Visitor´s guide The Jewellers Art - DIVA Antwerp - English

Revolutionary jewellery from the 60s and 70s

DIVA, museum for diamonds, jewellery and silver 30.10.2020 - 14.03.2021

Content The Jeweller’s Art Pearls Nature

Transito Boutique

Wild Gold

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Belgian Context

Space Age

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Visual art & Italian Avant Garde

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DIVA agenda

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Body Sculpture

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Gerda Flöckinger

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Andrew Grima

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An influential exhibition

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The Sixties

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Astrology

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Ancient cultures Colophon

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ROOM 1

The Jeweller’s Art

Revolutionary jewellery from the 60s and 70s The 1960s and 70s have gone down in history as a period of youthful rebellion and radical cultural change. A new trend in the jewellery sector was part of that zeitgeist. Rock ‘n’ roll, disco, the Vietnam War, the assassination of President Kennedy, the civil rights movement, the emancipation of women and of homosexuals, the widespread use of psychedelic drugs and the concept of free love are all associated with those tumultuous decades. From space age-inspired earrings to hippie bead necklaces, the jewellery expressed individuality, non-conformism and the wearer’s aesthetic, political and intellectual values.

As well as the inexpensive costume jewellery that reflected those attitudes and was available to most, the designers of more costly jewels also adapted to the times. Young jewellery designers no longer wanted to make the sort of sedate jewellery that was seen as a fashion accessory or that was so precious, it needed to be kept in a safe.

They regarded themselves as artists and their jewellery as an art form.

The designers created abstract jewellery using gold with organic and asymmetrical forms, often inspired by nature or by social trends and developments in science. As well as gold, they used unconventional materials and the texture and scale of their designs were unrivalled.

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The jewellery designers and makers in those vibrant times were uncompromising in their vision. They took jewellery to a whole new artistic level, paralleling the radical changes in society which ran through those decades.

The jewellery on show derives from an important private collection, put together over the years by Kimberly Klosterman from Cincinnati in the United States. More than a hundred pieces of jewellery represent the work of international and independent jewellery designers and jewellery houses. Pieces from DIVA’s collection provide a Belgian context, while the exhibition set contributes to a contemporary interpretation of the sixties and seventies.

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The The Six Six ties ties Young people were targeted as an interesting new audience.

In the fifties and sixties, their higher incomes rapidly increased their economic power and this fuelled a new sense of identity and the need to express it. The teenager was a ground-breaking concept and for the first time in history youth acquired a face and a voice of its own. This led to a veritable revolution in music, fashion and design, including jewellery, which became less formal as a result of influences in nature, visual art and developments in the natural sciences.

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jewellery were not so much for eternity but for the moment

What really made this jewellery innovative and revolutionary was the break with tradition. The generally accepted rules of the jewellery profession were flouted and, in the course of the sixties, jewellery became as unconventional as the mini-skirt.

Fascinated by interesting colours and the application of unconven­tional materials, the modern jewellery designers came up with radical designs, the likes of which had never been seen before. Three-dimensional forms, quirky textures and large (uncut) stones made for wearable sculptures.

Though there was growing prosperity after the Second World War, in this new social climate there was a slight reluctance to flaunt that prosperity. Jewellery in which diamonds and precious stones featured prominently spent more and more time in the safe. Modern jewellery was made of yellow gold and cheaper and unusual materials such as tiger’s eye, amber, meteorite and fossils. These items were not so much for eternity but for the moment. This gave designers greater freedom and flexibility, which manifested itself in expressive, artistic jewellery.

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Pearls PEDESTAL ON TABLE

Andrew Grima

Andrew Grima (1921-2007) Italy, worked in United Kingdom necklace and earrings • 1975 gold, pearl, diamond

What at first glance may seem to be a classic set of a pearl necklace and pearl earrings is on closer inspection clearly something else. Just look at the irregularly shaped pearls in a series of soft colours. The irregular and ‘wild’ gold creates a sense of movement and vitality, which is both expressive and unique. It is this style that changed attitudes to modern jewellery inter­ nationally in the sixties.

Wild Gold

In the sixties jewellery was designed to capture the beauty of nature and look as if it had been found in nature. Designers frequently made use of so-called ‘wild’ or ‘raw’ gold, which has its own quirky structure, but also a harmonic play of lines and forms. ‘Wild’ gold can mimic the shape of tree roots, seaweed or moss and often has a high gold content: 22 carats. This gives the impression of being pure gold in its original form as gold nugget.

Interestingly, designers even set diamonds in ‘wild’ yellow gold.

