ANDREW GRIMA
THE FATHER OF MODERN JEWELLERY
Born in Rome
Artistic family with Papal connections Andrew Peter Grima was born in Rome on 31 May 1921 at his maternal grandmother’s home on the banks of the River Tiber into a prosperous Maltese-Italian family. His father John was the son of Andrea Grima, a prominent Maltese architect who in the late 19th century designed churches in the baroque and neoclassical architectural styles characteristic of the island. Rather than following in his father’s footsteps, John Grima decided to ask for his share of the family inheritance and seek a new life. He boarded a ship to New York, arriving penniless having been conned by a fellow passenger, who offered to change his pounds into dollars and gave him counterfeit notes instead. After a series of menial jobs, John Grima’s fortunes changed when he met and began working for the legendary and influential art dealer, Joseph Duveen. In 1919, Duveen sent John Grima to Rome to meet and acquire works from a young artist, Giulio Farnese, who was making a reputation as a fine painter of portraits and classical scenes. As a guest in the Farnese family home he began to take a romantic interest in the artist’s sister, Leopoldina, 10
who occupied herself composing romantic short stories for the newspapers. Giulio Farnese had two
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other siblings: a brother Arnaldo, and a much younger sister, Mercedes. Their father was a lawyer in the Vatican, a position no doubt supported by patrimony, for he was the direct descendant of his namesake, Alessandro Farnese, elected Pope Paul III in 1534 and best remembered for launching the Counter-Reformation, commissioning Michelangelo to paint The Last Judgement and the excommunication of King Henry VIII. Another distinguished Roman ancestor was the 18th-century baroque sculptor, Pietro Bracci, whose works include the colossal statue of Oceanus in the central niche of the Trevi Fountain. John Grima and Leopoldina Farnese were married in Rome in 1920 and within a year their son, Andrew, the first of nine children, was born. John, having long since developed a collector’s passion for Maltese lace, decided to start his own business. His idea was to import linen from Belfast to be hand-embroidered in southern Italy. Initially, the finished product was made in the classic ‘guipure’ style native to Malta and later according to his own, more updated designs. The venture was an immediate success, necessitating that the family move from Rome to Palermo to be closer to the manufacturing source. At its height, the company employed 5,000 female outworkers, producing beautiful drawn-thread table linen and handkerchiefs distributed to shops and department stores throughout Europe, the United States, Canada and South America.
Previous page: Andrew Grima, aged 4 – Palermo, Sicily, 1925 [© Grima archives] Opposite page, clockwise from top left: Giulio Farnese in his studio – Rome, c.1930 [© Grima archives] Leopoldina Farnese with brother, Arnaldo, and parents, Agnese and Alessandro – c.1896 [© Grima archives] Andrew Grima as a baby with his parents – Rome, 1921 [© Grima archives] A fantastical ornate column capital by Andrea Grima – 1875 [© Grima archives]
Born in Rome
Artistic family with Papal connections Andrew Peter Grima was born in Rome on 31 May 1921 at his maternal grandmother’s home on the banks of the River Tiber into a prosperous Maltese-Italian family. His father John was the son of Andrea Grima, a prominent Maltese architect who in the late 19th century designed churches in the baroque and neoclassical architectural styles characteristic of the island. Rather than following in his father’s footsteps, John Grima decided to ask for his share of the family inheritance and seek a new life. He boarded a ship to New York, arriving penniless having been conned by a fellow passenger, who offered to change his pounds into dollars and gave him counterfeit notes instead. After a series of menial jobs, John Grima’s fortunes changed when he met and began working for the legendary and influential art dealer, Joseph Duveen. In 1919, Duveen sent John Grima to Rome to meet and acquire works from a young artist, Giulio Farnese, who was making a reputation as a fine painter of portraits and classical scenes. As a guest in the Farnese family home he began to take a romantic interest in the artist’s sister, Leopoldina, 10
