The American Jewelry Design Council is a non-profit educational corporation, which recognizes and promotes the appreciation of original jewelry design as art. The AJDC is committed to raising the awareness of the jewelry industry, the art community, the media, and the consumer, about the aesthetic value of artistic fine jewelry. The members of the American Jewelry Design Council are dedicated to elevating the caliber of jewelry design through educational activities and to challenging professional jewelry designers worldwide to actualize their creative potential. ( C O V E R ) “ S P I R A L” b y P A S C A L L A C R O I X • ( L E F T ) “ S P I R A L” b y S C O T T K E A T I N G
OF F I C I A L
S P ON S OR
BE N E FAC TOR
S P ON S OR
Myrna and SheldonPalley
© 2013 American Jewelry Design Council PO Box 1149, Hermitage, PA 16148 T: 724-979-4992 www.ajdc.org First published in United States of America in 2013 ©2013 American Jewelry Design Council ISBN: 978-0-9911642-0-2 Designed by Katja Maas Design. Printed in Canada by Friesens Corporation. No part of this publication may be reproduced, or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior consent from the publisher (The AJDC).
(ABOVE) “MONA LISA” by GREGORÉ MORIN • (RIGHT ) “ TEAR ” by TODD REED
Variations on a Theme: 25 Years of Designs from the AJDC
September 21, 2013 - February 22, 2014 The Forbes Galleries 60 Fifth Avenue (at 12th Street) New York, NY 10011
SPONSORS: DIAMOND SPONSORS American Gem Trade Association (AGTA) Bonnie and Gilbert Schwartz Ganoksin Gemological Institute of America (GIA) Jewelers Mutual Metalsmith Magazine MJSA The Couture Show
GO
LD
SPO
NSORS Anne Stone Anonymous Argen Jewelry Billanti Casting Centurian – Mr. Howard Hauben Ladyfingers Quadrum Gallery Rapaport Magazine Rio Tinto Sharon Karmazin Telluride Gallery Tim Roark Imports
“ WAV E ” b y A L A N R E V E R E
PLATINUM SPONSORS
AU Enterprises Carrera Casting Goldstein Diamonds, Scottsdale, AZ Marian Burke Otto Frei Platinum Guild International Revere Academy of Jewelry Arts Rio Grande Rotasa Foundation – Ms. Susan Cummins Todd Reed Inc.
S I LV
ER
SP
O
NS
OR
S
3rd Ward Jewelry Anonymous AP Intego Insurance Group LLC Atelier Munsteiner Artisan Design Gallery Becky Thatcher Designs Carol Saunders DeNovo Dorothy Saxe Downeast Trading Co. Hoadley Gallery Jerry Szor Contemporary Jewelry Lorraine Bressler Mediability – Joanne DeRicco Shogun Pearl Sara Jane Dehoff Wendy Jachman
THE COLLEC by George Sawyer Every year since 1995, the 35 members of the American Jewelry Design Council have been presented with a word and an exhibition date. On the appointed date, each member delivers an original piece of jewelry art representing their interpretation of the word to the exhibition venue and the next chapter in the annual series of exhibitions is unveiled. At the end of the exhibition, the pieces join the American Jewelry Design Council Collection. In the 18 years since its conception, the collection has become a comprehensive comparison of creative interpretation by some of America’s most influential jewelry artists, a year-by-year record of the development of the artists’ styles and an overview of the evolution of American jewelry design during one of the most creative periods in jewelry history. The 25th anniversary exhibition consists of selections from this collection. The American Jewelry Design Council Collection is really the best expression of what draws its members together. By challenging each other to create pieces that touch the heart, excite the imagination, and amaze the eye, we hope to help restore the concept of jewelry as an art form, to encourage emerging designers who will in turn contribute to the evolution of the art, and to stimulate the public to look a little deeper and discover the joy of this very personal art form.
Origins of the American Jewelry Design Council Members of the American Jewelry Design Council are both individual “studio” artists and artists with studio/workshops that have multiple employees. Membership in the group is by invitation, each member must own their own jewelry business, be a US citizen, and operate their business in the United States. The essential qualification of membership is that the artist/designer designs and produces exceptional jewelry of original, creative design and has an individually identifiable style or art form. While it is not a qualification for membership, it can also be said that the primary driving force of each member is a passion for making great jewelry. The American Jewelry Design Council has its roots in the most significant jewelry market of the 1980s, The Jewelers of America trade show in New York City. This show was the place where most American jewelry stores, department stores, and even some galleries bought large portions of their inventories for the upcoming year. During this time period,
8
“BLACK & WHITE” by JOHN IVERSEN
CTION with a few notable exceptions, the American commercial jewelry industry was dominated by manufacturers who did not consider original design to be even a minor component of the “product.” Distinctive design and artistic content were considered risky and an irrelevant added expense. Most commercial jewelry was a generic product, the result of decades of copies and modifications of historic styles. Beginning in the early 80s, Mort Abelson, the director of the Jewelers of America Show, saw retailers beginning to buy increasing amounts of design-forward jewelry from European manufacturers – especially Italian manufacturers. Noting the lack of American artists’ work, he began to actively seek out American jewelry designers to introduce into the mainstream at the Jewelers of America show. He scouted art craft fairs and exhibitions and personally invited jewelry artists from around the United States to exhibit in a new “Design Center.” However, when the designers arrived at the new Design Center, they found themselves in the world’s largest jewelry marketplace but their work was largely ignored and even ridiculed by the mainstream commercial, manufacturers and buyers. Disappointed and confused by this negative reaction, a group of designers decided to form an organization that would try to awaken and expose the buyers, the media, and the public to the work of the best American artist/designers, advance the cause of art and original design in jewelry, and help new designers gain recognition in the marketplace. This group became the American Jewelry Design Council. The American Jewelry Design Council currently has 35 dedicated members and has evolved to include jewelry artists who are educators and studio jewelry artists as well as those who participate in the commercial marketplace, all sharing the common goal of advancing the art of jewelry design. We would like to thank the Forbes Galleries and all of the supporting sponsors of this exhibition for the opportunity to share this collection with the public.
9
FOREWORD by Bonnie S. Kirschstein
Managing Director The Forbes Galleries, New York
The Forbes Galleries are pleased to host Variations on a Theme: 25 Years of Design from the AJDC. For many reasons, this exhibition is a first in the jewelry gallery at Forbes. Most importantly, we have never mounted an exhibition of American contemporary jewelry where the designers were brought together to focus on one particular theme. This group of very talented jewelers has been creating themed projects for a quarter of a century and have completed close to 20 concepts. It is unusual to view a group of jewelry that speaks to one idea – whether it’s an interpretation of “water” or “wave,” “fold” or “cube” – each designer comes to it from a different time and place. The most intriguing part is to see how the duality of a given word like “tear” or “tension” changes the outcome of the piece. Does “tear” refer to the drop of clear salty liquid from the eye or is it the act of pulling something into pieces by force? Some designers incorporated both, while others gravitated to one or the other. The Jewelry Gallery at Forbes was home to nearly 300 pieces of Fabergé—the largest collection in the world—from 1985 to 2004. With exception of a few pieces, all were destined for a single owner sale at Sotheby’s in spring 2004 but were sold prior to public auction by private treaty to a wealthy businessman named Viktor Vekselberg. Although saddened by the loss of this collection, everyone was pleased that it would return to Russia. Once the dust settled, the Forbes family and their curatorial team were left with a beautiful gallery meant for small objects and nothing to exhibit in them. After much discussion, the Fabergé Gallery was renamed the Jewelry Gallery and since 2005, we have mounted 20 exhibitions. The gems and jewels showcased in this gallery have run the gamut in terms of theme and time period: Masterpieces of Ancient Jewelry included pieces more than 7,000 years old; Steel Time, examined the history of 19th century gunmetal pocket watches, and Out of this World! Jewelry
in the Space Age explored the history of beautiful, wearable outer space-related jewelry. Each exhibition since the Fabergé collection has had pretty big shoes to fill, and the designers of the AJDC have met the challenge with Variations on a Theme.
