arnoldsche
462 Ukjent/Unknown 476 Grepstad
462 Ukjent/Unknown 455 Andreassen 426 Holtom 490 Lund
462
462
455
426
426
490
462 476
462
462 462
24
462
25
462
462 Ukjent/Unknown 476 Grepstad
462 Ukjent/Unknown 455 Andreassen 426 Holtom 490 Lund
462
462
455
426
426
490
462 476
462
462 462
24
462
25
462
358 Solgaard
179 Hardenberg
179
358
34
35
358 Solgaard
179 Hardenberg
179
358
34
35
235, 241 Künzli 76 Bronger
51 Blåvarp
241
76
235
78
51
235, 241 Künzli 76 Bronger
51 Blåvarp
241
76
235
78
51
403 Vigeland, Tone 501 Noyons 338 Scharff
13 Appel 201 Ishiyama
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501
201
13
338
80
81
403 Vigeland, Tone 501 Noyons 338 Scharff
13 Appel 201 Ishiyama
403
501
201
13
338
80
81
178 Hansen 3 Adsen
298 Noten
253 Lignel
3
178
253 298
253
146
147
178 Hansen 3 Adsen
298 Noten
253 Lignel
3
178
253 298
253
146
147
313 Prins 481 Arayavanish
273 Mehus
448 Dam 103 Buck
313
273
448 481
161
103
313 Prins 481 Arayavanish
273 Mehus
448 Dam 103 Buck
313
273
448 481
161
103
198, 199, 200 Ishikawa 257 Lindberg
384 Talbot
198
384 257
200
199
198
199
198, 199, 200 Ishikawa 257 Lindberg
384 Talbot
198
384 257
200
199
198
199
337 Sarneel 378 Svensson
344 Schobinger
337
344
378
204
337 Sarneel 378 Svensson
344 Schobinger
337
344
378
204
32 Bielander 348 Schrijer 72 Bronger
15 Atrops
32
348
15
72
220
221
32 Bielander 348 Schrijer 72 Bronger
15 Atrops
32
348
15
72
220
221
483 Prühl
16 Atrops
452 Aune
16 452
483
246
483 Prühl
16 Atrops
452 Aune
16 452
483
246
467 Yang
357 Smith
467
357
248
249
467 Yang
357 Smith
467
357
248
249
494 Bernal 492 Tiitsar
525 Wang
496 Bliss
496
494
525 492
266
494 Bernal 492 Tiitsar
525 Wang
496 Bliss
496
494
525 492
266
518 Melland 538 Cecchi
543 Stofer 546 Vági 270 Mehus
518
543
546
538
270
272
273
518 Melland 538 Cecchi
543 Stofer 546 Vági 270 Mehus
518
543
546
538
270
272
273
527 Conversation Piece 534 Stach
536 Schrijer 2 Giorgadse 539 Conversation Piece
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527
2
539 534
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527 Conversation Piece 534 Stach
536 Schrijer 2 Giorgadse 539 Conversation Piece
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527
2
539 534
274
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An interest in jewellery is born
396
As a child, I was given a pink plastic jewellery box decorated with flowers, and in this I started collecting my jewels. I still have it. It resembles a box depicted by the painter Hilde Vemren in a series of memorabilia from the 1950s [396]. A few years later, one of my aunts sent a package from America which contained, in addition to a dress and stiff petticoat, a large, shiny medallion. I kept it in the jewellery box. It soon had the company of brooches and necklaces, received over several years as regular gifts from Lorentz in Oslo. This was cheap jewellery made of plated nickel or plastic. I never met Lorentz Larsen, but my mother got to know him while studying at the teacher training college at Sagene. During her student years in Oslo, she was a regular guest in the house of Albert and Ragnhild Holsen at Glads vei 68, in the district of Grefsen. A prison chaplain and active member of the Blue Cross charity, Albert was always a welcoming host. The couple shared their house with two of Ragnhild’s siblings, one of whom was Lorentz, who was then in his forties. He was what one might describe as a “simple” soul, someone who appreciated it when others took the time to talk to him. My mother encouraged us children to send him 297
An interest in jewellery is born
396
