Книги по ювелирному искусству

Art as Jewellery is a visually stunning introduction to jewellery made by the titans of twentieth and twenty-first century art.

From Salvador Dalí, Man Ray, Alexander Calder and Pablo Picasso, through to Anish Kapoor, Damien Hirst and Grayson Perry, the great figures of modern art have all turned both thought and talent to jewellery. Often, they have eschewed the traditional jeweller’s preoccupation with material value and provenance, more concerned with the conceptual or aesthetic significance of their work. As is fitting for a book that covers a range of artists, every image is as striking as it is unique. By using contemporary pictures, Art as Jewellery develops a chronological timeline of jewellery presentation. Its pages are home to a stunning variety of design sketches and photographs. Some were shot by renowned 20th-century photographers, such as Ugo Mulas and Antonia Mulas, while others have been buried in archives for decades, unseen since the ’60s. In contrast, modern works have been given model treatment by top photographer Alexander English, making this book a glamorous blend of new and classic jewellery art.

Author Louisa Guinness, collector and gallery owner, provides insightful commentary on each artist and their work. Her input can be felt on a personal level; having worked alongside many of these artists as they developed their jewellery, she is in the perfect position to reveal the personal stories behind these pieces’ creation. Full-page colour photographs and sketches, some showing the artist at work in the studio, or with their muse, accompany each profile. Louisa also explores each artist in the context of the genre’s evolution, looking at the key exhibitions that have shaped the interest of artists and collectors.

This book will be of interest to jewellery and art lovers alike. Contents: Introduction What is Art as Jewellery Foreword Artists (more than 50 are covered, including Alexander Calder, Salvador Dalì, Man ray, Pablo Picasso, Louise Nevelson, Max Ernst and Corneille) Exhibitions

_Includes an introduction by Vivienne Becker, an award-winning jewellery writer, and a contribution from Julia Peyton Jones, previous director of the Serpentine Gallery, London
_A marvellous array of images, from archived photographs and sketches that have not been seen since the '60s, and the work of 20th-century photographers such as Ugo Mulas and Antonia Mulas, to modern shoots by Alexander English

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.

A geometric language of forms, influenced by Cubism and the aesthetic of the machine, coloured plastic and chromium are synonymous with the Art Déco costume jewellery which was so popular in 1920s and 1930s Europe.

Formerly classified by specialists as ‘French jewellery’, these Art Déco jewellery objects were actually made at the Jakob Bengel Chain and Bijouterie Wares Factory, founded in Idar-Oberstein in 1873!

The jewellery produced by Bengel between 1931 and 1938 is distinguished by that of other makers by extraordinarily powerful innovation and a high degree of individuality. A mix of materials consisting of the coloured plastic Galalith and chromium-plated metal is handled with a playfully light touch. Bengel jewellery was exported worldwide.

More than two hundred and fifty pieces of Bengel jewellery are superbly reproduced and described in this monograph on the firm. In addition, the book surveys over one hundred and thirty years of Bengel history and gives insights into sample books that have survived from the years 1924 to 1939.

Over ten thousand drawings in colour furnish conclusive source material on designers and design practice during those years.

Dieses Referenzwerk bietet einen faszinierenden Überblick zum Art Déco-Schmuck! Sonderausgabe der vergriffenen Publikation zum Sonderpreis!Eine geometrische Formensprache, beeinflusst von Kubismus und Maschinenästhetik, farbiger Kunststoff und Chrom sind die Synonyme für Art Déco-Modeschmuck, der in den 1920er und 1930er Jahren in Europa sehr beliebt war. Viele bisher von der Fachwelt als französischer Schmuck eingestufte Art Déco-Schmuckobjekte sind in der 1873 gegründeten Ketten- und Bijouteriewarenfabrik Jakob Bengel in Idar-Oberstein entstanden! Die Bengel-Schmuckproduktion der Jahre 1931 bis 1938 zeichnet sich im Vergleich mit anderen Herstellern durch eine außerordentliche Innovationskraft und hohe Individualität aus. Mit spielerischer Leichtigkeit wird mit einem Materialmix aus farbigem Kunststoff Galalith und verchromtem Metall umgegangen. Bengel-Schmuck wurde in die ganze Welt exportiert. In dieser Firmen-Monografie werden über 250 Bengel-Schmuckstücke brilliant abgebildet und beschrieben; darüber hinaus gibt das Buch einen Überblick über die 130-jährige Firmengeschichte und auch Einblicke in die erhaltenen Musterbücher aus den Jahren 1924 bis 1939. Anhand von über 10.000 farbigen Zeichnungen lassen sich Rückschlüsse auf Entwerfer und die Entwurfspraxis der damaligen Zeit ziehen.

