Lee Marraccini Volume 39.1

AQUA DOLCE NECKLACE of eighteen karat yellow gold set with natural surface and faceted aquamarines, 40.64 x 5.08 x .64 centimeters, 2010. Photographs by Pam Perugi Marraccini.


On a mid-April morning Lee Marraccini is in his element, talking about his work in his shop, Angelo Jewelry, which he opened in 1998 in the old Michie Building on the downtown mall in Charlottesville, Virginia. Wearing gloves with their tips cut off, Marraccini shows off a ring featuring handcarved mother of pearl with eighteen karat gold and silver and diamond accents. The piece is stunning in its simplicity and depth—like the jewelry equivalent of Venus on a half shell.

ANCIENT PEARL COLLECTION RING of eighteen karat yellow gold, fine silver and sterling silver with carved mother of pearl and inset diamond, 1.53 centimeters diameter, 2015.

      The ring is a part of Marraccini’s latest collection, which he has been developing over the past two years. The mother of pearl came from his wife, Pam Perugi Marraccini’s grandfather’s collection of materials. From Carrara, Italy, one of the marble centers of the world, stone sculptor Araldo Perugi came to America in the early 1900s. He worked on a number of projects in the northeast. One of the altars at St. Patrick’s Cathedral in New York City is inlaid with the same mother of pearl that forms the foundation for this new collection.

Marraccini points to its unusual thickness: “The shell creature must have been really big,” he surmises. He discovered that he could carve into it and not lose the pearlescent quality of the surface. He has made bracelets, pendants and other ornaments from these remnants of Araldo’s altarwork.

Turning to a set of chrysoprase earrings with sapphire accents, Marraccini points out how they have great movement. He carved the warm green mineral stone into matching ovals, setting them off in scroll frames. He prides himself on an exceptional ability to shape stones on a wheel. That special talent has led to jewelry that is warm, clean, linear—and playful.

Marraccini has just returned from the American Craft Council show in St. Paul, Minnesota, which he feels is one of the most creative in the country. He enjoys meeting local artists from the greater St. Paul/Minneapolis area whom he does not see at other shows. “It’s good to see younger people coming back into the trade,” he states.

EARRINGS of carved green chrysoprase with faceted blue sapphires and diamonds in hand-fabricated eighteen karat yellow gold, 5.33 x 1.78 centimeters, 2013.

      One of the artist’s favorite gatherings is the American Gem Trade Association (AGTA) GemFair held every winter in Tucson, Arizona. As a “serious rock fanatic,” Marraccini can satisfy his jones for stones in a major way. “You usually end up buying something you weren’t planning on buying,” he says, “but it always works out.” He describes the expanse of the show with awe, the way the fair spills out from the convention center into the streets. “You can get anything from a twenty-five-cent pyrite to a piece of fossilized tree,” he reports, adding, “The hard part is not spending money.”

The show, Marraccini has found, is a “kick starter” for design. “You come across a stone you’ve never seen before or an abundance of a stone you weren’t able to obtain in the past.” Several of his lines have started with Tucson finds. About ten years ago, for example, he started working with natural surface lines, picking out stones whose surfaces he could highlight without cutting. The Dolce series was born. “The Tucson show was key,” he says, “because I could find rough stones.”

Looking at a bracelet from the Dolce collection in one of the cases in his shop, Marraccini lists the six natural stones in the line-up: aqua, peridot, amethyst, citrine, tourmaline, and garnet. The stones have been laid over mother of pearl. “You can see the juiciness of the piece—that’s why I call it dolce, it’s sweet like rock candy.” He notes that to create such a piece you need to have a level surface, but enough saturation of color. “It can’t be too translucent,” he explains.

SPRING GOLD BRACELET of eighteen karat yellow gold with inlaid natural black jade and flushed set black and white diamonds, 16.51 x 1.27 x .64 centimeters, 1995.

      While recognizing that the work and travel that goes into participating in fairs may not always bear the financial rewards he seeks, Marraccini loves meeting up with close friends to talk art and business. These trips also double as scouting expeditions. His shop in Charlottesville carries the jewelry of more than twenty artists, offering a wide-ranging showcase of contemporary jewelry design from across the U.S. Featured jewelers include Belle Brooke, Reiko Ishiyama, Paul Morelli, Judith Neugebauer, Jayne Redman, Bree Richey, and David Urso. The work of several Charlottesville-area artists is also on display, including that of Tavia Brown and Gabriel Orfiesh.

Marraccini’s wife Pam is director of Angelo Jewelry. Her photographs of Italy are hung on the walls. She made a living as a wedding photographer, but gave it up after developing shoulder issues. Since the arrival of grandchildren, the couple has limited their travels to going “where they are.” Daughter Marisa is a postdoctoral fellow in clinical psychology at the Warren Alpert Medical School of Brown University. Their son Marco works for an architecture firm in Culver City, California.