10
“BLACK & WHITE” by LINDA MACNEIL • “PYRAMID” by MICHAEL GOOD
The designers
HIDDEN TREASURE The current understanding of the word “masterpiece” shows little evidence of its origin. To become a master of a trade in the medieval guilds of Europe, an apprentice was required to create a work that proved his technical understanding and ability. The closest contemporary analogy to this system is the final project for a masters degree. Since this academic program is brief in comparison to medieval apprenticeships, the comparison is hardly applicable, yet the term remains in use. Rarely, if ever, does the highpoint of an artist’s production follow their instruction and mentorship. More frequently, it takes years of solitary practice, personal development, and stylistic refinement to establish an authentic viewpoint. Trial and error, hope and denial, and a persistent commitment to become better are necessary steps to be a modern master. The members of the American Jewelry Design Council have all earned this rare distinction. Jewelry’s depth as a mode of artistic expression is practiced, but it isn’t widely recognized or understood. Manufactured designs dominate the market, leaving pieces hand fabricated by highly skilled jewelers largely unseen and thereby unknown. Against these odds, today’s jewelers are experiencing unmatched creative freedom. Just as fine art is constantly being redefined to include new concepts, materials, and presentations, so too is contemporary jewelry. Infusing designs with meaning, playing with notions of preciousness, using unconventional materials, and even testing the limits of wearability are ideas that have been in practice for more than 60 years, yet there is little evidence of this movement outside of the field. One is compelled to question what keeps this vanguard going. Without exception, the members of the AJDC have found success both in the jewelry industry and among their peers. They have created works of profound beauty and technical innovation that have garnered a staggering number of awards from the field. But even for this level of jeweler, opportunities to imagine and realize one-ofa-kind creations free from commercial concerns are limited. More often than not, these gifted entrepreneurs spend more time running a business than creating a
“ K E Y ” b y S T E V E N K R E T C H M E R • “ WAT E R ” B Y G E O R G E S AW Y E R
13
by Marthe Le Van
“ICE” BY MICHAEL GOOD
14
masterpiece. The AJDC design project reverses these priorities, if only for a while, letting the art come first. Variations on a
Theme: 25 Years of Design from the AJDC features examples of thematic jewelry works conceived and fabricated by council members for exhibition only. This unique group project is a tour de force of fine jewelers who have contributed greatly to America’s design history. Early exposure to the arts or to a family jewelry business started many members on their journey. Mark Schneider is a thirdgeneration jeweler, and Ron Hartgrove’s father was a watchmaker. The mothers of Jane Bohan, Sarah Graham, and Todd Reed were all artists. Some began far from jewelry, but when working with metal for the first time in art school or by chance, their lives took a decisive turn. A quarter of the AJDC members were born outside of United States and trained in European goldsmithing programs. Several American jewelers trained abroad in Germany and Italy before returning to work in the states. Regardless what guided these talents to jewelry, it is their passionate attraction to investigating and sculpting precious metal that unites them, and a vigorous curiosity and ambition that has driven them to the top.
15
Outstanding material innovations and technical advancements by several AJDC jewelers have been significant enough to impact jewelry history. Steven Kretchmer contributed new tones of gold and the tension method of stone setting to the jeweler’s repertoire. George Sawyer’s developments in multicolored patterned metals set a new standard for excellence. It is interesting to see members adapt such defining elements across a variety of themes, or at times, abandon them altogether. Michael Good uses his signature technique of anticlastic raising in every project, yet he applies it with astonishing design diversity. Good’s Pyramid Ring shows the classic brawn of anticlastic raising while Ice and Spiral exemplify its capacity for grace. Both Kent Raible and Cornelia Goldsmith are virtuosos of granulation, yet they put it to use in surprisingly different ways. Raible takes full advantage of its decorative opulence in Captured Universe Ring while Goldsmith uses granulation to advance a narrative in Flight and Wave. Beyond its presentation of masterful designs, Variations on a Theme reveals a powerful though neglected property of jewelry—its ability to tell stories. Whether noun or verb, the topic of the design project challenges jewelers to unleash their imaginations and generate a response. These single words are clearly chosen with considerable care to inspire many meanings. Gregoré Morin’s focus on figurative jewelry makes him a natural storyteller. Under the Sea, his composition for “Water,” is a marvelous and deeply meaningful tableau. Set atop a stone slab, the earrings suggest underwater pylons and signal a crossroads of industry and nature. Similarly, Adam Neeley’s Polar Ice Pendant paints the perils of global warming, yet his expression is so abstract
“BLACK & WHITE” by RON HAR TGROVE • “EXPLOSION” by TODD REED
16
and inconspicuous, one might miss its meaning without knowing the title. Provocative in a different manner, Anthony Lent’s Invisible Ruby Love Necklace for “Peekaboo” urges the viewer to speculate just what is going on under that crimson shade. In 2011, “Black and White” raised the stakes of the design project by requiring the use of an unconventional jewelry material. Each designer received blocks of poly-celluloid plastic. This decidedly non-precious material must have been quite a surprise and quite a test for the most traditional jewelry artists. The consistent visual element of “Black and White” provides a steady viewpoint from which to reflect on the AJDC member projects as a whole. The technical and design prowess one expects from the finest fine jewelers is undeniably present. Witness it in the brilliance of Linda MacNeil’s Neck Collar, the poise of Ron Hartgrove’s necklace, and the perfection of Geoffrey Giles’s ring. Listen a little more closely, and you might hear music in Jennifer Rabe’s curve of diamonds. Open your heart, and you might recall the sweet sentiment of John Iversen’s Jax. To do so is to know jewelry’s poetry, to deeply connect with the soul of the creator, and to truly experience a masterpiece. To establish a well-informed public, constant effort is required by those who cherish jewelry art. The need for advocation, education, exposure, and support is ever-present. The American Jewelry Design Council works tirelessly to advance the recognition of fine jewelry artists, and through their annual design projects, it inspires them to reach even further. The extraordinary moments of breathtaking beauty exhibited in Variations on a Theme: 25 Years of Design from the AJDC are a testament to these efforts and to the transcendent spirit of jewelry.
17
“ICE” by PETRA CLASS • “TEAR” by JOSÉ HESS
DESIGNERS In memoriam
Steven KRETCHMER
(1953-2006) Steven Kretchmer, best known for inventing fine jewelry that behaved in mysterious ways, died on July 8, 2006. He was 52. His Tension-Set ™ jewelry applies a permanently magnetic platinum alloy to suspend precious stones in space between tension rings, thereby exposing more light to stones than a traditional setting. Jewelry from his Polarium™ collection, for example, features jeweled discs that are “invisibly” held in various positions by magnetism. The disks bounce with body movement but always return to their original position. Kretchmer also invented multicolored layered gold combinations of 18k blue and purple gold, and gold mokume-gane. He earned art degrees from RISD and the University of Michigan and is the recipient of innovation awards in the jewelry field. Kretchmer’s stepdaughter Claudia took leave of her PhD in Astrophysics to continue the company built by Kretchmer and his wife Alma, where Claudia puts her scientific background to creative use.
18
Sandy BAKER is recognized by
Jane BOHAN After studying
metalsmithing and jewelry at RISD, and working at the bench in a jeweler store, Jane opened her own workshop in 1983 in SoHo New York City. Jane’s signature is detailed patterns, such as alligator skin, pebble grain, centuries-old paisleys and flirty florals in precious metals. Her meticulous selection of gemstones and pearls is evident in each piece of jewelry, as well as her love of color, architecture, nature, and fashion. Her work has been exhibited in museums and art galleries and can be found in fine jewelry stores across the country.
