The process of designing jewelry has never before been explored in a book. It has taken the combined talents of three top jewelry designers, including a profess who teaches the skill to jewelry students, to create this beautiful and practical step-by-step format. Starting with a fully illustrated discussion of design principles and metal and stone rendering techniques, this volume then presents progressive detailed sketches and finished drawings of many varieties of ring and earring designs. From such drawings the manufacturing jeweler can assemble the objects themselves. This book teaches one how to create those drawings. "It is a book that I have searched for, in vain, for many years. It is both the first and undoubtedly the best, and will remain the best for many years. This book is destined to become the bible of the designer, the guide of the artisan, and the companion of the jewelry lover." Samuel Beizer, Chairman, Jewelry Design, Fashion Institute of Technology, New York.

Beautiful beadwoven jewelry that is convertible, reversible, or interchangeable.

A spectrum of 16 projects form "collections" of convertible or reversible jewelry organized by technique or beaded component. Each design collection introduces a particular technique in an easy project and then builds upon the concept by adding more beadwork or making small changes in bead count and placement. More advanced projects in each collection then combine additional bead stitches and techniques.

Author Lisa Kan is known for her elegant and feminine beadwoven jewelry that often features flowers, leaves, faceted crystals, and other romantic flourishes. Now she applies her trademark style to a jewelry collection based upon beaded elements that evolve and morph into more complex designs. While Lisa uses a range of typical beadweaving stitches in these projects, she also incorporates simple wirework techniques, such as using chain and wire-wrapped loops, to enhance her beadwoven jewelry.

Since the beginning of his creative work in 1980, Georg Dobler, the jewellery artist and lecturer at the University of Applied Arts and Science in Hildesheim, has engaged in working with geometrical forms. Also in the mid 1980s, when he first drew on naturalistic elements, provoking an outcry in the jewellery world, his work was still bound by geometrical dimensions. It was exactly because naturalism was viewed as outmoded, however, that Dobler was viewed as a pioneer by the next generation of auteur jewellery designers. The artist complements his casts from nature (exotic plants and beetles) - Dobler sees himself as a collector of structures and forms - with large, facetted stones as an artistic addition. Yellow to orange-glowing lemon citrine and tender lilac amethysts combine with the metal surfaces to create a shimmering play of colours. Pure silver is seldom found in Dobler's work; his trademark is rather black chromium or oxidized silver surfaces that shine in iridescent black. Georg Dobler is not only a pioneer, he also finds inspiration among the great artists of early modern art. Thus in the mid 1990s he drew on the abstract paintings of a Piet Mondrian, Wassily Kandinsky or Kazimir Malevich, who ignited his fantasy and inspired his compositions. Exhibition in the Museum fur Kunst und Gewerbe, Hamburg, November/December 2010 and further venues in Pforzheim, Hanau, Bielefeld and Berlin in 2011.

The history of jewellery manufacturer Corbella Milano, one of the most renowned excellences of Made in Italy. The Corbella company, 'the first Italian manufacturer of jewellery and weapons for the theatre', was founded in the heart of Milan in 1865. Through reproductions of weapons, jewels and accessories, it soon became one of the first official suppliers of the Teatro alla Scala, as well as signing contracts with prestigious institutions including La Fenice di Venezia, the Costanzi in Rome and the Colon of Buenos Aires. The industrious Milan after the Unification of Italy, of the National and International Expositions, of the years between the two world wars and of the economic boom has seen the owners of Corbella always acting as protagonists, first in the theatrical sector, with specific supplies to the great lyrical interpreters, from Margherita Carosio to Renata Tebaldi, then in the field of the great Italian producers of costume jewellery, up to the production changes due to the globalisation of the 21st century. Text in English and Italian.