Marraccini and his son collaborated on the MarcoLee collection. They were interested in trying 3-D printing. With Marco’s familiarity with the CAD design system, they were able to create a line of intricate and intriguing pieces. An eighteen karat yellow gold and oxidized sterling silver icosahedron pendant with turquoise and rubies brings to mind the designs of M.C. Escher. Marraccini uses a company in New Jersey to do the casting; “I send them the sketch, they send back the design; I tweak it and then they cast it.” The process is expensive, but to get someone to carve it in wax is becoming increasingly difficult.

MARCO LEE COLLECTION ICOSAHEDRON PENDANT of oxidized sterling silver and eighteen karat yellow gold set with sleeping beauty turquoise and rubies, CAD designed and 3-D printed, 2.39 x 2.79 centimeters, 2012.

      A lot of Marraccini’s work remains hands-on, as a trip to his studio proves. Located in a line of brick buildings by the railroad track about a block or so behind his shop, the space is filled with the accoutrements of a full-blown jewelrymaking operation—benches, diamond saws, polishers, drawers of stones, stations for soldering and for other parts of the jewelrymaking process. On one table is an assortment of washers purchased from Hoover and Strong that Marraccini has incorporated into his work.

In speaking about the jewelry business, Marraccini traces the ups and downs. He began to see the beginning of a downturn in 2000 when several of the stores that carried his work closed. At the time, he had a bustling studio with as many as nine people working for him, plus a couple of apprentices. A series of setbacks, including having his jewelry stolen while at a fair in Winter Park, Florida, led him to begin paring down his operation.

Today, the team consists of Marraccini and Carol Rohmann Greene. He also lends space to jeweler Avery Groves who lives in nearby Afton, Virginia. While Marraccini misses his crew, which included an in-house caster, he continues to design like crazy, turning to a blackboard in the studio to work out new combinations.

CAROL ROHMANN GREENE, Marraccini’s assistant, working at her bench.

      “I’m really passionate about the jewelry I’m making now,” Marraccini states, even as he acknowledges that the winds of commerce blow hot and cold. His store is doing well this year, which allows him to design more and continue to attend shows. He credits his wife with helping to turn the business around. He also does a “decent amount” of custom work and offers general repairs, resizing and laser welding, as well as inlay work.

Marraccini’s journey began in 1947 in Monongahela, Pennsylvania, just south of Pittsburgh in the Monongahela River Valley. He grew up above Angelo’s Bar, which was owned and run by his father, Angelo Marraccini. After his father passed away in 1959, his mother took over the bar “and kept it.”

Marraccini graduated from Penn State in math education. He taught at the North Bethesda Junior High School. Not long after he married Pam, a third grade teacher, in 1972, she decided to take a class in pottery at an art studio in Washington, D.C. Wanting to accompany her through the dark city streets, Marraccini enrolled in the only other available class: jewelry. That is how he got started, learning the ropes from silversmith Dorothy K. Gordon, who specialized in hollowware.

Marraccini considers his “main talent” to be “designing by parts.” Starting with sketches on the blackboard, he develops concepts for new pieces and watches them “metamorphose” through metal manipulation, fabrication, casting, and stone inlay.

      In 1973, the Marraccinis took off in their van, outfitting it with a bed and camp stove. “You would call us hippies now,” Marraccini notes, “but we didn’t consider ourselves that back then.” At one point they went to visit a friend in San Miguel de Allende in central Mexico and ended up staying for three months, taking courses at the Escuela de Bellas Artes, an art school housed in the cloister of a former convent. “For thirty-two dollars a month, you could take four full-time art classes,” Marraccini recalls. Having never attended art school, he signed up for jewelry, drawing, guitar, and ballet. “Why not?” he thought at the time.

When things started to get a little crazy in Mexico, the pair returned to the East Coast. On their travels, they had met some friends who lived in West Virginia so they set up camp in Paw Paw, a small town located on a bend of the Potomac River “in the middle of nowhere.” They took up organic gardening and barely survived.


BLACK & WHITE COLLECTION ELEMENTS of eighteen karat yellow gold and sterling silver set with natural black jade and mother of pearl inlay, ranging in size from .64 to 1.91 x .95 centimeters, 2006.


      It was at that point that Marraccini made his fateful decision: to figure out how to make jewelry that he wanted to make and that people would want to buy. He made a commitment to this vision, stuck with it, and began to gain traction. He launched Moondance Silver and began making the rounds of craft shows. Around this time, West Virginia was becoming “a little too wild.” Floods and harsh weather, along with isolation, inspired the pair to seek out a new place to set down roots. Pam suggested Charlottesville; they moved there in 1984.

While much of his learning took place while residing in Paw Paw, Marraccini had some terrific teachers along the way, including Heikki Seppa, Ronald Hayes Pearson, Robert Ebendorf, and James Meyer. He learned rendering from Ivy Ross and advanced stone-setting from Alan Revere, the latter in San Francisco in 1986.

LEE MARRACCINI AND PAM PERUGI MARRACCINI standing in front of their store, Angelo Jewelry.

