rings

BEATRIZ CHADOUR-SAMPSON

BEATRIZ CHADOURSAMPSON

RINGE Beatriz Chadour-Sampson ist eine international anerkannte Schmuckhistorikerin, Autorin und Dozentin. Zu ihren Publikationen, die von der Antike bis zur Gegenwart reichen, gehören neben ihrer Dissertation über den italienischen Goldschmied Antonio Gentili da Faenza (1980) Kataloge zur Schmucksammlung des Museums für Angewandte Kunst, Köln (1985), sowie zu den historischen Ringen der Sammlung Alice und Louis Koch, Schweiz (1994). Sie wirkte als beratende Kuratorin bei der Neugestaltung der William and Judith Bollinger Jewellery Gallery im Victoria and Albert Museum, London, sowie als Gastkuratorin der dortigen Ausstellung Pearls (2013–14). Sie ist die Autorin zahlreicher Beiträge zu zeitgenössischem Schmuck, insbesondere zur Arbeit von David Watkins, Wendy Ramshaw und Friedrich Becker, und war in jüngster Zeit verantwortlich für die Katalogisierung der Inge Asenbaum Collection (ehemals Galerie am Graben) für das Dallas Museum of Art. Die Nachkommen von Alice und Louis Koch vertrauten ihr in den vergangenen 35 Jahren die Betreuung der Sammlung an, und sie begleitet die jetzigen Sammler bei ihren ­Neuerwerbungen des 20. und 21. Jahrhunderts. Heute berät sie das Schweizer National­ museum, Zürich, wo die Sammlung künftig aufbewahrt wird.

RINGS

DES 20. UND 21. JAHRHUNDERTS DIE SAMMLUNG ALICE UND LOUIS KOCH

OF THE 20TH AND 21ST CENTURIES THE ALICE AND LOUIS KOCH COLLECTION

BEATRIZ CHADOUR-SAMPSON

RINGS

OF THE 20TH AND 21ST CENTURIES THE ALICE AND LOUIS KOCH COLLECTION

The Alice and Louis Koch Collection of finger rings was assembled four generations ago by a jeweller from Frankfurt am Main, once described as ‘the German Cartier and Fabergé’. By 1909 the collection of 1,722 rings, ranging in date from classical antiquity to 1900, included only one ring by a contemporary jeweller, René Lalique. Over the past 25 years the fourth generation of the family have continued collecting where Louis Koch and his wife Alice left off, acquiring rings from the 20th and 21st centuries.

This publication will present the complete collection of post-1900 rings now kept in the Swiss National Museum in Zurich. 589 rings by artist jewellers from around the world document the universal appeal of this jewel and how these miniature works of art have evolved into modern sculptures. The rings showcase a diversity of taste, imagery, materials and techniques and a wealth of imagination and individuality.

RINGE

DES 20. UND 21. JAHRHUNDERTS DIE SAMMLUNG ALICE UND LOUIS KOCH

Based in England, Beatriz Chadour-Sampson is an international jewellery historian, author and lecturer. Her publications range from the classical world to the present day and include her doctoral thesis on the Italian goldsmith Antonio Gentili da Faenza (1980) and catalogues for the jewellery collection of the Museum für Angewandte Kunst, Cologne (1985) and for the historical rings in the Alice and Louis Koch Collection, Switzerland (1994).

She was consultant curator for the redesign of the William and Judith Bollinger Jewellery Gallery at the Victoria and Albert Museum, London and guest curator of its Pearls exhibition (2013–14). She has written extensively on contemporary jewellery, especially the work of David Watkins, Wendy Ramshaw and Friedrich Becker, and recently catalogued the Inge Asenbaum Collection (formerly Galerie am Graben) for the Dallas Museum of Art. The descendants of Alice and Louis Koch have entrusted her as curator of the collection for the past thirty-five years and she has assisted the present collectors with new acquisitions from the 20th and 21st centuries. Today she continues to advise the Swiss National Museum, Zurich, where the collection is kept today.

ISBN 978-3-89790-516-0

arnoldsche

arnoldsche

Der Grundstein zur Ringsammlung Alice und Louis Koch wurde vor vier Generationen von einem Juwelier aus Frankfurt am Main gelegt, der einst als „der deutsche Cartier und Fabergé“ galt. Im Jahr 1909 gehörte zu der von der Antike bis 1900 reichenden, insgesamt 1722 Fingerringe umfassenden Sammlung nur ein einziger Ring eines zeitgenössischen Goldschmiedes, René Laliqe. In den vergangenen fünfundzwanzig Jahren führte die vierte Generation der Familie die Sammlung von da an weitergeführt, wo Louis Koch und dessen Frau Alice einst aufhörten, und Ringe aus dem 20. und 21. Jahrhundert erworben. Dieser Band liefert einen Überblick über die vollständige, heute im Schweizer Nationalmuseum in Zürich befindliche Sammlung der nach 1900 entstandenen Ringe. 589 Arbeiten von Schmuckkünstlern aus aller Herren Länder zeugen von der universellen Anziehungskraft dieser speziellen Schmuckart und vermitteln einen Eindruck von der Entwicklung dieser winzigen Kunstwerke zu modernen Skulpturen. Die Ringe sind beeindruckend vielseitig in Geschmack, Sym­ bolik, Material und Technik und zeigen einen unvergleichlichen Reichtum an Phantasie und Individualität.

arnoldsche

BEATRIZ CHADOUR-SAMPSON

RINGS

OF THE 20TH AND 21ST CENTURIES THE ALICE AND LOUIS KOCH COLLECTION

RINGE

DES 20. UND 21. JAHRHUNDERTS DIE SAMMLUNG ALICE UND LOUIS KOCH

arnoldsche

BEATRIZ CHADOUR-SAMPSON

RINGS

OF THE 20TH AND 21ST CENTURIES THE ALICE AND LOUIS KOCH COLLECTION

RINGE

DES 20. UND 21. JAHRHUNDERTS DIE SAMMLUNG ALICE UND LOUIS KOCH

arnoldsche

INHALT / CONTENTS 6 Vorwort 7 Foreword Richard Edgcumbe 8 9

Die Sammlung Alice und Louis Koch heute The Alice and Louis Koch Collection Today

