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COUP de COEUR ! Tamsin Leighton-Boyce

Tamsin Leighton-Boyce  is an artist jeweller who uses reclaimed and recycled objects and materials to create one-off pieces of jewellery. She has a passion for working in metals and a belief in the power of art and craft skills to empower people. Tamsin has worked and exhibited in Britain and Internationally; in 2009 she graduated from the School of Jewellery in Birmingham with an MA in Jewellery Silversmithing and Related Products. She currently divides her time between making, exhibiting and working as jewellery technician/tutor in Oxford.

COUP de COEUR ! Tamsin Leighton-Boyce  dans COUP DE COEUR 174853_169045213141884_4932132_n

Tamsin Leighton-Boyce « large blue orange »

« ‘Fragments Make the Whole
My current work is created from fragments of observation and perception of my environment. I record images during my daily journeys around the city streets of Oxford. Ornamentation and wealth is combined with alternative encounters in the city: graffiti, road kill, rubbish and road markings.
My jewellery consists of these images, which have been cut from old steel cans and fused together. In turn these whole pieces become fragments of new images, reminiscent of ornamental ironwork or Baroque art.
Utilising recycled materials is important to my work on a symbolic, environmental and aesthetic level. Discarded materials and images of overlooked objects are resurrected and given a new role within a piece of jewellery. By incorporating labour intensive techniques such as enamelling and using hand-made tools, I add symbolic value to both image and material.  »

 dans email / enamel
Tamsin Leighton-BoyceBrooch 5 Fragments Make The Whole Series 2009

she is part of the group « Life is a bench » : We are a group of jewellery designers and artists who started exhibiting together after graduating from Birmingham School of Jewellery with our Masters in 2009. The International Trade Fair in Munich, Germany in March is our annual occasion for a group show, to present new work to each other and to all of you.


EXPO ‘Fused -contemporary enamel’ – Flow Gallery, London (UK) – 9 Mars-28 Mai 2011

 Fused -contemporary enamel

This show, curated by Melissa Rigby, the Chairman of the British Society of Enamellers, aims to challenge the pre-conceived ideas attached to enamel by questioning technique, process and aesthetic and to explore contemporary artist’s voices within this ancient medium.

Enamelling, the art of fusing glass onto metal with heat, is one of the most ancient and durable means of adding colour to metal. Fused brings together artists who use the traditional enamelling technique in new and exciting ways, creating a fresh visual language for this process. Their application of enamel gives an arresting beauty and unique patina to a diverse group of objects, panels and jewellery.


Artists (for jewelry):
Carola Bauer, Stacey Bentley , Bettina Dittlmann, Lydia Feast, Kirsten Haydon, Hiroki Iwata, Karin Johansson, Kye-Yeon Son

Bettina Dittlmann
Bettina Dittlmann

Bettina Dittlmann is inspired by historical jewellery, ranging from mourning Victorian jewellery to American Indian pieces. Dittlmann studies the historic forms and content, which later influence her own work. Drawing is an important part of Bettina Dittlmann’s life, often a starting point for a piece of jewellery.

Carola Bauer
 Carola Bauer

Carola Bauer captures incidental gestures in her jewellery; the cinema ticket in a coat pocket, twisted to a paper roll or the accordion-folded slip of paper. Bauer hopes to remind the observer of gestures. The surprises that she experiences in the search of forms also happen during the handling and use of enamel colours.

Stacey Bentley

Stacey Bentley

Stacey Bentley is inspired by urban scenery. Becoming increasingly attentive to the unexpected and unnoticed components of this industrial environment allows Bentley to discover an elegant and mysterious aesthetic. The jewellery explores the new possibilities and ideas that industrial liquid enamel can bring to contemporary jewellery.

Karin Johansson
Karin Johansson

Karin Johansson’s work is a treasure hunt among things and stray thoughts that arise and are discarded and then meet again. Out of this process grows something enduring. “I collect, small things that fit in my matchboxes: actual pieces or abstract images caught in flight.”

Kirsten Haydon
Kirsten Haydon

Jewellery is a personal and sentimental medium. Historically, objects were created in the form of miniature representations of landscapes and icons that reminded people of their journeys and experiences. Kirsten Haydon travelled to Antarctica as an Arts Fellow. Since that time she has been exploring the depiction of this landscape, its remoteness and simplicity of landscape. “The sparseness of the landscape allowed me to focus on the man-made objects within it.”