This book presents some of the finest Art Deco jewelry produced by the world’s leading designers and makers between 1910 and 1937. Not only does it feature the most famous names of the Art Deco period, it also restores other notable makers to their proper place in an era that saw the creation of stunningly stylish and beautiful jewelry.

Drawn from public and private collections worldwide, some of the best-known pieces of Art Deco jewelry are shown alongside many original drawings and designs, several for the first time. A number of the world’s foremost authorities on the subject explore the world of Art Deco jewelry in essays on the context of the modern movement; on clients and collectors; on the relationship between jewelry and the fine arts, architecture and cinema; and on the world of graphic art, commercial design and advertising.

Eighteen designers and houses are featured individually, including Paul Brandt, Suzanne Belperron, Boivin, Cartier, Jean Després, Jean Fouquet, Gérard Sandoz and Raymond Templier, among others. Some were the heirs to jewelry dynasties, some were talented newcomers with fresh ideas, but all left their mark on the Art Deco era. Echoing the revolution that occurred throughout the arts in this period, their jewelry ranged from lavish gem-studded creations worn by Hollywood stars to innovative costume pieces that made creative use of unusual metals and materials.

With expert guides and breathtaking illustrations, this entrancing and authoritative book will appeal to specialists and general readers alike.

Laurence Mouillefarine is a journalist who has been a contributor to Madame Figaro and Architectural Digest for more than twenty years. She is the author of several books on jewelry and antiques.
Évelyne Possémé is a senior curator at the Musée des Arts Décoratifs in Paris, Art Nouveau, Art Deco and Antique Jewelry departments

Ce livre très complet montre étape par étape les principales techniques et matières utilisées pour la réalisation des bijoux. Procédés, matières et création y sont détaillés de manière claire et complète. Il fait office de guide et de manuel technique, destiné aux professionnels et aux amateurs désireux de connaître et de pratiquer cet art.

Sommaire :
Santé et sécurité, brève histoire du bijou, l’atelier, les outils, les matériaux, les techniques de base, le montage, les tech¬niques de mise en forme, la sculpture, le modelage, la fonte, les mécanismes, les couleurs et textures, le sertissage des pierres, l’enfilage des perles, la sous-traitance, la création, le dessin, photographie et mise en valeur des bijoux, connaissance et taille des pierres, glossaire.

550 color photos

Art Jewelry Today. Dona Z. Meilach. Here is a beautiful new look at contemporary art jewelry. This invaluable reference will guide those who buy, wear, collect, and create one-of-a-kind, hand-made jewelry to the newest developments and their artist/innovators. Peek into the minds of today's craftspeople to understand their motives and methods. These are today's top art jewelers whose work is often shown in art galleries and museums. Chapters present contemporary designs in gold, silver, mixed metals, found objects, glass, enamel work, and imaginative jewelry pieces that go beyond tradition. Over 540 color photographs and lots of detailed information give ideas galore to inspire jewelry makers. In the 21st century craftspeople are striving to have their work considered fine art. This book will convince doubters that today's art jeweler is creating serious sculpture regardless of its size. It is sculpture to be worn, enjoyed, and appreciated today. Here are the trend setting artists with masterpieces that will be the collectibles of the future.

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 | F. Zerrenner

Jewelry was one of the purest, and most successful, expressions of Art Nouveau style, using sensuous organic forms to create a vast range of objects of exceptional beauty and inventiveness. Leading expert Vivienne Becker provides an account of the movement that spread through Europe and the United States, acquiring different decorative characteristics in England, Germany, Austria, Belgium, Russia and Spain.

For the collector, comprehensive biographies on more than 300 designers are included, followed by a guide to identification, with over 200 makers’ marks and signatures. Each part of the book is richly illustrated with plate sections of dramatic illustrations, from the sinuous elegance of the French masters - Vever, Lalique and Fouquet - to the linear, geometric designs of the Viennese - Josef Hoffmann and Koloman Moser.

456 illustrations, 156 in colour, 214 makers' marks

The bulk of this handbook is step-by-step case studies, comprehensively explained and illustrated with photographs. Each chapter demonstrates and guides the reader through procedures for making a bangle or bracelet using a particular technique, approach or skill. Topics covered include: wax-work (casting), chain making, wire work, found objects,
piercing, stone-setting.