who occupied herself composing romantic short stories for the newspapers. Giulio Farnese had two
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other siblings: a brother Arnaldo, and a much younger sister, Mercedes. Their father was a lawyer in the Vatican, a position no doubt supported by patrimony, for he was the direct descendant of his namesake, Alessandro Farnese, elected Pope Paul III in 1534 and best remembered for launching the Counter-Reformation, commissioning Michelangelo to paint The Last Judgement and the excommunication of King Henry VIII. Another distinguished Roman ancestor was the 18th-century baroque sculptor, Pietro Bracci, whose works include the colossal statue of Oceanus in the central niche of the Trevi Fountain. John Grima and Leopoldina Farnese were married in Rome in 1920 and within a year their son, Andrew, the first of nine children, was born. John, having long since developed a collector’s passion for Maltese lace, decided to start his own business. His idea was to import linen from Belfast to be hand-embroidered in southern Italy. Initially, the finished product was made in the classic ‘guipure’ style native to Malta and later according to his own, more updated designs. The venture was an immediate success, necessitating that the family move from Rome to Palermo to be closer to the manufacturing source. At its height, the company employed 5,000 female outworkers, producing beautiful drawn-thread table linen and handkerchiefs distributed to shops and department stores throughout Europe, the United States, Canada and South America.
Previous page: Andrew Grima, aged 4 – Palermo, Sicily, 1925 [© Grima archives] Opposite page, clockwise from top left: Giulio Farnese in his studio – Rome, c.1930 [© Grima archives] Leopoldina Farnese with brother, Arnaldo, and parents, Agnese and Alessandro – c.1896 [© Grima archives] Andrew Grima as a baby with his parents – Rome, 1921 [© Grima archives] A fantastical ornate column capital by Andrea Grima – 1875 [© Grima archives]
The Grima family moves to England Idyllic childhood in Italy upended by Mussolini The formation of John Grima’s young family and new enterprise coincided with the rise of Benito Mussolini and his National Fascist Party in Italy. The situation was sufficiently troubling to persuade John – being Maltese and, therefore, having a British passport – to resettle in England. Thus, in 1926, the Grima family, which by now included Andrew’s sister Mary and brother Frank, moved to Atwood Avenue, Kew, in south-west London. Soon after, John opened a sales office in Kent House, 87 Regent Street. The location was close to his main retail accounts in London: The White House and Givans, both landmarks for fine linens in New Bond Street. Living in London was somewhat of a culture shock for this conservative, Catholic family; especially for Leopoldina and the children, who spoke only Italian and were frequently left to fend for themselves when John was away on business. The language, the food, even the fashion, were alien to them. Andrew Grima was dispatched to the nearest available place of learning and attended his first day at the Darell Road Council School, wearing black velvet knickerbockers embellished with mother-ofpearl buttons. His classmates took against this sartorial misstep and he returned home with all the buttons duly ripped from his trousers.
