In case you are not aware:

1) I am a bead historian; and glass beads are one of my principal interests, upon which I am an authority.
2) I was one of three judges for the exhibit at The Bead Museum in 1993, when the SGB was founded.
3) I was the first President of the SGB in 1993.

The date you bring up related to Chinese knock-offs is too early, by about ten years.

I've been friends with Tom Holland for decades, and with Sage since she met Tom (1993). If you know Tom's reproductions of ancient folded beads, he began this work at my suggestion and encouragement. I am good friends with Sharon Peters—whom I also admire. Leah Fairbanks has nothing to teach me.

The technique being discussed is essentially a Venetian technique. I worked-out the process in 1979. I recognize it when I see it in the work of others (as mentioned earlier in this dialogue).

Regarding Japanese work: The art they created for themselves is highly refined, often austere, and uniquely beautiful. However, the post-WWII commercial-quality beads are an entirely different story. The art-sense invested in them is sketchy. They will never be regarded as "great beads"—though they have a following. In recent months I have been paying more attention to these products at eBay. But I began collecting Japanese glass beads in the '70s.

And, let's not forget, it was my stressed opinion that I don't know of any Japanese beads with this sort of decoration.

I certainly would not reject the idea that these beads could have been made by a studio artist. I don't know whom. And this is why I am (still) seeking recognition.

JDA.