In Israel East meets West. Their jewellery traditions blend, resulting in creative innovations. In the 1930s, European immigrants introduced the spirit of the Bauhaus, while oriental craftsmanship was invigorated in the 1950s and 1960s by immigration from Islamic countries. State jewellery companies preserved traditional crafts, while at the same time developing a new and elegant style, designed to express the national identity of the still young state of Israel. There are important links between native jewellery makers and European and American jewellery artists, who were guest lecturers at the Bezalel Academy of Art and Design in the 1970s and had a lasting influence on Israeli artists. The transition to art jewellery was finally completed in the 1980s, paving the way for artists who are now internationally renowned. A further chapter is dedicated to contemporary works by some outstanding young artists. Although their works are part of the global jewellery scene, they are also dedicated to their homeland, for example through unequivocal references to local political tensions. Artists (a selection): Bianca Eshel Gershuni, Esther Knobel, Deganit Stern Schocken, Vered Kaminski, Attai Chen.

Nineteenth Century Lighting, surveys the candle powered lighting devices used in Northern Europe, the British Isles, as well as those made in America. The examples illustrated are those used in primarily domestic situations, however some are also from the public sector. Over 394 photographs are each acompanied by a detailed, physical and historical description, painstakingly researched by Mr. Bacot. In addition he has further enriched these fine examples with informative and interesting text on the changes and innovations of the period. Nineteenth Century Lighting is an excellent and thorough source book for the collector, historian and all those interested in these revolutionary candle powered designs of the years from 1783-1883.

As one of the key players of modern jewellery in the '20s, Paul Brandt worked with the most famous jewellers of his time, like Fouquet or Sandoz. He followed eclectic studies in Paris (jewellery, painting, sculpture, medals and stones engraving, chiselling, etc) and finally decided to specialise in jewellery design. With his first creations he joined the art nouveau movement before focusing on an art deco style. He took part in the International Exhibition of Decorative Art of 1925 both as an artist and a jury member. Paul Brandt considered his jewellery as works of art in their own right and displayed them during exhibitions where the scenography kept getting more innovative. From the '30s, he extended his activity to interior design. This monograph displays the talent of this major artist who left his mark in France and abroad. Recounting his whole career, it highlights the extent of Paul Brandt's skills, not only in jewellery but also in medal making, decoration and interior design. Text in French.

Probably no Native American handicrafts are more widely admired than Navajo weaving and Navajo and Pueblo silver work. This book, which is now in its third large printing, contains the most important and complete account of Indian jewelry fashioned by the Navajo, the Zuni, the Hopi, and other Pueblo peoples. ""With the care of a meticulous and thorough scholar, the author has told the story of his several years' investigation of jewelry making among the Southwestern Indians,"" says The Dallas Times Herald. ""So richly decorative are the plates he uses ... that the conscientious narrative is surrounded by an atmosphere of genuinely exciting visual experience."" John Adair is a trained ethnologist who has lived and worked among these Indians.To prepare his book, Mr. Adair made an exhaustive examination of the principal museum collections of Navajo and Pueblo silver work, both early and modem, in Santa Fe, Colorado Springs, Chicago, New York, and Philadelphia. He visited trading posts in the Indian country and examined and photographed silver on the pawn racks and in important private collections. He lived for a time among the Navajo, watched them make their jewelry, and actually learned to work silver himself in the hogan of one of the leading artisans, Tom Burnsides. Many of the photographs he made at the time are used as illustrations in this book. He spent months among the Indians in New Mexico and Arizona and became personally acquainted with many of their silversmiths. Later, as field worker for the Indian Arts and Crafts Board, he studied the economics of Navajo and Pueblo silversmithing; and still later he became manager of the Navajo Arts and Crafts Guild, a tribal enterprise. The Navajo and Pueblo Silversmiths provides a full history of the craft and the actual names and localities of the pioneer craftsmen who introduced the art of the silversmith to their people. Despite its present high stage of development, with its many subtle and often exquisite designs, the art of working silver is not an ancient one among the Navajo and Pueblo Indians. There are men still living today who remember the very first silversmiths. Mr. Adair gives full details, as he observed them, of the methods and techniques of manufacture over a primitive forge with homemade tools. He tells both of the fine pieces made for trade among the Indians themselves and of the newer, cheaper types of jewelry produced for sale to tourists. He discusses standards and qualities of Indian silver and describes the work of the Indian schools in helping preserve traditional design in the fine silver of today. His excellent photographs of some of the most notable pieces, old and new, provide examples for evaluation. This volume, therefore, will serve the layman, the ethnologist, and the dealer alike as a guide to proper values in Indian silver jewelry, and will provide the basis for authoritative knowledge and appreciation of a highly skilled creative art.