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Over the following decade, John and Leopoldina produced six more children. In 1930, aged nine, Grima was sent to board at Salesian College, a Catholic primary school in Battersea, notable alumni of which include the film director, Alfred Hitchcock. Two years later he attended a Catholic secondary school, St Joseph’s College, Beulah Hill, and during the school holidays took evening classes at Richmond Art School. The Grima family’s comfortable suburban existence continued until 1935, when Il Duce’s lengthening shadow threw their lives into chaos: Mussolini’s invasion of Abyssinia resulted in international trade sanctions that caused the lace business in Italy to collapse, and with it the family’s livelihood. The sudden loss of income meant selling the house in Kew and moving into rented accommodation in Harrow. These events took their toll on John, who suffered a nervous breakdown. Sadly, his mental health never recovered, and he was eventually transferred to a hospital near St Albans, where he remained until his death in 1946. Andrew Grima, now aged 16, was obliged to leave school and effectively became head of the family. His younger brothers and sisters, who attended the local Roman Catholic school, were permitted to continue their education free of charge; he, however, needed to find a job. To this end, a family friend, Mrs Ciappara, wrote to the Malta High Commission in London for assistance and received the following helpful reply:
Portrait of Andrew Grima’s father, John, painted by Pablo Salinas – Rome, 1919 [© Grima archives]
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The Grima family moves to England Idyllic childhood in Italy upended by Mussolini The formation of John Grima’s young family and new enterprise coincided with the rise of Benito Mussolini and his National Fascist Party in Italy. The situation was sufficiently troubling to persuade John – being Maltese and, therefore, having a British passport – to resettle in England. Thus, in 1926, the Grima family, which by now included Andrew’s sister Mary and brother Frank, moved to Atwood Avenue, Kew, in south-west London. Soon after, John opened a sales office in Kent House, 87 Regent Street. The location was close to his main retail accounts in London: The White House and Givans, both landmarks for fine linens in New Bond Street. Living in London was somewhat of a culture shock for this conservative, Catholic family; especially for Leopoldina and the children, who spoke only Italian and were frequently left to fend for themselves when John was away on business. The language, the food, even the fashion, were alien to them. Andrew Grima was dispatched to the nearest available place of learning and attended his first day at the Darell Road Council School, wearing black velvet knickerbockers embellished with mother-ofpearl buttons. His classmates took against this sartorial misstep and he returned home with all the buttons duly ripped from his trousers.
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Over the following decade, John and Leopoldina produced six more children. In 1930, aged nine, Grima was sent to board at Salesian College, a Catholic primary school in Battersea, notable alumni of which include the film director, Alfred Hitchcock. Two years later he attended a Catholic secondary school, St Joseph’s College, Beulah Hill, and during the school holidays took evening classes at Richmond Art School. The Grima family’s comfortable suburban existence continued until 1935, when Il Duce’s lengthening shadow threw their lives into chaos: Mussolini’s invasion of Abyssinia resulted in international trade sanctions that caused the lace business in Italy to collapse, and with it the family’s livelihood. The sudden loss of income meant selling the house in Kew and moving into rented accommodation in Harrow. These events took their toll on John, who suffered a nervous breakdown. Sadly, his mental health never recovered, and he was eventually transferred to a hospital near St Albans, where he remained until his death in 1946. Andrew Grima, now aged 16, was obliged to leave school and effectively became head of the family. His younger brothers and sisters, who attended the local Roman Catholic school, were permitted to continue their education free of charge; he, however, needed to find a job. To this end, a family friend, Mrs Ciappara, wrote to the Malta High Commission in London for assistance and received the following helpful reply:
Portrait of Andrew Grima’s father, John, painted by Pablo Salinas – Rome, 1919 [© Grima archives]
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Malta House, 30th November 1937 Dear Mrs Ciappara, With reference to young Grima who has a bent for drawing, I suggest he applies to the Engineer in Chief, Drawing Office, Office of Engineer in Chief, G.P.O., London, setting forth his qualifications, age, education, etc. It would be better if he gave his name for business purposes as Grim or Grimm. Yours sincerely, A.J. Aguis Nevertheless, “young Grima” continued with the evening classes at Harrow School of Art, becoming sufficiently proficient to land a technical drawing position at a civil engineering firm in Wembley. As the only breadwinner in the family, he was unable to treat his income as disposable. Leisure pursuits at weekends typically involved rising early to attend mass before cycling out of London to visit his father at the hospital. He always took a sketchbook and, on the way, interrupted his journey through the countryside to draw cottages, old mills and pieces of farm equipment left in the fields. Surviving sketches, of which there are many, show him to have become, at this tender age, a skilled draughtsman and competent cartoonist.
