Joe Calafato designed and manufactured silver jewellery, flatware and hollowware during the mid to late 20th century in a career spanning 37 years in Pretoria, South Africa. His work made an important contribution to the development of a uniquely South African design domain and has become increasingly sought after at antique and collectible markets. Of Sicilian parentage, Giuseppe Leonardo Calafato was born on the 10th of July 1912 in the then Lorenço Marques (now Maputo) Mozambique. In the 1920s the family moved to Johannesburg. Here he did his apprenticeship as a manufacturing jeweller under Jack Friedman - a well known local jewellery manufacturer of his time. From April 1938 until June 1945, Joe worked for the South African Mint in the capacity of Jeweller and Silversmith in the Medal and Badge Department. (see note 1)He was particularly interested in the designing and making of medals. (see note 2) After the Second World War he resigned in 1947 and ventured into business, first with a number of partners and eventually on his own. He became a prolific designer and employed a number of die sinkers, solderers, enamellists and engravers in his workshops. He sold his business in 1984 and, after a long battle with cancer of the esophagus, the South African 'King of Silver', (see note 3) Joe Calafato died in 1991 at the age of 79. (see note 4)

.

Early 1960s: Joe Calafato with a silver presentation tray

During his career as independent creative silversmith, he made use of various maker's marks. He started using the name 'Candida' as his first maker's mark (1947-1972), after which he switched to a number of marks, namely 'Carina, Velia, JC, Dawu and Joe Calafato'.

Candida marks used during different time periods (see Table 1)

Some souvenir spoons contain both the Carina and Kruger Park marks or the Velia and Kruger Park marks. Some copper souvenirs also contain both the JC and the Kruger Park marks. This indicates that some of his merchandise was sold to the Kruger Park. This was produced during the broad period of 1972 -1984. A more definitive timeline could not be determined. (see note 5)

Different maker's marks used by Calafato (see Table 1)

In Table 1 a summary is provided of the maker's marks used during his career. It is not clear why such a range of marks were used - perhaps in order to distinguish to some extent between his copper work and silver work as well as to distinguish between his badge work, silver ware for the tourist market and his more sophisticated jewellery work. (see note 6). No one of his maker's marks was registered with the South African Companies and Intellectual Property Registration Office. (see note 7)

Table 1: Maker's marks used by Joe Calafato

Manufacturing processes, materials and range of composition

He used mainly two processes for producing his jewellery - a so-called 'press method' and a 'die cast method'. (see note 8)
The press method included the use of a weighted press on a flat bed of metal overlaying a die consisting of hardened steel. With this method the die sinker could produce fine detail such as relief and scroll work that gets chiselled from the steel die before it is hardened. (see note 9)
In the die cast method a rubber mould, wax, plaster of Paris and a centrifugal force to properly distribute the molten metal in the mould, were used. (see note 10) Chalices, cups and vases were hammered, hard cast as well as lathe spun. (see note 11)
His jewellery designs consisted of individual pieces and any combination of bracelets, bangles, rings, brooches, pendants, necklaces and earrings. He worked mostly in sterling silver and copper but also made use of silver plate, some gold, platinum and enamel where he primarily used the cloisonné technique. Sometimes precious and semi-precious stones were also included in the compositions. (see note 12)

Silver pendants containing coral, citrine and smoky topaz

Demonstrating a professional standard of craftsmanship, his creations over the years displayed a fairly diverse range of styles - for example shifting from lyrical baroque designs to playful and romanticised human figures to minimalist abstract forms. Especially the bold and chunky designs of some of the ensemble pieces are well known. Some brooches, pendants and earrings were designed with movable parts, allowing the pieces to echo the wearer's movement. (see note 13)

Calafato did not only manufacture jewellery. Throughout his career, he diversified his output to include all kinds of metal artwork. He also specialised in enameled, badges, service awards, sporting spoons, reliquaries, shields, trophies, presentation keys and trowels as well as regalia (such as mayoral chains).

