Necklace set | Three Hares sterling silver charm pendant, rose pink coin freshwater pearls, rhodochrosite, sterling silver findings

Notes on this piece: Inspired by goimagine's "Year of the Rabbit" Maker Challenge, I was happy to find this charming Three Hares charm/pendant. It depicts three hares/rabbits chasing each other in a circle. Each rabbit shares one ear with the others, creating a Escher-esque puzzle where each hare appears to have two ears — but there are only three ears represented and together, these create a triangle. There are no definitive answers regarding the symbol's origin and meaning. It is shared across religious cultures religious in Europe and Asia, including Buddhism, Islam, Christianity, and Judaism. It shows up in 6th-7th century China, 12th-13th century Iran, 13th-14th century Mongolian Russia, in some medieval churches and chapels of England, France, Germany, and Switzerland, and an 18th century German synagogue. In Christian iconography the symbol is thought to represent the trinity.

Here's a website with an interesting Three Hares page with photos. Visit this website for more photographs (unfortunately the book it promotes is out of print). The photo below is from Mogul Cave in Dunhuang, China (6th-7th c.).

My design for this necklace/earrings set includes rose pink pearls, rhodochrosite, and sterling silver. The sterling silver puzzle clasp echos the puzzle of the symbol and the triangle created by the hares' ears.

My designs are inspired by the beads, by their color, shape, size and origin.

I’ve been buying/collecting beads for over 20 years, focusing on early and mid-century glass beads, but including semi-precious and other stones, freshwater pearls, contemporary artisan lampwork and ceramic beads. I work with sterling silver, bronze, or copper clasps and use sterling or gold-filled findings. 

In my first years of bead jewelry design, I had to see and/or touch the beads to know what I wanted. After years of experience, I can confidently shop online (fortunately, during these times) and have a growing list of “go-to” artisans, vendors, and brands for my supplies. 

My design descriptions include a list of “ingredients” used in each design.

Some designs come together quickly and organically. Others are re-worked several times, even if I’ve already attached the clasp with crimp beads and crimp covers and need to completely re-string.

Designs are often “retro-classic” as my OOAK designs are bead-centric with a nod to mid-century costume jewelry, rather than inspired by current fashions in jewelry designs or color trends. Add a pinch of whimsy and my personal take on color palettes.

I work on felted bead boards to calculate the length of each necklace (usually “matinée” length 20-24”) and to hold the beads I’ve selected for my design. Sometimes I change my mind mid-design and put away many of the beads I’ve been working with, then search for or order others. I usually work with 49-strand .018 or .019 gauge bead wire, which allows stringing back under a half-inch or so of beads after the crimp bead and clasp are attached. I work by creating my design on the wire, rather than try to lay out the complete pattern, as it’s important to see how the beads will hang and to pick compatible spacer beads.

I use sterling or gold-filled ear wires and headpins, and often create “mis-matched” earring pairs.

The weight and length of each necklace are listed in case you have a preference for lighter or more substantial pieces. (I enjoy both.)