Darell Road Council School class photograph. Andrew Grima is fourth from left in the second row from the front – c.1929 [© Grima archives] Opposite page: Andrew Grima and his siblings. Front row: Frank, Charles, Godfrey and George Back row: Mary and Andrew [© Grima archives]
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Malta House, 30th November 1937 Dear Mrs Ciappara, With reference to young Grima who has a bent for drawing, I suggest he applies to the Engineer in Chief, Drawing Office, Office of Engineer in Chief, G.P.O., London, setting forth his qualifications, age, education, etc. It would be better if he gave his name for business purposes as Grim or Grimm. Yours sincerely, A.J. Aguis Nevertheless, “young Grima” continued with the evening classes at Harrow School of Art, becoming sufficiently proficient to land a technical drawing position at a civil engineering firm in Wembley. As the only breadwinner in the family, he was unable to treat his income as disposable. Leisure pursuits at weekends typically involved rising early to attend mass before cycling out of London to visit his father at the hospital. He always took a sketchbook and, on the way, interrupted his journey through the countryside to draw cottages, old mills and pieces of farm equipment left in the fields. Surviving sketches, of which there are many, show him to have become, at this tender age, a skilled draughtsman and competent cartoonist.
Darell Road Council School class photograph. Andrew Grima is fourth from left in the second row from the front – c.1929 [© Grima archives] Opposite page: Andrew Grima and his siblings. Front row: Frank, Charles, Godfrey and George Back row: Mary and Andrew [© Grima archives]
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Clockwise from top left: Pen-and-ink drawing of a train in the Art Deco style by Andrew Grima – 1937 [© Grima archives] “My first office manager”, pen, ink and pencil caricature by Andrew Grima – 1937 [© Grima archives]
Clockwise from top left: Pen-and-ink drawing of a car headlight by Andrew Grima – Harrow Art School, 1936 [© Grima archives] Pen, ink and pencil drawing of a lady’s coat by Andrew Grima – 1937 [© Grima archives]
“The Blue Bird”, pen-and-ink drawing by Andrew Grima, autographed by Malcolm Campbell – September 1935 [© Grima archives]
“The Precinct Gate, Rochester”, pen-and-ink drawing by Andrew Grima – 1939 [© Grima archives] “Sussex Plough (Pyecombe)”, pen, ink and watercolour drawing by Andrew Grima – 1940 [© Grima archives]
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Clockwise from top left: Pen-and-ink drawing of a train in the Art Deco style by Andrew Grima – 1937 [© Grima archives] “My first office manager”, pen, ink and pencil caricature by Andrew Grima – 1937 [© Grima archives]
Clockwise from top left: Pen-and-ink drawing of a car headlight by Andrew Grima – Harrow Art School, 1936 [© Grima archives] Pen, ink and pencil drawing of a lady’s coat by Andrew Grima – 1937 [© Grima archives]
“The Blue Bird”, pen-and-ink drawing by Andrew Grima, autographed by Malcolm Campbell – September 1935 [© Grima archives]
“The Precinct Gate, Rochester”, pen-and-ink drawing by Andrew Grima – 1939 [© Grima archives] “Sussex Plough (Pyecombe)”, pen, ink and watercolour drawing by Andrew Grima – 1940 [© Grima archives]
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Pendant. ‘Molten’ yellow gold, diamonds and a Papal mitre shell; on a yellow gold collar Private collection, Washington, D.C. [© Grima archives] Opposite page: Pendant. Yellow gold, diamonds and a giant sundial shell; on a yellow gold collar [© Bonhams]
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Pendant. ‘Molten’ yellow gold, diamonds and a Papal mitre shell; on a yellow gold collar Private collection, Washington, D.C. [© Grima archives] Opposite page: Pendant. Yellow gold, diamonds and a giant sundial shell; on a yellow gold collar [© Bonhams]
