the Craft Festival. There are not yet on the website but hopefully soon.

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Other making news:

Teaching: In January a new teaching term started and the focus of my demonstrations this term is tool making – mainly how to make your own steel stamps or chasing tools and how to prepare a graver for engraving. I love teaching and enjoy the feedback from my students and the opportunity to learn myself.

For more information on the course I teach at Rachel Jeffrey Jewellery School, please click here. Rachel recently appeared as one of the mentors on the BBC1 programme Make it at Market (episodes 8 & 14). To watch please click this link here.

New Ideas: In the last few weeks my daughter and I have been watching many episodes on ancient Egypt and we are both fascinated by it. We went to the British Museum and saw the wonderful Hieroglyphs Exhibition as well as the Egyptian galleries. Needless to say, we bought various books and I am working on ideas for a new collection based on this. Below some of my favourites. The image on the far left stands out. It is a work-in-progress, still showing the lines drawn for the artist who was carving the symbols. An amazing communication across time!

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Goldsmiths’ Fair: Influenced by the above, I made a new brooch as part of my application for Goldsmiths’ Fair in the autumn and we shall see if I am lucky this year.

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Commissions: I have also been working on a number of commissions over the last few months and was very pleased with the results. It was lovely working through the ideas with the respective clients, to arrive at pieces which will hopefully give them joy for years to come.

Left to right: The first was an engagement ring in 18ct white and yellow SMO gold with two Canada Mark diamonds and a Fair Trade emerald. The second is a pair of 18ct yellow SMO gold earrings and the third a cuff in textured and recycled silver: Here are some images:

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Environmental: My daughter’s school organised a litter pick last Saturday. It was amazing to see that so many families turned up and in just 1 ½ hours we collected 62 plastic bags of rubbish and recycling just from the local area! Though it was sad to see just how much and what people feel free to discard – it was also uplifting to hear all the positive and encouraging comments of passers-by.

For now, there is still plenty to organise for next week’s show. If you do come by, do say hello – I will be at Stand 21.

Take care,

Hendrike

I was invited by the Crafts Council to take part in a round-table discussion on the subject of environmental sustainability in the precious metal sector. I was very excited to have been invited and the meeting took place last week, 25th January 2023 in Birmingham at the STEAMhouse.

Image Credit: Jade Mellor

Participants:

• Caroline Jackman, Head of Craft Business Skills at Crafts Council; Chair of the Meeting

• Toby Cotterill, independent designer/maker,

• Hendrike Barz-Meltzer, independent designer/maker

• Rebecca Skeels, independent designer/ and senior lecturer at Birmingham University

• Jade Mellor, independent designer/maker and manager at Gill Wing Gallery, London

• Eliza Higginbottom of Yunus and Eliza, independent designer/maker

• Rebecca van Rooijen, Co-founder and Editor of Benchpeg,

• Fran Onumah, independent designer /maker

• Paul Wells, independent designer / maker and lecturer

• Chris Corti, metallurgist and gold expert

• Greg Valerio MBE, Social & Ecopreneur, Author, Speaker, Ethical Jeweller

• Sonny Bailey-Aird, independent designer / maker

• Jonathan Stokes, Bishopsland Educational Trust

The meeting had been organised as a direct result of the annual Crafts Council Maker Needs Survey (2021), in which 85% of makers expressed the wish for further guidance on being more environmentally sustainable in their business, with “a majority of respondents indicating environmental considerations are important to them.”

As such, various round table discussions were organised, each centring on a different discipline and these were to be held in 2022/23 with the results to be published in the spring of 2023.

For our meeting, Caroline had invited professionals with diverse areas of expertise in the precious metal industry to ensure a rich discussion and outcome. She had also circulated a number of questions to be discussed prior to the meeting.

These covered: our understanding of being ethical; what we were already doing in our business; the barriers in our way as well as our motivations for adopting an ethical stance in our work; how much we are influenced in our ethical approach by our customers; our vision for a more ethical future in our work as well as our needs to achieve said vision.

With some participants more knowledgeable in the field of sustainable and ethical practice than others, the round nevertheless provided a positive atmosphere of equality that allowed for the frank exchange of views and thoughts.

Whilst many issues were discussed, my personal favourite comments were:

• Making the precious metal industries sustainable and ethical requires leadership.

