In Italy there has always been a tradition of making jewelery from semi-precious metal, as copies or prototypes of fine jewelery. Fashion Jewelery: Made in Italy moves chronologically through the last 100 years, with pieces from the beginning of the 20th century, through to the years spent under fascist rule, when jewelery had to be strictly made with local material such as wood, cork, straw, venetian glass and coral. The 50s and 60s allowed for the very first big names in fashion jewelery to arise: Giuliano Fratti, Emma Caimi Pellini, Sharra Pagano, Ugo Correani, Coppola e Toppo, Luciana de Reutern, Canesi, Ornella...The book reserves a special place for an important phenomenon that took place in Milan at the end of the 1970s - "Made in Italy" - when Italian fashion entered (and dominated) the international scene, and Italian designers such as Armani, Versace, Ferre, and later on, Moschino and Prada found incredible success all over the world. Throughout the 80s and 90s, and well into the year 2000 further names in fashion jewellery were pushed to the fore: Carlo Zini, Angela Caputi, Maria Calderara, Giorgio Vigna, Fabio Cammarata, Emilio Cressoni, Robert Tomas, Irene Moret, Silvia Beccaria, among others. The final section of the book is devoted to new talents, selecting ten designers whose jewels are particularly interesting and innovative. Famous houses that the jewellery was made for include: Bijoux Bozart, Biki, Carlo Zini, Chanel, Chloe, Coppla E Toppo, Edoardo Saronni, Emilio Pucci, Etro, Fiorucci, Flos Ad Florem, Gianfranco Ferre, Giorgio Armani, Giuliano Fratti, Irene Galitzine, Karl Lagerfeld, Luciana De Reutern, Marni, Missoni, Misterfox, Moschino, Prada, Roberto Capucci, Schiaparelli, Sharra Pagano, Ugo Correani, Unger, Valentino, Versace.

The origins of metalpoint (silverpoint, goldpoint, etc.) drawing are widely thought to lie in classical antiquity. The Luminous Trace investigates the artefactual and literary evidence for the use of metalpoint through the ages from earliest times up to its revival, particularly in the United States, in the later 20th and early 21st centuries, reviewing the history and historiography of metalpoint and its use for drawing and writing. Metalpoint drawings are the central objects of this study and their physical features are the prime consideration, juxtaposed with the written evidence which may suggest why artifacts look as they do.

That Ute Eitzenhoefer's jewellery is related to contemporary phenomena is beyond any doubt. The longevity of precious metals and stones is juxtaposed with the rapid development of social realities - or with our increasingly overwhelmed perception of them. In particular, our power and powerlessness in dealing with meanwhile highly complex communication are a source of inspiration for her works. The seemingly timeless aesthetics of the minimalist-looking pieces of jewellery nevertheless open up to a variety of perspectives: when worn, they encourage us as wearers or beholders to engage in dialogue and bring about an immediate exchange. Text in English and German.

Tadema Gallery was founded in 1978 by Sonya and David Newell-Smith in London's famed Camden Passage in Islington. They were successful photo-journalists who ventured into the field of 20th century abstract art and the decorative arts of the 19th and 20th centuries. By 1982 they had discovered a passion for artist-designed jewellery and showed in the gallery an eclectic choice of jewels from significant designers of the Revivalist, Art Nouveau, Arts & Crafts, Jugendstil, Art Deco, and Modernist movements. With over 500 unique jewellery pieces from the 1860s to 1960s, the book reflects the 40-year history of the gallery and the superb eye of its inspirational founders.

A remarkable private collection formed over the last thirty years is the focus of this richly illustrated book that introduces the reader to English silver spanning a century and a half from a little before the Tudor age (1485-1603) to the threshold of the Civil War (1642-51). This was a period when England changed out of all recognition. At the beginning it was still essentially a medieval country dominated by an autocratic king and a rich and powerful Church; by the end of the period the Church had lost virtually all of its power and, with the execution of Charles I in 1649, the monarchy itself was abolished. To a degree, this changing world is mirrored in the styles represented by the silver featuring in the collection. Besides setting the silver against its social and historical background the book examines the wide range of techniques used by silversmiths at the time to shape and adorn silver objects.