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Objet d’art. Nautilus shell ‘seagulls’ with cabochon ruby ‘eyes’ and yellow gold ‘legs’; standing on a polished agate slice [© Grima archives] Objet d’art. Sea urchin shell ‘hot air balloon’ with yellow gold load cables and basket; tethered to a polished agate slice by yellow gold ‘ropes’ [© Grima archives] Opposite page: Objet d’art. Cone shell held by fronds of gold ‘seaweed’ highlighted with citrines on an agate slice; in wooden Grima packing case [© Grima archives] Brooch. Gold and ammonite ‘ram’s head’ with marquise diamond ‘eyes’; displayed on a piece of slate embedded with ammonites The Worshipful Company of Goldsmiths collection [© Grima archives]
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Objet d’art. Nautilus shell ‘seagulls’ with cabochon ruby ‘eyes’ and yellow gold ‘legs’; standing on a polished agate slice [© Grima archives] Objet d’art. Sea urchin shell ‘hot air balloon’ with yellow gold load cables and basket; tethered to a polished agate slice by yellow gold ‘ropes’ [© Grima archives] Opposite page: Objet d’art. Cone shell held by fronds of gold ‘seaweed’ highlighted with citrines on an agate slice; in wooden Grima packing case [© Grima archives] Brooch. Gold and ammonite ‘ram’s head’ with marquise diamond ‘eyes’; displayed on a piece of slate embedded with ammonites The Worshipful Company of Goldsmiths collection [© Grima archives]
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Objet d’art. Australian pheasant shell ‘seal’ with yellow gold flippers and nose balancing cabochon ruby and sapphire ‘balls’ while sitting on an iron pyrite ball; in a yellow gold cage resting on a slice of petrified wood [© Bonhams] Opposite page: Objet d’art. Yellow gold ‘peapod’ with cabochon emerald ‘peas’; displayed on an amethyst crystal geode Private collection, Germany [© Grima archives]
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Objet d’art. Australian pheasant shell ‘seal’ with yellow gold flippers and nose balancing cabochon ruby and sapphire ‘balls’ while sitting on an iron pyrite ball; in a yellow gold cage resting on a slice of petrified wood [© Bonhams] Opposite page: Objet d’art. Yellow gold ‘peapod’ with cabochon emerald ‘peas’; displayed on an amethyst crystal geode Private collection, Germany [© Grima archives]
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Ring. Yellow gold ‘matchsticks’, baguette diamonds and a cushion-cut green tourmaline – 2019 This ring won 3 awards, including Gold in the Craft Section of the Goldsmiths’ Craft & Design Council Awards in 2020 Designed by Jojo Grima; made by Tony Griffin [© Grima archives] Opposite page: Collar. Brushed yellow gold, baguette diamonds and a green tourmaline – 2019 Designed by Francesca Grima; made by Tom Scott Private collection [© Grima archives]
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Objet d’art. Australian pheasant shell ‘seal’ with yellow gold flippers and nose balancing cabochon ruby and sapphire ‘balls’ while sitting on an iron pyrite ball; in a yellow gold cage resting on a slice of petrified wood [© Bonhams] Opposite page: Objet d’art. Yellow gold ‘peapod’ with cabochon emerald ‘peas’; displayed on an amethyst crystal geode Private collection, Germany [© Grima archives]
HM The Queen wears her ‘Ruby Venus’ brooch – Liverpool, December 2011 [© Christopher Furlong/Getty Images] TRH Prince and Princess Michael of Kent on board the cruise ship MSC Poesia at Dover Harbour – April 2008 The Princess wears a pair of prehnite earrings and pendant by Grima [photo by Associated Press/Geoff Caddick © Geoff Caddick/PA Wire]
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Clockwise, from top left: Marc Jacobs (c) wears his Grima dioptase pendant during Paris Fashion Week; seen here with Pharrell Williams (l) and Kanye West (r) – June 2008 [© Michel Dufour/WireImage via Getty Images] Game of Thrones star Gwendoline Christie wears a pair of Grima gold earrings and Grima Bolivian amethyst ring to the Annual Screen Actors Guild Awards – LA, January 2015 [© Dan MacMedan/WireImage via Getty Images] Hailey Bieber wears Grima gold and diamond earrings on the cover of LOVE magazine – Issue 22, 2019 [Willy Vanderperre/LOVE © The Condé Nast Publications Ltd.]
