Etsy and Artfire both offer coupon codes (YAY!) so I am offering a 10% discount in both shops. On Etsy, the code is BLACKFRIDAYDISCOUNT, which you will need to enter at checkout in order to receive the discount. I am offering this one-day discount at BOTH stores, good for one purchase per customer, but you can purchase as many items as you want. I am advertising this code on Facebook and this blog only.
Since I am new to Artfire, and would like to get things moving over there, I am offering the 10% sale from BLACK FRIDAY through SUNDAY, November 28. At the moment I only have jewelry in that shop, so for vintage items, please stick with Etsy for that. You can get right to Artfire by clicking on the widget at right, which has the code conveniently handy!!! Again, one time per customer, but there is no limit on what you can purchase. The same goodies on Etsy are available at Artfire. :)
Tuesday, November 23, 2010
Friday, November 12, 2010
New Scarabs and Shiny Pretties
I said I wouldn't, but I can't help myself. I made a bevy of necklaces and earrings last weekend and am listing them in the shops at Etsy and Artfire over the weekend. (see sidebar at left for links) Scarab lovers will be relieved to know that there are new peacock and magenta choices to choose from, as well a s a couple of other novelties. Here's a group shot!
Friday, October 29, 2010
Thoughts at the Weekend
I have neglected this blog dreadfully, but I have had a huge dose of Real Life this year and my energies have had to go elsewhere. I am in the ongoing process of settling Dad's estate, which is almost a full-time job. I'm also still grieving, as he was my best friend as well as father. I'm a little more melancholy as last year at this time we were enjoying the fall - he was making strides with his physical therapy, getting out in the crisp autumn weather that he loved, and I hoped for nice quiet winter together as he gathered his strength. Alas, that was not to be, but we did share a very special time in his life, for which I am grateful, even though I am still in shock that he's really gone. I haven't felt much like making jewelry or fussing with costumes, and it shows in this blog and elsewhere. I have made a few new pieces celebrating fall and the colors I love, but the new vision for the shop will have to wait until next year. There is still so much to do, yet I am trying to take some time for myself, reading, cultural events around the city, fixing up my apartment, and plain old relaxing. The pressure of online marketing, blogging, Facebooking, and now the chaos at Etsy over so many issues there is forcing a re-think about where to put omy focus as far as running an online business. The arrows are pointing to an Online Portal of My Very Own, even if it only re-directs to my various online shops.
Etsy, where I started this venture in summer 2006, is now so huge that jewelry shops like mine are going unnoticed. There are so many resellers in my category that the search engines cannot cope with the volume of items that are waiting to be found; they desperately need to upgrade their servers and programming, and I hope that they will, but it has been a dismal year with a huge drop-off of views. I have been visiting the forums there and there are many unhappy sellers, but it's not clear what Etsy's objective is these days - to become the next Ebay and open their doors to mass wholesalers and resellers of goods from China, or somehow get back to their original notion of handmade? Buyers may not be aware of all of the problems over there, but there is a revolution in process. In the meantime, we struggle to stay visible and have to figure out the best places to advertise to our target markets. I have *never* paid to advertise, so that will be something to investigate in the months ahead. I was at 1000 Markets, which was an interesting place, and was juried, but the owners lost their grip on the project, despite heroic measures from many market managers, and they were bought by Bonanza, formerly Bonanzle. My shop was transferred over there, but it's not a well-known site. I just opened a shop at ArtFire, which will hopefully catch on. I have been at other online handmade shops over the years - smaller outposts, including DaWanda, which is huge in Europe, especially Germany, but Etsy has by far been the most successful place, though something is in the wind there on the eve of their going public.
A goal for next year is to be carried in shops in NYC and elsewhere, and to do some craft fairs again, as well as getting some more blog and magazine coverage. This all takes time and peace of mind, not to mention energy.
Anyway, I will try to blog a bit more often, and not just about what's new at the shop. I have been saved this year by my own personal work and caring friends and family, and have made some new friends; these relationships have been most nourishing. I have also left some relationships behind that were not helpful, but that is part of growth and I am not troubled by this.