White gold or platinum emphasizes the white colour of the diamond and so was the most popular choice.

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TABLE

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Damiano Grassi Damiani (1934-1996) • Italy necklace with pendant/brooch • 1972 gold, dioptase, lapis lazuli, diamond

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Romolo Grassi (1913-1991) • Italy necklace with pendant •1960s gold, diamond, emerald

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John Victor Rørvig (1920-2006) • Denmark ring • 1960s gold, peridot, diamond

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Jean-Claude Champagnat (1923-1980s) France • brooch • 1960s gold, diamond

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Pierre Sterlé (1905-1978) • France brooch • ca. 1967 gold, emerald, diamond

Björn Weckström (°1935) • Finland necklace with pendant • 1969 gold, pearl 7

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Fernand Demaret (1924-2013) • Belgium brooch/pendant • ca. 1960 gold, amethyst, topaz, sapphire, opal

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Arthur King (1921-1991) • United States necklace and ring • early 1970s gold, pearl, diamond

Wander & Company (1921 - 1980s) United States • earrings • ca. 1966 gold, diamond 8

N A T U R E

jewellery that looked as if it had been found in nature Nature was a major source of inspiration for jewellery designers in the sixties. This was nothing new, but the way it was applied by the designers was.

The objective was to design jewellery that looked as if it had been found in nature.

This usually resulted in asymmetrical and whimsical compositions using ‘raw’ or ‘wild’ gold and uneven surfaces. Natural materials such as pearls, coral and ivory were often used, but so too were more unusual materials such as amber, fossils, meteorite and dinosaur bone.

Typical of most designs from the sixties was the use of uncut stones and minerals, strange accumulations and seemingly chaotic structures. Clarity and the quality of precious stones were less important, it was all about colour, texture and form. These elements contributed to the ‘naturalness’ of the jewellery and were a clear departure from the symmetrical and polished jewels of previous decades.

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TABLE

James Arnold Frew (1912-2008) • United States ring • late 1960 gold, pearl, diamond

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Barbara Anton (1926-2007) • United States ring • late 1960s moss agate, gold, pearl, diamond

Gübelin (est. 1854) • Switzerland necklace, bracelet and earrings • 1960s gold, abalone shell, pearl 10

Roger Lucas (°1936) • Canada ring, for Cartier • 1969 gold, diamond

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Arthur King (1921-1991) • United States double ring • late 1960s gold, citrine, pearl, quartz, diamond

Charles de Temple (°1929) • United States, worked in United Kingdom reversible necklace and earrings • 1977 gold, diamond, ruby

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Arthur King (1921-1991) • United States bracelet and ring • 1977 gold, onyx, carnelian, diamond

Gübelin (est. 1854) • Switzerland bracelet • 1960s gold, abalone shell

This was Barbara Anton’s own version of a pearl necklace. Compared to a traditional pearl necklace from the fifties, this is a sumptuous design. Anton used irregularly shaped pearls in a variety of naturally occurring pastel shades, which are held together by seaweed-like tendrils of ‘wild’ gold.

The back is just as beautifully crafted as the front and the necklace is hinged and flexible so that it rests comfortably on the neck. Unsurprisingly, in 1966 Anton won first prize for the “outstanding design” of this necklace in the Cultured Pearl Associations of America and Japan competition.

PEDESTAL ON TABLE

Barbara Anton

Barbara Anton (1926-2007) • United States Potpourri of Pearls necklace, necklace • ca. 1968 gold, pearl, diamond 11

Andrew Grima

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an engineer by training and a self-taught jewellery designer

Andrew Grima was a leading figure and perhaps the most innovative and famous modern jewellery designer of the sixties and seventies.

He was an engineer by training and, remarkably, a self-taught jewellery designer. This lack of formal training as a silversmith meant that Grima was not constrained by established rules and did not allow technical limitations to hold him back at the design phase.

Nature was Grima’s greatest inspiration. He would often drive out into the countryside around London to collect pieces of bark, twigs and lichen, which he would then cast in gold in his workplace using the lost-wax technique. He turned these exact reproductions of nature into jewellery, strewn with little diamonds or semi-precious stones. Princess Margaret, Countess of Snowdon had a brooch cast out of lichen she had collected in the grounds of Balmoral Castle in Scotland.

