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  DAPHNE KRINOS

  Necklace

  Silver, 18k gold, aquamarines, beryls 19” l x 11/2” w x 6” diameter

  “Daphne Krinos's sculptural jewellery is instantly recognizable, defined by bold use of colour, form, shape and texture." This elegant necklace’s shape is reminiscent of  the Art Deco period.

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  DAPHNE KRINOS

  Necklace (detail)

  Silver, 18k gold, aquamarines, beryls 19” l x 11/2” w x 6” diameter

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  CLAUDIO PINO

  Trilogy

  Platinum Pt950/ Ru, 14k gold, prasiolite, amethysts. (With a stand)

  Trilogy is a sculptural three-‐finger ring, that sets asymmetric shapes together, creating a state of equilibrium. The central gemstone, a natural Prasiolite, recalls a love of nature, a vivacious personality, and an eternal hope.

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• CLAUDIO PINO

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• CLAUDIO PINO

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• CHRISTOPHER THOMPSON ROYDS

  Natura Morta: Cornish Daisies

  Necklace. Hand painted 18k gold with diamonds. Painted studies of hand picked Cornish Daisies found in Nantucket, MA. 165 x 155 mm. Box open: 37 H x 56 W cm

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• CHRISTOPHER THOMPSON ROYDS

  Natura Morta: Cornish Daisies (detail)

  Necklace. Hand painted 18k gold with diamonds. Painted studies of hand picked Cornish Daisies found in Nantucket, MA. 165 x 155 mm. Box open: 37 H x 56 W cm

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• CHRISTOPHER THOMPSON ROYDS

  Natura Morta: Cornish Daisies

  Earrings Drop. Hand Painted Gold 20 x 20mm (Box Open: h19.5cm x w19.5cm)

  After discovering hundreds of pressed flowers , preserved as species identifiers in the archive at the Natural History Museum in London, Thompson Royds has created a series of work, Natura Morta, which explores the tradition of flowers as a decorative motif in jewellery. "Fragile Thracian diadems of gold Laurel leaves have survived a millennia, yet the floral wreaths that inspired the form wouldn't last a lifetime.  The permanence of jewellery and the impermanence of its inspiration led me to create this collection of hand pierced and hand painted flower necklaces and earrings in silver and gold." "It's all about preserving an instant," says jeweller Christopher Thompson Royds, whose Natura Morta (Italian for "still life") collection immortalises everything from white clover to buttercups.  Tracing around the stems and petals of pressed wild flowers Thompson Royds hand cuts them in layers of paper thin gold or silver, binding them with fine gold wire.  It's a process he compares to "tying up roses in the garden".  Each piece is housed in a marbled folio box, an allusion to the Hans Sloane Herbarium at the Natural History Museum.   Aimee Farrell, Financial Times, 2016

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• CURTIS ARIMA

  Earrings

  Sterling silver, 18 k gold, Brazilian Amethyst, Diamonds. Hand forged, soldered, hand engraved

  "From 1901 to about 1920, light, graceful, and elegant designs were characteristic of the Edwardian era, named for King Edward of Britain. Edwardian jewelers preferred simple, classic motifs and palettes able to highlight a gemstone’s inherent beauty." This ability to elevate the beauty of a gem is evident in Curtis Arima’s elegantly designed amethyst earrings and masterfully fabricated necklace with garnets, inspired by the Edwardian sensibility. 

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• CURTIS ARIMA

  Necklace

  18k gold, Garnets, Diamonds. All elements are made by hand through forging, drawing, welding and soldering

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• GERDA FLÖCKINGER CBE

  Earrings

  18k gold, colored diamonds, green and black cultured pearls and double pendant disks 21/4” x  3/4” w

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• GERDA FLÖCKINGER CBE

  Three Part Earrings

  colored diamonds, moonstone, and pearl 5 1/2” x 7/8” w (long piece) 3/4” l x 3/4” w (stud) 1/2” x 3/8” w (pearl)

  Gerda Flöckinger  was the first living woman jeweler to have a solo exhibition at the Victoria and Albert Museum in 1971, followed by another solo exhibition in 1986. Flöckinger rediscovered and has continually explored the the ancient technique of fusion, often embellishing molten metal with diamonds and pearls. “By the mid-1960’s Gerda Flöckinger had developed a unique and original style of her own, one that broke away from traditional structure and concepts. Using jewellery as an art-form, she evolved new techniques which included controlled fusion with precious metals, to obtain fine textures, broken surfaces, and fluid lines …… Her overall concepts are a subtle blend of abstract form and Eastern splendour, with a distant echo of the flowing elements in Art Nouveau.” - 1992 Goldsmiths’ Hall exhibition catalogue introduction by David Thomas, Liveryman, The Goldsmiths’ Company

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• GERDA FLÖCKINGER CBE

  Clip-on studs

  18k gold and colored diamonds 3/4”l x 3/4”w

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• SHINJI NAKABA

  Vanitas: Torso Ring (with inner detail)

  Carved helmet shell, 18k gold

  Shinji Nakaba has investigated and explored the artistic world of fashion, hairdressing, shoemaking and graphic design. In 1974 he discovered his true passion, Glyptic Art, the ancient art of carving or engraving. Although he has used silver, gold and gemstones for his pieces, he particularly enjoys forming everyday materials into exquisite, wearable jewelry.

