By Llyn Strelau

During my annual pilgrimage to the Tucson Gem Fair in 2022, I visited the booth of Hans-Ulrich Pauly, a master carver from Idar-Oberstein, Germany. What first caught my eye was a poster behind the booth, depicting an incredible carving of a chameleon in spectrolite (also called Labradorite). While chatting with Pauly’s daughter, Julia, she pointed into the showcase and there “he” was—in the “flesh!” Later, I asked Hans-Ulrich if he had given his little fellow a name. On reflection, he said, “How about Mimi?” (derived from “mimi-cry”). “Perfect,” I thought… “’Mimi’ it is!”

Mimi was an immediate purchase for me, although I wasn’t quite sure what would come next. The carving is almost fully three dimensional, and the back is as interesting as the front. I knew I wanted it to be wearable jewel, but also have a sculptural option.

Back in my shop in Calgary, I admired and played with my new friend Mimi for several months, letting him inspire me. I did some online research on chameleon habitats and lifestyle and, gradually, a vision grew.

Deep in the rainforest

Chameleons live and climb in leafy jungles, surrounded by tropical vegetation and flowers. Given the size and weight of the carving, I knew I would need to provide substantial support for the piece to be properly displayed and worn.

He would need a tree to live in, I decided. If this piece was to be a jewel to wear as well as a sculpture, it was necessary the carving be able to be removed from the tree, then somehow connect to a pin or pendant fitting. I decided to utilize my usual bayonet findings so the chameleon could “plug” into its tree support, as well as into a brooch fitting. This was the mechanical challenge!

While I could have had the tree made in silver, it was more sensible to use bronze. This was not only the more economical option (given the overall size and weight required), but it would also allow me to modify the surface colour with chemical patina.

A home for Mimi

Starting with some modelling wax wire, I began building a tree. It quickly became apparent I would need to have some sort of base for support. I recalled I had, in storage, a piece of petrified wood purchased 30 to 40 years ago for display purposes. After digging through some boxes in the garage (I had packed it away when I sold my shop, so the search took a while!), I got my hands on the piece in question. It was a little log, partly hollow and with some quartz crystal replacement, and measured approximately 150 x 100 mm. It would be a perfect base.

While modelling the tree, I had to consider how it would connect to the chameleon carving, as well as how the carving would, eventually, connect to a brooch finding. The lapidary artist had included a tree branch as part of the lizard itself; however, since it was all Labradorite, the distinction between tree and animal was indistinct. I decided to use wax sheet to model covers for the tree branch, which would also be cast in bronze. This served a two-fold purpose: It gave definition between the chameleon and his tree perch, and also provided a metal surface which would allow us to connect the carving to the supporting tree.

Moving forward with the tree model, I added roots that would twine around the petrified wood base, as well as branches to balance the mass of the carving. I created one larger “knot” in the trunk in which the female bayonet finding could be hidden. The bronze-covered branch on the carving would have the male bayonet fitting to permit the plug-and-play connection.

Wax works

At this stage, I asked for assistance from my colleague, Dmitri Rumyantsev, who is a talented and versatile goldsmith. He was immediately engaged in the project and, being a far superior wax worker that I, he refined and improved my initial wax tree to have it ready for casting. The larger “knot” was enlarged further to accommodate the end of the log on the carving. Bark texture was also added, and the roots were adjusted to give a solid connection to the petrified wood base. We also added a circular cavity near the top of the tree (which would, eventually, hide a little surprise!).

We had to purchase a larger casting flask to accommodate the tree. It just barely fit in the kiln and casting machine. Dmitri set it up, invested it, and the cast came out perfectly. I played with some chemicals on hand and was pleased to find a combination that gave the bronze a good medium brown colour. Gentle rubbing brought out highlights to add depth. It took some further manipulation and adjustment of the roots to make them secure in the crevices of the petrified wood base. The wax “caps” for the log portion of the carving were also cast in bronze, fitted, and patinated, then the male bayonet finding was soldered to the branch end. With the addition of a couple of very carefully drilled holes through the Labradorite, the bronze shells were slid over the carving, then secured with epoxy and a couple of bronze pins.

A bit more colour

Since I planned to submit the finished piece to the American Gem Trade Association (AGTA) Spectrum Award competition—in the Object of Art category, with its coloured gemstone-focused mandate—I knew I had to add more coloured gemstones to the sculpture.

I decided this tree located deep in the jungle would most certainly have a vine climbing it. Using computer-aided design (CAD), I modelled some leaves of Monstera deliciosa (cut-leaf philodendron), which were then cast in 18-karat green gold. We pulled green-gold wire for the vine and twined it around and up the bronze tree. The leaves were welded in place, along with a number of smaller wire stems. I drilled 3-mm natural colour golden Vietnamese Akoya pearls and pegged them to the wire stems. These pearl berries were finished with orange-yellow sapphire centres.