HM The Queen wears her ‘Ruby Venus’ brooch – Liverpool, December 2011 [© Christopher Furlong/Getty Images] TRH Prince and Princess Michael of Kent on board the cruise ship MSC Poesia at Dover Harbour – April 2008 The Princess wears a pair of prehnite earrings and pendant by Grima [photo by Associated Press/Geoff Caddick © Geoff Caddick/PA Wire]
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Clockwise, from top left: Marc Jacobs (c) wears his Grima dioptase pendant during Paris Fashion Week; seen here with Pharrell Williams (l) and Kanye West (r) – June 2008 [© Michel Dufour/WireImage via Getty Images] Game of Thrones star Gwendoline Christie wears a pair of Grima gold earrings and Grima Bolivian amethyst ring to the Annual Screen Actors Guild Awards – LA, January 2015 [© Dan MacMedan/WireImage via Getty Images] Hailey Bieber wears Grima gold and diamond earrings on the cover of LOVE magazine – Issue 22, 2019 [Willy Vanderperre/LOVE © The Condé Nast Publications Ltd.]
APPENDIX I
HALLMARKS AND STAMPS Grima Hallmarks Grima jewellery made in the UK for sale in the domestic market – both during Andrew Grima’s lifetime and since his death in December 2007 – has only ever been hallmarked with one of three different maker’s marks at the assay office at the Goldsmiths’ Hall: HJCo
(H.J. Company, 1946 to 1971)
AG Ltd (Andrew Grima Ltd, 1971 to present day) TES
(on Grima jewellery made by Tom Scott, 1987 to 1997)
Grima Stamps From 1965 onwards, a ‘GRIMA’ stamp was introduced alongside the hallmarks. Later examples of the ‘GRIMA’ stamp (from the mid-1980s onwards) have the tops of the ‘R’ and the ‘A’ filled in like the Grima logo.
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Jewellery made in Switzerland after the family moved there in 1986 is stamped ‘GRIMA’ and ‘750’ (for 18ct gold). There is no hallmark on these pieces because they were not made in the United Kingdom. Reverse of brooch showing, from top to bottom, ‘GRIMA’ stamp, the H.J. Company maker’s mark and hallmark (crown for gold; 18 for 18ct; leopard’s head for London; ‘p’ to indicate the year 1970) [© Grima archives]
Reverse of pendant showing 0.750 fineness mark for 18ct (white) gold and, below, ‘GRIMA’ stamp, the Andrew Grima Ltd maker’s mark ‘AG. Ltd.’ and hallmark (crown for gold; leopard’s head for London; ‘s’ to indicate the year 1973) [© Grima archives]
Reverse of earring showing ‘GRIMA’ stamp and ‘750’ for 18ct gold Note that there is no hallmark on this piece as it was made in Switzerland [© Grima archives]
Grima Watches The original watches in the About Time collection bear the H.J. Company maker’s mark ‘HJCo’. About Time collection watches made after 1971 (as the original models sold out) are hallmarked ‘AG Ltd’. All About Time watches also carry the ‘GRIMA’ and Omega stamps. The Pulsar watches bear the ‘AG Ltd’ maker’s mark and are stamped ‘GRIMA’.
Jewellery Houses During the 1950s and early to mid-1960s, Andrew Grima designed and made jewellery for many of the leading European jewellery houses – such as Cartier, Van Cleef & Arpels, Chaumet and Pierre Sterlé – who wanted to add a modernist element to their jewellery ranges. In almost all cases, the pieces sold to the Houses were unsigned and would subsequently have carried the retailer’s stamp. Only two of these jewels have thus far been positively identified as Grima pieces: a 1963 brooch marked ‘HJCo’ and stamped ‘Schilling’ (of Stuttgart); and a 1965 ring marked ‘HJCo’ and stamped ‘Cartier’.