It is almost Halloween, when supposedly the portal to the spirit world is at its most open. I am thinking of loving spirits who have passed on - my family , of course, and some dear friends who I miss very much. Fall is such a thoughtful time of year, symbolic of endings and transition, as nature winds down and prepares for the winter ahead. It has always been my favorite time of year, as for some reason I am drawn to things dark and sad, or "gothic", a trendier way of putting it. I am a fan of mystery and wonder, and my imagination runs amok on these cooler nights with a hint of wildness in the air.
Have a safe and Happy Halloween, everyone. I will not be Trick or Treating this year, but I am posting pictures from last year's wet and windy adventures, including two of my favorite little ghouls, which, you may remember. May it be cool and dry this year, and don't eat too much candy. I just had 4 wisdom teeth pulled, so cavities and other dental mayhem are very much in the forefront of my mind. Heed the warning, but have fun, angels and demons alike.
Etsy, where I started this venture in summer 2006, is now so huge that jewelry shops like mine are going unnoticed. There are so many resellers in my category that the search engines cannot cope with the volume of items that are waiting to be found; they desperately need to upgrade their servers and programming, and I hope that they will, but it has been a dismal year with a huge drop-off of views. I have been visiting the forums there and there are many unhappy sellers, but it's not clear what Etsy's objective is these days - to become the next Ebay and open their doors to mass wholesalers and resellers of goods from China, or somehow get back to their original notion of handmade? Buyers may not be aware of all of the problems over there, but there is a revolution in process. In the meantime, we struggle to stay visible and have to figure out the best places to advertise to our target markets. I have *never* paid to advertise, so that will be something to investigate in the months ahead. I was at 1000 Markets, which was an interesting place, and was juried, but the owners lost their grip on the project, despite heroic measures from many market managers, and they were bought by Bonanza, formerly Bonanzle. My shop was transferred over there, but it's not a well-known site. I just opened a shop at ArtFire, which will hopefully catch on. I have been at other online handmade shops over the years - smaller outposts, including DaWanda, which is huge in Europe, especially Germany, but Etsy has by far been the most successful place, though something is in the wind there on the eve of their going public.
A goal for next year is to be carried in shops in NYC and elsewhere, and to do some craft fairs again, as well as getting some more blog and magazine coverage. This all takes time and peace of mind, not to mention energy.
Anyway, I will try to blog a bit more often, and not just about what's new at the shop. I have been saved this year by my own personal work and caring friends and family, and have made some new friends; these relationships have been most nourishing. I have also left some relationships behind that were not helpful, but that is part of growth and I am not troubled by this.
It is almost Halloween, when supposedly the portal to the spirit world is at its most open. I am thinking of loving spirits who have passed on - my family , of course, and some dear friends who I miss very much. Fall is such a thoughtful time of year, symbolic of endings and transition, as nature winds down and prepares for the winter ahead. It has always been my favorite time of year, as for some reason I am drawn to things dark and sad, or "gothic", a trendier way of putting it. I am a fan of mystery and wonder, and my imagination runs amok on these cooler nights with a hint of wildness in the air.
Have a safe and Happy Halloween, everyone. I will not be Trick or Treating this year, but I am posting pictures from last year's wet and windy adventures, including two of my favorite little ghouls, which, you may remember. May it be cool and dry this year, and don't eat too much candy. I just had 4 wisdom teeth pulled, so cavities and other dental mayhem are very much in the forefront of my mind. Heed the warning, but have fun, angels and demons alike.
Saturday, October 23, 2010
Bat Mad
I finally found a use for a bat stamping that I bought this summer. It's quite hefty for a stamping (copper) and very nicely detailed. I only bought one, so this necklace is one of a kind. I posed this necklace with some beautiful red and black antique books (in French) from the Argosy Book Store in New York City, that I make a point to visit whenever I am near Bloomingdale's, which is not often, these days. Argosy had some very beautiful rare books, maps and prints and autographs, but it also has plenty of affordable items that they place outside for perusing. Last week there were coffee table books for $10, and the books I bought were $3 each, from an estate library, no doubt, and books are often gone in minutes. I have found some excellent photography and art books for almost nothing - it's a danger zone for me, but the antique books were crying out to join my already massive library. If you're interested, I recommend visiting them when you're next in NYC.