National Jeweler magazine as one of the top 100 jewelry designers in the last 30 years. Since the late 60s, Baker has carved a distinctive niche in the jewelry industry. Her bold variations of signature earrings, necklaces, pins and bracelets reflect her years of training in the fine arts at Hunter College and Columbia University. “When I’m inspired, it’s my mission to re-create the sound, the idea or feeling in a piece of wearable art—be it chopsticks, a gust of air or ocean water.” Baker is a trendsetter in creating designs for modern women’s lifestyles.
Whitney BOIN is driven to create
Michael BONDANZA
jewelry that presents something beyond the traditional stone in a setting. “I want a look that is classical, but with the engineering and feel that represent what is going on today.” His award-winning original designs for engagement rings, diamond necklaces and pearl bracelets have propelled him to international acclaim. “Jewelry differs from sculpture in that it’s worn on the body. The motion of the body is as important as the materials, how they are set, how they’re polished. All contribute to how the piece moves visually.” In 1999 Boin founded the International Jewelry Design Guild and is a founding member of the American Jewelry Design Council.
Inspired by the work of Georg Jensen and the early work of Cartier, Bondanza’s career began in the early 70s. “It takes at least ten years to get grounded, to gain enough skill and experience to begin to tackle something with real meaning.” His personal vision, imaginative concepts, and innovative designs attract distinguished retailers in fine jewelry. Bondanza experimented with sterling silver, 18k gold, and rosewood before eventually working with complex combinations of platinum and 18k gold. Michael registered his trademark “Platinum Redefined” and continues to push creative uses of platinum.
Petra CLASS Trained as a
Falcher FUSAGER Born and
silversmith in Germany, her approach to jewelry making is informed by the European tradition of applied art. She works with materials traditionally perceived as precious. “I feel I can, through my choice of colors and textures, communicate a certain mood, an attitude towards life that in turn will be, I hope, sensed by whoever is looking at the piece.” Like in improvisational jazz melody or abstract landscape, we find reoccurring rhythmical arrangements, repetition of form, unexpected contrasts of different textured materials. “I am endlessly fascinated with gemstones, by their wealth of tones, colors, opacities. One can almost paint with these stones.”
Jaclyn DAVIDSON “My work has
raised in Denmark, as a teenager Fusager painted using traditional oil glazing techniques. His fondness of transparent enamels and their extraordinary light and color combinations led him to form a group with two artists to specialize in using the ancient Egyptian cloisonné technique. When his business expanded, Fusager formed the company “Magick” in 1985. He draws freehand before building up layers of enamel in the same way he glazed oil paintings. During the early 90s, he explored the impact shapes and colors have on our emotional states, which gave birth to his “abstract nature” scenes predominant in recent collections.
Geoffrey GILES fashioned jewelry in high school. He apprenticed with two master goldsmiths, attended Virginia Commonwealth’s Department of Crafts, and worked for three years as a bench jeweler before working as an independent designer and goldsmith. Giles fabricates without outside help and works with 18k gold. His aesthetic is often described as a minimalist combination of bold geometry, clean lines, and surface detailing. Giles uses 100% reclaimed and recycled metals and is committed to using environmentally friendly processes and materials.
undergone a radical change since I have begun working with mild steel…” While starting a steel-fabricating shop, Jaclyn became so intrigued by steel she never looked back toward gold. “Steel conveys unyielding cold strength, but when heated to radiant yellow, it becomes as pliable as bread dough… When I am working my entire body is involved, moving to and from the forge, gathering tools and quenching in between heats… Once you learn that the moment to strike is when it’s that particular color, then you start having fun. That window of ‘when to strike’ is a very short period of time…” “I learned to adapt my design plans when hot steel is revealing new facets of its personality… and celebrate the evidence of the forging process in the finished object.” 19
Cornelia GOLDSMITH
Michael GOOD, born of Belgian
remembers timeless summers spent scouring the beaches of the Baltic Sea on the lookout for pieces of golden amber amongst the sand and rocks. Baltic amber, along with other treasures, ended up in her first creations of earrings and bracelets. Growing up in Berlin, Goldsmith later moved to Boston, where she took jewelry classes at Massachusetts College of Art and North Bennett Street School. She learned a variety of labor-intense techniques, including ancient granulation, which became her signature look. Goldsmith’s designs express her vision of the natural world through fine detail and exacting craftsmanship.
parents, grew up living between the US and Europe. During the 50s Good worked with a sculptor in New York City who taught him rudimentary metalsmithing. Even when he logged and clammed to make a living in northeast Maine, Good did not stop metalsmithing. “Tucked away in beautiful and secluded pockets of the vast American landscape are goldsmiths whose work rivals the best,” says Ettagale Blauer. “Among them is Michael Good, whose use of what he calls the anticlastic process has forced the commercial jewelry world to expand its ideas about how American jewelry should look and how it can be made.”
Sarah GRAHAM earned a BA
Alishan HALEBIAN taught
in international business. One day, she designed a bracelet for her sister. So entranced by the “beauty of the process” she decided to “make jewelry her life.” Graham worked in a jewelry retail store, apprenticed under a master goldsmith, traveled to find inspiration in museums, galleries, and stores, then worked full-time as a bench jeweler. In 2000 she started her own jewelry business, passionate to combine “amazing” retail experience with jewelry design excellence. Graham works with Jacaranda Pods and decayed wood or wax to give her designs special textures. She often juxtaposes matte black finish with 18k yellow, rose, or white gold, and colored diamonds.
himself how to goldsmith and he mastered the art. Thinking of his jewelry as miniature sculpture, he gives precious metals seeming weightlessness and luxurious texture. Born and educated in Armenia, Halebian moved to the US in 1970. His work reflects a combination of East and West culture and philosophy, and has been worn by Elizabeth Taylor and Natalie Cole, among other red carpet guests.
Ron HARTGROVE served in
Barbara HEINRICH was born in
the United States Air Force before he earned a BA in art history and painting. He grew up in Texas working with his father, a watchmaker, soldering charms, disassembling watches, and sizing rings. After college, Hartgrove’s paintings gained recognition, a time when he also worked at jewelry companies doing repair and design work. In time, his focus shifted to jewelry making exclusively and he formed a manufacturing business to create one-of-a-kind designs. His trademark line, “Orbis,” features stone spheres interchangeable without mechanisms or hinges—a concept that grew out of a childhood fascination with ballpoint pens.
Heilbronn, Germany, and grew up in the vineyards of her family’s winery. To keep herself busy, she says, she collected dried noodles, pods, snail shells, and broken glass, which she strung together to create jewelry. Heinrich graduated from the Jewelry Academy in Pforzheim and won a scholarship to study in the US. She earned a MFA from Rochester Institute of Technology, after which she established a studio. There she created distinctive and award winning jewelry pieces by blending timeless aesthetics with contemporary ideas. Her style is understated yet recognizable. She is known for her soft brushed gold surfaces, juxtaposed with burnished lines and surface set gemstones.