• This leadership should ideally come from industry and established institutions but in their absence, it is down to everyone to make a difference.

• For this we need a clear set of values, encompassing, for example, equality, justice and a priority of the poor and environment over resources.

• We not only need leadership, but also funding to enable change to take place; for research to be undertaken, these kind of talks to take place, etc.

• We need existing organisations, institutions and individuals, who have already done pioneering work in this field, to cooperate, to share their findings and make them easily accessible to all in the field.

• The biggest players in the industry, such as the Goldsmiths’ Company, need to become leaders in the field of ethical jewellery, but for that to happen it needs to become more open to change and to an increased inclusion of women.

I look forward to reading the summaries and findings of these discussions and am excited about what changes it may lead to in the future.

Hendrike

I think many people agree that the end of the year is always a time to reflect on the past months and to make plans for the coming year. As a mother, teacher and independent business life is always busy, it never stops and it is easy to forget or only focus on the things that were difficult or didn’t go to plan.

So, as part of this review I wanted to use this last Blog of the year to go over the things that I am particularly proud of having achieved this year!

And of course, I wanted to take this opportunity to thank you for your support this year - for reading my blogs, liking my posts and for purchasing my pieces! I wish you all well for the coming year: happiness, health and peace!

Blog

My monthly Blog was one of my biggest projects this year and one I am immensely proud of – proud because I actually did them! It wasn’t always easy to stick to my deadlines but I really enjoyed the research, writing and the opportunity to learn.

I wrote on a variety of subjects: some blogs were connected to my collection (e.g. Blogs 2 & 6), whilst others were more technical (e.g. Blogs 7-11). The technical blogs were definitely the more challenging and were written so as to expand my own knowledge on these subjects and of course to deepen my understanding on the environmental aspects. This often involved a sharp learning curve (thank you internet!), especially on anything related to chemistry – definitely not one of my favourite subjects at school.

I like to continue the blogs and look forward to seeing how they will evolve.

ACJ Meanings and Messages

The Association for Contemporary Jewellery (ACJ) celebrated its 25th anniversary this year and as part of these celebrations it had planned a touring exhibition with the title Meanings and Messages. The Association invited members to submit entries – brooches – with this title in mind. I was very fortunate that my entry, Elpis Brooch, was one those selected. When visiting the private view at its first venue I was overwhelmed by the imagination and breadth of interpretation of all the entries. I wrote a separate Blog about this exhibition which you can read here.

This show is still ongoing and will travel next to the Goldsmiths’ Centre in London where it will be shown from 9th January – 24th February 2023. The last venue will be at New Brewery Arts – 4 April – 18 June 2023.

Current Collection Interrupted Patterns

The above brooch was the starting point for my current collection, Interrupted Patterns, which I launched at the Craft Festival at Bovey Tracey in June, where it was very well received. The collection had started with reading Greek mythology, a visit to the ancient Greek collection at the British Museum and focussing on the use of patterns on these artefacts. Writing about it in my Blogs helped immensely to focus my thinking and I loved being able to share the background and design process of these pieces.

Craft Festival Bovey Tracey

The Craft Festival at Bovey Tracey is a well-established craft fair and it was my first time exhibiting my work there in June this year. Following the pandemic, it was also my first in-person show again and it was wonderful being able to re-connect directly with customers and fellow makers. I was really impressed with the organisation and quality of the show and look forward to being there again next year!

Teaching

During 2022 I have continued to teach a variety of classes at the jewellery school of Rachel Jeffrey in Wheathampstead. In my regular day-time classes I ran a term-long project on Found Materials and Cold Connections. This was a wonderful opportunity for my students (new and more experienced ones) to look at their various old - and often broken - pieces of jewellery and to re-design them or re-use some of their elements. In doing so, we looked at the many ways different materials can be joined without using heat.

In another term we focussed on learning various techniques of making chain – again, a very interesting course and very much enriched by the input of all the students. I also taught a number of one-day taster courses, as well as some weekend-long intensive courses, such as my Keum-Boo course.

Being a teacher challenges my conceptions of what I know and my aim is always to make students feel comfortable and enable them to further their knowledge. If you would like to take part in any of my classes, please get in touch with myself or with Rachel Jeffrey.

Commissions

During the latter part of the year it was lovely to receive a number of interesting commissions and it was wonderful being able to closely involve the clients in the design process.