Lydia Feast
Lydia Feast

Lydia Feast explores the concept of contrasting elements. Echoing references to time and nature whilst combining a modern clean aesthetic, this collection ‘Chaos &Calm’ brings together contrasting elements illustrating a harmony between chaos and calm, new and old and silence and noise. Inspired by her research into chaos theory: “the underlining order in some of nature’s most random processes”. Each piece is unique as a result of the carefully controlled but ultimately random outcome.

Kye-Yeon Son
Kye-Yeon Son

Kye-Yeon Son explores positive and negative spaces through her branch structures. Her work symbolizes the human cycle of growth, death, and renewal. They seem to capture intangible emotions, spirits or memories.

Hiroki Iwata
Hiroki Iwata

Hiroki Iwata takes inspiration from nature around him describing it as « an irreplaceable treasure ». His brooches made of silver, enamel and aluminium foil reflect his aim to produce feelings of empathy with the motifs of the natural world in the viewer.



Flow Gallery
Yvonna Demczynska
1-5 Needham Road    London   W11 2RP   UK
Tel: +44 (0)20 7243 0782


Image de prévisualisation YouTube


Innovation in ENAMEL jewelry – Research project by Jessica Turrell

The Innovation in Enamel Jewellery database is one of the outcomes of the Arts and Humanities Research Council (AHRC)  funded three-year fellowship Innovation in Vitreous Enamel Surfaces for Jewellery.

As part of the research project extensive research was undertaken to identify a group of internationally prominent contemporary jewellers whose practice demonstrates an open and innovative approach to the use of enamel. When complete the database will feature images and supporting information on the work of approximately 30 artists. The aim of the database is to highlight the potential of enamel as an expressive and contemporary medium as well as serving as an important research tool.

The database, which is fully searchable, focuses exclusively on enamel jewellery and complements the existing archive ICVEA (International Contemporary Vitreous Enamel Archive) that is also hosted by the University of the West of England and which includes a broad range of contemporary enamel work.

Currently the database features the work of the following artists:
Carola Bauer – Germany
Jamie Bennett – USA
Stacey Bentley – UK
Patrizia Bonati – Italy
Stephen Bottomley – UK
Jessica Calderwood – USA
Lydia Feast – UK
Mirjam Hiller – Germany
Ike Junger – Germany
Kaori Juzu – Denmark
Ann Little – UK
Lianna Pattihis – UK
Jacqueline Ryan – Italy
Isabell Schaupp – Germany
Vera Siemund – The Netherlands
Marjorie Simon – USA
Elizabeth Turrell – UK
Jessica Turrell – UK
Annamaria Zanella – Italy
The following artist will be added in early autumn 2010:
Jennaca Davies – USA
Carolina Gimeno – Spain
Christine Graf – Germany
Sangeun Kim – UK
Natalia Pinchuck – USA
Barbara Seidenath – USA

Electroformed and enamelled pendants
 Jessica Turrell



 Innovation in Vitreous Enamel Surfaces in Jewellery

(UWE – University of the West England – Bristol – AHRC (Arts and Humanities Research Council) Vitreous Enamel Research Project)

Awarding body: Arts and Humanities Research Council
Awarded to: Jessica Turrell
Project duration: 1.09.2007 – 31.08.2010

The research project is based on the premise that there is huge and largely unexplored potential for innovation within the field of enamelled jewellery. By taking both a practice-led and theoretical approach the aim of the project has been to identify factors that might hinder innovation and present a series of alternative approaches that encourage a more experimental and open-minded approach to enamel.

Research Context
The practical aspects of the research project were underpinned by theoretical and contextual research into the place of enamel in contemporary jewellery practice. This included a wide-ranging visual and literature survey. Web-based research combined with a series of visits to individual practitioners in the USA and Europe as well as to significant exhibitions and collections in Europe, the UK and USA, provided a broad overview of current enamel jewellery practice. This contextual research led to the identification of a number of contemporary jewellers for whom enamel forms a significant part of their practice. A methodology was developed by which the output of these jewellers was analyzed and then allocated to one of three distinct categories. These were as follows:

Skilled (fine) – broadly work that concentrates on traditional enamelling techniques to create work for a mainstream or commercial market.

New – where the work itself engages with contemporary ideas but where enamel is used simply to add a paint-like layer of colour to the surface of the piece using only basic techniques.

Innovative – where the two practices overlap and the artist is able to demonstrate both a k

A selected group of individuals, identified through this process as falling into the Innovative category, were then invited to submit images and supporting written material to the new Innovation in Vitreous Enamel Surfaces in Jewellery database that operates alongside (and is complimentary to) the existing International Contemporary Vitreous Enamel Archive (ICVEA) currently held by the Enamel Research Unit at the University of the West of England, Bristol.