Susan HELMICH‘s designs begin
José HESS creates branded
with a quest to find perfect gems. She may travel as far as the South Seas, Europe, or Asia, but once found, the precious jewels become focal points in her designs, which she painstakingly matches to suit an individual’s taste. As the Los Angeles native explains, “I consider myself an artist and technician compelled to communicate with the viewer, hoping to evoke a personal and emotional response. Art is a powerful language that speaks to the soul, and I hope to initiate curiosity and dialogue through my work.”
collections. His company aims to combine “elegance and simplicity with a futuristic approach. The ingredients are logic, harmony, and sentiment.” At age 13, Hess apprenticed master Viennese jewelers. After serving in the army, he worked for renowned designer David Webb before manufacturing and selling his own designs. A jewelry design teacher at the Fashion Institute of Technology, Hess also works as a consultant to improve design and manufacturing methods at national and international jewelry companies. He is the first American president of CIBJO, an international trade association for the establishment of worldwide jewelry industry standards. 20
Cornelis HOLLANDER from
John IVERSEN, originally from
Hamburg, Germany, uses a technique developed in the 18th century called “Nature Casting” to make representations of natural objects in bronze, silver, and gold. His work has been shown throughout the world in many influential galleries and museums. Iversen’s life-long inspiration comes from natural world specimens as well as the metals he uses. In leaves, flowers, pebbles, baskets, seeds, and water, subtle textures and distinctive qualities are expressed. Each vein in his hydrangeas is finely worked; the edges of his leaf pins ripple like an actual dried leaf. “All of my jewelry is about the secret which lies hidden in the materials I use. It wants to be discovered.”
the Netherlands, studied art and jewelry design at Vrije Acadmie in Den Haag and Amsterdam. Adventure called young Hollander to Johannesburg, South Africa, the diamond and gold capital of the world, where he opened his own jewelry design studio. Years later he moved to Phoenix, Arizona and founded Cornelis Hollander Designs, Inc. Jewelry design, he explains, is like poetry. “When a poet sees beautiful scenery, a poem flows into his mind. Just by looking at a beautiful gemstone, I envision the finished piece.”
Scott KEATING
Christo KIFFER, independent
studied design and engineering at the University of Illinois under the late master goldsmith Robert Von Neuman. Keating’s designs are proportioned using dimensional relationships found in nature, often referred to as Sacred Geometry by Renaissance artists. Working with diamonds, karat gold, platinum, and colored gemstones including tourmaline, citrine, and amethyst, Keating designed new cuts for gemstones, such as his trademark Turret bar-cut. The Summit Collection is Keating’s breakthrough line, featuring cabochon turret cuts and tiny perfect lines of black enamel. His gold mesh is handwoven, recalling classic watchbands of the Deco era.
designer, goldsmith, and foremost stone setter, makes jewelry like “architecture with reflective light: intense, contemporary and timeless.” Born in Minasa Gerais, Brazil surrounded by minerals, crystals, and gemstones, he taught himself to make jewelry with no formal training. “I decided to fuse my passion for architecture and construction techniques, with my obsessive attention to detail, in an art form whose scale provided me complete control over all processes.” Kiffer creates new techniques to fulfill his artistic vision and aesthetic signature. “My Floating Channel setting baptized my aesthetic vision into a reality never before possible.”
Paul KLECKA finds inspiration
Pascal LACROIX, born in
in boundaries imposed by the human form on jewelry design. With his “finger on the pulse of the jewelry arena” Klecka’s jewelry design firm focuses on lifestyle concepts. Starting out in jewelry retail sales positions helped him understand customer needs and expectations. Learning about what resonates with the end user influences his design approach. Klecka realized his dream to own a retail gallery himself in 1982, when he began to present his own imaginative, technically innovative work. Today Klecka embraces CAD/ CAM digital design and fabrication processes.
Brussels and raised in the south of France, took inspiration from his father’s sculpture and jewelry designs. Lacroix sees his own one-of-a-kind jewelry pieces as “silent companions.” Known for innovative work in gold and diamond bracelets, his work has symbolic meaning. Of his bracelets Cynthia Schuetz says, “Encircling our arms, they denote connectedness. Without beginning or end, they represent infinity. As circles… fidelity, eternal movement and commitment.”
Anthony LENT trained as a
Linda MACNEIL, when just a
teenager, began her career as a metalsmith. She studied at Philadelphia College of Art and received her BFA from Rhode Island School of Design in 1976. Although she has worked in various formats— including sculpture, windows, and architectural installations—jewelry has been the mainstay of her career. MacNeil applies a love of glass and metal, technical precision, and clarity of form to her jewelry, while meeting the challenge of its “wearability.” Her creations are all one-of-a-kind and favorites can be found in both private and museum collections, including the MET, MFA Boston, V&A, and the Smithsonian.
goldsmith in Germany. During this time in Europe he developed motifs that dominate his work, including sculptural figures, animals, celestial faces, and interpretations of fabled creatures. Lent pursued the fascinating world of automata to create magical, intricately built pieces that delight and beguile the eye and mind. His Philadelphia-based workshop showcases jewelry designs and technologies at once modern and antique.
21
Gregoré MORIN believes
Adam NEELEY often collected
rocks in Colorado’s backcountry when he was a boy. At twelve, he taught himself rudimentary gemstone cutting and silversmithing. When Neely studied at the Gemological Institute of America, the curriculum required him to identify 1,400 gemstones and grade diamonds. At Le Arti Orafe in Florence, Italy and the Fashion Institute of Technology in New York City, Neely refined his jewelry design and fabrication skills, and applied computer aided design. “Each creation is a small sculpture with its own intrinsic narrative.”
“jewelry should be more than just a big stone, and should speak to something in the wearer.” Learning to goldsmith at an early age, Morin says, “I make the work because I have to, but it is not really mine. Every piece I make needs to have an owner to finish it.” Born and raised in Vancouver, Canada, Morin’s distinctive, playful designs are fabricated in limited editions using traditional techniques, and are very popular in celebrity collections and favorite museums.
Mark PATTERSON, a certified
Jennifer RABE MORIN,
gemologist, travels the world to select stones of superior cut and brilliance. His true love the color of stones, he builds a design around each gem, creating oneof-a-kind rings, necklaces, and earrings. Collaborating as a husband and wife team, Mark and Josette Patterson celebrate 25 years in business. Mark says of Josette, “My training as a jeweler gave me the skills I needed to implement the design, but Josette had the vision. As a designer, sculptor and painter, she has an artistic eye that has helped define our creations.”
raised in Spain by artist parents native to Germany, was trained in jewelry fabrication, setting, engraving, and goldsmithing. She studied at the University of California Santa Cruz, Sir John Cass College in London, and at California State University, Long Beach. She works closely with clients to create pieces in gold and platinum with gemstones. “The art of jewelry is a personal, intimate experience that touches others through its expression of universal values. My goal is to create beautiful forms with rare materials to inspire wonder and joy in the viewer.”
Kent RAIBLE
Paul ROBILOTTI makes small-
first worked with metal in a high school class. Largely self-taught and working alone, he developed a unique style of fabrication while living in Germany during the 80s. Acquiring a special gem, responding to its light and form by visualizing for it a unique golden environment, and refining and realizing that vision, gives Raible great satisfaction. “I try to find harmony in even the minutest step of the process, whether it’s the positioning of a single granule or shaving off a tenth of a millimeter of gold to get a perfect line. This is the foundation and integrity of my art.” Riable’s work is in the permanent collection at the Smithsonian.
Todd REED, enormously impressed
by a good friend’s fervent love of diamonds, developed a fascination with jewelry. “He completely took me under his wing. His love for diamonds was infectious, and he showed me the artistry and miniature sculpture that appeared in the rough stones. I was riveted and wanted to know and see more.” After designing furniture, clothing, sculpting, painting, and graduating from culinary school, Reed self-trained as a goldsmith and jeweler. Now pushing the boundaries of what we consider to be “precious pieces,” Reed’s desire is to merge the allure of fine jewelry with artistic expression. His Boulder, Colorado organization includes 16 master jewelers creating designs by Reed in 18k gold, platinum, palladium, and silver.
scale interpretations of architectural triumphs. Drawn to Greek and Roman grandeur, he adapts elements of the Classical period, such as rich detail and abundant texture, to fabricate in 18k gold, platinum, and precious and semi-precious stones. “I subscribe to classical ideology foundations… Structure becomes form, texture articulates significant detail, while liberties of aesthetic preference create romance.” Robilotti is the son of an architect and studied at the Fashion Institute of Technology and New York University.
