Antique glasses from the Louvre Museum.

In the age of Queen Victoria, jewellery, more than any other branch of the applied arts, reflected the preoccupations and aspirations of its owners. This revelatory, wide-ranging book : "Jewellery in the age of Queen Victoria a mirror to the world" by Charlotte Gere and Judy Rudoe explores how the Victorians used jewellery and what it meant to them, both literally and metaphorically. The intrinsic value of jewellery is only one aspect of its importance to its owners, for whom it could also display fashion, celebrate events, express mourning, or send intimate messages, often with pieces of little or no monetary value at all. Novelists used jewellery to add a moral or symbolic dimension to a character, white jewels depicted in portraits disclosed multiple meanings, which could be immediately decoded by the viewer. The book shows how the achievements of science, the fascination with nature, the impact of topical events or popular entertainment and the Victorian sense of humour are all embodied in jewellery, and illuminates the Victorian passion for cameos. The 'age of Victoria' is here used in its widest sense to encompass jewellery made not only in Britain, but throughout Europe and in America. The opening account of the life of Queen Victoria as seen through her jewellery establishes the influence of the royal family and provides a context for the topics that follow. These cover the central role played by jewellery in all aspects of Victorian life and culture, from its relationship with dress to its use as a political tool at the great world's fairs. The trade that such exhibitions fostered, combined with a burgeoning tourist industry, meant that jewellery from all parts of the world became familiar and had a profound effect on existing fashions. Nineteenth-century plundering of the past for inspiration is often seen as betraying a lack of ideas, but this book reveals the way in which the styles of former ages were appropriated in jewellery as much as other art forms by European countries struggling to create a national identity.

In this lavishly illustrated book, a renowned editor at British Vogue examines the links between fashion and jewelry.

For as long as we’ve been dressing ourselves, we’ve been adorning ourselves with embellishments for ears, hands, wrists, waist and fingers. And as fashion trends evolve, so do trends in jewelry. Here jewelry expert Carol Woolton demonstrates how the worlds of fashion and jewelry have become increasingly integrated over the last century. From the corset-bound silhouettes of the turn of the century, with their elegant drop earrings and delicate chokers, to the free-flowing kaftans of the 1970s, adorned with chunky, earthy bangles and beads—major trends and designers are featured in double-page spreads that offer endlessly fascinating and informative texts and illustrations. Profiles of icons from Coco Chanel and Harry Winston to Princess Diana and Michelle Obama reveal the interplay of personality and history in the world of fashion. And as jewelry from Chanel, Boucheron, Van Cleef & Arpels and others was shown for the first time alongside haute couture in this year’s Paris Fashion Week, Woolton explores how brands have made the most of this trend. Gorgeous photography from the archives of Condé Nast, Sotheby’s, and many fine jewellers bring precious metal and twinkling gems to glorious life on the pages of this book.

After the 1897 Munich Glass Palace exhibition – when Jugendstil was ‘born’ in Germany – the Stuttgart publisher Julius Hoffmann jr. had the brilliant idea of collating the most interesting illustrations from leading international specialist journals (including Art et Décoration, l’Art décoratif moderne, Revue des Arts Décorativs, La Lorraine artiste, Magazine of Art, Art Journal, The Artist, The Studio, The House, De Woning, Tidskrift for Kunstindustri, Magyar Iparmüvészet) and publishing them in a book entitled ‘Der Moderne Stil’. He also included reproductions of objects exhibited at the Paris Salons, by the La Maison Moderne and Art Nouveau Bing galleries and by artists and makers. The first magazine of ‘Der Moderne Stil’ [the modern style] was published in 1899; it would be followed until 1905 by 84 issues with several thousand illustrations. Thus an invaluable source of material on Jugendstil objects (with the names of their designers and makers), most of them unknown to this day, was created. We have put all issues into a single book, divided into sections on metal, ceramics, glass, furniture and jewellery. With approx. 2.000 objects reproduced, this reprint contains a wealth of source material. Authentic, for the most part unknown, illustrations from the heyday of European Jugendstil/Art Nouveau, with all designer and maker names. An indispensable reference work for art historians, dealers, auctioneers and collectors.