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WALL

Andrew Grima (1921-2007) • Italy, worked in United Kingdom • brooch • 1967 gold, sapphire, emerald, diamond

Andrew Grima (1921-2007) • Italy, worked in United Kingdom • brooch • 1972 yellow gold, white gold, diamond 14

WALL WALL

Andrew Grima (1921-2007) • Italy, worked in United Kingdom • brooch • 1969 gold, watermelon tourmaline, diamond

Andrew Grima (1921-2007) • Italy, worked in United Kingdom • brooch • 1965 gold, diamond, sapphire, emerald

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Andrew Grima (1921-2007) • Italy, worked in United Kingdom • necklace with pendant • 1971 • gold, abalone shell, diamond

Andrew Grima (1921-2007) • Italy, worked in United Kingdom • necklace • 1970s gold, diamond

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Andrew Grima (1921-2007) • Italy, worked in United Kingdom • brooch • 1972 gold, opal, diamond

Andrew Grima (1921-2007) • Italy, worked in United Kingdom • ring • 1967 gold, diamond

WALL WALL

Andrew Grima (1921-2007) • Italy, worked in United Kingdom • necklace with pendant • 1973 white gold, agate geode, diamond

Andrew Grima (1921-2007) • Italy, worked in United Kingdom • brooch • 1969 gold, diamond

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WALL WALL

Andrew Grima (1921-2007) • Italy, worked in United Kingdom • pendant/brooch 1968 • gold, sapphire, diamond

Andrew Grima (1921-2007) • Italy, worked in United Kingdom • brooch • 1966 gold, diamond 15

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Arthur King (1921-1991) • United States brooch • 1960s gold, malachite, coloured diamonds

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Andrew Grima (1921-2007) • Italy, worked in United Kingdom • ring • 1967 gold, topaz, diamond

Alan Gard (°1935) • United Kingdom brooch • 1967 gold, amethyst, diamond 16

Andrew Grima (1921-2007) • Italy ring • 1978 gold, amethyst, diamond

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Andrew Grima (1921-2007) • Italy, worked in United Kingdom • ring • 1972 gold, amethyst, diamond

Cesare De Vecchi (°1938) • Italy • brooch, for Spritzer and Fuhrman • 1960s gold, amethyst geode, diamond

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Jean Vendome (1930-2017) • France Collier Veracruz, necklace • 1972 white gold, platinum, amethyst, diamond

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Chaumet (est. 1780) • France earrings • late 1960s gold, amethyst

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Arthur King (1921-1991) • United States cufflinks • late 1960s palladium, coral, agate geode

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Arthur King (1921-1991) • United States ring • ca. 1975 gold, coral

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Andrew Grima (1921-2007) • Italy, worked in United Kingdom • brooch/pendant • 1974 gold, agate geode, opal, diamond

Jean Vendome (1930-2017) • France Ferret Ring, ring • 1970s white gold, tourmaline, diamond 17

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The end of the sixties saw a fascination with New Age phenomena like astrology.

Signs of the zodiac were soon adopted by designers and manufacturers and became ubiquitous. Jewellery was no exception to this trend. The market was awash with inexpensive chains, pendants and brooches, but jewellery designers also created their own versions in gold and using (semi) precious stones.

Chaumet (est. 1780) • France crab brooch • 1970s gold, malachite, coral, bronze, diamond 18

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Mellerio (est. 1613) • France pendant • 1970s gold, lapis lazuli

Chaumet (est. 1780) • France • René Morin, designer • bull bracelet • 1970s gold, lapis lazuli, ruby, diamond

“Jewellery is like the perfect spice it always complements what’s already there.”

Diane Von Furstenberg 19

Though his name is less well known today, Gilbert Albert was one of the most celebrated jewellery designers in the 1960s and 70s. He won the prestigious Diamonds International Award no fewer than ten times and was represented by many items of jewellery in the International Exhibition of Modern Jewellery 1890-1961.

Gilbert Albert (1930-2019) • Switzerland necklace / bracelet / brooch • 1970s amber, pearl, gold

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Albert was innovative and known for his use of unconventional materials.

He was inspired by natural forms and transformed remarkable materials such as dung beetles, lava rock, shells, wood and fossils into unique, organic forms, combining them effortlessly with gold and precious stones.

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Cesare De Vecchi (°1938) • Italy brooch • ca. 1965 gold, shell, coral, diamond

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Arthur King (1921-1991) • United States necklace • mid 1970s gold, coral, diamon

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Arthur King (1921-1991) • United States bracelet, ring and earrings • 1955-1970 gold, conch pearl, diamond

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Sven Boltenstern (1932-2019) • Austria necklace, bracelet and earrings • mid 1970s gold, diamond

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Gilbert Albert (1930-2019) • Switzerland bracelet/brooch • 1960s gold, pearl, diamond, ammonite fossil

Cesare De Vecchi (°1938) • Italy bracelet • early 1970s gold, coral, lapis lazuli, diamond

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three-dimensional jewellery on or around the body Jewellery was seen as wearable sculpture.