KATALOG / CATALOGUE

17

Art Nouveau und Art Déco bis 1945 Art Nouveau and Art Déco until 1945

18 19

Das Aufkommen des Modernismus 1900–1945 The Emergence of Modernism 1900­–1945

58 59

Der Ring als Kunstform nach 1945 The Ring as an Art Form after 1945

65 79 109 133 151 205 261 283 319 331 363 369 399 441

Österreich / Austria Belgien und die Niederlande / Belgium and the Netherlands Osteuropa / Eastern Europe Frankreich / France Deutschland / Germany Großbritannien / Great Britain Griechenland, Italien und Israel / Greece, Italy and Israel Skandinavien / Scandinavia Spanien und Portugal / Spain and Portugal Schweiz / Switzerland Afrika / Africa Amerika / America Asien / Asia Australien und Neuseeland / Australia and New Zealand

458

Kurzbiografien der Schmuckkünstler Concise Biographies of Artist Jewellers

518 519

Dank Acknowledgements

INHALT / CONTENTS 6 Vorwort 7 Foreword Richard Edgcumbe 8 9

Die Sammlung Alice und Louis Koch heute The Alice and Louis Koch Collection Today

KATALOG / CATALOGUE

17

Art Nouveau und Art Déco bis 1945 Art Nouveau and Art Déco until 1945

18 19

Das Aufkommen des Modernismus 1900–1945 The Emergence of Modernism 1900­–1945

58 59

Der Ring als Kunstform nach 1945 The Ring as an Art Form after 1945

65 79 109 133 151 205 261 283 319 331 363 369 399 441

Österreich / Austria Belgien und die Niederlande / Belgium and the Netherlands Osteuropa / Eastern Europe Frankreich / France Deutschland / Germany Großbritannien / Great Britain Griechenland, Italien und Israel / Greece, Italy and Israel Skandinavien / Scandinavia Spanien und Portugal / Spain and Portugal Schweiz / Switzerland Afrika / Africa Amerika / America Asien / Asia Australien und Neuseeland / Australia and New Zealand

458

Kurzbiografien der Schmuckkünstler Concise Biographies of Artist Jewellers

518 519

Dank Acknowledgements

ART NOUVEAU & ART DÉCO

ART NOUVEAU & ART DÉCO

3 EUGÈNE FEUILLÂTRE, c. 1900 France Gold, plique-à-jour enamel, opals 24 x 22 mm Eugene Feuillâtre was a master of the art of plique-à-jour enamelling. Like a stained glass window, the transparent enamel of the iridescent dragonfly wings allows light to shine through.

5 Attributed to WILHELM LUCAS VON CRANACH, c. 1900 Berlin, Germany Gold, enamel, opal, diamond 22 x 19 mm

4 CHARLES RIVAUD, c. 1900 Paris, France Gold, Mississippi freshwater pearl 22 x 19 mm

28

The serpent in this design alludes to biblical symbolism of temptation, sin and lust, and perhaps the concept of the femme fatale.

29

ART NOUVEAU & ART DÉCO

ART NOUVEAU & ART DÉCO

3 EUGÈNE FEUILLÂTRE, c. 1900 France Gold, plique-à-jour enamel, opals 24 x 22 mm Eugene Feuillâtre was a master of the art of plique-à-jour enamelling. Like a stained glass window, the transparent enamel of the iridescent dragonfly wings allows light to shine through.

5 Attributed to WILHELM LUCAS VON CRANACH, c. 1900 Berlin, Germany Gold, enamel, opal, diamond 22 x 19 mm

4 CHARLES RIVAUD, c. 1900 Paris, France Gold, Mississippi freshwater pearl 22 x 19 mm

28

The serpent in this design alludes to biblical symbolism of temptation, sin and lust, and perhaps the concept of the femme fatale.

29

ART NOUVEAU & ART DÉCO

30 KARL GUSTAV HANSEN, c. 1932 Designed for Hans Hansen Kolding, Denmark Silver, corals 28 x 21 mm The minimal and functional ­design of this ring is an early ­example of Scandinavian ­modernism.

31 KARL GUSTAV HANSEN, late 1930s Designed for Hans Hansen Kolding, Denmark Silver 24 x 22 mm

ART NOUVEAU & ART DÉCO

32 WIWEN NILSSON, 1939 Lund, Sweden Silver 19 x 21 mm Karl Edwin (Wiwen) Nilsson was trained in Germany and lived in Paris. The simplicity of this design and reduction of ornament ­follows principles of the Bauhaus and Art Deco movements.

33 WIWEN NILSSON, 1938–39 Lund, Sweden Silver, rock crystal, onyx 25 x 20 mm

34 WIWEN NILSSON, 1938–39 Lund, Sweden Silver, rock crystal, onyx 26mm x 21 mm

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ART NOUVEAU & ART DÉCO

30 KARL GUSTAV HANSEN, c. 1932 Designed for Hans Hansen Kolding, Denmark Silver, corals 28 x 21 mm The minimal and functional ­design of this ring is an early ­example of Scandinavian ­modernism.

31 KARL GUSTAV HANSEN, late 1930s Designed for Hans Hansen Kolding, Denmark Silver 24 x 22 mm

ART NOUVEAU & ART DÉCO

32 WIWEN NILSSON, 1939 Lund, Sweden Silver 19 x 21 mm Karl Edwin (Wiwen) Nilsson was trained in Germany and lived in Paris. The simplicity of this design and reduction of ornament ­follows principles of the Bauhaus and Art Deco movements.

33 WIWEN NILSSON, 1938–39 Lund, Sweden Silver, rock crystal, onyx 25 x 20 mm

34 WIWEN NILSSON, 1938–39 Lund, Sweden Silver, rock crystal, onyx 26mm x 21 mm

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ÖSTERREICH

67 ULRICH REITHOFER, 2006 ‘Modell 4.2P’ Wood, gold, steel, agate, pyrite 45 x 25 mm From Black Holes. The P... Series.

According to Reithofer, the black hole is an ’object predicted by general relativity, with a gravitational field so powerful that even electromagnetic radiation cannot escape its pull. This collection aims to achieve a similar force of attraction.’

