Goossens is one of the most prestigious names in haute couture jewelry of the last half century. Robert Goossens worked with Coco Chanel in the 1950s, cultivating an original style inspired by baroque and Byzantine art. He went on to design jewelry for the world s foremost fashion houses, pursuing notable collaborations with Balenciaga, Gres, and Yves Saint Laurent. As well as the emblematic rock crystal jewelry, baroque pearl brooches, and Byzantine cuffs famously associated with Chanel, Goossens designs combine real and faux gemstones, making fashion jewelry both precious and bold at once. Robert s son, Patrick, has reimagined many original Goossens styles for Dior, Alexander McQueen, and Louis Vuitton among others. Martine, his daughter, collaborates regularly with architect Peter Marino to decorate the interiors of the most famous couture houses in the world. The Goossens family upholds the meticulous standards of the house, now part of the stable of exceptional craft practitioners owned by Chanel s Paraffection subsidiary."

As early as the 1970s, Wolfgang Rahs (*1952) was inspired by the avant-garde art scene in Graz by the contemporary art festival Steirischer Herbst and the Forum Stadtpark collective, one of the action groups and joint ventures of artists from different genres; he is also member of the artists' union Gruppe 77. Educated in metalcraft and goldsmithing at the Ortweinschule in Graz, Rahs alternates in his works between jewellery, installation, performance, and processual pieces - free works that reflect the concept of jewellery in an all-embracing manner. His examination of myths (Skythisches Stillleben), of conditions he encounters (Verdammte Brosche), and of his own existence (Mauspfad Koeln) plays a key role. An impressive publication on this exceptional artist whose work challenges and therefore expands our traditional understanding of jewellery. Text in English and German.

Paul Newman wore his Daytona Rolex every single day for 35 years until his death in 2008. The iconic timepiece, probably the single most sought-after watch in the world, is now in the possession of his daughter Clea, who wears it every day in his memory. Franklin Roosevelt wore an elegant gold Tiffany watch, gifted to him by a friend on his birthday, to the famous Yalta Conference where he shook the hands of Joseph Stalin and Winston Churchill. JFK's Omega worn to his presidential inauguration, Ralph Lauren's watch purchased from Andy Warhol's personal collection, Sir Edmund Hillary's Rolex worn during the first-ever summit of Mt. Everest...these and many more compose the stories of the world's most coveted watches captured in A Man and His Watch. Matthew Hranek, a watch collector and NYC men's style fixture, has travelled the world conducting firsthand interviews and diving into exclusive collections to gather the never-before- told stories of 76 watches, complete with stunning original photography of every single piece.

The work of Esther Brinkmann is characterised by the meaning she bestows on the ring, its relationship to the hand and, perhaps most surprisingly, to its case. The Swiss artist prefers processed and textured materials, which now also include new component forms, techniques, and substances since her time living in China and India. She established a further education training program in jewellery design - a unique undertaking in Switzerland - at the Haute Ecole d'Art et de Design (HEAD) in Geneva. Here, her knowledge and autonomy in her work have already shaped several other artistic careers. This publication presents Esther Brinkman's oeuvre from the past 30 years and highlights for the first time the remarkable strength and the freedom that distinguish the artist's rich career. Text in English and French.

ThiS is not only a book of instruction in chainmaking but it is also a work celebrating man's continuous creativity over thousands of years. At times something that man creates has far-reach ing effects; an example that quickly comes to mind is the wheel, which has enabled many devel opments, from pottery to computers. At this point it is important to note that these same wheels could not have been made without metal tools. From early Neolithic times on gold was a favorite choice in the making of jewelry. During the Neolithic period these "shining stones," probably alluvial, were prized. Actually gold was cold worked as if it were a stone. There is a surviving example of cold-worked gold from Catahuyuk (present day Turkey) estimated to have been made in 6500 B. C. There were only four metals on the earth's surface that were found in sufficient quantity to be used: gold, copper, silver, and meteoric iron. An understanding of the malleability of gold, and of the annealing effect of fire, changed jewelry making; new forms were found. Gold was no longer a piece of stone but a material that could be flattened and made very thin. Sheet and foil are the oldest forms of worked gold. The smiths' tools were stone, wood, and horn."

