Page 1







JACQUELINE RYAN ON THE SURFACE Festival Exhibition 24 July - 24 August 2019

16 Dundas Street Edinburgh EH3 6HZ +44 (0)131 558 1200


Natural found objects that act as inspiration from Jacqueline’s collection, 2019


Foreword The Scottish Gallery is delighted to present On the Surface by Jacqueline Ryan which is her first major presentation with The Gallery since the seminal exhibition ‘Art Jewellery’ by Jacqueline Ryan and Giovanni Corvaja twenty years ago. Jacqueline Ryan has lived and worked in Italy since 1992 and has been based in Todi, in the Umbrian region of Italy since 2001. Her jewellery is an elegant fusion of English restraint combined with a sophisticated Italian language of structure, articulation and painterly colour. Ryan’s work is a homage to the natural world, a poetic combination of colour and form. Her flawless technique incorporates a lifelong study of enamelling and her goldsmithing has a timeless quality that speaks of ancient Etruscan jewellery. Her palette and inspiration is drawn from la dolce vita and the Umbrian landscape surrounding her. Beauty is an essential part of her jewellery making as is her innate understanding of the human form: meticulous models are created and coloured before the final work is made and when worn, her jewellery transforms the wearer. Jacqueline Ryan has created a unique place in contemporary jewellery underpinned by her signature use of enamel and technical understanding of gold. Her work is represented at the most prestigious art fairs in the world and is sought by private collectors and public collections alike. We are delighted to present her work as part of the Edinburgh Art Festival 2019 and we thank the artist for giving us a significant body of new work alongside important historic pieces. The following pages are written by Jacqueline Ryan and give a vivid and personal account of her studio life. Christina Jansen The Scottish Gallery


On the Surface I grew up in a very small market town in the Epping Forest District of Essex county, NorthEast of London. My finest memories were forest walks and beach combing with my father to hunt for fascinating objects which I gathered up and collected. I remember trips to the London museums: admiring mysterious and perfectly proportioned timeless objects made by ancient civilizations, being fascinated by strange mechanical contraptions in the Science Museum, and the pleasure of exploring drawers and jars full of real specimens of strange preserved animals in the Natural History Museum. I graduated with my Master of Arts degree in 1991. At the time I was at the Royal College of Arts studying “goldsmithing, silversmithing, metalwork and jewellery”, the course was structured towards production, although the final degree show project was mostly free. While I was never interested in production this was probably of great help later on in terms of organisation and discipline in the workshop, and if anything it made me realise how precious time is, how much I enjoy making every aspect of my jewellery myself, slowly but surely and without having any of it produced so that I can really savour my dialogue with the material and make my jewellery my art.

Living in a country where they say “no one is in a hurry” has really opened my eyes as to the basic pleasures in life: enjoying the outdoors, having summer and watching the seasons change. Italy is so rich in history and everywhere has traces of the past. It is just inspiring to explore and absorb all this history, it is all around me all the time and wherever I go. I have been fascinated by the natural world since my early childhood and remain in awe over the infinite combinations of form, structure, texture and colour that it has created over millions of years of evolution. In my work, I abstract nature and seek to communicate brief impressions of what I have observed and encountered. Working from large and small-scale drawings and sketches made from life (zoos, museums, aquariums, botanical gardens), I continually collect visual information about nature’s forms, structures, surfaces, textures and colours (including via digital macrophotography) and “translate” the elements that most inspire me, into tiny, paper sculptural models, before finally moving on to construct the final piece in precious metals.

I moved to Padua and set up a studio in 1992. After the chaos of London, and though it took a while, living in Italy has really slowed me down in a positive sense. Since 2001 I have lived in Todi, which is in the Umbrian region of Italy and I feel I have grown into this country very gradually and the slow Italian lifestyle really complements my work philosophy. I apply this slowness, calm and beauty in my jewellery making every day.