Several designers had trained as sculptors, others as silversmiths, but their starting point was the same: jewellery is an art form and should be regarded as such. This resulted in three-dimensional jewellery which did not lie flat on the skin, but displayed itself like a sculpture on or around the body.

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WALL

Chaumet (est. 1780) • France • Pierre Sterlé, designer • bird brooch • 1960s gold, diamond

Dunn (active 20th century) • Australia bracelet • probably 1960s gold, diamond

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Barbara Anton (1926-2007) • United States bracelet • 1960s gold, pearl, diamond

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Eric de Kolb (1916-2001) • Austria, worked in United States • pendant • 1970s gold

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Eric de Kolb (1916-2001) • Austria, worked in United States • pendant • 1970s gold, abalone shell

Alfred Karram (°1932) • United States bracelet • 1970s gold

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TABLE

John Donald (°1928) • United Kingdom Drum Ring, ring • 1965 gold, diamond

Andrew Grima (1921-2007) • Italy, worked in United Kingdom • necklace with pendant 1973 • gold, tourmaline, quartz, diamond 24

WALL WALL

Laurence Graff (°1938) • United Kingdom necklace • 1973 gold, diamond

Charles de Temple (°1929) • United States, worked in United Kingdom • necklace late 1970s • gold, diamond, garnet

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WALL WALL

David Thomas (°1938) • United Kingdom bracelet • 1965 gold, pearl, garnet

Chaumet (est. 1780) • France ring with interchangeable stones • 1970 gold, lapis lazuli, carnelian, quartz, malachite

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Meister (est. 1881) • Switzerland bracelet • ca. 1975 white gold, turquois, diamond

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Marguerite Stix (1904-1975) • Austria, worked in United States • necklace with pendant late 1960s • shell, turquois, gold

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Weber & Cie (est. 1919) • Switzerland brooch • 1970s gold, diamond, lapis lazuli

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Chopard (est. 1860) • Switzerland Alexandra Watch, watch • ca. 1971 gold, diamond, lapis lazuli

Karl Stittgen (°1930) • Germany worked in Canada • brooch • 1970s gold, malachite, diamond 25

An influential exhibition

One of the most important modern jewellery exhibitions was the International Exhibition of Modern Jewellery 1890-1961, curated by Graham Hughes at the request of the Worshipful Company of Goldsmiths in London in 1961. For the first time, the work of trailblazing jewellery designers of the day was juxtaposed with that of their illustrious predecessors. The exhibition contributed to a growing interest in artists’ jewellery.

The historical part of the exhibition presented classic diamond jewellery from the beginning of the twentieth century, alongside masterpieces of the Arts and Crafts movement and extraordinary art nouveau jewellery by (among others) René Lalique and the Belgian firm Wolfers Frères.

Traditional jewellery was loaned by international jewellery houses like Fabergé and Cartier. There was also jewellery by famous visual artists, such as Pablo Picasso and Salvador Dalí, all of which added to the desirability of modern jewellery. While the majority of jewels used 26

Graham Hughes, International exhibition of modern jewellery 1890 – 1961, 2 vols. Worshipful Company of Goldsmiths in ass. with Victoria and Albert Museum, London, 1961

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loan KMSKA library

‘wild’ gold, contemporary work inspired by surrealism and geometric abstract art was also represented.

The exhibition was international in scope and comprised over nine hundred creations by jewellery designers from more than thirty countries. A large number of those designers can be admired in the DIVA exhibition.* Graham was looking to inject new life into jewellery design and raise the status of artists’ jewellery. The exhibition attracted considerable international interest and served as a catalyst for the development and popularity of modern artists’ jewellery.

Jewels were now seen and recognized as an expression of artistic individuality. * These include: Afro Basaldella, Gilbert Albert, Bulgari, Cartier, Jean-Claude Champagnat, Chaumet, John Donald, Gerda Flöckinger, Andrew Grima, Gübelin, Arthur King, E.R. Nele, David Thomas, Van Cleef & Arpels, David Webb, Björn Weckström, Philippe Wolfers and Wolfers Frères.

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Ten items of jewellery from DIVA’s own collection and jewellery loaned by the King Baudouin Foundation represent Belgian jewellery designed by visual artists or by jewellery designers. Expressive and artistic in appearance, those items perfectly reflect the international and innovative spirit of their era.