As a child, I was given a pink plastic jewellery box decorated with flowers, and in this I started collecting my jewels. I still have it. It resembles a box depicted by the painter Hilde Vemren in a series of memorabilia from the 1950s [396]. A few years later, one of my aunts sent a package from America which contained, in addition to a dress and stiff petticoat, a large, shiny medallion. I kept it in the jewellery box. It soon had the company of brooches and necklaces, received over several years as regular gifts from Lorentz in Oslo. This was cheap jewellery made of plated nickel or plastic. I never met Lorentz Larsen, but my mother got to know him while studying at the teacher training college at Sagene. During her student years in Oslo, she was a regular guest in the house of Albert and Ragnhild Holsen at Glads vei 68, in the district of Grefsen. A prison chaplain and active member of the Blue Cross charity, Albert was always a welcoming host. The couple shared their house with two of Ragnhild’s siblings, one of whom was Lorentz, who was then in his forties. He was what one might describe as a “simple” soul, someone who appreciated it when others took the time to talk to him. My mother encouraged us children to send him 297
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democratises the genre of gold jewellery and the aura that goes with it. The use of gold leaf also raises the question of whether this “gold jewellery” should be regarded as genuine or counterfeit, copy or original. Another artist who has used the badge as a conceptual starting point for affordable brooches is Noon Passama. Admittedly, her “Extra Buttons”, as she calls them, are neither flat nor circular but plump, oval – and lightweight [304]. The connection to pin badges is only apparent on the back, which is fitted with a plastic disc and pin clasps that resemble safety pins. The form was first modelled in wax using computer technology. Like many 21st-century jewellery artists, Passama uses methods such as rapid prototyping and 3D printing. The prototype is then reproduced in copper by means of electroforming and finally spray-painted. The use of industrial techniques allows rapid and numerous reproductions. At its exhibition stand in Munich in 2012, Galerie Ra had an entire wall covered with “Extra Buttons” in various shapes and colours. As a young man, Volker Atrops made his own punk-inspired badges, which he has since followed up with several series that resemble neither mass-produced political statements nor exclusive art objects, despite often being described as brooches in exhibition catalogues. My own brooch has the title “Hiesiger” (2016), a German word meaning “a local” or “someone from hereabouts” [16]. Three or four centuries ago, Atrops’s home region was famous for a type of ceramic with a fixed colour scheme and decorative style that was central to the local identity. Although Atrops has pointed out the absurdity of drawing a bird on a plate and surrounding it with circles, the act of highlighting the local in a world dominated by international, standardised and mass-produced goods is in itself a political gesture.40 Atrops received the Herbert Hofmann Prize at the Schmuck 2017 exhibition in Munich for the series to which “Hiesiger” belongs. In its justification, the jury drew attention to the friction these pieces produce in relation to tradition: At first glance, they are reminiscent of domestic arte-
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facts painted in some European folk art style. Yet there is something incongruous about them: for the underlying material is not pottery or glass, as we might expect, but plastic. A further anomaly is their colourfulness and the layering of drawings. Blotches, stars and dashes subvert the folkloristic reverie and transform the brooches into badges of street culture.41 These are brooches that invite us to question cultural codes, the jury maintains, adding: “At the same time they offer a reflection on tradition, identity and contemporary making.”42 An item similar to the pin badge is the name tag, which identifies a person by name or professional function. The Swedish jewellery artist Auli Laitinen plays on this type of object in brooches with texts such as “I Am Swedish” [244] and “I Am Human” [521]. With these, she seeks to prompt conversations about identity and nationality, not least with regard to who has the right