AUSTRIA

69 CLAUDIA LANGER, 1998 ‘You know – my flower … I am responsible for her’ Silver, glass, magnet, miniature rose 85 mm, ring ø 26 mm ‘You know...my flower ... I’m responsible for her. And she’s so weak! And so naive. She has four ridiculous thorns to defend her against the world...’ is a quote from The Little Prince

by Antoine de Saint-Exupéry.

Langer’s rings are all about relationships and giving.

68 ULRICH REITHOFER, 2012 ‘Ming Vase’ Lime wood, paint, gold 85 x 40 mm The ring is sculpted from one piece of wood. Concealed within the table is a gold wedding ring which rotates for ease of wearing.

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ÖSTERREICH

67 ULRICH REITHOFER, 2006 ‘Modell 4.2P’ Wood, gold, steel, agate, pyrite 45 x 25 mm From Black Holes. The P... Series.

According to Reithofer, the black hole is an ’object predicted by general relativity, with a gravitational field so powerful that even electromagnetic radiation cannot escape its pull. This collection aims to achieve a similar force of attraction.’

AUSTRIA

69 CLAUDIA LANGER, 1998 ‘You know – my flower … I am responsible for her’ Silver, glass, magnet, miniature rose 85 mm, ring ø 26 mm ‘You know...my flower ... I’m responsible for her. And she’s so weak! And so naive. She has four ridiculous thorns to defend her against the world...’ is a quote from The Little Prince

by Antoine de Saint-Exupéry.

Langer’s rings are all about relationships and giving.

68 ULRICH REITHOFER, 2012 ‘Ming Vase’ Lime wood, paint, gold 85 x 40 mm The ring is sculpted from one piece of wood. Concealed within the table is a gold wedding ring which rotates for ease of wearing.

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NIEDERLANDE

THE NETHERLANDS

94 NINA SAJET, 2010 The Netherlands ‘Birdcage Ring’ Silver, brass 105 x 40 mm ‘By looking at the things around me I register my reality, and bring it out in a poetical and fairy tale manner. Like a surrealistic dream, the object becomes really big or small and changes in context.

In my world cages turn to rings, birds to pipes, sprouts to pearls.

I see each new object as part of a new reality which I want to take the audience with me.’

95 PHILIP SAJET, 2005 The Netherlands Gold, jade 38 x 20 mm ‘I decided on making jewellery when the first snow fell in Amsterdam in 1977. Since that day nothing has changed, I still always look to catch that elusive beauty.’ Sajet’s designs have associations with historical jewels, the outcome though is sheer innovation.

96 MARIJKE DE GOEY, 1995 The Netherlands ‘Waahofd’ (Curly Burly) Gold, silver, titanium 50 x 23 x 40 mm ‘In our modern times, the symbol of eternity, a classic round ring, is hardly important any more.

However, symbolism does play a role: thus, wedding rings can be square and have multiple uses.

Flexible rings that tumble around the hand look expressive and delicate but are – nonetheless – strong.’

100

101

NIEDERLANDE

THE NETHERLANDS

94 NINA SAJET, 2010 The Netherlands ‘Birdcage Ring’ Silver, brass 105 x 40 mm ‘By looking at the things around me I register my reality, and bring it out in a poetical and fairy tale manner. Like a surrealistic dream, the object becomes really big or small and changes in context.

In my world cages turn to rings, birds to pipes, sprouts to pearls.

I see each new object as part of a new reality which I want to take the audience with me.’

95 PHILIP SAJET, 2005 The Netherlands Gold, jade 38 x 20 mm ‘I decided on making jewellery when the first snow fell in Amsterdam in 1977. Since that day nothing has changed, I still always look to catch that elusive beauty.’ Sajet’s designs have associations with historical jewels, the outcome though is sheer innovation.

96 MARIJKE DE GOEY, 1995 The Netherlands ‘Waahofd’ (Curly Burly) Gold, silver, titanium 50 x 23 x 40 mm ‘In our modern times, the symbol of eternity, a classic round ring, is hardly important any more.

However, symbolism does play a role: thus, wedding rings can be square and have multiple uses.

Flexible rings that tumble around the hand look expressive and delicate but are – nonetheless – strong.’

100

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ESTLAND

ESTONIA

136 MAARJA NIINEMÄGI, 2009 Estonia Buffalo horn, silver, microscopic lens 50 x 33 mm

138 TANEL VEENRE, 2016 Estonia ‘The Name of the Rose XVI’ Ebony 82 x 38 mm

‘I use materials as colours, the jewellery becomes an abstract form and colour in space.

The poetry of the work is light, the colours self-possessed.’

Maarja Niinemägi

Since childhood, Veenre has been captivated by Umberto Eco’s novel The Name of the Rose. The menace and power of the book have haunted him and inspired a collection of brooches, necklaces and this ring featuring books of carved, partly burnt wood.

The hole intentionally deletes the message of the book; raw human power, physical presence will deny its meaning.

137 KADRI MÄLK, 2010 Estonia ‘Little Muck’ Silver, artificial resin, sapphires, spinels 86 x 41 mm Little Muck is the title of a 19th-century German fairy tale by Wilhelm Hauff, made into a film of the same name in 1953. Little Muck wore an enormous turban, which made it difficult to walk, however his magic boots allowed him to run faster than anyone else. This light-hearted tale is full of moral stories and social commentary.

128

129

ESTLAND

ESTONIA

136 MAARJA NIINEMÄGI, 2009 Estonia Buffalo horn, silver, microscopic lens 50 x 33 mm

138 TANEL VEENRE, 2016 Estonia ‘The Name of the Rose XVI’ Ebony 82 x 38 mm

‘I use materials as colours, the jewellery becomes an abstract form and colour in space.

The poetry of the work is light, the colours self-possessed.’

Maarja Niinemägi

Since childhood, Veenre has been captivated by Umberto Eco’s novel The Name of the Rose. The menace and power of the book have haunted him and inspired a collection of brooches, necklaces and this ring featuring books of carved, partly burnt wood.

The hole intentionally deletes the message of the book; raw human power, physical presence will deny its meaning.