Todi, Umbria, Italy, 2019


Jacqueline Ryan in her studio, 2019



Jacqueline Ryan in her studio in Todi, Italy, 2019


Much of my work is made up of moveable elements, which shake and vibrate on pins as the body moves. My work is intended to be worn, (as well as exhibited) because whilst always aiming to be visually stimulating and aesthetically exciting it is also the tactile qualities of jewellery that make this art form so appealing; ultimately it is the interaction of the wearer with the work which truly brings the piece to life, and this, for me, is what completes its function. I am also influenced by ancient cultures such as the Egyptians and the Etruscans. I greatly admire the way in which they adored, respected and worshipped nature. I try to capture a similar element of timelessness in my work and I hope that my jewellery may be preserved in time along with the works of other makers that share the same convictions in high quality craftsmanship, aesthetic distinctiveness and originality. A great deal of what I make today is based on childhood memories, but I continue to collect visual information directly from nature. I spend a lot of my time observing and making studies from the natural world, especially through sketching and painting organisms, structures and forms and it is through this that I establish a starting point; the beginning of a long process of development. Once I have my drawings, the second stage is working to create miniature sculptural structures in precious hand-made Italian artisanal papers. These are all hand-cut and constructed - I make them in the hundreds, keeping them in stacked boxes, mounting them in sketchbooks and framed drawings. The paper sculptures bridge the gap between the two-dimensional studies and the finished piece in three-dimensions. Through all these timeconsuming processes a sort of abstraction takes place in many stages.


I like to call this transformation a metamorphosis, like that of a moth which begins with a single egg, hatching to become a caterpillar which ultimately transforms into a chrysalis and emerges into the adult lepidoptera. My drawings and models are not often seen alongside my jewellery so they remain as an unseen parallel world and remain as the “invisible histories” of my jewellery. During the creative process, I don’t initially perceive whether what I am working on will be a ring, a necklace, a bracelet and so forth. What I come up with initially is an object in its own right, not identifiable with jewellery at all. The jewellery piece I make is dependent on what the structure or model suggests and what it best lends itself to. In this way, the jewellery is a consequence of the object and not the other way around. Although most of my time is spent at my workbench at the studio I have made a point of arranging my sketchbooks, paper models and framed drawings along both sides of the entrance corridor, as well as my display cases of natural objects which I have been collecting most of my life. I like to start my day (and end it) walking through the studio and looking at what inspires me again and again, especially if I am stuck for long hours at the bench. I can’t start work without my black tea - this is my ritual! I am not sure that articulation and enamelling have been great partners in the past. This may be due to the fact that enamel is glass and combining this with metal makes two elements, each of them difficult to use and often even more difficult together for technical reasons. I did not study enamel in a traditional or structured manner and I have experimented and found a way of using enamel on my own terms and this has become my signature way of using vitreous enamel.

The articulation happened quite naturally since the first works were floral in structure and I wanted to convey their qualities in the metal with enamel. It seemed natural that the elements be moveable since flowers and plants are certainly not immobile. It just worked. Part of my inspiration for colour is driven by the fact that in Italy there is a particular quality of light and colour throughout the Mediterranean; in summer when the sun is high, the colours are brighter and more vivid and I think this changes the way I perceive things visually. It certainly changes my mood. My colour palette has been dominated by blues. When I first started enamelling I favoured single shades of blue and occasionally used many hues in a piece to obtain a soft gradation from dark to very light blue. Just very recently I have been exploring a more vibrant palette of mixed colours including pastels representing the different mood of the changing seasons.

I am still in awe of nature’s “creativity”; the order and chaos of it. I love the very fine details of nature and qualities such as the colours, textures, forms and compositions which nature generates as organisms grow or decay. I love the perfect yet imperfect way in which nature replicates itself and grows. If I had to simplify I would say my work is a celebration of the natural world and reflects my passion for animal and plant life. The fact that my work is inspired by nature is just a small part of the story; since I originally wanted to become a painter or an illustrator my approach to jewellery has very painterly roots. My jewellery is tied to tradition because every single part is always and without exception, hand-made entirely by myself. My approach is not at all conventional and at times I find myself adapting the techniques around my work or inventing other ways to do things. Technical understanding and ability allows me to express an idea with freedom but it is just as important to me for the work to take on other and deeper dimensions: conveying a message, telling stories or revealing the character of its maker rather than simple design or “just being jewellery for the wearing”. I always think that when someone acquires jewellery made by an artist they also take with them a small piece of the soul of the maker; a unique expression that represents one single moment in the life of that artist at one particular point in time. Rather than a manufactured object, what the wearer gets is a real story and the knowledge that what they have in their hands was actually made by a person rather than a machine. Jacqueline Ryan, 2019