to call themselves Swedish. “Is it possible to question prejudice and xenophobia through jewellery?” was one of the questions she and twenty-eight other artists explored in the exhibition Alla, which toured Sweden in 2012 and 2013. Taking the brooch as their shared medium, they “wanted to stimulate debates about identity, xenophobia and notions of Swedishness”.43 As mentioned, Laitinen’s brooches resemble the typical name tags worn by people in public institutions. When used as jewellery, the effect is ironical. For these are not handmade brooches but rather mass-produced items ordered by the artist. But the technique underlines the content. The choice of an impersonal, institutional device can be interpreted, on the one hand, as a “critique” of the fact that decisions with momentous consequences, such as whether or not to issue a residence permit or citizenship, are taken by anonymous bureaucrats and, on the other, as an indictment of a society characterised by too much conformity. Questions about identity are closely related to investigations of concepts such as “authentic” and “genuine”, and consequently they produce a tension between the
304
16
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democratises the genre of gold jewellery and the aura that goes with it. The use of gold leaf also raises the question of whether this “gold jewellery” should be regarded as genuine or counterfeit, copy or original. Another artist who has used the badge as a conceptual starting point for affordable brooches is Noon Passama. Admittedly, her “Extra Buttons”, as she calls them, are neither flat nor circular but plump, oval – and lightweight [304]. The connection to pin badges is only apparent on the back, which is fitted with a plastic disc and pin clasps that resemble safety pins. The form was first modelled in wax using computer technology. Like many 21st-century jewellery artists, Passama uses methods such as rapid prototyping and 3D printing. The prototype is then reproduced in copper by means of electroforming and finally spray-painted. The use of industrial techniques allows rapid and numerous reproductions. At its exhibition stand in Munich in 2012, Galerie Ra had an entire wall covered with “Extra Buttons” in various shapes and colours. As a young man, Volker Atrops made his own punk-inspired badges, which he has since followed up with several series that resemble neither mass-produced political statements nor exclusive art objects, despite often being described as brooches in exhibition catalogues. My own brooch has the title “Hiesiger” (2016), a German word meaning “a local” or “someone from hereabouts” [16]. Three or four centuries ago, Atrops’s home region was famous for a type of ceramic with a fixed colour scheme and decorative style that was central to the local identity. Although Atrops has pointed out the absurdity of drawing a bird on a plate and surrounding it with circles, the act of highlighting the local in a world dominated by international, standardised and mass-produced goods is in itself a political gesture.40 Atrops received the Herbert Hofmann Prize at the Schmuck 2017 exhibition in Munich for the series to which “Hiesiger” belongs. In its justification, the jury drew attention to the friction these pieces produce in relation to tradition: At first glance, they are reminiscent of domestic arte-
244
521
317
facts painted in some European folk art style. Yet there is something incongruous about them: for the underlying material is not pottery or glass, as we might expect, but plastic. A further anomaly is their colourfulness and the layering of drawings. Blotches, stars and dashes subvert the folkloristic reverie and transform the brooches into badges of street culture.41 These are brooches that invite us to question cultural codes, the jury maintains, adding: “At the same time they offer a reflection on tradition, identity and contemporary making.”42 An item similar to the pin badge is the name tag, which identifies