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APPENDIX I
HALLMARKS AND STAMPS Grima Hallmarks Grima jewellery made in the UK for sale in the domestic market – both during Andrew Grima’s lifetime and since his death in December 2007 – has only ever been hallmarked with one of three different maker’s marks at the assay office at the Goldsmiths’ Hall: HJCo
(H.J. Company, 1946 to 1971)
AG Ltd (Andrew Grima Ltd, 1971 to present day) TES
(on Grima jewellery made by Tom Scott, 1987 to 1997)
Grima Stamps From 1965 onwards, a ‘GRIMA’ stamp was introduced alongside the hallmarks. Later examples of the ‘GRIMA’ stamp (from the mid-1980s onwards) have the tops of the ‘R’ and the ‘A’ filled in like the Grima logo.
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Jewellery made in Switzerland after the family moved there in 1986 is stamped ‘GRIMA’ and ‘750’ (for 18ct gold). There is no hallmark on these pieces because they were not made in the United Kingdom. Reverse of brooch showing, from top to bottom, ‘GRIMA’ stamp, the H.J. Company maker’s mark and hallmark (crown for gold; 18 for 18ct; leopard’s head for London; ‘p’ to indicate the year 1970) [© Grima archives]
Reverse of pendant showing 0.750 fineness mark for 18ct (white) gold and, below, ‘GRIMA’ stamp, the Andrew Grima Ltd maker’s mark ‘AG. Ltd.’ and hallmark (crown for gold; leopard’s head for London; ‘s’ to indicate the year 1973) [© Grima archives]
Reverse of earring showing ‘GRIMA’ stamp and ‘750’ for 18ct gold Note that there is no hallmark on this piece as it was made in Switzerland [© Grima archives]
Grima Watches The original watches in the About Time collection bear the H.J. Company maker’s mark ‘HJCo’. About Time collection watches made after 1971 (as the original models sold out) are hallmarked ‘AG Ltd’. All About Time watches also carry the ‘GRIMA’ and Omega stamps. The Pulsar watches bear the ‘AG Ltd’ maker’s mark and are stamped ‘GRIMA’.
Jewellery Houses During the 1950s and early to mid-1960s, Andrew Grima designed and made jewellery for many of the leading European jewellery houses – such as Cartier, Van Cleef & Arpels, Chaumet and Pierre Sterlé – who wanted to add a modernist element to their jewellery ranges. In almost all cases, the pieces sold to the Houses were unsigned and would subsequently have carried the retailer’s stamp. Only two of these jewels have thus far been positively identified as Grima pieces: a 1963 brooch marked ‘HJCo’ and stamped ‘Schilling’ (of Stuttgart); and a 1965 ring marked ‘HJCo’ and stamped ‘Cartier’.
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APPENDIX II
PAINTED DESIGNS Jewellery designs [all images © Grima archives]
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APPENDIX II
PAINTED DESIGNS Jewellery designs [all images © Grima archives]
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The father of modern jewellery, the golden engineer, the King of Bling... Andrew Grima was the artistic genius who marched at the vanguard of a 1960s London-based movement that established a new vocabulary for jewellery design. Determined to banish forever the flower sprays of yesteryear, his audacious creations were big and bold and strikingly sculptural. Jeweller to the royals and the jet set, to the rule makers and the tastemakers, Grima was a fêted celebrity who appeared on talk shows, in Pathé newsreels and in advertisements for Canada Dry. He won The Queen’s Award for Export, The Duke of Edinburgh’s Prize for Elegant Design and a record 11 De Beers Diamonds International Awards (the ‘Oscars’ of the jewellery world). This first major monograph on Andrew Grima, arguably Britain’s greatest jewellery maestro, illuminates the career of a man who led a golden age of British creativity.
Since discovering the work of Andrew Grima, I have not only become a collector of his exquisite creations, I have also become one of the many to be inspired by his unique and inimitable designs. Each piece of jewellery, each watch, each object is a sculpture. Marc Jacobs
ISBN: 978-1-78884-106-1
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£65.00/$85.00
www.accartbooks.com