Around 1900 the Pforzheim jewellery-making industry, which had been established since 1767, underwent an upturn to flourish as never before. The participation of Pforzheim businesses in the 1900 Paris World Exhibition and the thorough assimilation of a variety of influences from abroad – including the figurative French Art Nouveau style – ensured that Pforzheim Art Nouveau jewellery developed confidently towards aesthetic autonomy. Collaboration between the jewellery industry and professors at the Pforzheim School for the Applied Arts as well as sharp eyes for new developments outside the jewellery capital shaped Pforzheim jewellery creations around 1900. Other fecund sources of colla-boration were the Darmstadt Mathildenhöhe artists and Wiener Werkstätte. The author has discovered hitherto unpublished contemporary source material and has been able to draw on hundreds of extant original pieces of jewellery – brooches, pendants, collars, hatpins and hair combs that are now in museums, private collections and on the art market – to make a choice selection for this book. Thus a living picture emerges of the diverse formal and technical -possibilities that gave rise to the design, craftsmanship and industrial manufacture characteristic of Pforzheim Art Nouveau jewellery. Many important designers worked for the Pforzheim jewellery industry around 1900. This is the first wide-ranging survey – informative on both artists and firms and lavishly illustrated. Artists (a selection): Franz Böres | Max Gradl | Patriz Huber | Georg Kleemann | Ferdinand Morawe | Otto Prutscher | Emil Riester Fritz Wolber Firms (a selection): Theodor Fahrner | Gebr. Falk | Hermann & Speck | Kollmar & Jourdan | Lauer & Wiedmann | Levinger & Bissinger | Victor -Mayer | Meyle & Mayer | A. Odenwald | Rodi & Wienenberger

From sumptuously embellished glass vessels by Emile Gallé, Daum Frères and Louis Comfort Tiffany, subtly decorated pieces of the famous porcelain manufactories in Rozenburg, Kopenhagen, Nymphenburg and Meissen, hair combs richly adorned with blossoms and other extravagant jewellery pieces by the Parisian jeweller René Lalique to individually designed furniture by August Endell, Richard Riemerschmid and Henry van de Velde. The visitor to the collection of the Bayerisches National Museum in Munich has the pleasure of strolling through the fascinating, diverse times of Art Nouveau. These works comprise one of the most outstanding collections in a German museum that contains masterpieces of the Art Nouveau. The core consists of the collections, acquired by the Munich museum in 1983, assembled with the great expertise of Professor Siegfried Wichmann and Duke Franz von Bayern. From the more than 500 individual items, this richly illustrated publication presents 150 of the most beautiful and important works accompanied by insightful texts and magnificent reproductions. Following the character of the collection this publication displays the wide scope of the international Art Nouveau movement with works of first-class artists and examples from nearly all material genres. Artists and firms (a selection): Charles Robert Ashbee | Peter Behrens | Hans Christiansen | Wilhelm Lucas von Cranach | Pierre Adrien Dalpayrat | Daum Frères Verreries de Nancy | Christopher Dresser | August Endell | Lucien Gaillard | Emile Gallé | Léopold Gautrait | Archibald Knox | Max Laeuger | René Lalique | Johann Lötz Witwe, Klostermühle bei Unterreichenstein/West Bohemia | Clément Massier | Koloman Mose | Hermann Obrist | Bernhard Pankok | Bruno Paul | Michael Powolny | Richard Riemerschmid | Rörstrand Aktie Bolag, Stockholm | François Eugène Rousseau | Franz von Stuck | Louis Comfort Tiffany | Henry van de Velde | Vereinigte Werkstätten für Kunst im Handwerk, Munich | Heinrich Vogeler | Josef Wackerle | Philippe Wolfers

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The end of the First World War left much of Europe faced with an entirely new political and social situation: absolute monarchy was consigned to the dustbin of history and essays in democracy were the order of the day. The changed conditions and the new way of life associated with them required new forms of expression in -music, dance, architecture and painting – and of course also in design. There France had led the field since the ground-breaking 1925 Exposition International des Arts Décoratifs et Industriels Modernes in Paris. Germany had not even been invited to that world exhibition – the effects of the Great War that had only ended a few years previously were still being felt. All great jewellery-designers were strongly committed to the Art Déco style, which featured astringent sophistication in design and choice of materials: jewellers such as Cartier, Boucheron, René Lalique, Georges Fouquet and designers such as Jean Desprès and René Boivin. From about 1928, this canon of forms occurs both in the work of Naum Slutzky at the Bauhaus and the German jewellery industry as represented by Theodor Fahrner Nachf. Gustav Brändle in Pforzheim and Jakob Bengel in Idar-Oberstein. A magnificent show of this short-lived yet far-reaching -stylistic intermezzo between the two world wars: from the most luxurious and elaborate jewels to costume jewellery made of Bakelite and Galalite. With a contribution on 1920s and 1930s fashion