a person by name or professional function. The Swedish jewellery artist Auli Laitinen plays on this type of object in brooches with texts such as “I Am Swedish” [244] and “I Am Human” [521]. With these, she seeks to prompt conversations about identity and nationality, not least with regard to who has the right to call themselves Swedish. “Is it possible to question prejudice and xenophobia through jewellery?” was one of the questions she and twenty-eight other artists explored in the exhibition Alla, which toured Sweden in 2012 and 2013. Taking the brooch as their shared medium, they “wanted to stimulate debates about identity, xenophobia and notions of Swedishness”.43 As mentioned, Laitinen’s brooches resemble the typical name tags worn by people in public institutions. When used as jewellery, the effect is ironical. For these are not handmade brooches but rather mass-produced items ordered by the artist. But the technique underlines the content. The choice of an impersonal, institutional device can be interpreted, on the one hand, as a “critique” of the fact that decisions with momentous consequences, such as whether or not to issue a residence permit or citizenship, are taken by anonymous bureaucrats and, on the other, as an indictment of a society characterised by too much conformity. Questions about identity are closely related to investigations of concepts such as “authentic” and “genuine”, and consequently they produce a tension between the
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4 A5, SE “Aeon Profit, Piano Forte” Pendant, 2010 Piano keyboards, wood. L 23 cm © Adam Grinovich, Annika Pettersson, Romina Fuentes The members of A5 are Adam Grinovich (b. 1981), Annika Pettersson (b. 1981) and Romina Fuentes (b. 1978). 3 Adsen, Åshild (b. 1972), NO “Modern Girl” Necklace, 1997 Oxidised silver, stainless steel. Ø 27 cm © Åshild Adsen “Modern Girl” was part of Adsen’s MA project at Sheffield Hallam University, in which she was playing with sexual stereotypes. By adorning herself with phallus symbols, the woman is showing off her sexual conquests – something that she found was okay for the guys but not for the girls. 5 Ahl, Zandra (b. 1975), SE “Ceramic Lamp”, 2004 Raw glazed earthenware, metal chain. 19 × 14 × 14.5 cm, L chain 77 cm © Zandra Ahl
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6 Aleborg, Pia (b. 1974), SE “Take Your Seat!” Brooch, 2001 Leather, horsehair, rivets, plywood. 15 × 10 cm © Pia Aleborg
13 Appel, Nicolai (b. 1966), DK “Spots in the Air” Necklace, 1998 Neoprene, rubber cord, silver. L 88 cm © Nicolai Appel
7 Aleborg, Pia (b. 1974), SE “Brown Branches” Earrings, 2005 Nylon-flocked silver. L 9.5 cm © Pia Aleborg
481 Arayavanish, Nutre (b. 1981), TH “Postable Jewellery” DIY ring, 2007 Wood. 10 × 14 cm © Nutre Arayavanish
452 Aune, Sigrun (b. 1946), NO Ring, 2017 Silver. H 1.9 cm © Sigrun Aune
14 Asbjørnsen, Marie (b. 1973), NO “Another Life” Ring, 2003 Recycled aluminium cans, steel wire. H 2 cm © Marie Asbjørnsen / BONO, Oslo 2020
18 Bak, Kirsten (b. 1977), DK “Baks Jewellery” Neckpiece, 2007 Leather, 925 silver from sustainable mining. L 110 cm © Kirsten Bak
17 Atrops, Volker (b. 1965), DE Earrings, 2015 Gold. L 4.3 cm © Volker Atrops
19 Bakker, Gijs (b. 1942), NL “Circle in Circle” Bracelet, 1967–89 Acrylic. Ø 11.5 × H 4.5 cm © Gijs Bakker / BONO, Oslo 2020
8 Alm, Tobias (b. 1985), SE “Traces of Function 11.19” Pendant, 2011 Wood, cotton. L pendant 12 cm © Tobias Alm 9 Andersen, Ingema (b. 1944), NO Brooch, 1994 Silver, paper, laquer. 8.5 × 4.3 × 1 cm © Ingema Andersen 11 Andersson, Karin Roy (b. 1983), SE “Catching Big Fish” Ring, 2014 18 ct gold, 13.3 g. H 2.8 cm © Karin Roy Andersson 455 Andreassen, Aase Rønnaug Dørumsgaard (f. 1946), NO «Støtt kvinnenes krav. Selvbestemt abort» Jakkemerke, 1970-talet.
15 Atrops, Volker (b. 1965), DE “Piece by Piece” Badge, 2016 Laminated magazine clipping. 11.5 × 11 cm Edition 10 of 25 © Volker Atrops Made for Current Obsession, the Vernacular issue 2016.