137 KADRI MÄLK, 2010 Estonia ‘Little Muck’ Silver, artificial resin, sapphires, spinels 86 x 41 mm Little Muck is the title of a 19th-century German fairy tale by Wilhelm Hauff, made into a film of the same name in 1953. Little Muck wore an enormous turban, which made it difficult to walk, however his magic boots allowed him to run faster than anyone else. This light-hearted tale is full of moral stories and social commentary.

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FRANKREICH

FRANCE

161 MAUD TRAON, 2009 ‘Fairy Spiky’ Fimo clay, crystals, paint, glitter 52 x 27

163 CHRISTINE MARÉCHAL, 1994 ‘Jardin’ (Garden) Copper, wood ø c. 23 mm

This is the first piece in Traon’s Spiky collection. Modelling with Fimo clay has given her the freedom to break away from the conventions of jewellery-making and create mystical compositions of colour and expression.

The metal-working technique employed in this piece is inspired by the process of weaving yarn.

Maréchal associates the design with a small garden or maze.

164 CHRISTINE MARÉCHAL, 1991 ‘Cactus’ Wood, silver 73 x 33 mm 162 ORNELLA IANNUZZI, 2009 ‘On the Rock’ Gold, pyrite with matrix, vermeil 45 x 35 mm

The cactus can be admired as a sculpture or worn as a ring or pendant.

Born in the Alps, the awe-inspiring landscape, geological formations and the power of nature are central to Ianuzzi’s sculptural jewels. She celebrates the unusual beauty created by millions of years of Earth activity and challenges the perception of preciousness.

146

147

FRANKREICH

FRANCE

161 MAUD TRAON, 2009 ‘Fairy Spiky’ Fimo clay, crystals, paint, glitter 52 x 27

163 CHRISTINE MARÉCHAL, 1994 ‘Jardin’ (Garden) Copper, wood ø c. 23 mm

This is the first piece in Traon’s Spiky collection. Modelling with Fimo clay has given her the freedom to break away from the conventions of jewellery-making and create mystical compositions of colour and expression.

The metal-working technique employed in this piece is inspired by the process of weaving yarn.

Maréchal associates the design with a small garden or maze.

164 CHRISTINE MARÉCHAL, 1991 ‘Cactus’ Wood, silver 73 x 33 mm 162 ORNELLA IANNUZZI, 2009 ‘On the Rock’ Gold, pyrite with matrix, vermeil 45 x 35 mm

The cactus can be admired as a sculpture or worn as a ring or pendant.

Born in the Alps, the awe-inspiring landscape, geological formations and the power of nature are central to Ianuzzi’s sculptural jewels. She celebrates the unusual beauty created by millions of years of Earth activity and challenges the perception of preciousness.

146

147

DEUTSCHLAND

GERMANY

179 CLAUS BURY, 1971 18ct gold, acrylic, aquamarine, tourmaline 33 x 20 mm

180 CLAUS BURY, 1970 18ct gold, acrylic Picture 209 x 209 mm, ring 43 x 19 mm Bury’s experience of London culture during a stay in 1969–70 led him to make a series of drawings. These inspired him, on his return to Germany, to design and make a form of jewellery which had never been seen before. It was revolutionary at the time to combine non-precious materials such as acrylic with gold. The ring slots into a wall picture, reinforcing the idea of jewellery being wearable art.

170

171

DEUTSCHLAND

GERMANY

179 CLAUS BURY, 1971 18ct gold, acrylic, aquamarine, tourmaline 33 x 20 mm

180 CLAUS BURY, 1970 18ct gold, acrylic Picture 209 x 209 mm, ring 43 x 19 mm Bury’s experience of London culture during a stay in 1969–70 led him to make a series of drawings. These inspired him, on his return to Germany, to design and make a form of jewellery which had never been seen before. It was revolutionary at the time to combine non-precious materials such as acrylic with gold. The ring slots into a wall picture, reinforcing the idea of jewellery being wearable art.

170

171

DEUTSCHLAND

198 JOHANNES OPPERMANN, 1991 Presspan board, silver-gilt 90 x 50 mm

GERMANY

200 JOHANNES OPPERMANN, 1991 Presspan board, silver-gilt 95 x 100 mm Oppermann was fascinated by the challenge of transforming what he considers ‘horrid’ material, such as Presspan board, into something precious. The dimensions of the rings were determined by the depth of the raw material. These sculptural objects are visually striking.

199 JOHANNES OPPERMANN, 1991 Presspan board, silver-gilt 95 x 100 mm

180

181

DEUTSCHLAND

198 JOHANNES OPPERMANN, 1991 Presspan board, silver-gilt 90 x 50 mm

GERMANY

200 JOHANNES OPPERMANN, 1991 Presspan board, silver-gilt 95 x 100 mm Oppermann was fascinated by the challenge of transforming what he considers ‘horrid’ material, such as Presspan board, into something precious. The dimensions of the rings were determined by the depth of the raw material. These sculptural objects are visually striking.

199 JOHANNES OPPERMANN, 1991 Presspan board, silver-gilt 95 x 100 mm

180

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GROSSBRITANNIEN

GREAT BRITAIN

287 GEOFF ROBERTS, 1999 ‘Two Blade Handpiece’ Iron, leather, metal foil 125 x 243 mm

288 KATY HACKNEY, 1996 Silver-plated with 18ct gold, cellulose acetate 42 x 46 mm

Framed by welded and corroded steel, the leather panel has been decorated in a painterly way with colourful metal foils. Fish, symbols of abundance and fertility, often feature in Roberts’ pieces.

Cellulose acetate was introduced to Hackney by a designer of spectacles where it is used in making frames. The tiny silver-gilt elements jiggle by means of hidden joints.

289 MARIA KA PICK WONG, 1992 ‘Pebble’ Silver, partially gilt open: 40 x 50 mm, closed: 30 x 50 mm ‘The purpose in making hand raised objects with hidden shanks and chains, is to retain the form as a sculpture, whilst ensuring they are wearable.’ When closed the pebble is a work of art in its own right; when opened it becomes a ring.

232

233

GROSSBRITANNIEN

GREAT BRITAIN

287 GEOFF ROBERTS, 1999 ‘Two Blade Handpiece’ Iron, leather, metal foil 125 x 243 mm

288 KATY HACKNEY, 1996 Silver-plated with 18ct gold, cellulose acetate 42 x 46 mm

Framed by welded and corroded steel, the leather panel has been decorated in a painterly way with colourful metal foils. Fish, symbols of abundance and fertility, often feature in Roberts’ pieces.