Link to Innovation in Enamel Jewellery database

The contextual and theoretical aspects of the project are examined in depth in an article for Craft Research entitled Surface and Substance – a call for the fusion of skill and ideas in contemporary enamel jewellery.
The article is available online at the following site: craft research journal online

Discussion Forum
A variety of approaches have been taken in order to stimulate debate and comment regarding the place of enamel in contemporary jewellery practice. The first of these was a discussion forum entitled ‘Innovation in Enamel’ which has involved a number of internationally prominent enamel artists all of whom demonstrate a non-traditional approach to their enamel practice. The central aim of this forum has been to highlight the potential of enamel as an innovative medium and to stimulate debate about the aesthetic, conceptual and practical considerations that govern the use of enamel in contemporary jewellery practice. The forum has operated as a members’ only project, meaning that the site can only be accessed by registered members and they alone are able to view the content and submit comment. The rational for this was to encourage those involved to freely discuss their ideas without the constraints of operating within a public arena.

Selected extracts and a summary of the discussions threads can be accessed here.

In addition to the forum site, Jessica has initiated a discussion strand -‘Surface and substance: the place of enamel in contemporary jewellery practice’, which appears on the International Art Jewellery Online Community, Klimt02 –

These two discussion strands have informed the written and theoretical aspects of the research and the production of a number of case studies.
Case Studies
The case studies feature artists who were chosen as representative of a broad and diverse range of approaches to enamel :

Innovation in ENAMEL jewelry - Research project by Jessica Turrell dans Annamaria ZANELLA (IT) bottomley_large
Stephen Bottomley, Yellow Drape Neckpiece, Laser-cut steel and enamel -(Photo: John K. McGregor)

pattihis_large dans Barbara SEIDENATH (DE)
Liana Pattihis, Coral Red Snake Chain Brooch 2009

isabell_schaupp dans Carola BAUER (DE)
Isabell Schaupp, Brooch, Enamel, copper, silver, 2009

christine_graf dans Carolina GIMENO (Chili)
Christine Graf, 2010

In order to 

promote innovative enamel jewellery to the widest possible audience Jessica is currently curating a significant international exhibition that will feature a group of jewellers identified for their innovative use of enamel. The show will begin its tour at Contemporary Applied Arts in London in late 2011, and will then travel to a number of venues across the UK including to the Ruthin Craft Centre in Wales.

Practical and Technical Research

The focus of the practical element of the research has been an investigation into the use of innovative and experimental enamelling techniques in the production of contemporary jewellery. Methods and approaches more usually associated with large-scale and panel enamelling and industrial processes have been adapted for use in wearable pieces. This investigation is supported by the development of a range of techniques that allow for the creation of three-dimensional forms that can be successfully enamelled.
The practical and technical aspects of the research fall into two main categories, these are the production of three-dimensional forms capable of being enamelled in the round and the development of enamelling techniques suitable for application to these three-dimensional forms.

Three-dimensional form trials

Initial research involved investigations into the use of three-dimensional forms created using traditional forming, construction and joining methods. The most commonly used joining technique is the use of high melting-point (or hard) silver solders. The received wisdom is that it is not possible to enamel directly over a soldered joint as the solder will discolour the overlying enamel and can in some cases cause it to come away from the soldered joint. In order to test this theory, extensive investigations were undertaken into the use of a group of silver alloy solders, which were tested for their stability and the effect that they had on the subsequent layer of fired enamel.

Although some solders gave better results than others they all visibly interfered with the enamel they were directly in contact with in some way.

As an alternative to the use of solders, fusion and laser welding were investigated. Both these methods use high levels of accurately directed heat to achieve a fused joint that does not require any additional solder. Although, to differing degrees, both of these techniques created a satisfactory join over which enamel could successfully be applied without too many problems the equipment required was not easily accessible, required outside assistance and was expensive to trial. For these reasons this avenue of research was not pursued.
It seemed that a seam free object should prove the ideal form over which to apply the enamel. There are a number of small-scale silver and copper-smithing techniques that can be employed to raise a seam-free hollow form from a flat sheet of meta,l but such methods are technically demanding and particularly difficult on a small scale. Thus this avenue of research was also rejected. Instead, the technique of electroforming seemed to offer a versatile and accessible method for the creation of 3D forms, and it became clear that a detailed investigation of the technique would prove to be the most productive strand of research.