16 Atrops, Volker (b. 1965), DE “Hiesiger” Brooch, 2016 Reverse glass painting, plastic, stainless steel. 6.5 × 6.5 × 1 cm © Volker Atrops
20 Bauhuis, Peter (b. 1965), DE Ring, 2004 Silver. 4 × 2 × 2 cm © Peter Bauhuis 549 Bauhuis, Peter (b. 1965), DE “RELAX! it’s just jewellery” Badge, 2016. 4 × 4 cm © Peter Bauhuis
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4 A5, SE “Aeon Profit, Piano Forte” Pendant, 2010 Piano keyboards, wood. L 23 cm © Adam Grinovich, Annika Pettersson, Romina Fuentes The members of A5 are Adam Grinovich (b. 1981), Annika Pettersson (b. 1981) and Romina Fuentes (b. 1978). 3 Adsen, Åshild (b. 1972), NO “Modern Girl” Necklace, 1997 Oxidised silver, stainless steel. Ø 27 cm © Åshild Adsen “Modern Girl” was part of Adsen’s MA project at Sheffield Hallam University, in which she was playing with sexual stereotypes. By adorning herself with phallus symbols, the woman is showing off her sexual conquests – something that she found was okay for the guys but not for the girls. 5 Ahl, Zandra (b. 1975), SE “Ceramic Lamp”, 2004 Raw glazed earthenware, metal chain. 19 × 14 × 14.5 cm, L chain 77 cm © Zandra Ahl
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6 Aleborg, Pia (b. 1974), SE “Take Your Seat!” Brooch, 2001 Leather, horsehair, rivets, plywood. 15 × 10 cm © Pia Aleborg
13 Appel, Nicolai (b. 1966), DK “Spots in the Air” Necklace, 1998 Neoprene, rubber cord, silver. L 88 cm © Nicolai Appel
7 Aleborg, Pia (b. 1974), SE “Brown Branches” Earrings, 2005 Nylon-flocked silver. L 9.5 cm © Pia Aleborg
481 Arayavanish, Nutre (b. 1981), TH “Postable Jewellery” DIY ring, 2007 Wood. 10 × 14 cm © Nutre Arayavanish
452 Aune, Sigrun (b. 1946), NO Ring, 2017 Silver. H 1.9 cm © Sigrun Aune
14 Asbjørnsen, Marie (b. 1973), NO “Another Life” Ring, 2003 Recycled aluminium cans, steel wire. H 2 cm © Marie Asbjørnsen / BONO, Oslo 2020
18 Bak, Kirsten (b. 1977), DK “Baks Jewellery” Neckpiece, 2007 Leather, 925 silver from sustainable mining. L 110 cm © Kirsten Bak
17 Atrops, Volker (b. 1965), DE Earrings, 2015 Gold. L 4.3 cm © Volker Atrops
19 Bakker, Gijs (b. 1942), NL “Circle in Circle” Bracelet, 1967–89 Acrylic. Ø 11.5 × H 4.5 cm © Gijs Bakker / BONO, Oslo 2020
8 Alm, Tobias (b. 1985), SE “Traces of Function 11.19” Pendant, 2011 Wood, cotton. L pendant 12 cm © Tobias Alm 9 Andersen, Ingema (b. 1944), NO Brooch, 1994 Silver, paper, laquer. 8.5 × 4.3 × 1 cm © Ingema Andersen 11 Andersson, Karin Roy (b. 1983), SE “Catching Big Fish” Ring, 2014 18 ct gold, 13.3 g. H 2.8 cm © Karin Roy Andersson 455 Andreassen, Aase Rønnaug Dørumsgaard (f. 1946), NO «Støtt kvinnenes krav. Selvbestemt abort» Jakkemerke, 1970-talet.
15 Atrops, Volker (b. 1965), DE “Piece by Piece” Badge, 2016 Laminated magazine clipping. 11.5 × 11 cm Edition 10 of 25 © Volker Atrops Made for Current Obsession, the Vernacular issue 2016.
16 Atrops, Volker (b. 1965), DE “Hiesiger” Brooch, 2016 Reverse glass painting, plastic, stainless steel. 6.5 × 6.5 × 1 cm © Volker Atrops
20 Bauhuis, Peter (b. 1965), DE Ring, 2004 Silver. 4 × 2 × 2 cm © Peter Bauhuis 549 Bauhuis, Peter (b. 1965), DE “RELAX! it’s just jewellery” Badge, 2016. 4 × 4 cm © Peter Bauhuis
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424 Bedin, Martine (b. 1957), FR/IT “Charlotte” Cabinet, 1987 Birdseye maple veneer, maple veneer, stained maple veneer, lacquered wood. 134.6 × 119.4 × 65.4 cm Produced by Memphis © Martine Bedin / BONO, Oslo 2020 The cabinet features one flip-top compartment, five drawers and two drop-down doors concealing storage. 22 Behrens, Millie (b. 1958), NO Neckpiece, 1990 Silver, gold, copper, steel wire. 26 × 22.5 cm © Millie Behrens 21 Behrens, Millie (b. 1958), NO Brooch, 1991 Silver, gold, iron, copper. 9.5 × 3.3 cm © Millie Behrens 24 Behrens, Millie (b. 1958), NO “Blonde” Earrings, 1993 Silver, enamel. L 5.8 cm © Millie Behrens Designed for David-Andersen, Oslo. In production until the company closed in 2001.