Paul Van Hoeydonck (°1925) Belgium • Astronaut II, pendant • 1972 gold, amber

Emile Souply (1933-2013) Belgium • necklace with pendant 1962 • silver, chrome alloy

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Collection King Baudouin Foundation - Fund Christian Bauwens, in storage at DIVA, B512/16

Collection King Baudouin Foundation - Fund Christian Bauwens, in storage at DIVA, B512/17

The Kimberly Klosterman collection takes centre stage in the exhibition at DIVA. Though international in scope, the collection comprises work by just one Belgian jewellery designer: Fernand Demaret.

Consequently, the collection does not paint a true picture of the Belgian scene, where innovative, artistic and avant-garde jewellery was made by designers of international repute.

Collection King Baudouin Foundation - Fund Christian Bauwens, in storage at DIVA, B512/15

BEL GIAN GIAN CONTEXT

Pierre Caille (1911-1996) • Belgium Cavalier I, pendant • 1968 silver

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Collection DIVA, DMK98/1-2

P.C Boschmans (est. 1865) • Belgium 4697, breastpin • 1958 gold, diamond, pearl

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Collection DIVA, S65/29

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Collection DIVA, S58/59

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P.C Boschmans (est. 1865) • Belgium pendant • 1959 gold, malachite

Claude Wesel (1942-2014) • Belgium brooch/pendant gold

Boud Van Averbeke (1939-1993) Belgium • bracelet • 1962 silver

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Collection DIVA, S60/16

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Collection King Baudouin Foundation - Fund Christian Bauwens, in storage at DIVA, B512/18 Collection DIVA, S2018/10

Jacques Moeschal (1913-2004) • Belgium Signal de l’autoroute d’Ostende, pendant • 1972 • gold

Wolfers Frères (active 1897-1974) • Belgium demi-parure composed of bracelet and brooch ca. 1960 • gold, white gold, diamond, emerald 29

FURNITURE Pierre Paulin (1927-2009), design F577 chair Tongue • 1967 editor: Artifort loan Artifort Archive

ROOM 2 Emilio Pucci (1914-1992) • Italy dress • ca. 1965-1975 loan Laura Dols Emilio Pucci (1914-1992) • Italy dress • ca. 1965-1975 loan Laura Dols Eero Aarino (°1932) • Ball chair, for Adelta • design 1963, execution early 1970s loan Kunstconsult Geoffrey D. Harcourt RDI (°1935), design • F510 chair • 1967 editor: Artifort loan Artifort

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Transito

ROOM 3

To enter the installation is to enter a different world. Coloured light waves alter the visitor’s perception of time and space.

One moment the installation feels like a black hole, the next the visitor is immersed in light. Strolling through the pillars is like finding yourself in a psychedelic temple of light.

In this exhibition the installation can be interpreted as a transition from the wild sixties, full of colour and asymmetric baroque forms, to the minimalist and futuristic seventies. The Space Age is brought to life in this installation and leads the ‘spaced out’ visitor through time.

To use Christopher Gabriel’s words: “In Children of the Light and Space Encounters, the team’s approach to treating light as an element with sculptural qualities makes the pillars and consequently the whole space dissolve into ‘liquid’ architecture”.

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THE SPACE AGETHE SPACE AGE

interpreted astronauts’ spacesuits and the contours of the moon

After the first moon landing in 1969, everything that came out of space was interesting and attractive, triggering a trend for jewellery designs using extraterrestrial materials.

This necklace and this ring by Gilbert Albert contain pieces of moldavite, a green, vitreous material that formed fifteen million years ago by a meteorite impact on Czech territory. Moldavite has not been found anywhere else in the world.

At the end of the sixties and seventies, futuristic design was all the rage. Jewellery designers interpreted the form of astronauts’ spacesuits and the contours of the moon in their jewellery.

Materials used in space travel, such as titanium, polymer and dichroic glass, were also used in jewellery design.

Gilbert Albert (1930-2019) • Switzerland • necklace and ring • 1960s gold, moldavite, pearl, diamond 33

Augustin Julia-Plana (active 20th century) • Spain, worked in Switzerland • watch and ring • 1978 gold, platinum, meteorite, diamond

Piaget (est. 1874) • Switzerland brooch and earrings • 1960s-1970s white gold, diamond

David Thomas (°1938) • United Kingdom brooch • 1960s gold, diamond

Roger Lucas (°1936) • Canada ring, for Cartier • ca. 1969 gold, diamond, emerald, ruby, sapphire, turquoise

John Donald (°1928) • United Kingdom brooch • 1972 gold, aquamarine, diamond

Roger Lucas (°1936) • Canada bracelet • ca. 1969 gold, diamond

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ROOM 4

The s 70 In the seventies, a new sense of autonomy and individualism emerged as economic prosperity and consumerism increased. More and more women entered the job market and were given greater responsibility.