Native American jewellery of the Southwestern United States in its classic union of white metal and blue turquoise is an iconic form and the focus of this strikingly illustrated new publication. Internationally recognized and locally significant, Native American jewellery has a compelling history which represents the persistence of tradition while encapsulating the vitality of Native American communities and the continuously transforming nature of their contemporary artistic practice. As a traditional item of adornment it can be understood through the complex histories of making and the development of locally important styles and materials. Situating jewellery in the cultural economy of the American Southwest, this publication explores Southwestern jewellery as a decorative form in constant transition. It describes this rich tradition as subject to a number of desires, fostered and regulated, at different times, by government agencies, individual entrepreneurs, traders, curators and Native American communities. It presents a series of perspectives on Southwest Native American jewellery and explores questions relating to Native American jewellery's identity as craft, material culture, commodity and adornment. Considering the impact of tourism, it discusses the phenomenon of fakes and the related desire to codify tradition and traditional styles, and how these affect stylistic development and value. In describing the markets, the markers and the work, the book suggests the complexity and reinvention that is innate to Native jewellery as a commercial craft. The book also examines British activities as regards to collecting, bringing to prominence fieldwork and exchanges between British and American institutions. It traces the networks of individuals, makers and institutions that facilitated the emergence of UK collections from the 1890s to the 1990s, including an account of the activities that led to the development of the British Museum's contemporary collection. The book draws heavily on the author's archival and fieldwork research (undertaken since 1997) which includes interviews with Native American jewellers, as well as traders, dealers and curators within the field. Illustrated with objects from the British Museum's collection and drawing from a wide range of historical and contemporary sources, this book explores the symbolic, economic and communal value of Southwestern jewellery today.

The Chinese people have honoured, revered and cherished jade for over 8,000 years. Consequently, jade has played a unique role in the development of Chinese culture. Jade carvings survive not simply as beautiful works of art, but also as cultural relics shedding light on the spiritual life of ancient China. Utilising a wealth of archaeological evidence and illustrated with precious artifacts, Chinese Jade provides an introduction to the fascinating world of Chinese jade from ancient to modern times.

This book discusses the current trends in luxury and jewelry and presents how to make these sustainable for a better future. In the age of sustainability, we increasingly see how designers and consumers begin to think beyond a product's look&feel and operation, and are especially concerned about what has happened during its manufacturing process and what will happen once its useful life comes to an end. Today, consumers value that every industrial product and process should be sustainable, beneficial for the people, the economy and the planet, and so is the case for jewelry.

The Danner Rotunde, the jewellery room in the Pinakothek der Moderne, Munich, was opened in 2004. Ambitious activities by the Danner-Stiftung and Die Neue Sammlung - The Design Museum, with the support of renowned jewellery artists such as Hermann Junger, Otto Kunzli and Peter Skubic, bore the fruit of two globally renowned jewellery collections. Today these comprise far in excess of 1,700 jewellery items, presented in pictures for the first time in this synopsis. Interviews with the creative minds behind these two unique collections in the field of studio jewellery enable insights into a previously unknown history, and an illustrated chronology arrives at astonishing results. Biographies on more than 300 jewellery artists also present those who have been virtually forgotten today. An indispensable compendium on the subject of contemporary jewellery art. Text in English and German.

Jewelry was worn by ancient Egyptians at every level of society and, like their modern descendants, they prized it for its aesthetic value, as a way to adorn and beautify the body. It was also a conspicuous signifier of wealth, status, and power. But jewelry in ancient Egypt served another fundamental purpose: its wearers saw it as a means to absorb positive magical and divine powers-to protect the living, and the dead, from the malignant forces of the unseen. The types of metals or stones used by craftsmen were magically important, as were the colors of the materials, and the exact positioning of all the elements in a design. Ancient Egyptian Jewelry: 50 Masterpieces of Art and Design draws on the exquisite collections in the archaeological museums of Cairo to tell the story of three thousand years of jewelry-making, from simple amulets to complex ritual jewelry to the spells that protected the king in life and assisted his journey to the Otherworld in death. Gold, silver, carnelian, turquoise, and lapis lazuli were just some of the precious materials used in many of the pieces, and this stunningly illustrated book beautifully showcases the colors and exceptional artistry and accomplishment that make ancient Egyptian jewelry so dazzling to this day.