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23 Behrens, Millie (b. 1958), NO “Pebble Stories” Earrings, 2016 Silver, pebbles. L 5 cm © Millie Behrens
29 Berg, Inger Marie (b. 1955), NO Necklace, 1997 PVC, silver. L 48 cm © Inger Marie Berg / BONO, Oslo 2020
28 Berg, Inger Marie (b. 1955), NO Earrings, 1987 Nylon bristles, silver. 7 × 4 × 4.5 cm © Inger Marie Berg / BONO, Oslo 2020
494 Bernal, Macarena (b. 1982), CL/NZ “Two Links on a Cord” Necklace, 2017 Polymer resin, pigment, textile. L 53 cm © Macarena Bernal
25 Berg, Inger Marie (b. 1955), NO Bracelet, 1988 PVC sheet, silver rivets. Ø 11 cm © Inger Marie Berg / BONO, Oslo 2020
31 Bevan, Renee (b. 1980), NZ “Blush Rose” Brooch, 2009/2017 Walnut wood, oxidised silver, paper, polyurethane, stainless-steel wire. 10 × 9 × 3.5 cm © Renee Bevan
27 Berg, Inger Marie (b. 1955), NO Earrings, 1988 PVC, silver. 4.5 × 8 cm © Inger Marie Berg / BONO, Oslo 2020 30 Berg, Inger Marie (b. 1955), NO Earrings, 1988 PVC, silver. Ø 4 cm © Inger Marie Berg / BONO, Oslo 2020 26 Berg, Inger Marie (b. 1955), NO Brooch, 1992 PVC, silver. 10 × 2.5 × 0.9 cm © Inger Marie Berg / BONO, Oslo 2020
35 Bielander, David (b. 1966), CH/DE “Slug” Brooch, 2004– Patinated silver repoussé. L 9.5 cm Unlimited edition © David Bielander 33 Bielander, David (b. 1966), CH/DE “Scarab / Dung Beetle” Brooch, 2007 Steel (teaspoon), gold pin. 4.3 × 3 × 2.5 cm Edition of 50 © David Bielander
37 Bielander, David (b. 1966), CH/DE “Thonet_01 (‘Wienerle’)” Necklace, 2009/2011 Wood from the chair Thonet no. 14 (1859 / Bugholz), paint. L 54 cm © David Bielander 36 Bielander, David (b. 1966), CH/DE “Black Forest” Necklace, 2011 Anodised titanium, silver chain. L 15 cm Edition of 12 © David Bielander 38 Bielander, David (b. 1966), CH/DE “Mamba” Necklace, 2012 Anodised titanium, gold. L 100 cm Edition of 12 © David Bielander 34 Bielander, David (b. 1966), CH/DE “Moth” Brooch, 2014 Steel (from disposable lighter), gold. L 3 cm Unlimited edition © David Bielander 32 Bielander, David (b. 1966), CH/DE “Cardboard” Bracelet, 2015 Patinated silver, white gold staples. L 9 cm © David Bielander
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424 Bedin, Martine (b. 1957), FR/IT “Charlotte” Cabinet, 1987 Birdseye maple veneer, maple veneer, stained maple veneer, lacquered wood. 134.6 × 119.4 × 65.4 cm Produced by Memphis © Martine Bedin / BONO, Oslo 2020 The cabinet features one flip-top compartment, five drawers and two drop-down doors concealing storage. 22 Behrens, Millie (b. 1958), NO Neckpiece, 1990 Silver, gold, copper, steel wire. 26 × 22.5 cm © Millie Behrens 21 Behrens, Millie (b. 1958), NO Brooch, 1991 Silver, gold, iron, copper. 9.5 × 3.3 cm © Millie Behrens 24 Behrens, Millie (b. 1958), NO “Blonde” Earrings, 1993 Silver, enamel. L 5.8 cm © Millie Behrens Designed for David-Andersen, Oslo. In production until the company closed in 2001.