This is the third book in a series devoted to the splendid jewelry collection of the Musee des Arts Decoratifs in Paris. Following on from Flora and Fauna, the theme this time is the human figure, perhaps the most intimate and involving of subjects. Jewelry has always been a vehicle for the deepest of human emotions: remembrance, faith, devotion, love, belonging and mourning. The museum's collection begins in the Byzantine era and ranges through the medieval and Renaissance periods and beyond, with mythological figures and biblical scenes represented on pendants and rings. In the 19th century, Rene Lalique, Alphonse Fouquet and the Maison Vever produced brooches and necklaces that were the very embodiment of elegant sophistication and technical brilliance, while in the 20th century, artists such as Pablo Picasso and Alberto Giacometti joined jewelers like Jean Lurcat, Line Vautrin and Claude Lalanne in creating works that interpret the body in a deeply personal way. Wonderfully photographed by Jean-Marie del Moral, Figures is packed with striking and witty works of art that will charm all lovers of jewelry.

A masterpiece of medieval Arab metalwork revealed, shedding light on courtly life in northern Iraq under the Mongol governorship. Accompanying a major scholarly exhibition at The Courtauld Gallery, this book explores one of the most beautiful and enigmatic objects in The Courtauld's collection: the so-called 'Courtauld wallet', a brass container richly inlaid with gold and silver, imitating a lady's textile or leather bag, and probably made in Mosul in northern Iraq around 1300. No other object of this kind is known. Decorated all round with courtly figures and on the top with an elaborate banqueting scene featuring an enthroned couple, it has long been recognised as a masterpiece of Arab metalwork. Yet, despite the superb quality of its design and craftsmanship and its status as a unique object, this exceptional metalwork bag has never been properly published. Thus it remains little known outside a small circle of specialists, and little understood even within that circle. Encompassing a variety of multidisciplinary essays by distinguished historians and art historians- on subjects ranging from music at the Mongol court, Mosul under Mongol governorship and Mongol marriage customs to the role of women under the Ilkhanids-this publication aims to explore the origins, function and iconography of this splendid luxury object as well as the cultural context in which it was made and used. It will bring together other images of enthroned Mongols with female consorts, as well as scenes of hunters, revellers and musicians in a variety of media, including illustrated manuscripts, ceramics, textile, and metalwork. By presenting the bag alongside carefully selected contemporary material, it will provide an insight into courtly life under the Mongols in the newly conquered areas of their empire, and will also provide an unrivalled opportunity to investigate the inlaid brass tradition in Mosul after the Mongol Conquest. Objects made before and after this seismic event will be reproduced side by side to demonstrate how the Mosul metalworkers adapted their work for their new patrons.

An expert guide to the history and the role of hei tiki, a beloved and much prized Maori artform. Of all Maori personal adornments, the human figure pendants known as hei tiki are the most famous, highly prized and culturally iconic. This book examines and celebrates the long history of hei tiki and the enduring cultural potency of these taonga or cultural treasures. This first book on hei tiki for 60 years is written by the Acting Senior Curator Matauranga Maori at Te Papa, who is a hei tiki expert, and includes a large selection of hei tiki, most from the taonga Maori collections of Te Papa, which is the largest in New Zealand and very likely the world. Many are published here for the first time, including some with exalted histories of ownership. It also covers the work of leading contemporary hei tiki makers.

Designer British Silver explores the designer-silversmiths who have shaped British silver from the 1950s through to the present day. Covering a complete generation of craftsmen and women, and featuring one-to-one interviews with key figures, the book reveals the people and forces behind the post-war Renaissance that made Britain a centre of excellence for designer makers in silver. The fifty leading figures are covered in-depth, from Malcolm Appleby to John Willmin. Detailed insight is provided on the lives and works of each maker, alongside lavish illustrations and extended captions telling the story of every remarkable piece of silver. Designer British Silver also includes a fascinating overview of the post-war revival of British silver, a section on where to view designer British silver and additional listings of designers, craftsmen, silver manufacturers and engravers.

Enamelling - the fusion of glass on metal - provides opportunities for amazing effects, colours and styles of jewellery. In this book, Ruth Ball outlines each of the main enamel techniques in step-by-step detail and gives an insight into the variety of modern methods available for exploration. Contents include: the fundamental preparations, enamel characteristics and types; designing, constructing, firing and finishing enamel; cloissoné; engraving and etching; painted enamel; and various additional techniques, methods and effects. The gallery showcases work from over 30 international contemporary enamellists, and there is also a 'troubleshooting' section to help readers identify, remedy and repair any problems they may encounter along the way. This is an extremely practical, accessible and user-friendly handbook, packed with useful information, advice and clearly illustrated, easy-to-follow step-by-step instructions.