Designed to appeal to both beginners and practising jewellers, there is an introductory chapter on basic techniques, covering the fundamentals of jewellery-making, complete with detailed explanations and photographs. Each chapter includes a generous garnish of relevant 'tips and tricks' - useful hints from the author and other experienced jewellers.

For 500 years, the world's greatest makers of costume jewelry have hidden, anonymous, in the heart of Europe: Gablonz, Bohemia. This groundbreaking, beautiful book exposes the jewels, craftsmanship, technological development, and history of Bohemia. Almost 400 gorgeous color photographs illustrate the area's artistry, its most significant designers and manufacturers and their contributions to the art of jewelry, button, and bead making. Bohemian glass dynasties lasted for centuries, until the middle of the 20th century, when the entire community of German-stock craftsmen was expelled from the area in the turbulence of World War II. Though Gablonz will forever feel the loss of these great craftsmen, their artistry has been meticulously researched and documented by Sibylle Jargstorf for this book.

Creatures from the animal kingdom represented in exquisite jewelry by renowned masters Cartier, Bulgari, Tiffany & Co., JAR, Belperron, David Webb, Schlumberger, Boucheron, and many other brilliant jewelers.

Many of the most imaginative designs by the world's great jewelry houses and artisans take inspiration from the animal kingdom. From Cartier's iconic panthers to Bulgari's snakes and JAR's butterflies, these spectacular objects dripping with precious stones are akin to wearable art. Beautiful Creatures depicts some of the most spectacular beasts ever transformed into sparkling treasures and accompanies a forthcoming special exhibition in the American Museum of Natural History's Allison and Roberto Mignone Halls of Gems and Minerals.

The 120 pieces featured date from the mid-1800s to the present, representing species from the realms of land, air, and water. Gorgeous studio photography of the jewelry is complemented by images of iconic personalities, including Elizabeth Taylor, Twiggy, and the Duchess of Windsor wearing famous animal-
inspired jewels. Guest curator Marion Fasel relays the stories behind the individual pieces through entertaining anecdotes and reveals the colorful histories and fascinating symbolism of these remarkable creatures in precious gems and metals that intrigue and delight and that we never tire of wearing.

About the Author:

Marion Fasel is a jewelry historian and author of several books on twentieth-century jewelry. She is the founder of the online jewelry magazine The Adventurine. In 2018 Fasel was the recipient of the GEM Award for Media Excellence and the Jewelry Champion Award from Town & Country magazine.

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Victoire de Castellane, the designer of Dior Joaillerie, presents her collection of Fine Jewellery on the Belladone Island – an imaginary island conducive to the growth of Belladonna, a toxic plant whose essence was used as eye drops by Italian women during the Renaissance to dilate their pupils – dilated pupils being one of the signs of sexual arousal. The plant kingdom inspired the names of the jewels in their collection, plants which were part of the imaginary ancestral herbarium and reminiscent of the magic formulas of bewitching elixirs – Reina Magnifica Sangria, Poisono Misterius Spinella, Fleuro Poisonus Spinella, Paradisea Coeur Secretus, Carnivora Fluora Eternita, Dracula Spinella Devorus, Grani Opalia Devorus, Carnivo Papidevorus, Ancolia Veneinosa Pop. Each one of the 17 pieces describes the world in its own fashion, recounts a story, which secretly imbibes itself with that of the person wearing it.

In this collection, the imagination of Victoire de Castellane, freed from the shackles of convention, unleashes itself and proves its audacity. The first part of the book, designed to represent the extravagant nature of this collection as accurately as possible, is generously illustrated by Guido Mocafico’s photographs. The second part also shows the various phases involved in unveiling this collection, starting from the building of a lotus-like structure in the virtual sphere on Second Life, until the actual presentation in the hall Nymphéas de Monet at the musée de l’Orangerie.

A fully illustrated book featuring unique jewellery masterpieces, paying attention to the creators, designers and manufacturers

This book starts from those periods in history (18th and 19th centuries) when the concept of costume jewellery, which is considered to be something that puts the finishing touches on fashion, did not as yet exist. The custom in the past was to make copies of real jewels with precious or semi-precious materials; moreover, great effort was made to invent material to replace precious stones and gold (strass, marcasite, pinchbeck, pomponne, etc.)