Alan REVERE is a master goldsmith, jewelry designer and jewelry educator. The founder and director of Revere Academy of Jewelry Arts in San Francisco, he has trained over 10,000 students. Revere authored instructional books, articles, and videotapes for goldsmiths and jewelers. With degrees in psychology and art, Revere trained in Germany as a goldsmith. He has created a signature line of jewelry sold in stores for over 20 years. His work is included in permanent collections at the Schmuckmuseum Pforzheim and the Oakland Museum. Alan is founder of the Contemporary Jewelry Design Group and past president of AJDC.
22
Susan SADLER’s motto is,
George SAWYER
studied art history and sculpture at the University of Minnesota and is fascinated by Asian art. Working at a race car design and build company, Sawyer honed his design and metalworking skills. At night he studied jewelry. Exploring a technique to create patterns from colored gold alloys and precious metals, he developed a signature line of jewelry ranging from wedding rings to art objects. For 40 years Sawyer has folded and forged precious metals into patterns that suggest wood grain, swirling water, and ancient mysterious impressionistic forms—popular in museums and galleries in the US, Canada and Europe.
“The simpler, the better.” Having a vast knowledge of gemstones and pearls, she frames “these beautiful gifts of nature” using 18k yellow gold or platinum. Merging “little natural treasures” with “beautiful color” Sadler works with memorable vintage materials and Bakelite. She adds subtle textures to give depth and softness to her pieces. Her latest collections explore her newfound interest in combining color and movement of jewels. “The possibilities are limitless.”
Mark SCHNEIDER
William SCHRAFT helped
remembers coveting a gemstone collection when he was just in grade school. Now a third-generation jeweler, at California State University Long Beach he studied jewelry design and enjoyed working with clay and metal. He “feels fortunate” to work with the finest rare gemstones. A “jeweler’s jeweler” Schneider is one of few living designers to have a piece on permanent display in the Smithsonian Institution Gem and Mineral Hall. He is committed to every part of the design and fabrication process and challenges himself to make unique and distinguishable work.
define the look of American understated designer jewelry through the 80s into the 90s. Schraft found new interest in “retro” styles, inspired by ornate European iron gates and windows, and intricate woodwork in Victorian scrolls, furniture, and homes. He blended his “straight modern” design background with now popular vintage styles. “Inlaid Victorian filigree” brings antique contrast to his bold, modern polished framework, a juxtaposition of styles from yesterday and today.
Tina SEGAL has long worked
Diana VINCENT approaches
to further growth of women in the industry. Segal creates jewelry as a statement for each woman who wears her work. “As I design, what I have in mind is creating a piece of jewelry that reflects what the woman wearing it would want to say about herself.” With a good business sense and “a lot of hard work,” Segal designs special-order jewelry. Her material palette includes what she calls “gemstones in an optical field” (whereby stones are placed above and under each other), and beaded necklaces of mixed usual materials.
design with “the rhythm and movement of a dancer.” After she graduated from Tyler School of Art in Philadelphia, Diana Vincent was very quickly recognized as one of America’s most creative and original jewelry designers. Launching her career as the youngest American to receive two consecutive DeBeers Diamonds International Awards, Diana’s work remains highly desired by collectors around the world. With her intuitive sense for design and immediately recognizable style, Diana tirelessly strives for design excellence with an allure of simplistic sophistication.
Takashi WADA
was born in Tianjin, China to Japanese parents. He graduated from Tokyo University of the Arts and Tyler School of Fine Arts at Temple University (Philadelphia). A 1987 New York Times article highlights the “spiritual comfort” of his work, the way ancient adornment held talismanic powers: “Wada observes that clients simply find his jewelry reassuring to the touch. ‘That’s why they’re always handling certain pieces the way a man might handle the bowl of his pipe,’ Wada tells of a patron who purchased his egg-shaped silver pendant following her divorce. ‘For her it became a comfort. She never removed it.’ Years later, she returned to boast that she had a wonderful new husband. ‘I’ll keep your silver egg,’ she said, ‘but now I can buy one in gold.’” (Ruth La Ferla)
Barbara WESTWOOD is known
for “fashion forward” metalwork and use of bold gemstones. “My work is a vehicle to connect with other human beings. . . [I make] symbols that mark our feelings.” Westwood studied jewelry design and metalsmithing at University of California. She is a founding member of the Women’s Jewelry Association. 30 years ago “the idea of a woman becoming a designer, let alone a successful one, was unheard of.” “I applaud the industry visionaries who first saw the potential of designer jewelry without the separation of gender. This business has been the vehicle that I have used to realize my dream of an intimate and creative business where I could inspire and be inspired.” 23
UP CLOSE AND... LOUPE VIEWS Definition: a loupe is a small magnifier used especially by jewelers and watchmakers.
“ P U Z Z L E ” b y S C O T T K E AT I N G
24
PORTFOLIOS
Once you are captivated by the imagination of an artist you inevitably want to see and learn more. Each of the designers, whose work you have seen in this book, features their current works and latest collections on their individual websites. All are listed opposite:
66