If you would like to commission a piece, please do get in touch. I would love to hear your thoughts and ideas and how we could explore them further together.

ACJ magazine Findings

In early December I was happily surprised to receive my copy of the ACJ magazine Findings and to find that some of my Kumihimo work was featured there. Kumihimo is an ancient Japanese silk braiding technique, originally used to make traditional Obi (belts) for Japanese kimono. I used this technique to create patterned silk braids and used them in various necklaces and brooches. Click here to find out more about this technique.

The focus of the Findings magazine was on textile techniques used by a variety of jewellery makers in their work. Thank you ACJ for including me!

Find a Maker and Made by Hand Online

Earlier in the year I applied to be included in these two online craft platforms and was very pleased to have been accepted. Both platforms represent and further the interests of selected makers. You can click to see me pages by clicking these links: Find a Maker and MadeByHandOnline

Next Year: 2023

Plans for next year are already well underway and I have accepted show offers on three exhibitions. The first two will be the Craft Festival at Cheltenham Town Hall from 10-12 March 2023 and the Craft Festival at Bovey Tracey, Devon from 9-11 June 2023. The Craft Festival in Cheltenham will be a new fair for me and I am looking forward to meeting new clients there.  As mentioned above, I greatly enjoyed the Craft Festival at Bovey Tracey earlier in the year and look forward to being there again next year.

As I have not done any fairs in London since March 2019, I am also extremely excited to be taking part again in a Central London Fair in November next year. I can’t share any details just yet, but they will follow in due course!

This is the second part of my Blog on the removal of tarnish from silver jewellery. Please click here to read the first part (Number 10)

In the previous part (1) I gave a brief overview of the element silver, what tarnish is and how it occurs and I looked at two methods of removing tarnish: by using an impregnated polishing cloth and by using a chemical solution, or silver dip.

In this second part I will be looking at two further methods. The first one is an interesting process that can be done easily at home with baking soda/washing soda, hot water and aluminium foil and various recipes can be found online.

Electrochemical process (Sodium Bi/Carbonate and Aluminium Foil)

In this process, a ceramic bowl is lined with aluminium foil and a solution of baking soda (sodium bicarbonate) or washing soda (sodium carbonate) and hot water, into which the tarnished piece is submerged. I did experiments with both sodium bicarbonate and sodium carbonate and did experiments to find out for well both works.

“The process is electrochemical, with the carbonate solution acting as the electrolyte. As long as contact is maintained between the two metals, the aluminium corrodes and hydrogen gas is produced. This gas then reacts with the tarnish, reducing it back to the silver metal.”[1]

The object of my experiments was to find how I could remove tarnish from textured surfaces, pieces with a satin finish and those with Keum-Boo patterns.

I tarnished a few silver test pieces with the boiled egg method[2]. All silver pieces had a deep, dark-brown tarnished surface. These pieces were also textured, some lightly, some more heavily and some also had 24ct gold Keum-Boo gold patterns.

I lined a ceramic bowl with aluminium foil, added circa 300ml hot water and then a table spoon of sodium bicarbonate / sodium carbonate. I placed the tarnished pieces into the solution and left it for 10 minutes. After this period I lifted the piece out and rinsed it with ionised water.

One can see a brownish rim on the aluminium foil in the bowl which is the removed tarnish.

Baking Soda (Sodium Bicarbonate)

This solution worked well for lightly tarnished surfaces, but it struggled with tarnished pieces that had a deeper brown colour. Even after repeating the process with fresh solution was the tarnish not completely removed.

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Washing Soda (Sodium Carbonate)

In the experiment using sodium carbonate I used three pieces I had used in previous tarnish removal experiments as well as one ‘new’ one. All pieces were tarnished with the boiled egg method (see footnote 2) and had a deep brownish-black colour. They were left in the sodium carbonate solution for 10 minutes. After this period most of the tarnish was removed from the ‘new’ piece, whilst the other three still showed quite a bit tarnish.

In summary, this process works well for lightly tarnished pieces, or as a first step of removing some tarnish, to then be followed up by a second method.

Washing soda (sodium carbonate) is a substance that occurs naturally and its safety data sheet classes it as not dangerous for the environment, indeed it is often used as an eco-friendly cleaning agent in the home. Despite this, care must be taken when using it as it can be an irritant for hands and eyes.