The Padua School is emanated from the ‘Istituto Pietro Selvatico’ in Padua. The distinctive features of this jewellery are the use of gold reminiscent of the goldsmith’s art in antiquity and a modern and abstract formal idiom individualised within the group. Mario Pinton, who brought the movement international recognition and acclaim in the 1950s and ’60s, is credited with founding the experimental goldsmithing movement in Padua. Francesco Pavan has enlarged the scope of the Padua School with his kinetic, geometric formal idiom. The breakthrough on the international jewellery scene took place in the late 1960s with Giampaolo Babetto, under whose tutelage the geometric and Minimalist tendency was most pronounced. Other distinguished artists in jewellery such as Graziano Visintin, Renzo Pasquale, Annamaria Zanella, Stefano Marchetti and Giovanni Corvaya continued on the lines already laid down or, by experimenting with the use of new materials including plastic and an expressive formal lexis, each went their own highly individual ways. A long awaited survey of more than fifty years of art jewellery from the Padua School covering its work from 1950 to the present. Works by the master goldsmiths Mario Pinton, Francesco Pavan and Giampaolo Babetto and other artists together add up to the distinctive, typically ‘Paduan’ look in art jewellery.

This publication is a first, documenting the development of modern design in mass-produced jewellery from the post-war years to the present. An autonomous trend in jewellery – albeit related to -modern art architecture and design – it has become established mainly in the German-speaking countries. Nowadays jewellery designed in Germany in medium-sized factories and studios represents a major countertrend to conventional luxury jewellery. Since the 1990s, interest in this kind of jewellery has been growing outside Germany as well, in the US, in Europe and Asia. The author begins with a brief retrospective of the origins of -modern jewellery: Art Nouveau, Art Déco, Bauhaus and New -Objectivity. The revival of goldsmithing from the mid-1960s provided the formal and intellectual foundation for what is now happening in modern mass-produced jewellery design. A large illustrated section gives an historical overview of those developments as shown by the most important classic modern jewellery design and leading current exponents with their exceptional designer pieces. Some sixty brief portraits present the most important jewellery factories and designers with their outstanding work – a crucial chapter in the history of Scandinavian and German jewellery from ca 1960 to the present. Design factories and studios (a selection): Adam&Stoffel | Carl Dau | Gellner | Heinrich&Denzel | Jörg Heinz | Anela Hübel | IsabellaFa | Niessing | parsprototo | Pur | -Monika Seitter | Georg Spreng Reinhold Ludwig, the author, has, as the former general editor of the journals “Art Aurea” and “Schmuck Magazin”, followed developments in modern jewellery design for the past thirty years

Monika Brugger and her work represent a creative tradition of Conceptual jewellery in France which is otherwise scarcely encountered there at all. This book shows the development undergone by her work since its beginnings in 1992. Pierre-Damien Huyghe has this to say about it: “… the salient feature of Monika Brugger’s works is, first of all, not even a particular link between form and content but rather idea, category, linguistic tradition. Her art is in a certain sense Conceptual. It constitutes the question of the relationship between the word as convention and the thing made …” Anatomical fragments, particles of still vivid memories become foliage and polished forms that are transmuted via gold and silver into delicate, tongue-in-cheek pieces of jewellery. In an approach worthy of sculpture, Brugger adroitly uses photographs, texts, boxes and articles of clothing in constructing her own distinctive “installations”, presenting her objects in a size and on a scale commensurate with the space used. Her works are owned by museums and private collections. A native of Germany, Monika Brugger has been living in France for thirty years. She teaches in Limoges, Strasbourg and Paris. Monika Brugger has completely redefined jewellery in her work. These are actually installations, which require an entirely different approach to jewellery. She occupies a unique position in Europe.