Todi, Umbria, Italy, 2019


Detail of plant study, 2019


Micro Leaf Pin, 2001 18ct gold H11.5 x W3.5 x D0.5 cm Micro Leaf Brooch, 2002 18ct gold H4.8 x W3.6 x D0.8 cm


Clams Brooch, 2007 18ct gold and vitreous enamel H4.5 x W4.5 x D2 cm Clams Mini Pin, 2014 18ct gold and vitreous enamel H3.5 x W3.5 x D1.5 cm


Ocean Collier, 2014 18ct gold and vitreous enamel L42 x D2 cm


Leaf structure detail for studies, 2019


Primavera Brooch, 2018 18ct gold and vitreous enamel H4.3 x W5.6 x D1.8 cm Umbria Ring, 2019 18ct gold and vitreous enamel H3 x W2.2 x D2.8 cm


Oak Leaf Cluster Earrings, 2017 18ct gold H2.2 x W2 x D1 cm Medusa Clip Earrings, 2019 18ct gold H4.6 x W2.5 x D1.6 cm


Oak Brooch, 2018 18ct gold H4.8 x W4.2 x D2.3 cm


Four Striated Clams Earrings, 2019 18ct gold H2.4 x W2.2 x D1.2 cm Ocean Double Clam Earrings, 2015 18ct gold and vitreous enamel H2.8 x W1.8 x D0.8 cm Lamellae Earrings, 2017 18ct gold H2.4 x W1.4 x D0.3 cm


Feather Necklace, 2019 18ct gold, vitreous enamel, lapis lazuli L52 x W1.8 x D0.5 cm


Wisteria, Centro Botanico Moutan, Italy, 2019


Ocean Melibe Leonina Earrings, 2017 18ct gold and vitreous enamel H2.5 x W1.5 x D1.1 cm Beech Nut Earrings, 2015 18ct gold and vitreous enamel H2.5 x W2.3 x D1.1 cm


Primavera Ring, 2018 18ct gold and vitreous enamel H1.5 x W2.2 x D2.2 cm Melibe Leonina Earrings, 2018 18ct gold and vitreous enamel H2.8 x W1.5 x D1.2 cm


Meadow Necklace, 2019 18ct gold, vitreous enamel L65 x W1.4 x D1 cm


Interlocking Squares Brooch, 2018 18ct gold and vitreous enamel H4.8 x W5 x D0.8 cm


Ocean Quadruplet Clam Earrings, 2017 18ct gold and vitreous enamel H1.8 x W1.8 x D0.9 cm Dragon Eye Ring, 2017 18ct gold and vitreous enamel H3.3 x W2.6 x D2.6 cm


Aragosta Bracelet (two views), 2008 18ct gold outside diameter 7cm



Ocean Twin Clam Earrings, 2016 18ct gold and vitreous enamel H2 x W1.1 x D1 cm Ocean Angel Wing Earrings, 2016 18ct gold and vitreous enamel H3.3 x W1.2 x D0.8 cm


Golden Wing Brooch, 2019 18ct gold H5.4 x W2.5 x D2.2 cm


Blue Mollusc Earrings, 2018 18ct gold and vitreous enamel H2.4 x W1.4 x D0.9 cm Leaf Curl Clip Earrings, 2019 18ct gold H3.5 x W1.5 x D1.5 cm


Ocean Waves Brooch, 2017 18ct gold H3.8 x W7.2 x D1 cm


Leaf structure detail for studies, 2019 Brooch I, 1997, 18ct gold, Ø6.2 x D1 cm Brooch II, 1997, 18ct gold, Ø6.5 x D1 cm Brooch III, 1996, 18ct gold, Ø6.4 x D1.2 cm



Bird of Paradise Ring I, 2017, 18ct gold, H2.5 x W2.3 x D0.9 cm Glacier Ring, 2018, 18ct gold, H3.2 x W2.6 x D2.2 cm Small Layered Ring, 2018, 18ct gold and red coral, H2.8 x W2.5 x D1.1 cm


Bird of Paradise Ring II, 2015, 18ct gold and red coral, H2.5 x W2.2 x D1 cm Aqua Lily Leaf Ring, 2015, 18ct gold, H3 x W2.3 x D1.8 cm Bird of Paradise Ring III, 2017, 18ct gold and vintage coral, H3.2 x W2.8 x D1.6 cm


“Jacqueline Ryan discovered her love of gold only when she came to Padua; since then, her desire for knowledge and her dedication have set the basis for her relationship with the material. Her work comprises a great number of creative ideas of a poetic nature; she has an extremely rich visual imagination that allows her to look for beautiful and surprising effects…it’s as though the gold’s metallic brightness, enhanced even more by colour, expresses all its seductive beauty this way.” P8 extract from essay by Rudiger Joppien, Art Jewellery Jacqueline Ryan, Giovanni Corvaja, 1999, Canova.