Disco music became popular. The first Gay Pride march took place in New York. Modern art movements, such as abstract expressionism and optical art found echoes in clothing and jewellery design.

All eyes were on the future and people fantasized about what that future would look like. Futuristic designs in fashion, including jewellery, were all the rage. While some individual jewellery makers and well-known companies continued to make jewellery with ‘wild’ gold, in the 70s the scales tipped away from the wild and whimsical artistic idiom of the 1960s in favour of polished, geometric and clean-cut forms.

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Boutiques

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more adventurous, experimental and affordable

As the seventies advanced, the established jewellery houses recognized the success of this new aesthetic led by individual modern jewellery designers. Famous houses, such as Van Cleef & Arpels, Cartier, Bulgari and Chaumet, began to design jewellery that kept pace with the trends. They asked modern jewellery designers and artists to give their traditional creations an update.

The collaboration often consisted of designing a number of pieces of jewellery, but sometimes even whole collections. The objective was to cultivate and hold on to a younger public.

In a bid to seduce ‘hippier’ customers, the traditional jewellery houses presented these more adventurous and experimental pieces of jewellery in the new, separate shops known as ‘boutiques’ with their trendy decor and disco atmosphere (electronic music was even played). Those items were more affordable than the sophisticated creations sporting diamonds and (large) precious stones which they continued to sell in their established locations.

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Elsa Peretti (°1940) • Italy, worked in United States and Spain • Scorpion necklace, necklace • 1979 • gold

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Aldo Cipullo (1942-1984) • Italy, worked in United States • Juste un Clou Pin, pin, for Cartier • 1971 gold

Elsa Peretti (°1940) • Italy, worked in United States and Spain • Bean Purse, purse 1977 • silver

Elsa Peretti (°1940) • Italy, worked in United States and Spain • cardholder • 1978 gold

Jean Dinh Van (°1927) • France Slave ring, ring, for Cartier • ca. 1969 gold

Jean Dinh Van (°1927) • France • necklace with pendant • ca. 1970 gold, quartz crystal, silk

Andrew Grima (1921-2007) • Italy, worked in United Kingdom • ring • 1978 gold, citrine

Stuart Devlin (1931-2018) • Australia, worked in United Kingdom • ring • 1971 gold

Ilias Lalaounis (1920-2013) • Greece necklace • 1970s gold, rock crystal

Chaumet (est. 1780) • France • René Morin, designer • necklace • ca. 1970 gold

Bulgari (est. 1884) • Italy choker with pendant • 1971 gold

Pierre Sterlé (1905-1978) • France necklace • ca. 1970 gold 39

David Webb (1925-1975) • United States necklace with pendant • 1970 gold

Cartier (est. 1847) • France belt/necklace • ca. 1970 gold-plated silver

Louis M. Gérard (1940s) • France necklace with pendant • 1975 slate, gold, coral, diamond 40

Haroldo Burle Marx (1911-1991) • Brazil necklace with pendant/brooch and ring 1960s-1970s • gold, aquamarine

Cartier (est. 1847) • France • ring 1960s gold, tiger-eye

“I always visit Bulgari, because it is the most important museum of contemporary art.�

Andy Warhol

Visual art and Italian avant-garde

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artists were asked to design jewellery

Artists turning their hand to jewellery in the 1960s and 70s was nothing new. From 1938 Alexander Calder made jewellery for friends and family. Even before that time, Salvador Dalí, Max Ernst and Pablo Picasso (among others) put their signature on interesting pieces of jewellery. With the influence of art movements such as abstract expressionism on jewellery designs, an increasing number of artists were asked to design jewellery – even by large and traditional jewellery houses like Cartier, Tiffany & Co. and Van Cleef & Arpels.

The late 1940s brought a parallel development in Italy when third generation jeweller designer and art collector Mario Masenza invited Italian painters and sculptors to design jewellery. He may have drawn inspiration from the renaissance, when great masters like Leonardo Da Vinci acquired a whole range of skills (including silversmithing) as part of their artistic training. The aim of this collaboration was to inject new life into the shrinking jewellery trade after the Second World War. This led to an innovative aesthetic first shown in the Galleria Il Milione in Milan in 1949.

Among those represented there were Afro Basaldella and Franco Cannilla, artists whose work is also on show in this exhibition.

