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Established in 1947, Lapidary Journal has been the authority on what's current in the gem and jewelry world for over half a century. The vast library of issues that have been created over the years is like a diary -- a record to what was going on in the industry at any given moment. Just as it's fun to read old entries in your personal journal, we at Lapidary Journal thought it would be a good time to begin reminiscing on topics past, to see what has changed over time and what has remained the same. Each month, we will be taking a look back to an issue 50 years old, beginning with the June 1954 issue. If readers are interested in receiving photocopies of these or any past articles, please send us an e-mail with the subject line of "reprints." The June 1954 issue was 6-1/2" x 9-3/4", unlike today's dimensions of 8-1/4" x 10-3/4". It was not until 1960 that the size changed for the first time. It was a bi-monthly magazine and the newsstand price was $0.50 per copy. Captions Contest
The winner would receive a five-year subscription to Lapidary Journal. Do you want to know what the editors ultimately decided were the best entries? You will have to be patient and wait until the next issue, just like the readers of yesteryear did. Can you think of a good title? Please submit it to us by e-mail with a subject line of "cartoon caption." How-to Project Just as Lapidary Journal is home to the popular Step by Step section today, in which artists take readers through the processes of creating jewelry pieces, beads, faceted gems, etc., Lapidary Journal 50 years ago featured stories on how to make specific projects. In the June 1954 issue, E.B. Bomar wrote "How to Carve a Continuous Chain Link Necklace."
Making a graduated bead necklace seems a relatively simple procedure after carefully studying how to make a chain necklace We believe this is one of the most important articles we have ever published and we hope that many of our readers will try these methods and report on any improvements. The observation is offered that chain necklaces need not be confined to jade but can be made from any gem material that can be slabbed." Sculpture in Native Rock by Richard M. Pearl This interview with painter and sculptor, Edgar Britton, stated: "A native of Nebraska, Edgar Britton studied with Grant Wood and other noted artists. He was a faculty member of the Fine Arts Center in Colorado Springs form 1941 to 1950, with a year's service in between at the Des Moines Art Center. In 1944 he won the Ann Evans memorial prize given by the Denver Art Museum. His paintings hang in the Art Institute of Chicago and other museums."
Britton commented that he wanted more sculptors to utilize native U.S. stone in their work rather than the typical marble and granite. He said cabochon cutting was a worthwhile effort but that he saw greater potential for most stones in sculpture. The article read: "True to his craft, he opines that too many fine piece that should have been carved are wasted on cabochons." The article goes on to say that he indulged in metalsmithing when he was forced to work indoors due to the weather. It also listed some of his favorite themes in his sculptures, such as religion, mythology, and architecture. After this article was printed, Britton's life as an artist continued to flourish. According to the book The Erotic Art of Edgar Britton by Jane Hillbery (copyright 2001, ISBN 0-938075-80-2), in 1956 he designed two 900-pound cast bronze doors for the Denver U.S. National Bank. He ended up designing works all over Denver and Colorado Springs that still stand today, including "Tower of Prometheus" which can be found at Northwest Bank on Grant Street and "Orpheus and Euridici" which can be found at the Denver Art Museum.
So admired by the architectural industry was he, that eventually he was awarded for his efforts in 1979 by the American Institute of Architects "in recognition of achievements in improving the inter-relationship of man and his environment." In the late '60s he moved to Littleton, Colorado, and opened his "Edgar Britton Studio and Gallery" when he married his second wife, Irene Littledale. After the marriage deteriorated, he spent the last ten years of his life with Katie Dodge, with whom he opened a gallery in Denver. He continued to produce work until he passed away in 1982. +++ More highlights from our archives coming next month from the July 1954 Lapidary Journal.
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The article began with a note from the editorial department that read: "The author caused quite a stir at the recent Indio, California, Federation show by exhibiting the magnificent continuous chain link jade necklace illustrated in this article. Such a project is a challenge to the skill, patience, and artistry of any lapidary for one has to be familiar with every phase of the lapidary art to bring such a project to a successful conclusion. 