To this end bespoke electroforming equipment was researched, designed, and built, and a series of tests undertaken. Research and trials were carried out to establish the most suitable materials and methods of production of base forms upon which metal might be deposited during the electroforming process.

Discussions took place with colleagues from the 3D Research Laboratory within the CFPR into the possibilities of creating mandrels using rapid prototyping techniques, and the indicative trials that were carried out to ascertain the suitability of the RP process to create electroforming mandrels and the potential for the medium with which the object is printed both to withstand the process and be easily removed as a core prior to enamelling. As a direction for further research these initial trials hold a lot of promise.
This collaborative strand of research was documented in a poster presentation given during the IMPACT 7 conference in 2009.

In order for the electroforming process to occur it is necessary that the surface of the object to be electroformed is able to conduct an electrical current. As a number of non-conductive materials had been identified as appropriate to this research it was therefore necessary to undertake a further series of trails to establish the most suitable electro-conductive coatings for the purposes of the project.

The final experiments in the production of the underlying electroforms was to trial all the variable of the electroforming process itself to establish the best method for the creation of a smooth and stable form of an appropriate surface and structure that would withstand the application of enamel.

Enamelling trials
In order to develop methods for the application of enamel to the three-dimensional forms resulting from the first strand of investigation, a comprehensive series of tests for the application and adhesion of jewellery and industrial enamel to two and 3D surfaces was undertaken. Stilting and firing methods for 3D objects enamelled in the round were also investigated. Methodology for the recording of technical tests has been developed and trialed and a standardized format has been developed, informed by these trials, which has been used to record the results of all tests undertaken.

Practical Outcomes
On completion of the practical trials a group of jewellery pieces were created using the methods established as most appropriate in the realization of a defined personal aesthetic. These pieces were exhibited at Contemporary Applied Art in London during June and July 2010.

finished2 dans Christine GRAF (DE)
Jessica Turrell- Electroformed and enamelled pendants

fiinished1 dans Elizabeth TURRELL (UK)
Jessica Turrell- Electroformed and enamelled pendants


The practical and theoretical outcomes of the project were disseminated by a number of methods throughout the period of the research.

A symposium was held at the Bower Ashton Campus, University of the West of England in July 2010:
Read a review of the symposium here –

Addressing an audience composed of professional makers, academics, researchers and students the symposium examined the place of enamel within contemporary jewellery practice, celebrating its potential as an exciting and innovative material. At a time when increasing numbers of contemporary jewellers are rediscovering enamel this event offered a timely opportunity for the sharing of information and ideas plus a chance to network and take part in debate.


The ultimate aim of the project has been to demonstrate the potential of enamel as an exciting and innovative material and to thus affect a change in the commonly held perception that enamel is a medium not readily associated with contemporary jewellery practice. It is anticipated that the dissemination of the outcomes of the research project Innovation in Vitreous Enamel Surface for Jewellery will go some way towards the creation of an environment where the innovative potential of the material is more widely recognized, both by the jewellery community and within art education, thus allowing a more ambitious and rigorous enamel practice to flourish.


Visit the CAA exhibition page at

JessicaTurrell dans email / enamel
Jessica Turrell

« The intimate scale of jewellery is a central factor in my practice. I strive to create work that has a tactile delicacy and that rewards the wearers close attention with an intricate and detailed surface. Over recent years I have developed an experimental approach to enamel by which I seek to create work that moves away from traditional jewellery enamel practice in order to achieve a more ambiguous and expressive surface quality. » (Jessica Turrell)

Exhibitions 2010 – Showcasing a New Collection of Enamel Jewellery 18 June – 17 July 2010, London

All images from The Enamel Experience at Velvet da Vinci Gallery,


Elizabeth Turrell – cross Badges (exhibition « The Enamel Experience », Velvet da Vinci Gallery, 2008)


Image de prévisualisation YouTube


Image de prévisualisation YouTube


Découverte : Christy KLUG

Classé dans : Christy KLUG (US),email / enamel,USA — bijoucontemporain @ 0:03

Christy KLUG (USA)

« My work is an exploration of the power and tension of line. »

about the enamel work : « The technique of enameling has enabled me to introduce a new color palette to my work; drawing directly onto the enamel is a very spontaneous act of artistic expression. The black lines on white enamel resemble charcoal on paper and the combination of these drawings and fabricated forms bring art and craft together. Each piece is one of a kind. »

about the pierced work : « These explorations of line are expressed through the technique of piercing – hand cutting the lines into metal leaving positive and negative space. I often cut through layers of silver and gold to create contrast and hightlight details in my drawings on metal. Each piece is one of a kind. »