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• LINDA MACNEIL

  Bouquet Necklace

  Acid polished, cast green-amber pate de verre glass, laminated to mirrored glass. Polished 18kt yellow gold. Pendant: 4” diameter Necklace: 7”

  With great skill and precision, Linda MacNeil masterfully creates jewelry from glass and metal that echoes various periods of history.The Floral Necklace series is inspired by the jewelry of Rene Lalique. Macneil states that "a pod or a flower in bloom is an irresistible beginning for a jewelry design.” The beautiful organic flower forms of this series curve around the wearer’s neck in both soft and brilliant colors that seem to glow from within. They feel like nature’s jewels.

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• CHRISTA LÜHTJE

  Necklace

  Iron, 18K gold rings

  26” long x .7” wide

  Inspired by the Berlin iron jewellery of the early 19th century, Christa Lühtje creates stunning work that draws from the past and is crafted from modern jewellery techniques like laser-cutting. This work is accented by gold rings which add touches of warmth to the silhouetted designs.

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• CRISTINA ZANI

  My Seoul Green and Gold Necklace 

  18ct gold plated silver, green onyx, wood, acrylic paint, 24ct gold leaf

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• RACHELLE THIEWES

  starting upper left going clockwise Slipstream Bracelet. Steel,silver,auto paint . 2016. Heat Bracelet. Steel, silver, auto paint Earrings: Slipstream Earrings #432 Steel, 18K gold, silver, auto paint 25/8” x 25/8” x 5/8”

  Rachelle Thiewes remarkable jewelry is reminiscent of the streamline moderne designs of the 1930’s and 1940’s.

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• JOANNE HAYWOOD

  Blue Death 

  Silver, merino felt, cotton, Indigo dye

  Inspired by Sumerian Court Jewellery from UR. C.2,500BC. The extravagant assemblage of jewellery is beautiful when viewed, yet has a more macabre meaning. The pieces were excavated from a Royal burial and were found among several bodies. The Queen dressed in magnificent splendour was accompanied into the afterlife by her attendants.

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• JOANNE HAYWOOD

  Blue Death (detail)

  Silver, merino felt, cotton, Indigo dye

  Inspired by Sumerian Court Jewellery from UR. C.2,500BC. The extravagant assemblage of jewellery is beautiful when viewed, yet has a more macabre meaning. The pieces were excavated from a Royal burial and were found among several bodies. The Queen dressed in magnificent splendour was accompanied into the afterlife by her attendants.

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• KAZ ROBERTSON

  Megachanging Stripes Brooch with Orange Detail

  Resin, silver, stainless steel, nylon 25/8” l x 31/4” w x 3/8” deep

  Kaz Robertson’s work is infused with the confident geometric and futuristic motifs of Art Deco jewelry. "I am obsessed with colour and pattern. I constantly photograph forms, patterns and colours I come across in my everyday life.  Stairways, drain covers, textures on buildings, railings, graffiti...all provide me with endless inspiration and ideas. Colour is an essential element in my work.   Working with resin I create my own colour palette by mixing pigments.  Depending on the collection I'm working on I can create a bold, clashing palette, or a softer, sophisticated palette .  Layering translucent resin over opaque helps achieve a richer finish and a wider colour range too.  By patterning either one or both layers I can produce diverse effects. I want the wearer to enjoy wearing my jewellery and appreciate the little extra details I incorporate.  For instance some pieces are reversible for an added surprise.  Others have magnets set within which allows bangles to stick together in sets, or ring tops to be swapped.  Mis-matching is another strong element of my jewellery, adding to the unique feeling of my pieces.

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• ARLINE FISCH

  Silver / Pearl Cosmos

  Necklace. Sterling Silver wire and pearl 9” l x 9” w x 51/2” diameter

  This necklace was based on Arline Fisch’s studies over the years at the Met Museum in NYC. Inspired by Ancient Egypt linen collars meant to hold fresh flowers for a particular event. 

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• ARLINE FISCH

  Pink Cosmos

  Copper-coated wire. 21” l x 51/2” w

  This necklace was based on Arline Fisch’s studies over the years at the Met Museum in NYC. Inspired by Ancient Egypt linen collars meant to hold fresh flowers for a particular event. 

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• LINDA THREADGILL

  Rosette Brooch 

  Fine silver, sterling, 24k gold, enamel.  3” x 3” x 1/2” 

  The fabric workshops of the Weiner Werkstätte (Vienna Workshops) produced some of the most innovative fabric designs of the early twentieth century.  These fabrics with their intricate patterning and bold use of color were utilized by some of the Workshop's leading designers in very non-traditional ways, such as the Corsage by Dagobert Peche, or the Cloth Flower Dress Trimming by Anna Schmedes.  These innovative constructions of colored and patterned fabric are the inspiration for the Rosette Series of brooches.

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• YOKO SHIMIZU

  Light Green Cubist Necklace

  Resin, pigment, silver 17 1/2” L x 4 1/2” diameter Largest cube: 1 3/8” x 1 3/8”

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• JEANIE PRATT

  Elytra

  Argentium silver, fine silver, 24K gold, 22K gold, 18K gold, 14K gold, copper, beetle wings, butterfly wings, opals, cacoxenite in amethyst, ammolite, amethyst, lab Alexandrite, citrine, enamel

  "In the solitude of my studio, I lose myself in time through detailed labor-intensive and historical processes. As I meld my lifelong interests, I endeavor to create exquisite and timeless pieces of jewelry and sculpture."

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4000 Years of Jewelry Design:  A Contemporary Interpretation was inspired by the exhibition, “Past is Present: Revival Jewelry” currently on  view at The Museum of Fine Arts, Boston (http://www.mfa.org/exhibitions/past-is-present-revival-jewelry). For this group show we invited masters in the field as well as emerging talents, to create a piece of personal adornment, combining their historical inspiration with their contemporary visions and brilliant technical skills.