Cellulose acetate was introduced to Hackney by a designer of spectacles where it is used in making frames. The tiny silver-gilt elements jiggle by means of hidden joints.

289 MARIA KA PICK WONG, 1992 ‘Pebble’ Silver, partially gilt open: 40 x 50 mm, closed: 30 x 50 mm ‘The purpose in making hand raised objects with hidden shanks and chains, is to retain the form as a sculpture, whilst ensuring they are wearable.’ When closed the pebble is a work of art in its own right; when opened it becomes a ring.

232

233

GROSSBRITANNIEN

GREAT BRITAIN

303 GREGOR ANDERSON, 2002 ‘Ring Forest’ Stainless steel wire, gold wire, oxidised silver sheet 310 x 150 x 60 mm 302 DEBRA ALLMAN, 2002 ‘Tree Ring’ Silver, gold 86 x 44 mm ‘Trees are the lungs of the world.

They play a vital role in our environment and reinforce ideas of continuation and regeneration.

The wearer is made conscious of the tree, both symbolic and real.’

240

This sculpture consists of 342 stainless steel wires and one gold wire, held vertically by a sheet of oxidised silver. Four gold rings are randomly positioned within the forest of wires. In this early stage of Anderson’s work he investigated the sculptural possibilities of repetition.

241

GROSSBRITANNIEN

GREAT BRITAIN

303 GREGOR ANDERSON, 2002 ‘Ring Forest’ Stainless steel wire, gold wire, oxidised silver sheet 310 x 150 x 60 mm 302 DEBRA ALLMAN, 2002 ‘Tree Ring’ Silver, gold 86 x 44 mm ‘Trees are the lungs of the world.

They play a vital role in our environment and reinforce ideas of continuation and regeneration.

The wearer is made conscious of the tree, both symbolic and real.’

240

This sculpture consists of 342 stainless steel wires and one gold wire, held vertically by a sheet of oxidised silver. Four gold rings are randomly positioned within the forest of wires. In this early stage of Anderson’s work he investigated the sculptural possibilities of repetition.

241

GROSSBRITANNIEN

GREAT BRITAIN

304 RHONA McCALLUM, 2015 ‘Fault Lines’ Sterling silver, 18ct gold 23 x 32 mm ‘My jewellery is inspired by the dramatic landscape of Scotland, where I live.’

306 KAYO SAITO, 2001 ‘Sway Ring’ Japanese paper, silver H 155 mm 305 NORA FOK, 2001 ‘Pixel’s Onion’ Knotted and woven pigmented nylon 160 x 90 mm ‘This is the very first finger ring I made after learning about the use of computer software to visualise 3D forms on screen.

However, when making the object, the oldest craft techniques (weaving) have proven to be the most effective.’

242

This ring was made when Saito was at the Royal College of Art, London. Her assignment was to create a piece of jewellery inspired by the music from Mozart’s opera The Marriage of Figaro.

243

GROSSBRITANNIEN

GREAT BRITAIN

304 RHONA McCALLUM, 2015 ‘Fault Lines’ Sterling silver, 18ct gold 23 x 32 mm ‘My jewellery is inspired by the dramatic landscape of Scotland, where I live.’

306 KAYO SAITO, 2001 ‘Sway Ring’ Japanese paper, silver H 155 mm 305 NORA FOK, 2001 ‘Pixel’s Onion’ Knotted and woven pigmented nylon 160 x 90 mm ‘This is the very first finger ring I made after learning about the use of computer software to visualise 3D forms on screen.

However, when making the object, the oldest craft techniques (weaving) have proven to be the most effective.’

242

This ring was made when Saito was at the Royal College of Art, London. Her assignment was to create a piece of jewellery inspired by the music from Mozart’s opera The Marriage of Figaro.

243

ITALIEN

340 BRUNO MARTINAZZI, 1991 Italy ‘Kaos’ Gold Ring 1: 33 x 22 mm Ring 2: 33 x 20 mm Constructed from two parts, this sculpture represents a broken mouth. It belongs to a series of twelve jewels made during the 1991 Gulf War which symbolizes the fears of the world at the time.

The mouth represents how the abundance and insatiability of mankind has resulted in selfdestruction.

341 ANNAMARIA ZANELLA, 2003 Italy ‘Mobil’ Gold 38 x 36 mm The gold has metamorphosed into an avantgarde micro-­ sculpture with kinetic properties.

Like all of Zanella’s jewels, this piece bears an autobiographical significance: ‘I write my story through them, they are not merely decoration’.

268

ITALY

342 JACQUELINE RYAN, 2010 Italy Gold, enamel ø 25 mm, W of band: 15 mm When closed, the ring can be worn; when opened, it becomes an objet d’art.

343 GIOVANNI CORVAJA, 2007 Italy Gold, enamel ø 20 mm, W 12 mm Fine gold threads, achieved by drawing wires in a process that exploits the pliable properties of the metal, create a textile feel to this piece.

269

ITALIEN

340 BRUNO MARTINAZZI, 1991 Italy ‘Kaos’ Gold Ring 1: 33 x 22 mm Ring 2: 33 x 20 mm Constructed from two parts, this sculpture represents a broken mouth. It belongs to a series of twelve jewels made during the 1991 Gulf War which symbolizes the fears of the world at the time.

The mouth represents how the abundance and insatiability of mankind has resulted in selfdestruction.

341 ANNAMARIA ZANELLA, 2003 Italy ‘Mobil’ Gold 38 x 36 mm The gold has metamorphosed into an avantgarde micro-­ sculpture with kinetic properties.

Like all of Zanella’s jewels, this piece bears an autobiographical significance: ‘I write my story through them, they are not merely decoration’.

268

ITALY

342 JACQUELINE RYAN, 2010 Italy Gold, enamel ø 25 mm, W of band: 15 mm When closed, the ring can be worn; when opened, it becomes an objet d’art.