From my loose stone inventory, I selected a beautiful orange-pink, fancy-cut, marquise-shaped spinel. Ultimately, this became an arum-type flower, with a pair of green-gold leaves framing the gem.

A jungle also needs palm trees, I realized, so I modelled fan palm leaves in wax sheet. These were also cast in green gold, then attached to a main trunk. To craft additional flowers, I utilized three petal-shaped natural baroque abalone pearls, paired with a bezel-set pink sapphire centres to create the abstract bloom. A couple of smaller round abalone pearls were used to represent buds.

An orchid seemed like a fitting addition, so Dmitri fabricated the five petals in rose gold, then bead-set small yellow and pink sapphires in the flower and nestled it in green-gold foliage. This was attached by its aerial roots to one of the tree branches.

The petrified wood base provided nooks and crannies for the palm tree and flowers to be attached. We used diamond drills to make holes into which the accents could be attached with epoxy.

Food and foe

Our little friend, Mimi, needed something to eat (after all, it IS a jungle out there!). Chameleons have very long, agile tongues, which terminate in a sticky pad to capture prey. A realistic tongue would be fragile and impractical, so I decided to give Mimi a coiled tongue with a little fly for his lunch.

The fly was modelled using two small black South Sea keshi pearls (one for its head and one for its body). I connected the pearls with a peg and epoxy, then drilled holes in them to insert white gold-textured wire legs. Two eye-holes were added to the head, with a ball bur and setting bur to make seats into which two round rubies were secured with adhesive.

Dmitri made a pair of wings, which were pave-set with bright-cut, round diamonds to add further definition and detail. The wings were pegged and glued onto the fly’s back. Finally, he made a rose gold tongue, which was spiralled to capture the fly. The other end was secured into the chameleon’s mouth. His snack was captured!

At this stage, Dmitri mentioned the balance of the petrified log with the bronze tree was a bit off-kilter and suggested we add something to provide greater security and levelling. His solution was to carve a coiled serpent in wax, which could be cast in bronze. The snake would be attached to the underside of the log and reach up, peering (hungrily, perhaps?) at the chameleon. Dmitri carved scales and, once the snake was cast, added gold fangs and a tongue, as well as tsavorite garnet eyes. Using a different chemical solution, I patinated the snake a vibrant blue-green and it was riveted and secured into position.

Finishing touches

Two final details completed the sculptural portion of the project. One end of the petrified wood log had a larger hollow cavity, which cried out for a little surprise. Dmitri carved and cast a little rose gold frog with tsavorite eyes to hide in this cavern. Perhaps it, too, was looking for a little snack—maybe even eyeing our chameleon’s prize black fly!

From the beginning of carving the tree, I was keen for there to be another little secret surprise. Deep in the cavity at the top of the trunk, we added a pair of ruby eyes set in rose gold—a little “monster” keeping watch!

Wearable ware

Though the Spectrum competition category we were submitting to was Object of Art, I always prefer to have the option of a wearable piece of jewellery. To that, Dmitri carved a simple wax branch, which included a larger section that could accommodate a female bayonet finding and the end of the bronze branch on the carving. The bayonet hardware system works by rotating the male bayonet finding, fitting to the position where it can be inserted into the female fitting, and, while pushing gently against the internal spring, rotating clockwise until it locks. The shape of the bronze branch and the addition of a double pin-back provided the connection and adequate support needed for the carving to fit securely into the brooch. Mission accomplished.

A box fit for Mimi

Given my previous problematic experience with shipping sculptural pieces via courier from Canada to the United States, my final task was to create a fitted travel and storage case for the piece.

I had a wooden wine bottle box cut down, then stained it and added stronger hinges and locks. Next, using high density foam, I lined the box and created fitted spaces to support the log and tree on one side and a special section in the lid for the chameleon and brooch fitting. Soft leather was used to cover sections and provide further protection. I then recorded a little video showing the steps for opening and removing the components and how to fit the chameleon into either the sculpture or the brooch component.

Just like that, off Mimi went to Dallas for judging! I was thrilled to be awarded second place in the Object of Art category at the AGTA Spectrum Awards. As an additional bonus, our little chameleon was displayed during the 2023 Tucson Gem Fair. Hopefully it will find a forever home where it can be enjoyed by many people for years to come.

Llyn L. Strelau is the owner of Jewels by Design in Calgary. Established in 1984, his by-appointment atelier specializes in custom jewellery design for local and international clientele. Strelau has received numerous design awards, including the American Gem Trade Association’s (AGTA’s) Spectrum Awards and De Beers’ Beyond Tradition—A Celebration of Canadian Craft. His work has also been published in Masters: Gemstones, Major Works by Leading Jewelers. Strelau can be reached via email at designer@jewelsbydesign.com.