Herringbone Necklace, 2012 18ct gold L70 x W3 x D0.4 cm



Limulus Brooch, 2017 18ct gold H4.1 x W3.8 x D1.3 cm Aragosta Earrings, 2019 18ct gold H2.8 x W2.4 x D0.5 cm


Golden Tiles Brooch, 2019 18ct gold H4.5 x W4 x D1 cm


Orchid Earrings, 2019 18ct gold and freshwater pearls H2.8 x W1.8 x D0.7 cm Ocean Seahorse Earrings, 2017 18ct gold H2.6 x W1.5 x D0.6 cm


Seastar Earrings, 2017 18ct gold H2.2 x W1.3 x D0.6 cm Folded Leaf Earrings, 2018 18ct gold and freshwater pearls H6 x W2 x D1.2 cm


Articulated Fan Earrings, 2018 18ct gold H3.5 x W2 x D0.6 cm Ocean Razor Clam Earrings, 2016 18ct gold H4.3 x W1.8 x D1.3 cm


Large Articulated Fan Earrings, 2017 18ct gold H4.2 x W2 x D1 cm


Jacqueline Ryan 1966

Born Finchley, London Lives and works in Todi, Italy

EDUCATION 1985 1986 1989

Foundation Course, Harlow Technical College, Essex West Surrey College of Art, Farnham, Surrey, BA Jewellery & Metalwork Royal College of Art, London, MA Goldsmithing, Silversmithing, Metalwork & Jewellery


Jacqueline Ryan: On The Surface, The Scottish Gallery, Edinburgh


The Nature of Structure, Galerie Isabella Hund, Munich, Germany


Adrian Sassoon, TEFAF Maastricht, The Netherlands


Ornamentum Gallery, Design Miami / Basel, Basel, Switzerland

Happens to Be, Maurer-Zilioli Contemporary Arts, Munich, Germany


Timeless Innovation – Selections from the Goldsmiths’ Company Modern Jewellery

Collection and Beyond, Goldsmiths’ Hall, London

A Birthday Celebration – Commemorative Pins; 175 Years of Art, The Scottish Gallery, Edinburgh

Private Confessions: Drawing and Jewellery, Museum Villa Stuck, Munich, Germany


Schmuckstadtgespraech 25 Jahre Galerie Slavik, Galerie Slavik, Vienna, Austria

Out Of This World, The Scottish Gallery, Edinburgh


Modern Masters – Metalwork and Jewellery, The Scottish Gallery, Edinburgh

A Fine Possession: Jewellery and Identity, Powerhouse Museum of Applied Arts & Sciences, Sydney, Australia


Masters of Modern Jewellery 2014, Beetles and Huxley, London

Unique by Design - Contemporary Jewellery in the Donna Schneier Collection,

Metropolitan Museum of Art, New York, USA


Diving for Pearls, The Scottish Gallery, Edinburgh

Neuer Schmuck für die Götter, Staatliche Antikensammlungen, Munich, Germany


From Black to Gold, Jacqueline Ryan, Jim Partridge & Liz Whalmsley at COLLECT,


Saatchi Gallery, London Out of Abstraction, The Scottish Gallery, Edinburgh

2011 2010 2009

The Scottish Gallery, COLLECT, Saatchi Gallery, London Surface and Substance, Electrum Gallery, London Surface and Substance, Ruthin Crafts Centre, Wales Beauty in Repetition - Metalwork and Jewellery by Junko Mori and Jacqueline Ryan, Blackwell Arts and Crafts House, Bowness-on-Windermere, Cumbria, UK Vittime di una folle gelosia” – I gioielli di Jacqueline Ryan, Mies Gallery, Modena, Italy The Scottish Gallery, COLLECT, The Saatchi Gallery, London