Sterling silver liturgical objects by Joe Calafato, circa late 1950s

Flatware that included cake forks, tea spoons, sugar spoons and (commemorative) serving trays, were adorned with scrolls, small Proteas and animals on the spoon finials. They were made in silver or silver plate under the Carina and Velia insignia. The animal crests captured images of giraffe, elephant, water buck, kudu and impala. The spoons were also sold as souvenir singles. The animal sets were marked with the Velia, Carina and Kruger Park Maker's marks. (see note 14) Some demitasse spoons were also manufactured.

He used enamel to create coats of arms representing a range of South African cities on the handles of souvenir tea spoons. These include the cities of Pretoria, Johannesburg, Cape Town and Durban. Six different colours of enamel were used for the colouring of the crests; yellow, black, white, red, brown and green. He used his wife's name Velia as well as the Carina and earlier Candida marks on the spoons. (see note 15) Some contained African village life or African wildlife scenes in the hollow of the spoons. The high quality and refined three-dimensional artistry on the hollows, hilts and finials of the spoons, reflected the custom of a discerning clientele.

Sterling silver spoons made under the 'Candida' and 'Carina' marks late 1960s to early 1970s

Under the Dawu mark he seems to have specialised in copper brooches and bracelets that focus specifically on African cultural themes.

Influences and thematic content

Calafato mixed and redesigned dies and patterns throughout his career. In the beginning, components such as scroll patterns, round balls, small smooth half drops as well as riffled hollow cups (possibly influenced by European trends) were often reconfigured and soldered together in different designs. Later on, his inspirations shifted to African and wildlife images that were also recombined in different pieces of jewellery. (see note 16)

His preferred medium was silver which was already well established as a popular jewellery base in the Arts and Crafts movement of the late 19th century. Also, a number of the early Candida artifacts reflect the use of 'cabochon' cut (a rounded or oval cut with a flat base) semi-precious stones set in silver as well as the use of enameling which was introduced during this time.

Examples of early work done under the 'Candida' mark

African themes formed an important line in the Candida collection, and the attention that African art received from Europe during the Art Deco period (1920-1939) resulted already then in African inspired designs manifesting in jewellery. Interestingly, the African compositions with the Candida and the later Velia, Carina and Dawu maker's marks seem to be made only as separate brooches, pendants, bracelets and earrings but not in the form of necklaces or ensemble pieces. (see note 17)

Perhaps understandably, the dominant movement during the 1940s (recently differentiated as the '1940s retro' style or 'retro moderne') (see note 18) appears to have played a significant inspirational role during the first phase of jewellery manufacturing. Typical of the time, stark geometric shapes were combined with swirling and draped forms: loops and tendrils of metal "ribbon" scrolls, pleats, folds and ruffles in large and dramatic pieces. Also, the hammered surfaces on some bon-bon dishes that were created in the 1950s reflect this period well. (see note 19)

Examples of die casting and hammered work stemming from the 1950s

In the 1940s and 1950s the use of wire to lighten items of jewellery and give texture to surfaces (introduced during the Arts and Crafts movement) (see note 20) was again picked up and popularised by European manufacturers. (see note 21) Similarly, the use of wirework was also successfully incorporated as a design element in the early Candida designs (he did not however produce filigree work).

Early 'Candida' marked designs in which combinations of cups and leafs are combined with wirework.

During this time, international jewellery houses such as Cartier, Tiffany and Van Cleef & Arpels began producing their versions of popular figurative motifs: animals, ballerinas and "novelty" figures such as clowns, scarecrows and flower-sellers. (see note 22) This line of inspiration was also expressed by a wide range of Candida figurines in the form of brooches. Jewellery was increasingly seen as an art form in its own right, not just as a fashion accessory, with precious metals being used for their intrinsic beauty and not only for mounting gemstones. (see note 23)

Silver figurine brooches based on a Mexican motif

In the midst of the proliferation of styles in the 1960s and 1970s, there was, however, also a trend towards the kind of "organic modernism" stimulated by Scandinavian designers with many designers striving for an economy of line and form. (see note 24) This trend can also be detected in some of the later designs under the Candida mark as well as the range of work he produced under the Carina and Velia marks. (see note 25)

Examples of work done under the 'Velia' and 'Carina' marks

His work reflects a time line in terms of a fading European influence mingling with a strengthening African influence both in terms of inspiration and form. There is a clear migration from the original scroll abstractions to a more 'organic realism' in expressing plant, animal and human form, ending in an almost exclusive emphasis on African landscape, animal and village life. (see note 26) At the end, his work matured into extensively embracing images of the African continent, making him a truly African manufacturing jeweller in the full sense of the word.