The art of metalworking has been practiced continuously ll over the world. In this, the Islamic world is no exception. But if we look at the objects unearthed at archaeological digs or in the museums and private collections that have patiently collected them over the centuries, one cannot help but be surprised by the almost infinite quantity of materials, shapes and decorations created both by renowned artists and anonymous craftsmen. Metalworking is a highly important and characteristic sector of Islamic art, and the diffusion of these works in contexts other than where they originated is highly significant evidence of this fact. There can be no doubt that these artefacts were produced by a highly-advanced and structured society whose boundaries and remarkable technical expertise we are still unable to place in wider contexts, most notably historical and social. Prof. Giovanni Curatola took the objects in the Aron Collection as a cue for a meticulous comparative study of medieval Islamic metalwork, making this book a fundamental addition to the literature on the subject.

The essential guide to mounting and setting stones for all levels. Design & Make: Mounting and Setting Stones is a clear and practical introduction to mount construction and the processes of stone setting. Suitable for both the student and the practising jeweller wanting to learn new skills, this book explains how different stones and cuts relate to their mounts. Easy-to-follow, illustrated explanations describe each setting style, including tension, claw, gypsy, pave and rub-over styles, with step-by-step instructions on how to fix the stone in place. With beautiful examples of work from professional jewellers, a detailed look at mount construction and a useful section on specialist tools and techniques, this guide reveals the skills and methods required for successful mounting and setting.

This catalogue of the Wyvern sculpture collection, which is not open to the public, comprises outstanding European sculptures of the medieval period, as well as some Late Antique and Byzantine pieces and related works of the post-medieval era. Objects are made from wood, stone (including alabaster and marble) and terracotta. Also included are medieval works of art in metal, mostly consisting of crucifix figures (corpora), and other functional metalware such as aquamanilia (water vessels for the washing of hands) and candlesticks. This sumptuous publication will interest all those concerned with the material culture of the Middle Ages.

Traditional Indian Jewellery is a vast and detailed publication covering the rich heritage of Indian jewellery and its significance in past and present Indian society. Jewellery plays an important part in the everyday lives, important moments, festivals and religious aspects of Indian culture. It is not only girls and women who wear jewellery, but also boys, men, temple statues and even animals. The book excels in its detailed descriptions, which accompany the sumptuous array of images. We discover why enamel is used in the north of India, the origin and significance of gold, the significance of setting gems in a certain order, and jewellery's spiritual importance. The book covers in detail the meaning of the use of flowers and birds in Hindu influenced jewellery, looking through the eyes of 17th century European travellers who visited the rich Mogul courts. This publication is the result of 35 years of research - travelling, studying, and talking to many people across the entire subcontinent of India, as well as having had unprecedented access to goldsmiths and enamellers; being shown techniques known only to one family, which have been transferred from generation to generation; and being granted access to beautiful and never before seen Royal collections.

The emergence of bronze ware forms a crucial chapter in the history of human civilization. Although not the first country to enter the Bronze Age, China enjoys a unique position in world history because of the great variety of innovative and beautiful bronze ware that has been unearthed on China's vast territory. These artifacts provide a window into the art and culture of ancient China. Chinese Bronze Ware introduces the reader to this magnificent culture with thorough discussion of the context and significance of bronze production, vivid descriptions and full-color illustrations.