I already have bats in the shop, my bat bracelet that sells all year round, and cute little matching bat earrings, complete with tiny glass bright red blood drops.
Thursday, October 7, 2010
Spider Bites!
I spent an evening this week turning some glass spider buttons into pendants for a new limited line of necklaces and bracelets for Halloween. I love Czech glass buttons, especially when there is a metal shank on the back that can be easily removed so I can turn them into cabochons. Available in the shop here.
Friday, October 1, 2010
Fall is a Comin In - Happy October 1!
NEW and appearing in the shop - I had a good time making some new fall pieces for my favorite season. It's humid and rainy just now and we had a brief cool snap a few weeks ago, but for the most point, it's frightfully warm. October is my favorite month - is it yours as well? Can't wait for cooler weather and leaf changes!
Tuesday, September 7, 2010
New in the Shop
Two more Czech glass button necklaces...these buttons are much larger than the ones I usually work with, at about 1.5 inches wide. The Buddha Necklace is a translucent ruby red with gold and silver luster, on a a brass rolo chain dotted with bronze glass drop beads. The Green Mermaid features brass stampings, iridescent firepolished and smoke lucite beads on antique brass chain.
Some months ago I purchased some Czech Glass buttons and finally am making them into necklaces. This one is especially apt for fall, with its fiery orange color. Gold luster tulips are so shiny and add wondrous sparkle. Wrapped in filigree and hanging on a brass chain. Already sold!!
I re-discovered these glass disc beads that I'd bought a couple of years ago on Etsy, and was playing with them idly, coming up with color combinations. I've made bracelets and necklaces with them before, but decided not to get too complicated this time, as no two beads are exactly alike, and they're fun and colorful slung together on a chain. The texture is smooth yet also rough, and I like the odd fleck here and there.
Swimming Pool, Spearmint, Creamsicle, Racing Colors and Halloween Necklaces are brand new and available in the shop.
Some months ago I purchased some Czech Glass buttons and finally am making them into necklaces. This one is especially apt for fall, with its fiery orange color. Gold luster tulips are so shiny and add wondrous sparkle. Wrapped in filigree and hanging on a brass chain. Already sold!!
I re-discovered these glass disc beads that I'd bought a couple of years ago on Etsy, and was playing with them idly, coming up with color combinations. I've made bracelets and necklaces with them before, but decided not to get too complicated this time, as no two beads are exactly alike, and they're fun and colorful slung together on a chain. The texture is smooth yet also rough, and I like the odd fleck here and there.
Swimming Pool, Spearmint, Creamsicle, Racing Colors and Halloween Necklaces are brand new and available in the shop.
Thursday, September 2, 2010
Opera in HD - The Tales of Hoffmann. 9/1/2010
Anna Netrebko in 1920s garb as Stella
Kate Lindsey in female dress at the end, as Nicklausse.
Kate Lindsey and Joseph Calleja, with past loves Olympia and Antonia (Kim & Netrebko) and chorus at finale.
Joseph Calleja as Hoffmann.
Michael Todd Simpson, a barihunk, in 2 roles.
Giulietta the Courtesan (Ekaterina Guberova) and Olympia, the Doll (Kathleen Kim)
The opera begins, at 7:45 PM (different start times for each opera)
The film is projected from this tower
Viewers chatting and trying to stay cool before the show
One of many with a fan - I had one too - bring a cooler with iced drinks, and ice!
Finally got myself over to the plaza at Lincoln Center to catch a HD showing of Jacques Offenbach's "The Tales of Hoffmann" on a humid night with almost no breeze. I don't know if this was ever shown on TV, but I had not seen this new production directed by Bartlett Sher, so I was eager to see how the Met presented this piece in our post-modern age. Well, it was a mixed bag of an evening. I couldn't get a good idea of the setting all the time, but it looked extremely minimalist, and as there was a typewriter in a corner of the set for the evening, it was updated to the early 20th century. A brief look at Wikipedia tells me that the first typewriter patent was applied for in 1714, but they didn't actually appear until the later 19th century. It was dark, dark, and dark, the tavern scene was filled with more chorus than you can imagine, and the costumes were rather quiet for an opera stage. If you have ever listened to this opera, it is exuberant, SENSUAL, epic and above all, FUN. The music is supposed to dictate the approach to an opera - the concept springs from the source material - one does not IMPOSE a concept that is at odds with the music or text. This production is typical for the Met's current artistic sensibility - spare (cheap) and modern, with whatever period touches can be borne, whether appropriate or not. Costumes are often a mishmash of contemporary, period and stylized, sometimes all at once.
