The Theory and Practice of Goldsmithing
by Professor Dr. Erhard Brepohl
First English edition, translated by Charles Lewton-Brain
Brynmorgan Press, Portland, ME, 1961 (translated into English 2001).
Hardcover, b/w, 8" x 10-1/4", 536 pages, $70.
ISBN: 0961598492

Reviewed by Linda Kaye-Moses

From the ambitious title and a quick look at its chapter headings alone (Metals, Other Materials, Studio Chemistry, Handling Metals, Handworking Skills, Silversmithing, Machine Tools, Finishing Techniques, Joining Techniques, Specialty Techniques, Plating Technology, Setting and Findings, and Repair Work), readers of this book will recognize its unique position in the library of books on metalsmithing. This translated volume will be an indispensable tool for English-speaking jewelers/metalsmiths who have heretofore not had access to its original German edition. The author delivers concentrated information, at times beyond what might be needed daily in a small jewelry studio. However, as a research resource, it is a more than sufficient tool — and the author’s intended format, bringing the reader both theory and practice, is clearly presented.

Throughout the book, the author assumes an informal, conversational tone designed to engage the reader personally. Brepohl introduces each subject with the underlying theories that support the processes he then demonstrates with frequent, step-by-step instructions. The text is supplemented by numerous illustrations, photographs, and charts, including a series of useful charts in the Appendix.
Brehpohl’s description of tools and equipment relates their form to their function in a way that makes their proper use apparent — even to the beginning jeweler. For example, his detailed account of filing includes: how files remove metal, various cuts and shapes of files, and methods to adding handles to file tangs. His discussion of bench pins
includes methods and reasons for custom-altering this tool. His approach to measurement takes the mystery out of some of the more esoteric tools.

Distributed throughout the text are tips to use the tools more efficiently or to achieve specific results. His exhaustive examination of forging includes detailed descriptions, definitions, and the effects on metal from hammers, mallets, anvils, and stakes. Finishing, a process that can be confusing due to the bewildering number of choices available, is clarified by Brepohl’s logical presentation. His extensive exploration of catches includes a valuable chart and summary of the specific applications and mechanics in the wide range of catch forms.
When necessary, the author reminds the reader that many of the processes he is describing are dangerous if used irresponsibly, and he suggests methods for dealing with them safely.

Even though all the equipment and tools discussed in the book can be purchased, the author emphasizes that the reader can, in many instances, make tools in preparation for those times when a specific tool is needed for a specific task. The strength of The Theory and Practice of Goldsmithing lies in its thorough coverage of skills and techniques for manipulating metal, and will prove invaluable to the jeweler wishing to understand and make practical use of the logically organized information. One might be tempted to compare this book to others in the field — Oppi Untracht’s contributions come to mind. However, this book is complementary to them, and no jewelry studio library will be complete without it.

Buy this book from Brynmorgen Press

Linda Kaye-Moses is a jeweler who, with her partner and husband, Evan Soldinger, owns and operates Plumdinger Studio; she is also the program coordinator of the Jewelry/Metals studio at Interlaken School of Art in Stockbridge, MA. She has written media reviews and Step by Step projects for the Lapidary Journal.

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