The Art & Times of Daniel Jocz presents the entrancing and challenging work of American jewellery artist and sculptor Daniel Jocz. There is a spontaneous quality to the work, yet it is always rich with meaning. His open spirit is fully embodied in the 2007 neckpiece series An American's Riff on the Millstone Ruff. Inspired by the extravagant scale of 17th-century Dutch ruffs at the Rijksmuseum in Amsterdam, he decided to update them with automobile paint. Jeannine Falino takes an in-depth look at the twists and turns of Jocz's long career, from his early geometric sculptures to the fashion-forward flocked Candy Wear collection, and from his ruminations on Marlene Dietrich in the form of necklaces featuring enamel smoked cigarettes to the wall reliefs he explores today. Wendy Steiner considers Jocz's place in the avant-garde through the lens of fashion and culture, while Patricia Harris and David Lyon explore his involvement in the rollicking Boston jewellery scene of the late 20th century.

For more than four decades, jewellery artist and educator Laurie Hall has been making stories the subject of her work. Her playful, often whimsical jewellery made with found objects is about the places she lives, the landscapes that fill her imagination, her family history, and her ideas of what it is to be an American. As a jeweller, Hall never plays it safe, preferring to fly by the seat of her pants and push her skills and technical knowledge. Her work is part of numerous private and public collections including The Museum of Art and Design in NYC, The Tacoma Art Museum, The Museum of Fine Arts, Houston. She is a product of the jewellery histories that make the Pacific Northwest unique within the larger story of American contemporary jewellery. Featuring 58 images of Hall's jewellery spanning the period from 1974 to 2019, this book explores why she is an important maker whose practice deserves to be more widely known.

A stunning new volume which presents 120 pieces by 50 leading jewellery designers from the 1960s and '70s, including works by John Donald, Arthur King, Andrew Grima and Gilbert Albert. Simply Brilliant presents 120 pieces by 50 leading makers of jewellery in the 1960s and '70s, drawn from the Klosterman collection in Cincinnati. Most, if not all, of the individual makers of this era thought of themselves as artists first, jewellers second, and this magnificent new volume is full of stunning one of a kind pieces which reflect the inventive, ground-breaking attitudes of the era. The book explores the 1961 Goldsmiths Hall exhibition in London and its influence on contemporary jewellery designers such as John Donald, Arthur King, Andrew Grima and Gilbert Albert. The 1961 exhibition brought a new direction in jewellery design to the fore, influencing others - including the major jewellery houses such as Cartier, Bulgari, Chopard and Van Cleef and Arpels - paving the way for an international movement in fashion and design. These jewellery designers created unique pieces, often for individual clients, using non-traditional materials and unusual forms. AUTHOR: Cynthia Amneus is chief curator and curator of Fashion Arts and Textiles at Cincinnati Art Museum. 207 colour illustrations

This volume is about the history and cultural use of turquoise in Mexico and North America. Contributions address the meanings and significance of turquoise in its archaeological, historical and ethnographic dimensions by bringing together the expertise of museum curators and scientists from a variety of disciplines from Mexico, North America and Europe.

Alongside artistically experimental aspects of education, the ThinkingJewellery 'trademark' stands as a contextual leitmotif throughout the gemstones and jewellery study programme at Trier University/Idar-Oberstein campus. The aims of ThinkingJewellery comprise scientifically oriented research as well as discourse on the historical and societal interconnection of jewellery. Highlights are the ThinkingJewellery symposia, which are now accompanied by a series of periodicals. The new series discusses contributions to a contemporary theory of jewellery beyond disciplinary boundaries or typical categories. The texts envisioned for ThinkingJewellery 2 include 'On the Cultural History of the Gemstone', 'Goethe on Colour' and 'Cold Shine - Empty Glamour, on Jeff Koons's Celebration Series', which are based on lectures from the 2017 symposium.

