The key with publications is to try to redress the balance so that pieces are attributed to the right jewellery designer to try to determine when the confusion began between work by Dorrie Nossiter and Sybil Dunlop. Also to recognise the value of later Arts and Crafts style work which has often been denigrated, for example;
"It is perhaps because the creative impetus behind the Art Nouveau style diminished so rapidly after 1910 that the French were able to approach the new design problems with their minds uncluttered by the left overs of a previous style, whereas the English Craft Revival movement was still stumbling on supported by a faithful if diminishing body of admirers and fed by new recruits who were to ensure its survival until the outbreak of war and even beyond. The work of inter-war designers like George Hunt and Sybil Dunlop, while making considerable concessions to the new ideas in materials and stone setting techniques, remain basically Craft Revival inspired. Both these artists remain almost exclusively faithful to nature as the source of their ideas, and the most noticeable difference between their jewellery is in the polychromy, achieved by an apparently haphazard selection of coloured stones, quite unlike the subtly calculated effects in the polychrome work of Henry Wilson or JP Cooper, both of whose work is distinguished by the most beautiful use of colour." Gere C Munn G 1989