When I was in design school, a million years ago, romantic realism was the vogue, but that style has long departed, and the Met, in fact, is trashing those older productions if they can't sell them to other companies. Some might argue that a company like the Met, in order to stay current, has no business presenting productions that are 40 plus years old, with painted flats or other old-fashioned scenic solutions. They recently discarded a Franco Zeffirelli "La Traviata", and rumor has it that this romantic opera's new production is an exercise in humorless starkness.
To get back to the opera, I am usually bored by the opening Tavern scene and can't wait to get right to the three acts about Hoffmann's tragic love affairs. Hoffmann, a poet, in Nuremberg, begins the evening in a tavern, describing the failures of his romances with four alluring women. See a more detailed background of the opera here. Sometimes one singer is hired to sing these soprano roles; Joan Sutherland was a famous interpreter who sang Olympia, Antonia and Giulietta and Stella. In this production, Kathleen Kim sand the role of the doll - girlfriend Olympia, a coloratura showcase of a role, superstar Anna Netrebko sang Stella and Antonia, and Ekaterina Gubanova sang Giulietta. Tenor Joseph Calleja sang the title role of Hoffmann, and Alan Held sang multiple bass-baritone villains. It's a very demanding piece, and the music is gorgeous, conducted last fall by James Levine. Hopefully, he will recover fully from his health issues and conduct again this season.
I was disappointed with this production's visuals - costumes didn't seem to be bold enough for the opera stage, with the exception of Olympia, dressed in hot pink with stylized headdress amid all of the blackness and rather Kafka-esque style. All of these women, who are really one woman, were costumed in various shades of pink, from pale to deep fuchsia. In the Venice scene, Act 3, the stage picture was filled with beautiful 18th century costumes, but it was hard to see what they really looked like, as it was so dark. Typically, each act has its own look: Act 1, a cluttered toy shop/workspace of the inventor Spelanzani, where Hoffmann meets and falls in love with Olympia, who is really a doll, or robot, as they referred to her last evening. Act 2 is set in the conservative home of Antonia, in Munich, a young singer with an overprotective father, who is ill and who will die if she continues to sing. (She does, of course.) Act 3 is set in Venice, in a palace on the Grand Canal, where Hoffmann is involved with a courtesan, Giulietta. Each scene is very different and potentially offers a chance for designers to present some eye-catching visuals. It's an expensive opera to produce and imho it's unfair to offer it if you can't really do justice to it. Act 2's scenery was almost non-existent, as if TPTB decied that they really couldn't afford to stage it and saved their budget for the last act in Venice, which was busy and overcrowded staging-wise, and could have done with less in order to spread the wealth more evenly. I found it hard to follow some of the story (and I know it) from the direction, even though the characterizations were well-handled and acted by an attractive cast. Physical attractiveness of singers is an important part of this Met's casting criteria, but this evening was also well-sung, even if some of the singers' vocal qualities are not to my taste. It was refreshing to not have to worry if a singer could make it through the evening, as sometimes happens.
Anna Netrebko was the big star of this run, and she is a lovely, arresting performer, exciting to watch and listen to. Calleja sailed through the evening, though I am not a fan of his rapid vibrato and metallic tone. The other singers were fine, Nicklausse (Kate Lindsey) was superb, and pert Kathleen Kim seemed to sail through her Olympic trials (heh) in her hot pink ensemble, including wig. I wish that my pictures had turned out better, so here are a few that will give you an idea of the evening. The sets look more opulent in the pictures.