Chus Bures creates miracles. Each piece of jewellery that emerges from his workshop boasts a complex genesis, stemming from an intersection between his genius-level thought processes and his maverick lifestyle. From exploring the versatility of buttons, to accentuating the geometric planes of the human body (Infinity Lines, 1990), and using minerals to emulate and exaggerate human features (seen in the striking 'Mae Nam' Collection of 2000), Bures' work is always perplexing, always stimulating, and always innovative. He refuses to be cowed by convention, and delights in challenging his clients and models. The bodily focus of his work makes every piece a startling, and often uncomfortable, insight into humanity. Bures may be a maestro of metal - the gauzy chainmail-esque veils in his Crochet collection, 2000, attest to that. Yet he has mastered the emotional dimensions of his jewellery as well as its physical properties. The relationship between his pieces and the people who collect and cherish them is essential to his artistic praxis. In Chus Bures, Portraits & Jewellery (2016), this is realised through a series of intense portraits by Antoine d'Agata, Alberto Garcia-Alix, and Andres Serrano. These pictures reveal a transgressive melding of jewel and subject: man becomes metal and metal becomes man. Watch ideas take on physical form, and immerse yourself in Bures' world of wearable art.

"When I am working with colours, I feel like a painter. When I am working with metal, I feel like a constructor. And when I am working with toys, I feel like a child." (Felieke van der Leest). The work of Dutch jewellery and object artist Felieke van der Leest (born in 1968) expresses the very special affection that she has for animals. With unbridled fantasy she creates pieces that ostentatiously, colourfully and playfully revolve around her little friends. She combines techniques used in textile work, such as crochet, with valuable metals and plastic toy animals. Within the international art jewellery scene she has developed her own special language with which she narrates intelligent and witty stories with her animal protagonists; her pieces inevitably conjure a smile upon the faces of those who view them. Characteristic for Van der Leest is the joy in her work, which is ever present yet sometimes carried off into childhood. Serious themes in her work are also expressed, including environmental protection and human approaches to animals. The current publication comprises jewellery and objects by the renowned artist from 1996 to the present.

For decades the American artist Marjorie Schick has been a pioneering exponent of avant-garde jewellery. Her dynamic objects, charged with energy, are rooted in the revolutionary late 1960s European conception of jewellery and transgress the conventional boundaries of form, material and colour. The artist regards the human body as 'living sculpture' and constructs works of sculpture in a wide variety of materials to extend the body. Her works are often on an excitingly grand scale: a brooch that stretches far across the wearer's shoulder to occupy the surrounding space; a neckpiece so large that it creates its own physical environment; an object that is worn on the shoulders yet envelops the entire head. Marjorie Schick's jewellery relates to 20th-century abstract art, especially Constructivism. Here, body sculpture is created that must be classified as abstract art. Text in English and German.

Artists such as John Flaxman, Thomas Stothard, Edward Hodges Baily were among the many who designed and modelled silverware for Rundell & Bridge, the Royal Goldsmiths who served two monarchs - George III and his son the Prince Regent (later George IV). It was a period of unparalleled prosperity in Britain during which patrons, led by the colourful Prince Regent, commissioned objects of silver, silver-gilt and even gold in the finest taste. Philip Rundell and John Bridge were well placed to respond to this new fashion for opulence. Directing their workshops from 1802 were the silversmith Benjamin Smith and the designer Digby Scott; and after Paul Storr, the most celebrated English silversmith of the period, took charge in 1807, the workshop grew until it employed the talents of several hundred gifted designers, modellers, chasers and engravers. It was a successful blending of art and industry that remains unsurpassed in the decorative arts. The firm Rundell & Bridge were appointed Royal Goldsmiths, Silversmiths, Jewellers and Medallists in 1797 and held the Royal Warrant until 1830. Yet Rundell & Bridge did more than promote innovative styles; they marketed new types of tableware. Despite the threat of invasion by Napoleon, the British enthusiastically embraced not only new designs from France, such as those inspired by the surge of Egyptomania, but new customs of the tabletop. Tying in with an exhibition at Koopman Rare Art, London, the first ever to be devoted to the firm's achievement, the book shows the importance of the Prince Regent as a patron of goldsmiths and presents a fascinating portrait of London against the backdrop of the Napoleonic Wars. It features a wealth of magnificent silver and gold objects, snuff boxes, jewellery, medals and bejewelled swords from museums and private collections in the United Kingdom, United States, Canada and Australia. With a foreword by His Royal Highness The Prince of Wales, the book will be a valuable addition not only to art historical studies but also to the social and economic history of the period. Net proceeds of the sale of the book will benefit the Prince's Trust.