343 GIOVANNI CORVAJA, 2007 Italy Gold, enamel ø 20 mm, W 12 mm Fine gold threads, achieved by drawing wires in a process that exploits the pliable properties of the metal, create a textile feel to this piece.

269

DÄNEMARK

368 HANS HANSEN, c. 1970 Denmark Designed by Hans Hansen Junior for Hans Hansen ‘Design 0074’ Sterling silver 18 x 19 mm From the late 1940s, Hans Hansen Silversmiths created some of the most remarkable examples of modernist silver jewellery. Hans Hansen Junior was the grandson of the founder and noted for his cleverly designed kinetic pieces.

369 HANS HANSEN, c. 1970 Denmark ‘Belt’ Sterling silver 24 x 25 mm

370 ASTRID FOG, 1986 Denmark Designed for Georg Jensen Design no. 338 Sterling silver 34 x 21 mm Fog, a noted fashion designer, created her first range for Georg Jensen in 1969. Her sculptural designs followed a modernist aesthetic and were designed to complement her clothing range.

Her jewellery for Jensen used simple geometric shapes, such as circles, squares, and rectangles.

288

DENMARK

371 NANNA DITZEL, 1955 Denmark Designed for Georg Jensen Silver 21 x 30 mm The simplicity of the organic forms and the play of light and shadow are characteristic of Ditzel’s designs.

372 NANNA DITZEL, 1961 Denmark Designed for Georg Jensen Design no. 93 Sterling silver no.

28 x 23 mm Ditzel’s pieces were noted for their harmonious sculptural quality that had recurring concave or convex themes.

373 PALLE RUDERS, 1969 Denmark Designed for Hans Hansen Silver 35 x 34 mm The ring is meant to be worn on the little finger, with the adjoining finger fitting into the open segment.

289

DÄNEMARK

368 HANS HANSEN, c. 1970 Denmark Designed by Hans Hansen Junior for Hans Hansen ‘Design 0074’ Sterling silver 18 x 19 mm From the late 1940s, Hans Hansen Silversmiths created some of the most remarkable examples of modernist silver jewellery. Hans Hansen Junior was the grandson of the founder and noted for his cleverly designed kinetic pieces.

369 HANS HANSEN, c. 1970 Denmark ‘Belt’ Sterling silver 24 x 25 mm

370 ASTRID FOG, 1986 Denmark Designed for Georg Jensen Design no. 338 Sterling silver 34 x 21 mm Fog, a noted fashion designer, created her first range for Georg Jensen in 1969. Her sculptural designs followed a modernist aesthetic and were designed to complement her clothing range.

Her jewellery for Jensen used simple geometric shapes, such as circles, squares, and rectangles.

288

DENMARK

371 NANNA DITZEL, 1955 Denmark Designed for Georg Jensen Silver 21 x 30 mm The simplicity of the organic forms and the play of light and shadow are characteristic of Ditzel’s designs.

372 NANNA DITZEL, 1961 Denmark Designed for Georg Jensen Design no. 93 Sterling silver no.

28 x 23 mm Ditzel’s pieces were noted for their harmonious sculptural quality that had recurring concave or convex themes.

373 PALLE RUDERS, 1969 Denmark Designed for Hans Hansen Silver 35 x 34 mm The ring is meant to be worn on the little finger, with the adjoining finger fitting into the open segment.

289

SCHWEIZ

458 MARGRIT LINDER, 1997 ‘Home: handpiece for five fingers’ Wood, paint 127 x 30 x 14 mm The theme of Home runs throughout Linder’s work. She plays with ideas of mobile homes, fragile homes, or even homes burned down and destroyed. For her, the house is fundamental for a secure life which many are denied. The ring with five homes was devised for many to share.

SWITZERLAND

459 MARGRIT LINDER, 2015 ‘Home’ Sterling Silver 40 x 23 x 23 mm, H 57 (when opened) When worn, this miniature house has open doors and windows.

When taken off the finger it can be closed and transforms into an objet d’art.

460 MARGRIT LINDER, 1992 ‘Heart ring for two fingers’ Sterling silver with wooden box 52 x 40 mm The double finger ring can be worn either by one person or by two, sharing the space for two fingers.

348

349 349

SCHWEIZ

458 MARGRIT LINDER, 1997 ‘Home: handpiece for five fingers’ Wood, paint 127 x 30 x 14 mm The theme of Home runs throughout Linder’s work. She plays with ideas of mobile homes, fragile homes, or even homes burned down and destroyed. For her, the house is fundamental for a secure life which many are denied. The ring with five homes was devised for many to share.

SWITZERLAND

459 MARGRIT LINDER, 2015 ‘Home’ Sterling Silver 40 x 23 x 23 mm, H 57 (when opened) When worn, this miniature house has open doors and windows.

When taken off the finger it can be closed and transforms into an objet d’art.

460 MARGRIT LINDER, 1992 ‘Heart ring for two fingers’ Sterling silver with wooden box 52 x 40 mm The double finger ring can be worn either by one person or by two, sharing the space for two fingers.

348

349 349

SÜDAFRIKA

485 DANIEL KRUGER, 1998 South Africa 18ct gold, peridot 34 x 20 mm A balance of symmetry, mathematical patterns, grids and tesellating shapes characterize the design.

486 DANIEL KRUGER, 1987 South Africa Silver, emeralds, moonstones 24 x 20 mm

MAURITIUS

488 FORBES MAVROS, 2003 Mauritius Musical mechanism by Reuge, Sainte Croix, Switzerland ‘Sense Stimulating Treasure’ Sterling silver, glass beads, resin, acrylic, amber, Tahitian pearl 165 x 110 mm One of five rings with fitted minia­ ture musical mechanisms. This one plays a minuet from one of Luigi Boccherini’s string quintets.

‘I use many different materials, both rich and poor. The forms of my jewellery vary from organic to geometric; the organic seems to prevail. Texture, pattern and colour play a big role, as does sensuality both in the shapes as well as in the use of material’.

487 NIALA ORSMOND, 2005 South Africa ‘Kruger Rand Collection’ 24ct gold, silver, copper alloy Gold 25 x 24 mm, silver 22 x 21 mm, copper alloy 30 x 23 mm Orsmond’s design intention was to encapsulate the history of money. As the first standardised unit of currency, the coin is represented by the three rings and by the materials, from the valuable gold used from ancient times to the silver-plated alloys used today. Money no longer has an intrinsic value; it is simply a tool that helps us achieve our vision.