Découverte : Christy KLUG dans Christy KLUG (US) christy


EXPO ‘Brooke Battles: Order/disOrder’ – Velvet da Vinci, San Francisco (USA) – 5 Janv.-6 Fevr. 2011

New Enamel Jewelry

Brooke Battles was born in Oklahoma but has lived in California since 1983. She is a second- career jeweler after years in the corporate world. She has exhibited her work both nationally and internationally, including in Velvet da Vinci’s CHESS, which was shown at the Victoria and Albert Museum in London, and Anti-War Medals, a show that toured internationally from 2003 to 2007.

Order/disOrder at Velvet da Vinci Gallery,
Brooke Battles  – « Cityscape » Neckpiece (detail)

« Each of us is pulled by conflicting forces: good and evil, sleeping and waking, vulnerability and strength, speed and accuracy, aging and youth. For me, the pull of order against disorder, of organization against chaos, is the challenge.
I have trouble with concepts of Orderly and Disorderly. « Orderly » can seem demanding, claustrophobic, predictable. But it also can be classic, comforting, mind-clearing. With order, things can be laid to rest. « Disorderly » can be unnerving, confusing, time-consuming., but in disorder is an honest beauty, a randomness that makes perfect sense . A riot of disorder tells a story you may really want to hear.
My subject matter has two focuses always: the garden and the home. Or the larger nature of the irreplaceable nature of the earth and community. But those subjects are always filtered through this struggle between the demand for control and order on one hand, and on the other, the search for discovery and serendipity that disorder allows.
And now, having discovered enamels, I am like a kid getting her first finger paints. I am enthralled with the depth of meaning and nuance that are possible with the riotous colors of the tropics, the rich variety of urban gardens, and the chaos and order of communities. They lend another layer to the organic feel my work has always had . »(Brooke Battles)

Order/disOrder at Velvet da Vinci Gallery,
Brooke Battles  -« Urban Garden » Neckpiece



Velvet da Vinci Gallery
2015 Polk Street
San Francisco CA 94109  (USA)
Phone 415.441.0109




COUP de …. BLUES ! Carolina GIMENO, Objetos Portables

Classé dans : Carolina GIMENO (Chili),Chili (RCH),COUP DE COEUR,email / enamel,metal — bijoucontemporain @ 3:53

Carolina Gimeno  y  sus « objetos portables »

« Portable Objects, From the fragment to the drawing in space. »

COUP de .... BLUES !  Carolina GIMENO, Objetos Portables dans Carolina GIMENO (Chili) 155852_1727674671604_1230559104_32019297_3682522_n

150577_1745090026977_1230559104_32058961_4469721_n dans Chili (RCH)
Carolina Gimeno : « Es una « microescultura portable » o joya artística contemporánea… que en realidad fuera de estos términos es el mar y el pasado.«  (aluminio, poliéster, cobalto, esmalte vítreo, plata, esmeraldas y lapislázuli)

63466_1745144908349_1230559104_32059062_666520_n dans COUP DE COEUR

150393_1696702977331_1230559104_31961707_4713393_n dans email / enamel

« This exhibition aims to show the creative process I’ve experienced this year, as a continue process of  my last project Draw the mist,  rescuing the artwork that was generated in my sketchbook. This was brewing in parallel with the formal creation of these new natures of shapes and is a faithful record of these reflections that led me to understand what I do, and drawing objects in space, portable microsculptures. Which have been created and contextualized within the concept of Contemporary Art Jewelry. Bringing this shows the knowledge and familiarity of the discipline of Contemporary Art, practically absent so far in the local context of the city of Valparaíso.
Portable objects is the result of a process of appropriating the world of tailoring, leading me to the creation of new natures, all metaphors to refer to the body and its absence.
The result of my creative process is a metaphor of the idea of inherited object, not only inherited objects as such, but also inherited memories, customs, and in my case work. Through the development of my work I have found another way to unite and move part of my past, a world where they meet my fascination with the perfect nature and those invisible places yet unbuilt. The desire to draw in space what is undrawable, what we are not able to see clearly, that lives in that foggy landscape of our invented memories and to want to find those places that talk about an overwhelming sense of absence . »

 dans metal 



COUP de …. BLUES avec Silvia WALZ ….. dans les bulles de la Grande Bleue

Classé dans : BARCELONA,COUP DE COEUR,email / enamel,Silvia WALZ (DE) — bijoucontemporain @ 0:04