2008 2007 2006 2005

Gioiello Italiano Contemporaneo - Tecniche e Materiali tra Arte e Design, Sala del Tesoro, Milan Fired up! Modern Enamel Jewellery, The Scottish Gallery, Edinburgh 40 Jahre Galerie Handwerk, Galerie Handwerk, Munich, Germany Field of Vision, SoFA Gallery, Henry Radford Hope School of Fine Arts, Bloomington, USA The Scottish Gallery, COLLECT, V&A Museum, London The Gold Mark, The Scottish Gallery at Thomas Goode & Son, London The Scottish Gallery, COLLECT, V&A Museum, London Grassimesse 2005, Museum für Kunsthandwerk, Leipzig, Germany

Maurer-Zilioli Galleria, Desenzano sul Garda, Italy

Sommerfeste, Galerie Handwerk, Munich, Germany

Lucca Preziosa-Il Gioiello Europeo Contemporaneo, Villa Bottini, Lucca, Italy

Ring Tone, The Scottish Gallery, Edinburgh


Schoepfungen, D’Orado, Schwaebisch Gmuend, Germany

Giovanni Corvaja-Jacqueline Ryan, Le Arti Orafe Gallery, Florence, Italy


Micromegas, Musei Civici degli Eremitani, Padova, Italy

Jacqueline Ryan and Giovanni Corvaja, Galerie Hilde Leiss, Hamburg, Germany


Micromegas, Gallery Yu, Hiko Mizuno College of Jewelery, Tokyo, Japan


Focus on Enamels, The Scottish Gallery, Edinburgh

Micromegas, American Craft Museum, New York, USA


Focus on Enamels, Aberdeen Art Gallery & Museums, Aberdeen

Assymetry and Harmony, PLAZA Building of the Commerz Bank, Frankfurt, Germany

Sotheby’s Contemporary Decorative Arts Selling Exhibition, London, UK


Jacqueline Ryan-Giovanni Corvaja, Galerie Viceversa, Lausanne, Switzerland

Jacqueline Ryan-Giovanni Corvaja, Galerie Aurum, Frankfurt, Germany

Email-Schmuck und Geraet, Deutsches Goldschmiedehaus, Hanau Germany & tour


Jacqueline Ryan–Giovanni Corvaja, Galerie Louise Smit, Amsterdam, The Netherlands


Jacqueline Ryan and Giovanni Corvaja, Galerie Slavik, Vienna, Austria


Jacqueline Ryan and Giovanni Corvaja, Studio Zaunschirm, Zurich, Switzerland

Jacqueline Ryan and Giovanni Corvaja, Galerie Hélène Porée, Paris, France


Goldsmiths’ Hall, London


PROFESSIONAL 1999 “The Research for Lightness”; Slide talk and presentation at design seminar “Reden über Gestaltung”, Altes Rathaus, Kulturhaus, Potsdam, Germany (organised by Barbara Schmidt) 2002 Slide talk and presentation at “Officinet” in collaboration with the Danish Crafts Council in Copenhagen, Denmark (organised by Galerie Tactus) 2003 Jury member, Design Podium, Inhorgenta Europe 2003, Munich, Germany 2005 Slide Talk (by L.Persico) on the work and studies of Jacqueline Ryan, Villa Bottini, “Lucca Preziosa-Il gioiello Europeo Contemporaneo”, Lucca, Italy (organised by the town of Lucca and Le Arti Orafe Jewellery School from Florence) 2007 Slide Talk and presentation, Florence Facility, Kent State University, Ohio, USA 2011 Slide Talk at the Museo Pinacoteca, Todi, Italy followed by an interview led by art historian, Viviana Tessitore “A tu per tu – Arte al femminile. Conversazioni con artisti; Frances Middendorf, Jacqueline Ryan and Lisa Wade” 2012 Booth Talk/presentation, The Scottish Gallery, “Collect”, Saatchi Gallery, The Duke of York’s HQ, Sloane Square, London, United Kingdom 2015 Jury member, Amberif International Design Awards, Gdansk, Poland

