African trade ministers held their fourth conference in Algiers, Algeria, on Monday (24 November) to discuss the problem of trade between african countries.
GV EXTERIOR OAU conference building
GV Libyan, Sudanese, Somali and Guinea Bissau delegations (4 shots)
GV Chairman Yaker introduced (3 shots)
GV Chairman Yaker addressing delegates in French (SHOTS OF DELEGATES LISTENING OVER SPEECH)
The Palace of Nations conference centre in Algiers is the scene of the fourth conference of African Trade Ministers, which opened on Monday. The conference is being held under the auspices of the Organisation of African Unity (OAU) and the main item of the agenda is the promotion of inter-African trade. Just over two percent of last year's total African foreign trade, worth 34 million pounds sterling, was between African countries themselves ... a fall of three per cent during the past nine years.
The Conference was opened by OAU Secretary-General William Eteki M'Boumoua. The first major address came from the conference chairman, Algerian trade minister Layachi Yaker.
He told the many delegations that if the drop in inter-African trade continued, it would constitute a grave danger to the future of African Co-operation. "It will compromise all efforts to consolidate African unity" he said.
Delegates will discuss the problems surrounding African trade during the five days of the conference. United Nations economic commission experts are on hand to give advice ... and the difficulties of providing Africa with adequate transport facilities will be one of the first problems tackled.
Script is copyright Reuters Limited. All rights reserved
Background: African trade ministers held their fourth conference in Algiers, Algeria, on Monday (24 November) to discuss the problem of trade between african countries.
Just over two percent of last year's total foreign trade of African countries, worth 68 million dollars (34 million pounds sterling) was between African countries, a fall of three per cent during the past nine years
The conference was held at the Palace of Nations Centre, under the auspices of the Organisation of African Unity (OAU) and was opened by OAU Secretary-General, William Eteki M'Boumoua.
Delegates at the conference discussed the problems of inadequate transport facilities and the incomparability of products making progress slow in developing inter-African trade links.
A group of Experts from the OAU and the United Nations economic commission met in Algiers the previous week to prepare for the ministerial conference.
Algerian trade minister and conference chairman, Layachi Yaker, said that if the drop in inter-African trade was allowed to continue, it would constitute a grave danger for the future of African co-operation.
"It will compromise all efforts to consolidate African unity", he said.
During this period, Stuart Devlin was able to develop his interest in sculpture and achieved the rare distinction of holding a one-man exhibition, of his own work at the Thibaut Gallery in New York and, in 1965, at the Terry Clune Gallery in Sydney. If Stuart Devlin had not turned to silversmithing he may well have been outstanding sculptor and today's collectors of rich, contemporary gold and silver must consider themselves fortunate that he chose to be a gold and silversmith.
It was while Stuart Devlin was in America that he met the Beautiful Kim Hose from West Chester County, New York and in December 1962, six months after leaving America, he returned there to marry her.
The Devlins made a honeymoon journey back to Australia where he embarked on what was then his biggest commission - the designing of his country's new decimal coinage. The winning of this commission from five other top designers was an exciting stimulus for his design in their pockets. The six coins depict the wildlife family of Australia. Their originality, meticulous workmanship and precision of finish have made people aware of the qualities which make Stuart Devlin such an outstanding designer.
It was while he was supervising all the stages of the die-making of the coins at the Royal Mint that he finally decided to make his home in London. Like other great silversmiths of the past, Devlin was attracted to London because this city is the traditional world centre for the silver and gold craft where there still remains unrivalled tradition and skill.
Though he is based in London, travelling gives Stuart Devlin many of his ideas, and, although he does not consciously use the images he sees, they are sometimes apparent in his work. For instance, in a gold and silver dinner bell, purchased by the Worshipful Company of Goldsmiths for their permanent collection, he found himself using the contours and richness of a temple spire in Bangkok.
Richness is design is to be seen in all Devlin's work and, even though ninety per cent of what he makes is in the traditional manner, he has perfected new techniques which give him a wider scope for his craft. Because of this he is able to design and make pieces which have never been possible before. His 'trademark' seems to lie in the limitations of gold and silver giving each piece an added sense of aesthetic individuality.
Devlin feels that the only justification for using silver must be that it enriches our lives - if it does not fulfil this function it has no validity and one might just as well use stainless steel. As a result, his work is a source of great delight to those who have become disenchanted with the austerity of the Scandinavian influence.
The Stuart Devlin Showrooms contain a magnificent permanent display of his work and, because of his vivid imagination the collection is constantly changing. From the tiniest paperweight to the most fabulous centrepiece his attention to detail and meticulous craftsmanship is abundantly evident.
Devlin's design covers a wide field and ranges from impressive ceremonial regalia, maces for universities, to salt cellar and perhaps his most immediately appealing pieces which are elegantly executed golden eggs containing many different precious stones. A designer's stock in trade is his ideas but he must also have the ability must surely be one of the major reasons for Devlin's success.
Now Devlin has turned his attention to gold which, with its richness and adaptability, is the natural material for his intricate and beautiful designs. His 18 Carat fold jewelled Easter Eggs, containing or decorated with fabulous precious stones, are prized as ever were the treasure of the Czars.