Technology is amazing, and it's a gift that we are able to see these operas, for free, in the open air. Check the Met's website for the rest of the schedule into next week and if you are in the area and have never seen an opera at the Met, or in this way, and it's a fine evening, it's a great way to be introduced to it, and it's free. Get there around 6:30 to grab a good seat. You can buy food and drink there or bring your won, and can even buy a seat cushion! I recommend the Carmen with Elina Garanca and Roberto Alagana. The chemistry between them is amazing and it's filmed beautifully. If you missed it on TV, you can catch it next week in the plaza. I was very impressed by the little girl of around 8 who sat rapt through all 3 acts of this opera in front of me. Her brother was not into it, but she was at attention and seemed to enjoy it - she could clearly read the subtitles or follow the story well enough. Not every opera they are presenting is suitable for children, but hopefully this girl will grow up to attend opera after he positive experience!
Kate Lindsey in female dress at the end, as Nicklausse.
Kate Lindsey and Joseph Calleja, with past loves Olympia and Antonia (Kim & Netrebko) and chorus at finale.
Joseph Calleja as Hoffmann.
Michael Todd Simpson, a barihunk, in 2 roles.
Giulietta the Courtesan (Ekaterina Guberova) and Olympia, the Doll (Kathleen Kim)
The opera begins, at 7:45 PM (different start times for each opera)
The film is projected from this tower
Viewers chatting and trying to stay cool before the show
One of many with a fan - I had one too - bring a cooler with iced drinks, and ice!
Finally got myself over to the plaza at Lincoln Center to catch a HD showing of Jacques Offenbach's "The Tales of Hoffmann" on a humid night with almost no breeze. I don't know if this was ever shown on TV, but I had not seen this new production directed by Bartlett Sher, so I was eager to see how the Met presented this piece in our post-modern age. Well, it was a mixed bag of an evening. I couldn't get a good idea of the setting all the time, but it looked extremely minimalist, and as there was a typewriter in a corner of the set for the evening, it was updated to the early 20th century. A brief look at Wikipedia tells me that the first typewriter patent was applied for in 1714, but they didn't actually appear until the later 19th century. It was dark, dark, and dark, the tavern scene was filled with more chorus than you can imagine, and the costumes were rather quiet for an opera stage. If you have ever listened to this opera, it is exuberant, SENSUAL, epic and above all, FUN. The music is supposed to dictate the approach to an opera - the concept springs from the source material - one does not IMPOSE a concept that is at odds with the music or text. This production is typical for the Met's current artistic sensibility - spare (cheap) and modern, with whatever period touches can be borne, whether appropriate or not. Costumes are often a mishmash of contemporary, period and stylized, sometimes all at once.
When I was in design school, a million years ago, romantic realism was the vogue, but that style has long departed, and the Met, in fact, is trashing those older productions if they can't sell them to other companies. Some might argue that a company like the Met, in order to stay current, has no business presenting productions that are 40 plus years old, with painted flats or other old-fashioned scenic solutions. They recently discarded a Franco Zeffirelli "La Traviata", and rumor has it that this romantic opera's new production is an exercise in humorless starkness.
To get back to the opera, I am usually bored by the opening Tavern scene and can't wait to get right to the three acts about Hoffmann's tragic love affairs. Hoffmann, a poet, in Nuremberg, begins the evening in a tavern, describing the failures of his romances with four alluring women. See a more detailed background of the opera here. Sometimes one singer is hired to sing these soprano roles; Joan Sutherland was a famous interpreter who sang Olympia, Antonia and Giulietta and Stella. In this production, Kathleen Kim sand the role of the doll - girlfriend Olympia, a coloratura showcase of a role, superstar Anna Netrebko sang Stella and Antonia, and Ekaterina Gubanova sang Giulietta. Tenor Joseph Calleja sang the title role of Hoffmann, and Alan Held sang multiple bass-baritone villains. It's a very demanding piece, and the music is gorgeous, conducted last fall by James Levine. Hopefully, he will recover fully from his health issues and conduct again this season.