SELECTED CATALOGUES AND BOOKS 2019 2016 2012 2011 2010 2009 2008 2007 2006 2005 2004 2002 2000 1999 46

Jacqueline Ryan - On the Surface, The Scottish Gallery, Edinburgh, UK Maurer-Zilioli E. “Private Confessions. Zeichnung und Schmuck/Drawing and Jewellery”, Arnoldsche Art Publishers, Germany Collect Contemporary Jewellery, Hardy J. Thames and Hudson, London From Black to Gold, The Scottish Gallery, Edinburgh, UK Contemporary Jewellers. Interviews with European Artists, Bernabei R. Berg, Oxford, New York Art Meets Jewellery. 20 Years. Galerie Slavik, Vienna, Slavik R. Arnoldsche, Stuttgart, Germany Beauty in Repetition. Metalwork and Jewellery by Junko Mori and Jaqueline Ryan, Blackwell Arts and Crafts House, Lakeland Arts Trust, UK Masters Gold – Major Works by Leading Artists, Le Van M. Lark Books, USA Adorn. New Jewellery, Mansell A. Laurence King Publishers, UK 500 Earings: New Directions in Contemporary Jewellery, Le Van M. Lark Books, USA 500 Necklaces: Contemporary Interpretations of a Timeless Form, Le Van M. Lark Books, USA 500 Brooches: Inspiring Adornments for the Body, Le Van M, Lark Books, USA The Art of Enamelling – Techniques, Projects, Inspiration, Darty L. Lark Books, USA Farbe Aus Dem Feuer. Faszination Email, Simon-Rößler, Rühle-Diebener Verlag, Germany The Ring: Design, past and present, Lambert S. March 2000, Rotovision, France Design Sourcebook, Watkins D. New Holland, London ISBN 1-859740782, p.37 Jacqueline Ryan, Giovanni Corvaja – Art Jewellery, Edizioni Canova, Treviso, Italy

SELECTED AWARDS 2005 1997 1992

Grassipreis, awarded by Galerie Slavik, Grassimesse 2005, Museum für Kunsthandwerk, Leipzig, Germany Honorary Prize, 3rd International Jewellery Design Competition ’97, Tokyo, Japan Third Prize, RCA/Ayrton Metals Platinum Competition

SELECTED PUBLIC COLLECTIONS Aberdeen Art Gallery & Museums, Aberdeen Ayrton Metals Platinum Collection, London National Museums Scotland, Edinburgh Royal College of Art Collection, London The Worshipful Company of Goldsmiths, London West Surrey College of Art Collection, Farnham Victoria and Albert Museum, London Universalmuseum Joanneum, Graz, Austria Musée des Arts Décoratifs, Paris, France Museum für Kunst und Gewerbe, Hamburg, Germany Museo degli Argenti, Florence, Italy Alice and Louis Koch Collection, Swiss National Museum, Zurich, Switzerland The Metropolitan Museum of Art, New York, USA The Mint Museum, Charlotte, NC, USA Racine Art Museum, Racine, WI, USA National Gallery of Australia, Canberra, Australia Australia-Korea Foundation, Canberra, ACT, Australia


Published by The Scottish Gallery to coincide with the exhibition Jacqueline Ryan - On The Surface 24 July - 24 August 2019 Exhibition can be viewed online at: ISBN: 978-1-912900-06-0

Jacqueline Ryan would like to thank The Scottish Gallery for making this exhibition possible, especially Christina Jansen, Kirsty Sumerling and Elizabeth Jane Campbell. Sincere thanks to all my collectors and patrons who, over the years, have acquired my work, been ambassadors for my work and enabled my jewellery to be in public and private collections. Thanks to all my tutors and mentors who have been such an inspiration during and after my studies, who have believed in me and supported my work directly or indirectly and who have given me the strength I needed to pursue my passion. A special thank you goes to all my galleries with whom I am so privileged to work. I would like to thank my father for continually encouraging me to pursue art and also to my very special friend Barbara Schmidt. Last but not least thanks are due to my kind and thoughtful partner Leonardo, for being my support, my best friend and for showing how proud he is of me. Designed and produced by The Scottish Gallery Printed by J Thomson Printers All rights reserved. No part of this catalogue may be reproduced in any form by print, photocopy or by any other means, without the permission of the copyright holders and of the publishers.





front and back cover: An excerpt from Jacqueline Ryan’s sketchbook, 1996 inside front and inside back cover: Primavera Brooch, 2018, 18ct gold and vitreous enamel, H4.3 x W5.6 x D1.8 cm (p13) Herringbone Necklace, 2012, 18ct gold, L70 x W3 x D0.4 cm (p37)








Profile for The Scottish Gallery

Jacqueline Ryan | On The Surface | August 2019 | The Scottish Gallery  

Jacqueline Ryan | On The Surface | August 2019 | The Scottish Gallery