BAKER, Sandy. . . . . . . . . . . . . . . . . . . . . . . . . http://sandybakerjewelry.com/ BOHAN, Jane. . . . . . . . . . . . . . . . . . . . . . . . . . http://janebohan.com/ BOIN, Whitney . . . . . . . . . . . . . . . . . . . . . . . . http://whitneyboin.com/ BONDANZA, Michael. . . . . . . . . . . . . . . . . . http://michaelbondanza.com/ CLASS, Petra . . . . . . . . . . . . . . . . . . . . . . . . . . http://petraclass.net/ DAVIDSON, Jaclyn. . . . . . . . . . . . . . . . . . . . . http://jaclyndavidson.com/ FUSAGER, Falcher . . . . . . . . . . . . . . . . . . . . . http://itsmagick.com/ GILES, Geoffrey. . . . . . . . . . . . . . . . . . . . . . . . http://geoffreydgiles.com/ GOLDSMITH, Cornelia. . . . . . . . . . . . . . . . . http://corneliagoldsmith.com/ GOOD, Michael . . . . . . . . . . . . . . . . . . . . . . . http://michaelgood.com/ GRAHAM, Sarah. . . . . . . . . . . . . . . . . . . . . . . http://sarahgraham.com/ HALEBIAN, Alishan. . . . . . . . . . . . . . . . . . . . http://alishanonline.com/ HARTGROVE, Ron. . . . . . . . . . . . . . . . . . . . . http://orbisjewelry.com/ HEINRICH, Barbara . . . . . . . . . . . . . . . . . . . . http://barbaraheinrichstudio.com/ HELMICH, Susan. . . . . . . . . . . . . . . . . . . . . . . http://susanhelmich.com/ HESS, José. . . . . . . . . . . . . . . . . . . . . . . . . . . . . http://josehess.com/ HOLLANDER, Cornelis. . . . . . . . . . . . . . . . . http://cornelishollander.com/ IVERSEN, John . . . . . . . . . . . . . . . . . . . . . . . . http://johniversen.com/ KEATING, Scott . . . . . . . . . . . . . . . . . . . . . . . .http://scottkeating.com/ KIFFER, Christo . . . . . . . . . . . . . . . . . . . . . . . . http://christokiffer.com/ KLECKA, Paul. . . . . . . . . . . . . . . . . . . . . . . . . . http://paulklecka.com/ KRETCHMER, Steven. . . . . . . . . . . . . . . . . . . http://stevenkretchmer.com/ LACROIX, Pascal. . . . . . . . . . . . . . . . . . . . . . . http://pascallacroix.com/ LENT, Anthony . . . . . . . . . . . . . . . . . . . . . . . . http://anthonylent.com/ MACNEIL, Linda. . . . . . . . . . . . . . . . . . . . . . . http://lindamacneil.com/ MORIN, Gregoré . . . . . . . . . . . . . . . . . . . . . . http://gregorejoailliers.com/ NEELEY, Adam . . . . . . . . . . . . . . . . . . . . . . . . http://adamneeley.com/ PATTERSON, Mark. . . . . . . . . . . . . . . . . . . . . http://markpatterson.com/ RABE MORIN, Jennifer . . . . . . . . . . . . . . . . http://jenniferjoailliers.com/ RAIBLE, Kent . . . . . . . . . . . . . . . . . . . . . . . . . . http://kentraible.com/ ROBILOTTI, Paul. . . . . . . . . . . . . . . . . . . . . . . http://paulrobilotti.com/ REED, Todd . . . . . . . . . . . . . . . . . . . . . . . . . . . http://toddreed.com/ REVERE, Alan . . . . . . . . . . . . . . . . . . . . . . . . . http://revereacademy.com/ SADLER, Susan . . . . . . . . . . . . . . . . . . . . . . . . http://susansadler.com/ SAWYER, George . . . . . . . . . . . . . . . . . . . . . . http://georgesawyer.com/ SCHNEIDER, Mark . . . . . . . . . . . . . . . . . . . . . http://markschneiderdesign.com/ SCHRAFT, William . . . . . . . . . . . . . . . . . . . . . http://williamschraft.com/ SEGAL, Tina . . . . . . . . . . . . . . . . . . . . . . . . . . . http://tinasegal.com/ VINCENT, Diana . . . . . . . . . . . . . . . . . . . . . . . http://dianavincent.com/ WADA, Takashi WESTWOOD, Barbara. . . . . . . . . . . . . . . . . . http://barbarawestwood.com/
“ S P I R A L” b y D I A N A V I N C E N T
67
EXHIBITION mona lisa
cube
95
wheel
96 MORIN
97 REED
WA D A
BOIN
BONDANZA
BAKER
key
98 VINCENT
BAKER
HESS
KRE TCHMER
water
00 K E AT I N G
KRE TCHMER
R O B I LOT T I
S AW Y E R
SEGAL
WEST WOOD
BOIN
D AV I D S O N
GOLDSMITH
KLECKA
LENT
MORIN
R O B I LOT T I
SADLER
flight
01 SEGAL
WEST WOOD
peekaboo
02 K E AT I N G
BOHAN
KLECKA
68
timeline of themes (and variations)
GOLDSMITH
IVERSEN
KRE TCHMER
SADLER
S AW Y E R
SCHRAFT
SEGAL
BONDANZA
HAR TGROVE
HELMICH
HOLLANDER
puzzle
99 R O B I LOT T I
WEST WOOD
GOOD
HELMICH
IVERSEN
MORIN
REED
R O B I LOT T I
S AW Y E R
LACROIX
LENT
RABE MORIN
REVERE
SADLER
VINCENT
WEST WOOD
BONDANZA
HAR TGROVE
HEINRICH
IVERSEN
K E AT I N G
fold
03 SCHRAFT
69
EXHIBITION sphere
04 REVERE
SADLER
S AW Y E R
SCHNEIDER
VINCENT
FUSAGER
BAKER
FUSAGER
GOOD
KIFFER
LACROIX
NEELEY
pyramid
05 R O B I LOT T I
SEGAL
HALEBIAN
secret treasure
06
SCHNEIDER
BONDANZA
RIABLE
tension
08 K E AT I N G
LACROIX
MACNEIL
PAT T E R S O N
RABE MORIN
RIABLE
explosion
09 NEELEY
RIABLE
REVERE
SCHRAFT
70
GOLDSMITH
GOOD
timeline of themes (and variations)
HALEBIAN
HEINRICH
HAR TGROVE
HESS
HEINRICH
HESS
KLECKA
LACROIX
NEELEY
KIFFER
KLECKA
RIABLE
SADLER
FUSAGER
GOOD
GRAHAM
HALEBIAN
KIFFER
KLECKA
KRE TCHMER
LACROIX
MACNEIL
KIFFER
RABE MORIN
REED
REVERE
SCHRAFT
HOLLANDER
spiral
07 S AW Y E R
SCHNEIDER
BONDANZA
K E AT I N G
HAR TGROVE
HELMICH
71
EXHIBITION tear
10 CLASS
HALEBIAN
HEINRICH
HESS
IVERSEN
REED
IVERSEN
MACNEIL
MORIN
RABE MORIN
K E AT I N G
KIFFER
MACNEIL
BOHAN
D AV I D S O N
HALEBIAN
HAR TGROVE
HESS
CLASS
GOLDSMITH
GOOD
HEINRICH
wave
13 PAT T E R S O N
GOLDSMITH
REVERE
HELMICH
SCHNEIDER
MACNEIL
SCHRAFT
NEELEY
REVERE
72
VINCENT
timeline of themes (and variations) black & white
11
SCHNEIDER
VINCENT
BOHAN
D AV I D S O N
ice
12 REED
NEELEY
BOIN
Takashi Wada Double Duty Necklace 18k gold, silver, onyx, black jade (Property of George Sawyer)
silver, rubber, ruby, sapphire, fused glass base
‘97
Tina Segal There is No Time Like the Present Brooch Platinum, black pearl, watch movement
Sandy Baker Brooch 14k gold
Diana Vincent Wheel Necklace Platinum, sterling silver, rubber cord
wheel
‘95 mona lisa
DETAILS
MORIN
BOHAN
Gregoré Morin The Smile: Early Practice Sessions Pink opal, pink sapphire, diamond, gold, silver jade
‘96 cube
Todd Reed Cube Necklace 18k yellow gold, rose gold, green gold, platinum, palladium, raw diamond cubes
Cornelia Goldsmith Clock Wheel Necklace 18k gold, ruby, white diamond John Iversen Slinky Necklace 22k gold-plated bronze Steven Kretchmer Brooch Platinum, 24k gold, diamond Susan Sadler Pinwheel Brooch 18k gold, platinum, diamond, green tourmaline George Sawyer Zen and the Art of the Motorcycle Brooch Platinum, yellow gold, red gold, gray gold, sterling
William Schraft Race Car Pin Platinum, 18k gold, onyx, diamond, ruby
‘98 key
Sandy Baker Mask Pendant 14k gold, sterling silver Whitney Boin Ring Sterling silver Michael Bondanza Key-Us Pendant Platinum, lapis, 18k yellow gold, South Sea pearl, diamond Susan Helmich The Journey Brooch Black onyx, drusy crystal, 18k gold, diamond
73
GILES
Jose Hess Master Key Brooch 18k gold, platinum, diamond
Steven Kretchmer Untitled Yellow gold, yellow-blue gold, ruby, diamond
Steven Kretchmer Untitled Gold
Paul Robilotti Andrea’s Miracle & Balance Plexiglas, copper, nickel, silver, plastic, wood
Paul Robilotti Unlocking the Key Necklace Sterling silver, rubber, stainless mesh, hematite, mercury, antique glass bulb Barbara Westwood Pendant 18k gold
‘99 puzzle
Michael Bondanza Totem Rosewood, cocobolo, lapis, coral, 18k colored gold, platinum, sterling silver, onyx, emerald Ron Hartgrove Puzzle Ring Gold, Russian quartz, cubic zirconium Susan Helmich That’s It!! Red coral, banded agate, sterling silver Cornelis Hollander Ring 18k yellow gold, 18k white gold, onyx Scott Keating Elementary, My Dear Watson Gold, sterling silver, jeweler’s loupe
George Sawyer Puzzled Me Brooch 14k gray gold, sterling silver, 18k yellow gold, 22k yellow gold, patinated sterling silver Tina Segal Key to Life Necklace 18k white gold, diamond, neoprene Barbara Westwood Pin 18k gold, platinum
‘00 water
Michael Good Bracelet 18k gold Susan Helmich Down Pour Necklace Agate, sterling silver, platinum John Iversen Rainy Day in Paris Earrings Patinated bronze Gregoré Morin Under the Sea Earrings (on magnetic stand) Black jade, opal, diamond, agate, gold