366

367

SÜDAFRIKA

485 DANIEL KRUGER, 1998 South Africa 18ct gold, peridot 34 x 20 mm A balance of symmetry, mathematical patterns, grids and tesellating shapes characterize the design.

486 DANIEL KRUGER, 1987 South Africa Silver, emeralds, moonstones 24 x 20 mm

MAURITIUS

488 FORBES MAVROS, 2003 Mauritius Musical mechanism by Reuge, Sainte Croix, Switzerland ‘Sense Stimulating Treasure’ Sterling silver, glass beads, resin, acrylic, amber, Tahitian pearl 165 x 110 mm One of five rings with fitted minia­ ture musical mechanisms. This one plays a minuet from one of Luigi Boccherini’s string quintets.

‘I use many different materials, both rich and poor. The forms of my jewellery vary from organic to geometric; the organic seems to prevail. Texture, pattern and colour play a big role, as does sensuality both in the shapes as well as in the use of material’.

487 NIALA ORSMOND, 2005 South Africa ‘Kruger Rand Collection’ 24ct gold, silver, copper alloy Gold 25 x 24 mm, silver 22 x 21 mm, copper alloy 30 x 23 mm Orsmond’s design intention was to encapsulate the history of money. As the first standardised unit of currency, the coin is represented by the three rings and by the materials, from the valuable gold used from ancient times to the silver-plated alloys used today. Money no longer has an intrinsic value; it is simply a tool that helps us achieve our vision.

366

367

USA

497 JENNY HOLZER, 1994 USA Silver 24 x 22 mm Holzer’s truism on the body of the snake reads: ‘With You Inside Me Comes the Knowledge of My Death’.

USA

499 MARJORIE SCHICK, 2000 USA ‘Ballycotton Bay’ ring with stand Papier-mâché, wood, aluminium, blue metallic paint Ring: 125 x 90 mm; stand: 26 x 26 mm ‘The spiralling forms are reminiscent of a memorable holiday in Ireland and walking on a winding footpath through tall grasses which ended at Ballycotton Bay.’

498 IRENE METAXATOS, 2006 USA ‘Mosaic’ Sterling silver ø 25 mm The inspiration for this piece came to Metaxatos in Greece.

Pristine mosaic floors take on a different quality when the components have sunk or risen over time, creating uneven surfaces and light reflections.

384

385

USA

497 JENNY HOLZER, 1994 USA Silver 24 x 22 mm Holzer’s truism on the body of the snake reads: ‘With You Inside Me Comes the Knowledge of My Death’.

USA

499 MARJORIE SCHICK, 2000 USA ‘Ballycotton Bay’ ring with stand Papier-mâché, wood, aluminium, blue metallic paint Ring: 125 x 90 mm; stand: 26 x 26 mm ‘The spiralling forms are reminiscent of a memorable holiday in Ireland and walking on a winding footpath through tall grasses which ended at Ballycotton Bay.’

498 IRENE METAXATOS, 2006 USA ‘Mosaic’ Sterling silver ø 25 mm The inspiration for this piece came to Metaxatos in Greece.

Pristine mosaic floors take on a different quality when the components have sunk or risen over time, creating uneven surfaces and light reflections.

384

385

JAPAN

JAPAN

521 KAZUHIRO ITOH, 1994 Japan Wood, wax, platinum, iron wire 265 x 265 mm This piece explores the meaning of status and value. The iron wire gains in value and beauty when combined with the platinum.

A jewel in its own right, the ring is further enhanced when embedded in the wax, becoming a work of art.

522 KAZUHIRO ITOH, 1977 Japan Gold, white marble 26 x 26 mm Simplicity and clarity of contour describe this design. The marble is carved with perfect precision and its surface is sensuous to touch.

412

413

JAPAN

JAPAN

521 KAZUHIRO ITOH, 1994 Japan Wood, wax, platinum, iron wire 265 x 265 mm This piece explores the meaning of status and value. The iron wire gains in value and beauty when combined with the platinum.

A jewel in its own right, the ring is further enhanced when embedded in the wax, becoming a work of art.

522 KAZUHIRO ITOH, 1977 Japan Gold, white marble 26 x 26 mm Simplicity and clarity of contour describe this design. The marble is carved with perfect precision and its surface is sensuous to touch.

412

413

SÜDKOREA

SOUTH KOREA

566 SEULGI KWON, 2015 South Korea ‘Happy Bird’ Silicone, pigment, thread, plastic, paper 120 x 110 mm

567 TAEHEE IN, 2010 South Korea ‘Split in...’

Silver, zirconia, boxwood Ring 40 x 25 mm, box 52 x 57 x 30 mm

‘I am inspired by nature’s infinite possibility of creation and the organic forms of microscopic organisms. At each stage of creation, cells change in form through growth, division, and extinction, creating order and harmony within nature. Using silicone, a synthetic material that can change in texture and transparency, I express the organic movement and shape of cells with their mysterious colour and constantly changing forms.’

‘Trapped in habits, taboos and every day ideas, there is little space for creativity, any individuality is nipped in the bud. This is why I try to move away from the path of perfection and familiarity. Every piece I create has an individual character paired with a personal note.

568 SUNGHO CHO, 2010 South Korea ‘Sealing Ring’ Silver, water buffalo horn 60 x 25 mm This piece belongs to a project called The Power of Copying which aims to give the design of traditional signet rings a contemporary twist. The concept of a ring bearing Sungho Cho’s name (in the Korean Hangul alphabet) goes back to a proverb: ‘A tiger leaves its skins after death, but a man leaves his name.’

436

437

SÜDKOREA

SOUTH KOREA

566 SEULGI KWON, 2015 South Korea ‘Happy Bird’ Silicone, pigment, thread, plastic, paper 120 x 110 mm

567 TAEHEE IN, 2010 South Korea ‘Split in...’

Silver, zirconia, boxwood Ring 40 x 25 mm, box 52 x 57 x 30 mm

‘I am inspired by nature’s infinite possibility of creation and the organic forms of microscopic organisms. At each stage of creation, cells change in form through growth, division, and extinction, creating order and harmony within nature. Using silicone, a synthetic material that can change in texture and transparency, I express the organic movement and shape of cells with their mysterious colour and constantly changing forms.’