      Marraccini considers his “main talent” to be “designing by parts.” Starting with sketches on the blackboard, he develops concepts for new pieces and watches them “metamorphose” through metal manipulation, fabrication, casting, and stone inlay. He combines gemstones, conflict-free diamonds and recycled gold in contemporary yet classic designs that have won him awards at craft shows.

Marraccini has always worked this way, even when he had a larger crew. He starts by identifying what he wants to accomplish and then proceeds to work on it, letting chance and change guide the design. “That’s the way I’ve designed my whole career. I can’t stop designing. I can design all day long. Anything.”

Charlottesville is a “sweet place,” Marraccini says, and he has developed a faithful following for his collections. He has been in the business for more than thirty-five years now; and although he is fond of quoting fellow jeweler Jacob Snow—“Setting stones in metal is a bad idea”—he has found a way to keep developing and to remain thrilled by the possibilities of the creative process.


STACKING RINGS 80’S COLLECTION of eighteen karat yellow gold set with diamonds, inlays and faceted stones, 5.75 centimeters, 1985.
ANCIENT PEARL COLLECTION EARRINGS of natural abalone shell, faceted blue sapphires, pink sapphires, and diamonds in hand-fabricated eighteen karat yellow gold, 3.2 centimeters diameter, 2014.
STONE COLLECTION RING of eighteen karat yellow gold bezel set red jasper with inset faceted red zircon on a sterling silver shank,
2.54 x 1.91 centimeters, 2009.


     Get Inspired!


On a visit with his daughter Emily and her family in Charlottesville, Virginia, in April, Carl Little paid a visit to Lee Marraccini at his shop and studio in the city’s pedestrian-friendly downtown center. Marraccini had just returned from an American Craft Council show in St. Paul, Minnesota. His belief that making jewelry should be “serious fun” for the wearer was evident in the work he shared during the interview. Little’s latest book, coauthored with his brother David, is Art of Acadia, which is being published to coincide with the one hundredth anniversary of the founding of Acadia National Park in Maine.

Patricia Palson Volume 38.3 Preview


KABOOM JACKET of silk, merino wool, bamboo, rayon, cotton, letters cut out of variegated handwoven fabric and appliquéd, 2015.  Model: Tamara Chapman. Photograph by Bruce Preston.

KABOOM JACKET of silk, merino wool, bamboo, rayon, cotton, letters cut out of variegated handwoven fabric and appliquéd, 2015. Model: Tamara Chapman. Photograph by Bruce Preston.

Patricia Palson works in a home studio designed by her architect husband Eric as an addition to their handcrafted log home in Contoocook, New Hampshire. The big windows and woodland setting make the high-ceiling, second-story space feel like it is in the treetops. The bright walls, each a different color, red trim and spotlighted shelves of multi-hued yarns make the room look like the heart of a rainbow. A patterned rug, striped upholstery and a crazy painted table only add to the atmosphere. “I can’t get enough of pattern and color!” For Palson, who favors her bright blue glasses with golden rhinestones, this riot of color is soothing; color makes her happy. While she appreciates neutrals for certain garments and particular patrons, she is most content weaving at her loom when it is threaded with a highly saturated tone.

      Palson is a handweaver who makes garments and a fashion designer who weaves her own fabrics. For almost thirty years she has created jackets, scarves and dresses of handwoven materials. She has garnered numerous honors, including Awards of Excellence from the American Craft Council, CraftBoston and Smithsonian Craft2Wear, and was named a Remarkable Woman of New Hampshire by New Hampshire Magazine in 2012. She clearly enjoys her work and has created an ideal studio practice that early on gave her the flexibility to build a career while raising three children and now presents regular opportunities to attend craft shows with her husband, giving them a chance to travel together and see fellow artist friends: “It’s more than just a job, it’s a social life as well.”


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Ashley Callahan is an independent scholar and curator in Athens, Georgia, with a specialty in modern and contemporary American decorative arts. Her book Southern Tufts: The Regional Origins and National Craze for Chenille Fashion will be published by the University of Georgia Press in December. Patricia Palson told Callahan that she often is asked how she finds the time to weave, to which she responds, “How do I find the time to do the other things?” The sheer joy Palson finds in weaving, in fashion, and in the world of craft is infectious and Callahan is pleased to be able to share her story here. 

Ebony Fashion Fair Preview 37.5

GIVENCHY by Alexander McQueen (France). Evening dress of synthetic raffia mounted on silk gauze: appeared in The Jazz Age of Fashions, Fall/Winter 1997-1998.

GIVENCHY by Alexander McQueen (France). Evening dress of synthetic raffia mounted on silk gauze: appeared in The Jazz Age of Fashions, Fall/Winter 1997-1998.



Ashley Callahan takes us through the delightful experience of recreating the traveling show known as the Ebony Fashion Fair, which took place from high school gymnasiums in small towns to grand ballrooms in large cities. The audiences were composed of and targeted middle and upper-middle class African-American women. For its fifty years, there was never anything like it as it celebrated the beauty of the individual in its utterly unique presentations.