I was disappointed with this production's visuals - costumes didn't seem to be bold enough for the opera stage, with the exception of Olympia, dressed in hot pink with stylized headdress amid all of the blackness and rather Kafka-esque style. All of these women, who are really one woman, were costumed in various shades of pink, from pale to deep fuchsia. In the Venice scene, Act 3, the stage picture was filled with beautiful 18th century costumes, but it was hard to see what they really looked like, as it was so dark. Typically, each act has its own look: Act 1, a cluttered toy shop/workspace of the inventor Spelanzani, where Hoffmann meets and falls in love with Olympia, who is really a doll, or robot, as they referred to her last evening. Act 2 is set in the conservative home of Antonia, in Munich, a young singer with an overprotective father, who is ill and who will die if she continues to sing. (She does, of course.) Act 3 is set in Venice, in a palace on the Grand Canal, where Hoffmann is involved with a courtesan, Giulietta. Each scene is very different and potentially offers a chance for designers to present some eye-catching visuals. It's an expensive opera to produce and imho it's unfair to offer it if you can't really do justice to it. Act 2's scenery was almost non-existent, as if TPTB decied that they really couldn't afford to stage it and saved their budget for the last act in Venice, which was busy and overcrowded staging-wise, and could have done with less in order to spread the wealth more evenly. I found it hard to follow some of the story (and I know it) from the direction, even though the characterizations were well-handled and acted by an attractive cast. Physical attractiveness of singers is an important part of this Met's casting criteria, but this evening was also well-sung, even if some of the singers' vocal qualities are not to my taste. It was refreshing to not have to worry if a singer could make it through the evening, as sometimes happens.
Anna Netrebko was the big star of this run, and she is a lovely, arresting performer, exciting to watch and listen to. Calleja sailed through the evening, though I am not a fan of his rapid vibrato and metallic tone. The other singers were fine, Nicklausse (Kate Lindsey) was superb, and pert Kathleen Kim seemed to sail through her Olympic trials (heh) in her hot pink ensemble, including wig. I wish that my pictures had turned out better, so here are a few that will give you an idea of the evening. The sets look more opulent in the pictures.
Technology is amazing, and it's a gift that we are able to see these operas, for free, in the open air. Check the Met's website for the rest of the schedule into next week and if you are in the area and have never seen an opera at the Met, or in this way, and it's a fine evening, it's a great way to be introduced to it, and it's free. Get there around 6:30 to grab a good seat. You can buy food and drink there or bring your won, and can even buy a seat cushion! I recommend the Carmen with Elina Garanca and Roberto Alagana. The chemistry between them is amazing and it's filmed beautifully. If you missed it on TV, you can catch it next week in the plaza. I was very impressed by the little girl of around 8 who sat rapt through all 3 acts of this opera in front of me. Her brother was not into it, but she was at attention and seemed to enjoy it - she could clearly read the subtitles or follow the story well enough. Not every opera they are presenting is suitable for children, but hopefully this girl will grow up to attend opera after he positive experience!
Tuesday, August 10, 2010
Wishing You a NEON Tuesday
I don't usually post Treasuries that people are kind enough to put me in, but this one, so full of delicious color, just begged to be shared. Please check it out and the lovely wares at this link, which will only be active for a short while. Thanks so much to Nangijala Jewelry, who has some gorgeous jewels that you should also hop over to take a look at!
Those yellow drop chalcedony earrings are by Beijo Flor, a favorite of mine - I have three of her pieces that I love to wear, and if you love color as I do, you'll LOVE her shop - it's quite addictive.
Thursday, July 22, 2010
Clearing Out
Earlier this year I came into possession of over 50 years worth of housewares, mostly vintage. As much as I would dearly love to keep every single item, I can't, and neither can anyone else. I am thus selling some home decor pieces at my sister Etsy shop, for anyone interested in period accessories. There are also other items, including vintage clothing and jewelry, books and craft magazines.
I think it's a good idea to clear out every few years, to allow new things into you life - not necessarily "things", but ideas, interests, and people. I am a pack rat, probably a life-long one, but I have a good eye and tend to hold on to interesting items rather than junk, but taste can change, and when that happens, it's good to pass along what no longer thrills you to someone else.
I think it's a good idea to clear out every few years, to allow new things into you life - not necessarily "things", but ideas, interests, and people. I am a pack rat, probably a life-long one, but I have a good eye and tend to hold on to interesting items rather than junk, but taste can change, and when that happens, it's good to pass along what no longer thrills you to someone else.
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