Alongside Erasmus of Rotterdam, Johannes Reuchlin (1455-1522) is one of the most important European humanists whose works marked the transition from the Middle Ages to the modern era. The year 2022 marks the 500th anniversary of the Pforzheim-born jurist, Hebraist, and religious philosopher's death, cause indeed for an exhibition and publication to bring jewellery, writings, and language into a stimulating dialogue and to offer new meanings to the titular mystery of signs. At the fore stands the human quest for understanding and tolerance, which has lost none of its relevance today. One particular focal point comprises selected manuscripts and works by Reuchlin, highlighted from new perspectives. An additional emphasis is placed on objects that reflect Reuchlin's cognitive world through script and symbols from the resplendent collection of the Schmuckmuseum Pforzheim [Pforzheim jewellery museum]. With contributions by Jonathan Boyd, Beatriz Chadour-Sampson, Matthias Dall'Asta, Cornelie Holzach, Wolfgang Mayer, Susanne Nagel, Katja Poljanac, Stefan Rhein, Nathan Ron, Isabel Schmidt-Mappes, Pierre Vesperin, and Anja Wolkenhauer. Text in German.

With precise instructions and vivid, four-color photographs, Ayako Brodek shows readers how to create 40 elegant and unusual pieces of jewelry. Each project includes a list of materials, illustrated step-by-step folding and finishing instructions, a beautiful photo of the completed piece, and suggested color variations, paper designs and embellishments to make each piece exciting and unique.
The book opens with sections on choosing paper, equipment, basic folds and bases, and making the piece that then become building blocks for all of the modular and beaded origami jewelry designs featured in the book. There is a section on finishing techniques, followed by the main part of the book, the Directory. Author Ayako Brodek has organized the Directory by seasons and motif, and includes a section of Traditional Japanese Designs as well. Each project is coded by type: (F) Figure; (M) Modular; and (B) Bead.
For Spring, readers will learn to make the Butterfly brooch/pendant, hairpin, bracelet and earrings; The Flower Bouquet brooch; and the Chick & Egg brooch/pendant. Summer offers the Sunburst brooch/pendant and matching earrings; the Seashell brooch and earrings; and Beach barrettes. In Fall, theres the Leaf brooch/pendant and earrings and the Pinecone necklace and earrings; and for Winter, the Festive foil beaded bauble necklace and earrings, and the Star brooch/pendant and earrings. In Traditional Japanese Designs, readers will find favorites like the Crane brooch/pendant, tie tack and earrings; the Kimono brooch/pendant and earrings; and the Paper Fan brooch/pendant and earrings.

A real gem for the student of jewelry design, three preeminent, international jewelry designers offer step-by-step instruction. Walk with them through the creative drawing process for twenty-five different styles of jewelry sets, with four variations for each style. From each specific design idea, you will see jewelry being developed in silver and gold, old gold, gold with diamonds, and platinum with precious stones. These experts carefully create designs for matching bracelets, necklaces, brooches, earrings, and rings in many classic and popular styles. This is the third beautiful book of jewelry designs by this team of designer/authors, following their acclaimed Art of Jewelry Design and Designing Jewelry which have become important sources of inspiration and instruction for designers worldwide.

The process of designing jewelry is carefully explained. This second book follows the tremendous success of the author's book The Art of Jewelry Design: Principles of Design, Rings & Earrings. It has taken the combined talents of three top jewelry designers, including a professor who teaches their skill to jewelry students, to create this beautiful and practical step-by-step format. This volume presents progressive detailed text, sketches and finished drawings of many varieties of brooch, bracelet and necklace designs. From such drawings the manufacturing jeweler can assemble the objects themselves. This book teaches how to create those drawings.