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Afro Basaldella (1912-1976) • Italy • brooch, for Mario Masenza • ca. 1950 gold, diamond, andradite garnet, amethyst

Afro Basaldella (1912-1976) • Italy • brooch, for Mario Masenza • ca. 1950 • gold, diamond, emerald, amethyst, tourmaline, rhodolite garnet

Afro Basaldella (1912-1976) • Italy • necklace with three pendants, for Mario Masenza • late 1940s early 1950s • gold, sapphire, ruby, diamond

Franco Cannilla (1911-1985) • Italy • necklace and bracelet, for Mario Masenza • probably 1960s gold, turquoise, ruby

Franco Cannilla (1911-1985) • Italy • bracelet with Janus head, for Mario Masenza • ca. 1949 gold, coral, diamond, sapphire 44

E.R. (Eva Renée) Nele (°1932) • Germany necklace • 1960s gold, trilobite

Helen Woodhull (1940-2005) • United States necklace with pendant • 1971 gold, agate

Jean Mahie (est. 1969) • France • necklace with pendant • ca. 1972 gold

César Baldaccini (1921-1998) • France Compression de bijoux, pendant, for Cartier 1973 • compressed golden jewellery

Franco Cannilla (1911-1985) • Italy • bracelet, for Mario Masenza • 1950-1970 gold, diamond

Walter Schluep (1931-2016) • Spain, worked in Canada • bracelet • 1971 gold, resin 45

Gerda

Flöckinger Dubbed the “First Lady of British Jewellery”, Gerda Flöckinger is often compared to Mary Quant, the British designer famous for launching a fashion revolution on London’s streets which included the miniskirt. While Quant changed the face of British fashion, Flöckinger was one of the first in the United Kingdom to come up with something new in jewellery.

Flöckinger is best known for her reinterpretation of the fusion technique she applied to metals. No soldering was involved; the metals fused directly to each other.

Typical of Flöckinger’s jewellery is the rich surface structure, resulting from the fusion technique, enhanced by adding gem stones and dangling elements.

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Gerda Flöckinger (°1927) • Austria, works in United Kingdom • ring • 1977 gold, pearl, diamond

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Ancient cultures The 1960s and 70s sparked an interest in early civilizations among a number of jewellery designers as well as in society in general.

The culture and in particular the designs of Etruscans, Mayas, ancient Egyptians, Greeks, Romans and Persians were a source of inspiration. Along with the artistic idiom, they adopted the use of a high gold content of 22 carats, giving the pieces an antique appearance.

Aldo Cipullo (1942-1984) • Italy, worked in United States • earrings, for Cartier • 1971 gold

Paco Rabanne (°1934) Spain, worked in France • mini dress • design year 1967, reissue 2007/2008 • plastic, metal loan MoMu Antwerp, T20/2028

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Aldo Cipullo (1942-1984) • Italy, worked in United States • necklace with pendant, for Cartier • 1971 • gold

Félix Roulin (°1931) • Belgium • Robe Nombril, mini dress, for Valens • 1967 • cotton, bronze, velvet loan MoMu Antwerp, T83/2

Félix Roulin (°1931) • Belgium Robe Ventre, mini dress, for Valens • 1967 • cotton, bronze, velvet loan MoMu Antwerp, T83/3

Franco Cannilla (1911-1985) • Italy • bracelet and brooch, for Mario Masenza • ca. 1949 gold, diamond

Jean Mahie (est. 1969) • France • pendant, for Cartier • ca. 1970 gold

Van Cleef & Arpels (est. 1906) • France necklace • 1970s gold

Van Cleef & Arpels (est. 1906) • France Avian Pendant, pendant/brooch/belt • ca. 1971 gold

Van Cleef & Arpels (est. 1906) • France Manchette Cuff Bracelets, bracelets • 1977 gold

Lisa Sotilis (°ca. 1944) • Greece • necklace, earrings and ring • ca. 1970 gold

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Walter Schluep bracelet • 1971 • gold, resin

DIVA agenda 2020 - 2021 25.10.2020 – 6.12.2020

Exhibition / The Art of Chasing If you would like to know more about the technique of chasing, why not pop along on the first floor of the museum? This is a wonderful opportunity to learn all about this extraordinary technique for shaping precious metal and applying decoration, which these days few practise professionally.

Price: free

30.10.2020 - 14.03.2021

Exhibition / The Jeweller´s Art Be transported back to the swinging 60s and 70s and tune into the jewellery, fashion, design and music from that vibrant period!

Price: included in your entrance ticket

ON-GOING

Exhibition / DIVA, A Brilliant Story DIVA’s permanent collection is brought to life in six rooms, each of which tells a story. Journey through 500 years of craftsmanship and marvel at DIVA´s brilliant collection.