The volume ends with an attempt to define the styles of the decades close to the contemporary period - as yet never examined - with particular interest in the '60s,'70s,'80s and '90s and in the names of creators, designers and manufacturers who are still unknown to us.

Contents:
The Different Types of Costume Jewellery: Definitions
Imitation Jewellery, Bijoux de Couture, Costume Jewellery, Fashion Jewellery.

Major Technological Innovations
Paste/Rhinestone, Gold Alloys and Similar, Steel Jewellery, The Brilliant Cut, Marcasite Stones, The Mechanised Production of Costume Jewellery, Berlin Iron Ornaments, Electro-galvanic Gold, Plating, Hair Jewellery, Daniel Swarovski and the Mechanised Finishing of Rhinestones, Ivory, Tortoiseshell, Amber, Coral, Mother-of-pearl, Rock Crystal, Horn.

Styles
Victorian Jewellery, Edwardian Costume Jewellery, The Costume Jewellery of Avant-garde Artistic Movements, Art Deco Costume Jewellery, Costume Jewellery of the 1930s, Costume Jewellery of the 1940s (Cocktail style), Costume Jewellery of the 1950s, Costume Jewellery of the 1960s, Costume Jewellery of the 1970s, Costume Jewellery of the 1980s, Costume Jewellery of the 1990s.

About the Author:

Deanna Farneti Cera, an international expert on European and American costume jewellery, lives and works in Milan. She is an author, a leading researcher in the history of jewellery in fashion, and has curated exhibitions for several museums worldwide. In 2006, she opened the gallery Ornamento d'Autore in Milan, whose programmes include historical exhibitions on the history of costume jewellery and others on international trends in the field

Tells the fabulous story of the founder of this famous and respected Parisian jeweller as well as the tales of passion, crime and intrigue of his famous and infamous client.

The House of Boucheron represents one of the great Parisian jewellers of the last 150 years. Founder, Frederic Boucheron opened his first shop in 1858. Many of his clients were not women of society, but femmes fatales of the demi-monde. Nonetheless, his skill with precious stones and his absolute discretion made him a favourite of both courtesans and princes. In turn, his business flourished allowing him to move to the famous Place Vendome in 1892. Having been given unprecedented access to the Boucheron vaults, the book's author, Vincent Meylan, made some remarkable discoveries. Perhaps the most significant was a register labelled 'Book of Stones'. It is a record of all the precious stones that have entered Boucheron's stock; diamonds, emeralds, sapphires, rubies and pearls are all indexed according to weight, price and, most importantly, who bought and sold them. Meylan also uncovered almost 200 order books and 150 letters. It is these 'Secret Archives' that have enabled him to reveal the fascinating history of Boucheron and his extraordinary, colourful clientele.

From the 'Ladies of Sin' to the 'King and Queens of the World' Meylan reveals the riveting stories behind the jewels that the Parisian jeweller sold; the desires they aroused, the madness they provoked, the love they formalised, and the deaths they caused. Boucheron's clients included Tsar Nicholas II of Russia, La Belle Otero, King Farouk of Egypt, and the Shah of Iran. The demands of these wealthy individuals led to the sensational orders that elevated Boucheron to the highest level of creativity. This captivating and revealing publication includes original design sketches, black and white archive images and sumptuous colour photographs of the exquisite Boucheron creations, including Tsarina Alexandra's pearl and diamond coronet and The Queen Mother's tiara.

Vincent Meylan is responsible for the 'history and royalty' pages in Point de Vue. He is also a specialist in precious stones and in 'haute joaillerie'. He is the author of several biographies and of Queens' Jewels

Whenever one watches the Us Secretary of State Madeleine Albright on TV, one cannot but notice her extravagant jewellery. Few people realise, however, that the restrained beauty of this jewellery is often invested with an unmistakable message: After the Iraqi press portrayed her as a she met with Iraqi officials. During the difficult Middle East peace talks, a dove of peace adorned her shoulder and watched over the proceedings. Mrs Albright employs her diplomacy, a weapon barred to men. 61 artists from 16 countries responded to the challenge suggested by Helen Drutt from Philadelphia, to create highly individual brooches themed with Albright's strategic use of adornment. The results are a glittering show of jewellery covering a wide spectrum of shapes, materials and meaning. Each artist interpreted the challenge in a different way. While some boldly emphasized thier political meassage, others choose a more oblique presentation.