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23 Behrens, Millie (b. 1958), NO “Pebble Stories” Earrings, 2016 Silver, pebbles. L 5 cm © Millie Behrens
29 Berg, Inger Marie (b. 1955), NO Necklace, 1997 PVC, silver. L 48 cm © Inger Marie Berg / BONO, Oslo 2020
28 Berg, Inger Marie (b. 1955), NO Earrings, 1987 Nylon bristles, silver. 7 × 4 × 4.5 cm © Inger Marie Berg / BONO, Oslo 2020
494 Bernal, Macarena (b. 1982), CL/NZ “Two Links on a Cord” Necklace, 2017 Polymer resin, pigment, textile. L 53 cm © Macarena Bernal
25 Berg, Inger Marie (b. 1955), NO Bracelet, 1988 PVC sheet, silver rivets. Ø 11 cm © Inger Marie Berg / BONO, Oslo 2020
31 Bevan, Renee (b. 1980), NZ “Blush Rose” Brooch, 2009/2017 Walnut wood, oxidised silver, paper, polyurethane, stainless-steel wire. 10 × 9 × 3.5 cm © Renee Bevan
27 Berg, Inger Marie (b. 1955), NO Earrings, 1988 PVC, silver. 4.5 × 8 cm © Inger Marie Berg / BONO, Oslo 2020 30 Berg, Inger Marie (b. 1955), NO Earrings, 1988 PVC, silver. Ø 4 cm © Inger Marie Berg / BONO, Oslo 2020 26 Berg, Inger Marie (b. 1955), NO Brooch, 1992 PVC, silver. 10 × 2.5 × 0.9 cm © Inger Marie Berg / BONO, Oslo 2020
35 Bielander, David (b. 1966), CH/DE “Slug” Brooch, 2004– Patinated silver repoussé. L 9.5 cm Unlimited edition © David Bielander 33 Bielander, David (b. 1966), CH/DE “Scarab / Dung Beetle” Brooch, 2007 Steel (teaspoon), gold pin. 4.3 × 3 × 2.5 cm Edition of 50 © David Bielander
37 Bielander, David (b. 1966), CH/DE “Thonet_01 (‘Wienerle’)” Necklace, 2009/2011 Wood from the chair Thonet no. 14 (1859 / Bugholz), paint. L 54 cm © David Bielander 36 Bielander, David (b. 1966), CH/DE “Black Forest” Necklace, 2011 Anodised titanium, silver chain. L 15 cm Edition of 12 © David Bielander 38 Bielander, David (b. 1966), CH/DE “Mamba” Necklace, 2012 Anodised titanium, gold. L 100 cm Edition of 12 © David Bielander 34 Bielander, David (b. 1966), CH/DE “Moth” Brooch, 2014 Steel (from disposable lighter), gold. L 3 cm Unlimited edition © David Bielander 32 Bielander, David (b. 1966), CH/DE “Cardboard” Bracelet, 2015 Patinated silver, white gold staples. L 9 cm © David Bielander
With the jewellery artist Tone Vigeland on the occasion of her appointment as Commander of the Order of St. Olav in Oslo, in 1996. I am wearing a brooch by Konrad Mehus [264].
Earrings by Reiko Ishiyama [201], bought at Electrum in London in 1998.
With the jewellery artist Tone Vigeland on the occasion of her appointment as Commander of the Order of St. Olav in Oslo, in 1996. I am wearing a brooch by Konrad Mehus [264].
Earrings by Reiko Ishiyama [201], bought at Electrum in London in 1998.