Price: included in your entrance ticket

25.10.2020

DIVA talk / Patrick Storme on The Art of Chasing In this talk Patrick Storme will share his expertise on the chasing technique, using some of his own work to demonstrate it.

Price: €5 (€3 concessions) Start: 11.00 hrs

31.10.2020 – 4.11.2020

Workshop: Chasing masterclass led

by Patrick Storme sign up: fully booked

ON-GOING

Guided tour / The Jeweller´s Art with your very own guide How about bringing a group of friends with you to The Jeweller´s Art exhibition, or perhaps you’d you prefer to come alone or with your partner? The choice is yours. You can book a group with a guide from €15 per person, including entrance ticket. Maximum 9 people per guide. More than 9 people? Head over to our website and check group visits.

8.11.2020 - 13.12.2020 10.01.2021 - 14.02.2021

Guided tour / DIVA Deluxe in The Jeweller´s Art Price: €2 in addition to your entrance ticket Start: 14.00 hrs

7.11.2020 - 12.12.2020 22.12.2020 - 2.01.2021

Guided family tour / DIVA Mysteries in The Jeweller´s Art Price: €5 in addition to your entrance ticket Start: 14.30 hrs

15.11.2020

Guided family tour: Arts Day for Children Price: included in your entrance ticket, children free Start: 11.00 and 14.00 hrs

ON-GOING

Guided tour / Group visit for the blind and visually impaired Price: free (not included: entrance to museum) 51

Colophon

DIVA, Antwerp 30.10.2020 - 14.03.2021

This exhibition is organized by the Cincinnati Art Museum, Cincinnati, Ohio and produced by DIVA, museum for diamonds, jewellery and silver, Antwerp, Belgium board of directors Nabilla Ait Daoud, Yolande Avondroodt, Lebuin D’Haese, Omar Fahti, Luk Lemmens, Bartold Maréchal, Koen Palinckx, Tatjana Scheck, Annelies Thoelen

with the support of: Stad Antwerpen, Toerisme Vlaanderen, AWDC, Umicore, Shanghai Diamond Exchange

management board Yannick Bochem, Lies Buyse, Isabelle Hernould, Milan Rutten, Wim Van Damme curator DIVA: Catherine Regout exhibition design: Space Encounters technical production: Marie Vandecasteele build up: Planemos light installation:Space Encounters & Children of the Light texts: Cynthia Amnéus , Catherine Regout copy editing: An Labis, Leonie Maerevoet translations: Alison Mouthaan, Martine Bom lighting: Chris Pype concept & design brochures: Jurgen Flick (OVERBUREN) DIVA Team director:Eva Olde Monnikhof exhibitions: Leonie Maerevoet, Catherine Regout, Marie Vandecasteele collection: Arendine Martens, Wim Nys, Carl de Smit, Kristina Valiulis, Vincent Van Beek, Ann Verbecque communication and public activities: Els Crollet, Tom Iriks, Suzanne de Lange, Leen Thielemans library: An Labis, Michelle Suykerbuyk, Giacomo Visini strategy & public relations: Martine Nieuwenhuysen, Kelly de Rybel - van Campenhout, Daniëlle Serré, Wim Verhulst logistics: Eduard Backelant, Stéphane Keersmaekers front desk: Katelijne Decraene, Maaike Delsaerdt, Raphaël Lauwers, Soun Liekens, Lieve Van Looveren security: Marc Brosens, Annemie De Meester, Patrick Dhondt, Walter Geldolf, Henk van Genderen, Gert Govaerts, Vanessa Gruda, Maria Janssens, Raf Lippens, Ronny Mewis, Marianne Scholten, Ilse Van De Weyer, Sven Wendrickx

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with special thanks to: PJ Grimm Annabelle Hermans David Huycke Kimberly Klosterman Els Minne Annelies Wylleman lenders: Artifort Hans Boodt Cincinnati Art Museum Laura Dols Guild Merchant BV Kunstconsult KMSKA MoMu Antwerpen All jewels are from the Kimberly Klosterman collection, unless stated otherwise.

Images © DIVA, Cincinnati Art Museum, Kimberly Klosterman / Photographers: Dominique Provost, Tony Walsh, Kimberly Klosterman © 2020 DIVA for this publication, all rights reserved publisher: Eva Olde Monnikhof, director DIVA, Gildekamersstraat 9, 2000 Antwerp, Belgium D/2020/14.608/6 Disclaimer: DIVA has endeavoured to settle all image rights in accordance with existing legislation. Should you wish to lay claim to image rights, please contact the publisher.