‘Trapped in habits, taboos and every day ideas, there is little space for creativity, any individuality is nipped in the bud. This is why I try to move away from the path of perfection and familiarity. Every piece I create has an individual character paired with a personal note.

568 SUNGHO CHO, 2010 South Korea ‘Sealing Ring’ Silver, water buffalo horn 60 x 25 mm This piece belongs to a project called The Power of Copying which aims to give the design of traditional signet rings a contemporary twist. The concept of a ring bearing Sungho Cho’s name (in the Korean Hangul alphabet) goes back to a proverb: ‘A tiger leaves its skins after death, but a man leaves his name.’

436

437

BEATRIZ CHADOUR-SAMPSON

BEATRIZ CHADOURSAMPSON

RINGE Beatriz Chadour-Sampson ist eine international anerkannte Schmuckhistorikerin, Autorin und Dozentin. Zu ihren Publikationen, die von der Antike bis zur Gegenwart reichen, gehören neben ihrer Dissertation über den italienischen Goldschmied Antonio Gentili da Faenza (1980) Kataloge zur Schmucksammlung des Museums für Angewandte Kunst, Köln (1985), sowie zu den historischen Ringen der Sammlung Alice und Louis Koch, Schweiz (1994). Sie wirkte als beratende Kuratorin bei der Neugestaltung der William and Judith Bollinger Jewellery Gallery im Victoria and Albert Museum, London, sowie als Gastkuratorin der dortigen Ausstellung Pearls (2013–14). Sie ist die Autorin zahlreicher Beiträge zu zeitgenössischem Schmuck, insbesondere zur Arbeit von David Watkins, Wendy Ramshaw und Friedrich Becker, und war in jüngster Zeit verantwortlich für die Katalogisierung der Inge Asenbaum Collection (ehemals Galerie am Graben) für das Dallas Museum of Art. Die Nachkommen von Alice und Louis Koch vertrauten ihr in den vergangenen 35 Jahren die Betreuung der Sammlung an, und sie begleitet die jetzigen Sammler bei ihren ­Neuerwerbungen des 20. und 21. Jahrhunderts. Heute berät sie das Schweizer National­ museum, Zürich, wo die Sammlung künftig aufbewahrt wird.

RINGS

DES 20. UND 21. JAHRHUNDERTS DIE SAMMLUNG ALICE UND LOUIS KOCH

OF THE 20TH AND 21ST CENTURIES THE ALICE AND LOUIS KOCH COLLECTION

BEATRIZ CHADOUR-SAMPSON

RINGS

OF THE 20TH AND 21ST CENTURIES THE ALICE AND LOUIS KOCH COLLECTION

The Alice and Louis Koch Collection of finger rings was assembled four generations ago by a jeweller from Frankfurt am Main, once described as ‘the German Cartier and Fabergé’. By 1909 the collection of 1,722 rings, ranging in date from classical antiquity to 1900, included only one ring by a contemporary jeweller, René Lalique. Over the past 25 years the fourth generation of the family have continued collecting where Louis Koch and his wife Alice left off, acquiring rings from the 20th and 21st centuries.

This publication will present the complete collection of post-1900 rings now kept in the Swiss National Museum in Zurich. 589 rings by artist jewellers from around the world document the universal appeal of this jewel and how these miniature works of art have evolved into modern sculptures. The rings showcase a diversity of taste, imagery, materials and techniques and a wealth of imagination and individuality.

RINGE

DES 20. UND 21. JAHRHUNDERTS DIE SAMMLUNG ALICE UND LOUIS KOCH

Based in England, Beatriz Chadour-Sampson is an international jewellery historian, author and lecturer. Her publications range from the classical world to the present day and include her doctoral thesis on the Italian goldsmith Antonio Gentili da Faenza (1980) and catalogues for the jewellery collection of the Museum für Angewandte Kunst, Cologne (1985) and for the historical rings in the Alice and Louis Koch Collection, Switzerland (1994).

She was consultant curator for the redesign of the William and Judith Bollinger Jewellery Gallery at the Victoria and Albert Museum, London and guest curator of its Pearls exhibition (2013–14). She has written extensively on contemporary jewellery, especially the work of David Watkins, Wendy Ramshaw and Friedrich Becker, and recently catalogued the Inge Asenbaum Collection (formerly Galerie am Graben) for the Dallas Museum of Art. The descendants of Alice and Louis Koch have entrusted her as curator of the collection for the past thirty-five years and she has assisted the present collectors with new acquisitions from the 20th and 21st centuries. Today she continues to advise the Swiss National Museum, Zurich, where the collection is kept today.

ISBN 978-3-89790-516-0

arnoldsche

arnoldsche

Der Grundstein zur Ringsammlung Alice und Louis Koch wurde vor vier Generationen von einem Juwelier aus Frankfurt am Main gelegt, der einst als „der deutsche Cartier und Fabergé“ galt. Im Jahr 1909 gehörte zu der von der Antike bis 1900 reichenden, insgesamt 1722 Fingerringe umfassenden Sammlung nur ein einziger Ring eines zeitgenössischen Goldschmiedes, René Laliqe. In den vergangenen fünfundzwanzig Jahren führte die vierte Generation der Familie die Sammlung von da an weitergeführt, wo Louis Koch und dessen Frau Alice einst aufhörten, und Ringe aus dem 20. und 21. Jahrhundert erworben. Dieser Band liefert einen Überblick über die vollständige, heute im Schweizer Nationalmuseum in Zürich befindliche Sammlung der nach 1900 entstandenen Ringe. 589 Arbeiten von Schmuckkünstlern aus aller Herren Länder zeugen von der universellen Anziehungskraft dieser speziellen Schmuckart und vermitteln einen Eindruck von der Entwicklung dieser winzigen Kunstwerke zu modernen Skulpturen. Die Ringe sind beeindruckend vielseitig in Geschmack, Sym­ bolik, Material und Technik und zeigen einen unvergleichlichen Reichtum an Phantasie und Individualität.

arnoldsche