Pour 2010, Silvia Walz nous a concocté une série bleue intitulée « Burbujas » (bulles) pour plonger sous l’eau …. :-)

COUP de .... BLUES avec Silvia WALZ ..... dans les bulles de la Grande Bleue  dans BARCELONA b99bajoagua
« Under water » brooch-  Series: Burbujas   – silver, copper, resine, enamel, glas

b114 dans COUP DE COEUR
 » Between two lighthouses » brooch -  Series: Burbujas   – silver, copper, resine, enamel, glas

b98faroenmediodenada dans email / enamel
 » Lost in the sea » -    Series: Burbujas    -   silver, copper, resine, enamel, glass 



ENAMEL Jewelry – from the « Enamel show » at Velvet da Vinci Gallery, 2009

Celebrating 500 Enameled Objects by Lark Books
Celebrating the publication of 500 Enameled Objects by Lark Books, and in conjunction with The Enamelist Society Conference 2009, Surfacing, Velvet da Vinci Gallery will be exhibiting pieces featured in the book.
The artists featured in « The Enamel Show » at Velvet da Vinci have produced some of the most spectacular pieces featured in the 2009 Lark Book 500 Enameled Objects, juried by Sarah Perkins.
The exhibition includes both wearable jewelry and small sculptural objects. Sixty-five international artists are featured in the exhibition.

Participating artists:
Sally Aplin • Sofia Björkman • Amanda Bristow • Harlan Butt • Jessica Calderwood • Helen Carnac • Tania Carson • Patricia Case • Yi Chen • Marianne Contreras • Lisa Crowder • Venetia Dale • Dubbelop (Pauline Barendse & Jan Matthesius) • Robert EbendorfBeate Eismann • Helen Elliott • Susie Ganch • Angela Gerhard • Gretchen Goss • Charity L. Hall• Joseph Handy • Jan Harrell • Mark Hartung • Sha Sha Higby • Melissa Huff • John Iversen • Jessica Kahle • Elizabeth Kaprow • Susan Kingsley • Soyeon Kim • Maya Kini • Shana Kroiz • Jutta Klingebiel • Deborah Lozier • Claudia Milic • Anna Moll • Viktoria Munzker-Ferus Seth Papac • Joan Parcher • Miel-Margarita Paredes • Sarah Perkins • Joseph Pillari • Natalya Pinchuk • John Rais • Michele Raney • Katherine Redford • René Roberts • Jessica Schlachter • Ann Schmalwaßer • June Schwarcz • Sean Scully • Giovanni Sicuro • Marjorie Simon • Judy Stone • Tura Sugden • Amelia Toelke • Stephanie TomczakFabrizio TridentiJulia Turner • Elizabeth Turrell • Jessica Turrell • Mariah Tuttle • Niki Ulehla • Jonathan Wahl

ENAMEL Jewelry - from the Fabrizio Tridenti Brooch,
Tura Sugden « Pollination Ring »  –   Fabrizio Tridenti – brooch

All images from THE ENAMEL SHOW at Velvet da Vinci Gallery, All images from THE ENAMEL SHOW at Velvet da Vinci Gallery,
Stephanie Tomczak « Angelito, a Mourning Portrait » Brooch  — Susie Ganch brooch

All images from THE ENAMEL SHOW at Velvet da Vinci Gallery, All images from THE ENAMEL SHOW at Velvet da Vinci Gallery,
Elizabeth Kaprow  – « Red Cross » Brooch –  brooch

All images from THE ENAMEL SHOW at Velvet da Vinci Gallery, All images from THE ENAMEL SHOW at Velvet da Vinci Gallery,
 Lisa Crowder « Bunnies Light and Dark » Brooches
Natalya Pinchuk « Growth Series, Brooch

All images from THE ENAMEL SHOW at Velvet da Vinci Gallery, All images from THE ENAMEL SHOW at Velvet da Vinci Gallery,
Giovanni Sicuro « M1″ BraceletViktoria Munzker-Ferus « Enamel as Pigment 03″ Brooch

All images from THE ENAMEL SHOW at Velvet da Vinci Gallery, All images from THE ENAMEL SHOW at Velvet da Vinci Gallery,
Venetia Dale « Blooms on Gold » NecklaceShana Kroiz Necklace « White Wash »



500 Enameled Objects by Lark Books



500 Enameled Objects


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