The prowess of Chinese creative abilities in the decorative arts in the 19th and early 20th centuries was well known globally, but, while much has been written about Chinese textiles and on the influence of the East on European styles of the time, the story of the influence of Western formats and tastes on the manufacture of Chinese jewellery in the period has, amazingly, never been told. In examining 50 objects of exatraordinary quality from an important private North American collection, this book seeks to redress the situation and reveal the splendour of silver and silver-gilt jewellery of the late Qing dynasty. An ancient and sophisticated culture, the Chinese - who have since records begun made up about a quarter of world's population - had almost everything they could need or want within their own borders ...except for silver. The metal had long cultural, commercial and governmental associations but had to be imported largely from South America, after both national and Japanese reserves were quickly exhausted by huge Chinese demand. Beginning in the mid 19th century - where the story told here begins - after two successive defeats in the Opium Wars, sixteen treaty ports were established on coastal and inland cities, enabling Western merchants freer movement and trade with the Chinese. The 50 pieces of jewellery and ornament presented here have been beautifully photographed and carefully documented. In superb unrestored condition, the objects incorporate exotic materials like tiger-shark teeth, teak wood, amber, precious and semi-precious stones from India and Sri Lanka, enamel, as well as finely carved and pierced nephrite, jadeite and lapis lazuli. Daoist imagery and motifs dominate but with the inclusion of some surprising Buddhist imagery as well. Though not from the imperial collection of the Qing, these exquisite pieces were seemingly commissioned and worn by prosperous members of the society from all over the vast country. The differences in manufacture, even in this varied sample of 50 items, is striking. Their appeal is more than just aesthetic, and their design and decoration speak of the social, religious, economic and political climate of their time. Questions regarding the sale and consumption of these object are discussed, and changing local and foreign tastes in the wake of the fall of the Qing dynasty and the establishment of the Republican period are also addressed.

Find the perfect finish for your kumihimo. In Pru McRae's second book she brings together the experience of many years of kumihimo braiding to offer a comprehensive range of ending methods for braids to ensure that the ends are finished neatly and securely. Beautiful braids deserve expert finishing and if you find this part of the process a challenge, Pru's clear instructions and innovative ideas will be the solution. If you have a drawer full of unfinished braids, this is the book for you. In Kumihimo Endings: The finishing touch for every braid the techniques are divided into six categories. Each category includes a range of different methods, which can be mixed and matched to create a wealth of diverse endings for kumihimo. So you are sure to be able to find the perfect way to turn your braid into a fabulous piece of jewellery. Inside this book you will find: The key techniques required for every type of ending How to attach an end with glue or wire Seven variations of a button fastening How to use loops of braid to create a fastening How to use the loose cords to make attractive tassels

If you love Jo Watson, Zara Stoneley and Sophie Ranald, you'll LOVE Hannah Orenstein! 'A good read for the holidays (or lockdown)' 5* reader review Love at First Like is the perfect rom-com for anyone who's ever looked for love online! 'Such a perfect book for this digital age' 5* reader review 'The perfect vacation read!' 5* reader review 'I inhaled this book' 5* reader review WHAT DOES IT TAKE TO FAKE THE PERFECT LOVE LIFE? Eliza Roth and her sister Sophie co-own a jewelry shop in Brooklyn. One night, after learning of an ex's engagement, Eliza accidentally posts a photo of herself wearing a diamond ring on that finger to her Instagram account beloved by 100,000 followers. Sales skyrocket, press rolls in, and Eliza learns that her personal life is good for business. So she has a choice: continue the ruse or clear up the misunderstanding. With mounting financial pressure, Eliza sets off to find a fake fiance. Fellow entrepreneur Blake seems like the perfect match on paper, and in real life he shows promise too - if only Eliza didn't feel also drawn to someone else. But Blake doesn't know Eliza is 'engaged'; Sophie asks Eliza for an impossible sum of money; and Eliza's lies start to spiral out of control. Now she can either stay engaged online - or fall in love in real life. Written with singular charm and style, Love at First Like is for anyone growing up and settling down in the digital age. 'This glittering gem of a novel is a wise and witty take on family, ambition, and modern love' Andrea Dunlop, author of We Came to Forget

Thai silver and Nielloware display exquisite craftmanship and design that rivals better-known genres of silver from Asia. However, there has to date been little written about this fascinating subject. Examining the history and scope of specified Thai silver and Nielloware production dating from the early 19th century to the present, as well as the various forms and designs utilised, long-term collector Paul Bromberg provides a single reference source for both newcomers and seasoned collectors alike.