A Visual Dictionary of Decorative and Domestic Arts provides a common and unambiguous vocabulary for the parts of handcrafted decorative, domestic, and artistic items. Terminology for a broad array of object types is presented alongside original 3D illustrations that facilitate objective referencing. The reference enhances learning, labeling, and discussing various craft items in great physical detail. Sixty-four 3D graphic illustrations provide an effective visual format for identifying the vocabulary/location of the parts on individual objects. The dictionary is divided into five major sections: -Decorative Objects such as a basket, jar/jug, flatware -Domestic Furnishings such as a bed with bedding, upholstered chairs, tables -Artistic Works and Tools such as books, prints, paintings, photographs, and sculpture -Jewelry Adornment Items such as earrings, necklaces, pins, and watches -Accessory Articles such as a hat, pipe, comb, and fan The thoroughness of the annotations makes this volume an essential tool for museum curators and conservators, librarians, connoisseurs, buyers and dealers; artists and crafts persons, collectors, designers, registrars and anyone with an interest in visual history.

Shine allures and awakens desire. As a phenomenon of perception shiny things and materials fascinate and tantalize. They are a formative element of material culture, promising luxury, social distinction and the hope of limitless experience and excess. Since the early twentieth century the mass production, dissemination and popularization of synthetic materials that produce heretofore-unknown effects of shine have increased. At the same time, shine is subjectified as "glamor" and made into a token of performative self-empowerment. The volume illuminates genealogical as well as systematic relationships between material phenomena of shine and cultural-philosophical concepts of appearance, illusion, distraction and glare in bringing together renowned scholars from various disciplines.

Founded in Idar-Oberstein in 1847, the company Constantin Wild has left its mark on the world of gemstones like barely any other enterprise. For its 175th anniversary, Constantin Wild, great-grandson of the company's founder, has been out on the trail of history. He now takes us back to the beginnings of the Wild family, which looks back on a tradition of 400 years of artistic stonecutting and also in the trading of one-of-a-kind gemstones. Travel with him around the globe on the quest for the most beautiful and rarest stones. Discover sublime items of jewellery - a selection of the very best, the zenith of international haute joaillerie. Their beauty begins with the stone, and often enough this begins chez Constantin Wild: without that fine cut, by adept craftsmen and artists, the expressive colour of the gemstone fails to come into its own. Only once it has been subjected to these processes can the gemstone unfold its true character, to reach its final fiery, vivacious brilliance. In this publication, Constantin Wild presents a selection of exceptional gemstones in short vignettes. The opulently designed publication Gems, Colours & Wild Stories is an homage to and an affirmation of love for the irrepressible diversity of these extremely valuable gemstones.

The Lacock Cup is a rare object with a unique English history. Made in the 1430s, it is one of a handful of pieces of secular silver from the Middle Ages, which both survived the changing culture of Tudor fashion and the turmoil of the Reformation. Originally created as a drinking cup for feasting in the fifteenth century, the Cup later became a sacred chalice for the community of Lacock in Wiltshire at the parish church of Saint Cyriac. With an unbroken local heritage of over 400 years, this piece was a central feature of religious ceremony until the late twentieth century. The remarkable story of this special cup is brought to life in this short and accessible book. Its history, from drinking vessel to holy chalice, opens a window into the culture of late medieval England and having survived the centuries in near perfect condition, it acts as a witness to these times of great change. Charting the journey of the Cup, from fifteenth century medieval society, through the Reformation and later Civil War to the present day, this book will also explore the Cup's role as a communion vessel in its local setting of Lacock, and its treatment at the British Museum where it has been on loan since 1962. The Cup remained in irregular use by the parish until the 1980s, and this story of over 500 years of outstanding care and use provides a fitting conclusion to one of England's most important silver objects.

Goldstruck: A Life Shaped by Jewellery sets luxurious imagery of a lifetime s work alongside an honest and often comically autobiographical account of Stephen s career in the jewellery world. The book is a lavish collation of Stephen s personal and professional life, encompassing material such as photography by Rankin and Amelia Troubridge documenting his coveted collections, intricate sketches and designs that convey a fascinating creative process, and archival imagery including magazine editorials, advertising campaigns and intimate photography from Stephen s personal collection. Alongside such visual opulence, a foreword by Tracey Emin and a host of candid and personal recollections from luminaries of the worlds of art, entertainment and fashion, Stephen charts his career from the first steps of enrollment upon a jewellery- making course at his local college in Rochester, Kent to his rise to international recognition.

Celebrated world-wide for his modern romantic jewels that push the boundaries of contemporary design, Shaun Leane has been responsible for creating a new genre of jewellery; precious, poetic, with a sense of eternity, yet relevant to today's world. Illustrated with a breath-taking combination of high fashion shots and detailed close-ups of the pieces themselves. Captured by photographers Nick Knight, Robert Fairer and Chris Moore, along with a dedicated photo essay of unseen backstage images recorded by Leane's close friend Ann Ray. Shaun Leane is introduced by the jeweller himself, then divided into three distinct parts: His heritage and training, by Joanna Hardy; reflections on Leane's famous collaboration with Alexander McQueen, by Claire Wilcox; and his modern classic commercial jewellery style, by Vivienne Becker. Altogether, this book provides a vital overview of an artist that will be of interest to anyone who follows the contemporary jewellery and fashion scene.