DETAILS Todd Reed Pin 18k gold, silver, drusy agate, sapphire, diamond, blue chalcedony Paul Robilotti Misconception Earrings and Ring Platinum, 18k pink gold, Chinese pink pearl, black cultured pearl George Sawyer Sailor’s Moon Brooch 14k red gold, gold, shakudo, gray gold, 18k yellow gold, sterling silver patterned metalwork Tina Segal Ocean Necklace Sterling silver, green onyx, emerald, freshwater pearl, aquamarine, aventurine, iolite Barbara Westwood Necklace 18k gold, aquamarine
‘01 flight
Whitney Boin Fugitive Brooch Paper, Plexiglas, chromeplated steel Jaclyn Davidson Chest Piece Weathered mild steel, sterling silver, 18k gold, diamond Cornelia Goldsmith Uccello Necklace 18k gold, white gold, tourmaline, white diamond, Tahitian pearl Paul Klecka Brooch Pink tourmaline, fire opal, tsavorite, diamond, platinum Pascal Lacroix Mono Lake 14k yellow gold, 14k white gold, diamond Anthony Lent Putti Necklace 18k gold, diamond, Keshi pearl (Property of a private collector)
Jennifer Rabe Morin Moth Brooch Gold, diamond, garnet, ocean jasper
‘03
(continued)
Ron Hartgrove Rolling Stones Platinum, diamond
Cornelis Hollander I Feel Different Sterling silver, 18k gold
Barbara Heinrich Necklace 18k gold
Christo Kiffer Luxor Ring 18k gold, diamond
Jose Hess Stratosphere Pendant 18k yellow gold, 18k white gold, diamond
Paul Klecka Sacred Circles Necklace Rhodium-plated sterling silver
Paul Klecka Reflecting on the Sphere Platinum, 18k gold, Tahitian pearl
Kent Raible Oracle Pendant Moonstone, pink sapphire, 18k gold
John Iversen Brooch Oxidized nickel
Pascal Lacroix Treasure Box 14k yellow gold, 18k white gold
Susan Sadler Tut Tut Collar 18k gold, sterling silver, amethyst
Scott Keating Japanese Fan Pin Sterling silver, metal fabric, yellow gold
Adam Neeley Fiore del Mare Ring 14k gold, Tahitian pearl, diamond
Mark Schneider Form & Function Ring 18k white gold, diamond
Alan Revere Fold, Unfold Ring Yellow gold, rose gold, platinum, diamond
Paul Robilotti Words Sterling silver, rubber, plastic, paint
Jane Bohan Inside Out Ring 18k gold, mandarin garnet, white diamond, yellow diamond
Susan Sadler Many Mini Folds Brooch Gold, yellow sapphire, green tourmaline, amethyst, pearl, parchment paper
Tina Segal Lace Pendant 18k gold, diamond
Paul Klecka Brooch Amethyst, diamond, golden beryl, platinum
George Sawyer Nautilus 18k yellow gold, 14k red gold, shakudo
Anthony Lent Invisible Ruby Love Pendant 18k gold, platinum, ruby, diamond (Property of a private collector)
Mark Schneider Paper Airplane Pin White gold, 18k yellow gold, diamond, ruby
Alan Revere Up, Up and Away Kinetic Ring Yellow gold, rose gold, platinum, diamond, ball bearing Susan Sadler Lazy Circles in the Sky Brooch Platinum, diamond Diana Vincent Flight Brooch 18k white gold, black rhodium, diamond Barbara Westwood Brooch Onyx, diamond, 18k gold
‘02 peekaboo
Gregoré Morin Swiss Connection Brooch White opal, brown opal, diamond, gold Paul Robilotti Peekaboo Brooch (with stand) 18k gold, sterling silver, enamel, fresh water pearl, river rock, feathers, threads Susan Sadler Peekaboo…This Heart’s for You Brooch 18k gold, diamond William Schraft Jack-in-the-Box Sterling silver, 18k gold, ruby, blue chalcedony, diamond
fold
Michael Bondanza Handcuffs Bracelet Sterling silver Ron Hartgrove Convolutions Sterling silver Barbara Heinrich Necklace 18k gold, diamond
‘05 pyramid
Sandy Baker Zahara Necklace Sterling silver Falcher Fusager Pyramid Retrospective Cloisonné enamel, sterling silver, 18k, 22k, 24k gold, diamond, ebony, ancient scarab
Diana Vincent Fold Cuff Bracelet 18k gold, diamond
‘04
Michael Good Ring Patinated bronze, 22k bi-metal, fire opal
sphere
Alishan Halebian Tierra Nova Ring 18k yellow gold, sterling silver, coral
Falcher Fusager Creation Brooch 24k gold, 22k gold enamel, rhodolite garnet, diamond
Barbara Heinrich Earrings 18k gold, diamond
Alishan Halebian Samba Pendant 18k yellow gold, rose gold, oxidized sterling silver, coral
Jose Hess Inverted Pyramid Ring Platinum, cubic zirconium
74
‘06
secret treasure Michael Bondanza In Sight Bracelet Sterling silver, 18k gold, sapphire, petrified wood Christo Kiffer You Are the Treasure! Ring Sterling silver Pascal Lacroix Metaphor 18k yellow gold, red gold, green gold, white gold, diamond
‘07 spiral
Falcher Fusager Celebration I Brooch 22k gold, 24k gold, sterling silver, fine silver, diamond, enamel Michael Good Neckpiece Patinated bronze, 22k bi-metal Sarah Graham Spirograph Brooch 18k gold, oxidized cobalt chrome, diamond, paper, ink Alishan Halebian Akoli Pendant & Ring 18k gold, sterling silver, Tahitian black pearl, ebony Scott Keating Koru Pendant Nefrite jade, 24k gold, diamond, rayon cord Pascal Lacroix Symbiosis Pendant 14k white gold, rose gold Linda MacNeil Essential Flower Brooch Glass, diamond, 18k white gold Mark Patterson Aura Ring 18k white gold, aquamarine, diamond
Adam Neeley Saturn’s Rings Pendant Ammolite, 18k gold, garnet, yellow sapphire
Jennifer Rabe Morin Meditation Earrings Gold, diamond, grey agate
Kent Raible Cosmic Clam Ring Chrysacolla, sapphire, diamond, Akoya pearl, 18k gold, platinum
Kent Raible Forearm Fandango Bracelet Ruby, 18k gold
George Sawyer Reliquary of the Secret Pendant 18k yellow gold, red gold, gray gold, sterling silver patterned metalwork, kuromido, copper Mark Schneider Secret Treasure Box Pendant 14k gold, diamond, ebony, emerald, topaz
‘08 tension
Michael Bondanza Bracelet Cocobolo, turquoise
Scott Keating Big Top Pendant Onyx, quartz, 18k gold, rubber, sterling silver
Susan Helmich Aftermath Brooch 18k gold, Mexican opal, Brazilian agate, diamond
Christo Kiffer Multi-micro Rings 18k white gold, diamond
Christo Kiffer Diamond Burst Ring 18k gold, diamond
Paul Klecka Ring 18k gold
Jennifer Rabe Morin Star Ring Gold, diamond, sapphire, star rose quartz
Steven Kretchmer Ring Platinum, diamond Pascal Lacroix Double Tension Bracelet 18k white gold, rose gold, diamond, pink tourmaline
Todd Reed Brooch 18k gold, silver, aquamarine, diamond Alan Revere Ka Boooom Ring Gold, ruby
Linda MacNeil Lucent Lines Necklace and Earrings Glass, 14k gold
William Schraft My Missile Pendant Sterling silver, 18k gold, diamond
Adam Neeley Rhythm Brooch Spectra gold, garnet
‘10
Kent Raible Captured Universe Ring Mabe pearl, pink sapphire, 18k white gold, 18k yellow gold Alan Revere Snug Ring Gold, sterling silver, ruby, pearl William Schraft It’s Not Your Mother’s Bow Earrings 18k green gold, diamond, rubber
‘09 explosion
Cornelia Goldsmith Fireworks Necklace 18k yellow gold, Tahitian pearl, white diamond Michael Good Pendant Patinated bronze, 22k bi-metal, 18k fire opal Ron Hartgrove Brooch 18k gold, sterling silver, diamond
tear