Baking soda (sodium bicarbonate) works similarly to washing soda and it is also considered a very safe, biodegradable and eco-friendly cleaning agent.

Other Methods: Precipitated Calcium Carbonate

When researching this subject I came across various documents online published by the Canadian Conservation Institute (CCI). These dealt with different processes of removing tarnish from museum objects and were very thoroughly researched papers and very valuable for this blog.

These papers explained in detail the various aspect on how tarnish occurs, how it can be prevented and how it can be removed.[3]

In relation to removing tarnish it also mentioned another method which falls into the first category of using mechanical action. The substance used here is precipitated calcium carbonate – super-fine chalk (CaCO3).

The article explained, amongst other things, that silver sulphide (tarnish) is a somewhat softer than the actual silver and that calcium carbonate is slightly harder than silver. This make it an ideal and still very gently abrasive to use to remove tarnish.

What is Precipitated Calcium Carbonate (PCC)?

Calcium carbonate (chalk) is a naturally occurring substance. “It is a form of limestone composed of the mineral calcite and originally formed deep under the sea by the compression of microscopic plankton that had settled to the sea floor.”[4]

“Precipitated calcium carbonate (PCC) is an innovative product derived from lime, which has many industrial applications.  PCC is made by hydrating high-calcium quicklime and then reacting the resulting slurry, or ‘milk-of-lime’, with carbon dioxide.  The resulting product is extremely white and typically has a uniform narrow particle size distribution.  PCC is available in numerous crystal morphologies and sizes, which can be tailored to optimize performance in a specific application.”[5]

Is PCC eco-friendly?

The Safety Data Sheet by Thermo Fisher Scientific, one of the companies selling this product, states that PCC does not pose any health or environmental hazards.

As the chalk is a very fine powder care should be taken not to inhale the dust, but as it is mixed with water this risk is somewhat reduced. Rubber gloves should be worn when using it as the powder is abrasive on the skin.

How is it used?

PCC is mixed with tap water to make a paste and is then rubbed over the tarnished surface with a soft cloth.

The substance will turn greyish and it should then be rinsed off with clean tap water. Afterwards the piece should be thoroughly dried.

Results:

I made a paste as described above and used it on some of the above-mentioned tarnished pieces on which the sodium bicarbonate/carbonate and aluminium solution did not fully remove the tarnish.

The calcium carbonate worked very well on all the test pieces. It removed the tarnish completely. The pieces became slightly shinier after the treatment but the surface felt whiter - in comparison to using a polishing cloth.

None of the methods used above were able to retain a previous matte surface finish on the piece.

I contacted the CCI to find out about any specific methods of removing tarnish from matte surfaces. They replied saying that they had no methods of removing tarnish and preserving the matte original surface finish of a piece.

Conclusion:

Removing tarnish from silver can be done in various ways. In terms of their environmental impact or hazardous nature, the most hazardous is the silver dip.

Using a polishing cloth, sodium bi/carbonate and calcium carbonate are low impact methods of removing tarnish, however they may differ in their effectiveness.

Lightly tarnished objects can be cleaned by using polishing cloths or the sodium bi/carbonate, aluminium foil method. For more stubborn tarnish precipitated chalk is a good way of removing tarnish.

I have not found a method of removing tarnish from matte surfaces whilst preserving the matte finish. The matte surface finish would have to be re-applied after tarnish removal. For the customer, those pieces of jewellery should best be given to a jeweller who can restore the previously matte surface finish.

I hope you have found these two blogs interesting. Do let me know if you have any comments.

[1] (Silver – Care and Tarnish Removal – Canadian Conservation Institute (CCI), Notes 9/7, (2019) https://www.canada.ca/en/conservation-institute/services/conservation-preservation-publications/canadian-conservation-institute-notes.html )

[2] As hard-boiled eggs contain and release hydrogen sulphide, they can be used to tarnish objects quickly. Though it is less predictable, it is an eco-friendly way to darken pieces of jewellery. All pieces developed a speckled brown hue which may have been due to the condensation of water inside the closed box.

[3] See footnote 1 above.

[4] Wikipedia: https://en.wikipedia.org/wiki/Chalk

[5] https://www.lime.org/lime-basics/uses-of-lime/other-uses-of-lime/precipitated-calcium-carbonate/