The book is an illustrated collection of projects carried out in silver and gold reflecting the many interesting personal stories that combine people with a place of significance portrayed in miniature for a special event in their lives. This is the story of forty years of making architecturally-based silverware, from small domes and columns on stud earrings to larger bespoke presentation pieces. The author charts her development from student days to acquisitions by the Victoria & Albert Museum and the Boston Museum of Fine Arts amongst others. Her insights into how to render buildings such as the Pantheon in Rome, the Sydney Opera House or Oxford's Sheldonian Theatre into a brooch, a ring or a box make fascinating reading.

Nearly ten years in preparation and production, "Jewelry Concepts and Technology" is the definitive guide and handbook for jewellery makers on all levels of ability. It is also a unique reference source for those not directly active in the field but who wish to gain an understanding of what lies behind the jewellery-making mystique. All traditional as well as innovative contemporary techniques are thoroughly described, making this. The more than 900 photographs in colour and black and white illustrate work of all degrees of complexity and show the incredible range of concepts which jewellers in all times, including today, incorporate in their work. Historic and ethnic jewellery, as well as contemporary work done by approximately 300 jewellers from twenty-six countries, are grouped under particular technical processes. This arrangement dramatically illustrates the mutual bonds between today's creative jewellers and their colleagues: historic style-oriented, and anonymous, tradition-dominated ethnic jewellers. The detailed text is accompanied by 377 illustrations showing tools and processes used to carry out particular techniques. In addition, thirty step-by-step photo demonstrations show master jewellers working from raw material to finished jewels, some of them revealing their methods for the first time. Supplemented by an extensive index, glossaries of jewellery forms and findings, and an international sources supply list, "Jewelry Concepts and Technology" is indispensable for anyone interested in any aspect of jewellery making.

Celebrated world-wide for his modern romantic jewels that push the boundaries of contemporary design, Shaun Leane has been responsible for creating a new genre of jewellery; precious, poetic, with a sense of eternity, yet relevant to today's world. Illustrated with a breath-taking combination of high fashion shots and detailed close-ups of the pieces themselves. Captured by photographers Nick Knight, Robert Fairer and Chris Moore, along with a dedicated photo essay of unseen backstage images recorded by Leane's close friend Ann Ray. Shaun Leane is introduced by the jeweller himself, then divided into three distinct parts: His heritage and training, by Joanna Hardy; reflections on Leane's famous collaboration with Alexander McQueen, by Claire Wilcox; and his modern classic commercial jewellery style, by Vivienne Becker. Altogether, this book provides a vital overview of an artist that will be of interest to anyone who follows the contemporary jewellery and fashion scene. This special edition is limited to just 250 copies. Enclosed in a slipcase, the book is accompanied by a print by photographer Rob Busling, signed by Shaun Leane.

Beading is an absorbing hobby. You need very little equipment and the materials are a joy to collect and will provide much of the inspiration for your pieces. It is a pleasure to quickly make up a piece of jewellery to complement an outfit, or create a pair of earrings as a gift. The first section in the book introduces the tools, materials and fundamental techniques used throughout the projects. It also provides a pictorial reference of most sizes and styles of seed beads and an outline of other common bead types. The projects presented in the book include both beginner and advanced techniques, from basic stringing and knotting to more complex bead weaving.

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.

Having learned about geometry, perspective and representation of materials in the first volume, this second book in this two-part series delves deeper into the process of designing jewelry, from the first sketch to the final representation, with special emphasis on how to work on ideas, plan a collection, and design and depict a wide variety of pieces, taking the inspiration from natural forms or art history. The fundamentals of drawing different pieces, such as necklaces, rings, earrings, and bracelets, are carefully explained and illustrated in the book, which includes all the technical details to be taken into consideration when planning a jewelry piece, from the executive point of view. While the first volume focused on the tools needed to be able to accurately convey ideas, draw different materials, facets and effects, and master the use of color, this publication tackles the process from the initial idea, based in natural or geometrical forms, to the final drawing of the completed piece, including illustration techniques and sources of inspiration, all aspects that will stir up the reader's creativity. It is the ultimate tool and resource for jewelry students and professionals, and even illustrators in search of professional guidelines in freehand drawing and painting techniques when representing jewelry.

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.