Jane Bohan Tearful Bracelet Sapphire, tanzanite, rose quartz, black garnet, moonstone, quartz, ruby, diamond briolette, gold, moiré silk Petra Class Requiem for a Fish or the Piercing of the Holy Grail Sterling silver, steel, gold, ruby and aquamarine Alishan Halebian Tear Me Apart and I Will Tear Necklace 18k yellow gold, rose gold, white gold, diamond, peridot, Mexican fire opal Barbara Heinrich Pendant 18k gold, fresh water stick pearls Jose Hess Torn Tear Pendant Platinum-plated silver John Iversen Bracelet 18k red gold, 18k green gold, 18k white gold
Todd Reed Brooch Silver, nickel Mark Schneider Tinker Tear Pendant Sterling silver, green, black, and brown patina, gold, white diamond, white cultured pearl, ruby Diana Vincent Tear Bracelet Sterling silver, white topaz
Gregoré Morin Untitled Silver, polyester resin, diamond Jennifer Rabe Morin Ying and Yang Ring Silver, diamond, polyester resin Todd Reed Rings Steel wire, polyester resin
‘12 ‘11 ice
black & white
Jane Bohan Cracked Ice Pendant Sterling silver, 18k gold, quartz, oval grossular garnet
Jane Bohan Lure Earrings Sterling silver, 18k white gold, 18k yellow gold, diamond, polyester resin, acrylic
Whitney Boin Brooch Plexiglas, chrome-plated steel
Jaclyn Davidson Chest Piece Weathered mild steel, sterling silver, diamond
Petra Class Brooch 22k gold, 18k gold, quartz
Geoffrey Giles Ring 18k gold, silver, polyester resin
Cornelia Goldsmith Glacier Ring 18k white gold, 18k yellow gold, aquamarine, white diamond, blue diamond
Alishan Halebian Uprising in Black and White Sterling silver, polyester resin, Tahitian black pearl, fresh water pearl, coral, mother-of-pearl
Michael Good Pendant Patinated bronze, pearl Barbara Heinrich Brooch 18k gold, diamond
Ron Hartgrove IKON Pendant 18k gold, sterling silver, polyester resin
Mark Patterson Ring 18k rose gold, quartz Jennifer Rabe Morin Ice Chimes Earrings Silver, diamond, aquamarine Alan Revere Frozen in Time Ring Sterling silver, gold, ruby Mark Schneider Big Bite Rock crystal, sterling silver, brown patina, 18k gold William Schraft Global Warming, the Polar Bears Pendant 18k gold, sterling silver, diamond, Mexican opal, rough crystal
Susan Helmich Tidal Wave Pendant Turquoise carving, sterling silver, 18k gold, Keshi pearl, with agate base Linda MacNeil Dazzle Necklace Glass, rhodium-plated white gold, diamond, ruby Adam Neeley Captivate Brooch Gold, Tahitian pearl Alan Revere Breaker Ring Sterling silver, pearl Diana Vincent Wave Necklace Sterling silver, diamond
‘13 wave
Jane Bohan Surfboard Brooch Sterling silver, 18k gold, blue diamond, green chalcedony cabochon Jaclyn Davidson Chest Piece Mild steel, gold Cornelia Goldsmith La Mer Ring 18k yellow gold, tourmaline, white diamond, blue diamond
Scott Keating Phantom Ice Ring Sterling silver, phantom quartz, white sapphire
Jose Hess Stratosphere Ring Polyester resin, sterling silver, white diamond, black diamond
Christo Kiffer Melting Ice Cube Pendant Fine silver, 18k gold, diamond
John Iversen Jaxs Earrings Sterling silver, rhodiumplated sterling silver, polyester resin
Linda MacNeil Brilliant Peril Brooch Glass, rhodium-plated gold Gregoré Morin Iceman Silver, opal
Linda MacNeil Neck Collar Gold-plated brass, polyester resin, acrylic, clear glass
Adam Neeley Polar Ice Pendant 14k white gold, diamond
75
“EXPLOSION” by WILLIAM SCHRAFT
“
The American Gem Trade Association would like to congratulate the AJDC on the 25th anniversary exhibition, and for tirelessly supporting and promoting the use of colored gemstones and cultured pearls creatively in American jewelry design.”
“FOLD” by BARBARA HEINRICH
76
“
77
We offer our congratulations and gratitude to the AJDC for inspiring jewelry designers for the past 25 years.�
78
THANKS from Barbara Heinrich, AJDC president
Many people deserve thanks for this exhibition and catalog, most especially Linda MacNeil, who had the vision for this exhibition and worked tirelessly and with great expertise and dedication towards finding the perfect venue for the American Jewelry Design Council jewelry collection. We owe much gratitude to her, and are thankful for her willingness to make this exhibition and its accompanying catalog a priority for the last six months. Linda was supported by Marylouise Sirignano Lugosch, AJDC’s dedicated, executive director. At the Forbes Galleries, our thanks are due first and foremost to our curator, Bonnie Kirschstein. Her enthusiasm and professional guidance, supported by curatorial assistant Carly Nalven, was flawless, from selecting the works and cataloging them, to mounting them in the exhibition. We also thank Johanna
Goldfeld for designing the graphics for the exhibition and Rack & Pinion for creating the beautiful mounts. We extend many thanks to the entire Forbes team who worked behind the scenes and deserve great credit. Our special gratitude goes to the Forbes family whose long-standing dedication to the arts over the generations is equal to none, and to Mr. Christopher Forbes, Vice Chairman, for generously inviting the American Jewelry Design Council into the fabulous Forbes Galleries in New York City for their concluding show. To Katja Maas, our creative and talented graphic designer, I give my profound thanks on behalf of the AJDC. She embraced the creation of this catalog with her immense artistic spirit and joyfulness, and exceeded our highest expectations in every way possible while staying within our budget and deadlines. To Linda Orlick, Ari Goldstein and Kristen Lawler from Goldstein Communications, we are deeply thankful for their guidance, professional advice, and great expertise in fundraising and public relations. To Marthe Le Van, we are very thankful for giving a voice to contemporary jewelry through her writing for this catalog, thus enabling a wider audience to experience and understand the work in more depth. To all of our sponsors, who so generously supported us in making this exhibition and catalog possible, we give our heartfelt thanks. They allowed us to pull these treasured pieces of art jewelry out of the darkness of safes and into the light of this exhibition. Finally, my most profound thanks are due to the artists, my AJDC friends. You individually and collectively have made many sacrifices to promote the art of jewelry design and to elevate American art jewelry to greater standards. All of this would not be possible without the support of our spouses and families. I am grateful to be one of you.
“ P Y R A M I D ” b y PA U L K L E C K A
79
“FOLD” by MICHAEL BONDANZA
AJDC.ORG Every year a new theme is presented to our members. The works it inspires are featured on our website and are exhibited in galleries around the country. We encourage you to support the work of the AJDC by following your passion as our members do.
Designed and edited by Katja Maas Design, New York | Scotland Printed in Canada by Friesens Corporation.
82
“ W H E E L” b y S A N D R A B A K E R • “ F O L D ” B Y J O H N I V E R S E N
2
5