African studies in sterling and oxidized silver and copper by Joe Calafato

Conclusion

Joe Calafato possessed a unique combination of skills with which he contributed significantly to our South African cultural heritage. Not only was he a successful businessman and employer, but he also shared his talents and experience as an artist and a craftsman with many others. His legacy does South Africans proud.

The above is a synopsis of Calafato's creative contributions to a South African cultural legacy in silver. A more extensive account has been posted on www.goldsmiths.org.za.

note 1: Juwelier maak nou medaljes, Hoofstad, 1982-10-27, p.6.
note 2: Testimonial issued by the South African Mint on 13 July 1945 upon Joe&s resignation.
note 3: Interviews: Mr. L. Scribante, Pretoria, 2005-20-31 and 2005-11-09.
note 4: F. van Staden , Joe Calafato: The story of a South African fine metal artist, Reflections of Yesteryear 2(3), 2001, pp. 13-17. Follow up interview: Ms. Z. Calafato, Pretoria, 2004-11-17.
note 5: Examples from the Van Staden collection.
note 6: Juwelier maak nou medaljes, Hoofstad, 1982-10-27, p.6.
note 7: A search by the national Registration Office back to 1943 yielded no information. http://ipnewpto/zaptolemy/web/IP/trademark/tmapplication/list.aspx, 2009-04-15.
note 8: J. Bace, Collecting silver: The facts at your fingertips (London, 2000), pp. 41& 43.
note 9: Juwelier maak nou medaljes, Hoofstad, 1982-10-27, p.6.
note 10: F. van Staden , Joe Calafato: The story of a South African fine metal artist, Reflections of Yesteryear 2(3), 2001, pp. 13-17.
note 11: Interviews: Mr. L. Scribante, Pretoria, 2005-20-31 and 2005-11-09.
note 12: Interviews: Ms. Z. Calafato, Pretoria, 2004-11-17 and Mr. L. Scribante, Pretoria, 2005-20-31 and 2005-11-09. Designs recorded in Calafato's sketch book.
note 13: Examples from the collections of Z. Calafato, S. Schultze I. Swart and F. van Staden. Combined, their collections hold more than 400 individual pieces of jewellery, as well as other artifacts produced by Joe Calafato. Also, interviews: Mr. G. Xanthides, Pretoria, 2004-11-16 and 2004-11-17.
note 14: Examples in the Calafato and Van Staden collections.
note 15: Examples in the Calafato and Van Staden collections.
note 16: Examples in the Calafato, Swart, Schultze and Van Staden collections. Also, the designs recorded in Calafato's sketch book
note 17: Examples in the Calafato, Swart, Schultze and Van Staden collections. Also, the designs recorded in Calafato's sketch book.
note 18: Retro moderne designer notes, http://www.emcity.com/refretro.htm, 2009-08-14.
note 19: Examples in the Calafato, Swart,Schultze and Van Staden collections. Also, the designs recorded in Calafato's sketch book.
note 20: J. Bace, Collecting silver: The facts at your fingertips (London, 2000), p. 86.
note 21: History of wire crafted jewelry, http://www.witswires.com/page/1079975, 2009-08- 14.
note 22: J. Price, Masterpieces of American jewelry, pp. 80, 89-92.
note 23: Examples in the Calafato, Swart, Schultze and Van Staden collections.
note 24: C. Truman (ed.), Sotheby's concise encyclopedia of silver, pp. 182-183.
note 25: Examples in the Calafato, Swart, Schultze and Van Staden collections.
note 26: Comparing outputs before 1972 in the Calafato, Swart, Schultze and Van Staden collections to the outputs after 1972.