The Viennese gallery Slavik has been exhibiting international contemporary jewellery art of the highest quality for 20 years. The rotating bronze disc above the entrance beckons the visitor to enter into a unique universe and into a singular architectonic design concept. As a meeting place for artists, collectors and museum professionals from all over the world, it is the goal of the gallery owner Renate Slavik to provide a deeper understanding of the fascinating nature of contemporary jewellery art. Since 1990 the former antique dealer has supported unique, handcrafted jewellery with her enthusiasm and vision.
“Art on the body” made of paper, synthetic material, tin as well as traditional “ingredients” like gold, pearls and diamonds is displayed in her changing exhibitions. In the gallery the work of those who have provided artistic impetus is shown: Annelies Planteydt und Gijs Bakker from Holland; international masters of studio jewellery such as Giampaolo Babetto or artists from the Padua School of Francesco Pavan. The gallery’s repertoire includes avant-garde jewellery by Annamaria Zanella, Jacqueline Ryan, Stefano Marchetti and Giovanni Corvaja as well as the geometrical creations of a David Watkins or the golden bracelet discs by Okinari Kurokawa. The Catalan Massana School with Joaquim Capdevila and Ramon Puig Cuyas and their colourful, narrative style; Helfried Kodré’s brooches and ring sculptures as a three-dimensional, spatially-extended implementation of geometry; Michael Becker’s clear, architectonic language of form; or the works with moving surfaces by Yasuki Hiramatsu represent different expressions of contemporary jewellery work. The doors stand wide open to the up-and-coming generation of craftsmen – one of the gallery owner’s favourite tasks is to scout out young talent such as Miriam Hiller or Isabell Schaupp.
“If you collect jewellery you collect the antiques of tomorrow.” This publication : "Art meets jewellery 20 years of Galerie Slavik Vienna" offers a comprehensive survey of the last 20 years of international auteur jewellery.
60 artists, including: Gijs Bakker | Anna Heindl | Miriam Hiller | Helfried Kodré | Elisabeth J. Defner | Michael Becker | Anneliese Planteydt | Francesco Pavan | David Watkins | Stefano Marchetti | Daniel Kruger | Annamaria Zanella | Giovanni Corvaja | Jacqueline Ryan | Renzo Pasquale.
 

On Jewellery offers a comprehensive overview of the trends and role of contemporary international jewellery art from the 1960s to today, shown within the context of corresponding trends in art and society. This publication is dedicated to themes such as interdisciplinary collaboration, new means of presentation and contextualisation. It also incorporates photography and the relationships between jewellery and the body, jewellery and ornament and new interpretations of traditional technical skills. Furthermore it considers aspects such as terminology and strategies, positioning, prejudices and the significance of content with regard to jewellery. On this basis this publication offers a synopsis of what jewellery art is and what it can be. Its aim is to reveal the characteristics, language and potential of jewellery. A bibliography of the most important works of jewellery art, a directory of jewellery galleries, museums and educational institutions make On Jewellery a compact handbook of contemporary jewellery art.

Artists featured include Pia Aleborg, Gijs Bakker, Melanie Bielenker, Manfred Bischoff, Helen Britton, Paul Derrez, Iris Eichenberg, Warwick Freeman, Otto Künzli, Daniel Kruger, Yuka Oyama, Robert Smit, Annamaria Zanella and Christoph Zellweger.

(ACC)

HENRI VEVER'S La Bijouterie Française au XIXe Siècle is an indispensable survey of the jewelry produced in Paris from the Empire to the Art Nouveau period. Ever since this extraordinary work was published in three volumes in 1906-1908, it has been the definitive source of vital information for everyone in the jewelry profession as well as those who simply revel in the intricate beauty of fabulous jewels. Now, for the first time, the entire text is available in English in this translation by Katherine Purcell. Vever, himself a highly accomplished jeweler, compiled a study which is a tribute to his colleagues, charting the histories of both the humblest and the most famous of his competitors, among them Bapst, Boucheron, Falize, Fontenay, Fouquet, Froment-Meurice, Gaillard, Lalique, Mellerio and Wièse. This highly readable contemporary account is brimful of data gathered directly from the jewelers themselves or from their descendants. It contains fascinating anecdotes concerning Imperial and Royal commissions together with entertaining tales of workshop practices. In crediting the designers, chasers, engravera and enamellers who collaborated with the famous jewelry houses, Vever acknowledged the talents of technicians who often worked anonymously. In identifying unrecorded craftsmen, he made his book a unique document . Political, economic and industrial developments are discussed, as are their repercussions on society and fashion. With his intimate knowledge of techniques, Vever was able to analyse changes that were continually taking place in manufacturing processes. He also recorded the changing styles in jewelry and their sources of inspiration, ranging from the Antique to the Orient. This book is a tribute w Henri Vever not only as a writer and a jeweler, but also as a collector, since a number of the pieces illustrated in this volume were acquired by him and generously given to the Musée des Art Décoratifs, Paris, in 1924. A unique feature of this English-language edition is the inclusion for the first time of over 130 colour illustrations of pieces, many from his collection, which appeared only in black and white in the original.