Wendy Ramshaw | The Scottish Gallery Collection

WENDY RAMSHAW THE SCOTTISH GALLERY COLLECTION

WENDY RAMSHAW

THE SCOTTISH GALLERY COLLECTION

THE

SCOTTISH

GALLERY

CONTEMPORARY ART SINCE 1842 16 DUNDAS STREET • EDINBURGH EH3 6HZ +44 (0) 131 558 1200 • scottish-gallery.co.uk

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WENDY RAMSHAW

THE SCOTTISH GALLERY COLLECTION Wendy Ramshaw is an international champion of modern jewellery. The Scottish Gallery is delighted to have represented her work since the late 1980s and this year we have created a special publication Wendy Ramshaw: The Scottish Gallery Collection to accompany the Wendy Ramshaw Goldsmiths’ Fair exhibition at Goldsmiths’ Company, London. The primary aim of this publication is to allow access to the special collection we hold, which includes significant examples from her remarkable career spanning over six decades.

The Gallery has exhibited some of her most ambitious ideas through exhibitions such as Picasso’s Ladies (1989), Rooms of Dreams (2002), Prospero’s Table (2004) and a Journey Through Glass (2007). Rooms of Dreams, which was designed and created as a theatrical stage set for the jewellery, has become significant not only in Ramshaw’s stellar career but also illustrates the commitment from The Gallery to truly original ideas.

In the last ten years, The Gallery has produced a significant portfolio of new images of her work which has led to a new awareness of her talent and innovation.

Wendy Ramshaw in her studio, 1982

The Gallery has supported two UK touring exhibitions: A Life’s Partnership (2009), (Wendy Ramshaw and David Watkins) and The Inventor (2013) which accompanied the magnificent Rooms of Dreams (2013-15).

In 2017, The Gallery celebrated its 175th anniversary and we presented A Life’s Partnership Wendy Ramshaw : David Watkins at Collect, London, before closing the year with Wendy Ramshaw : A Celebration.

Wendy Ramshaw remains one of the most significant contemporary jewellers living and working in the UK today and her art continues to amaze and delight; beautiful, enigmatic and technically brilliant. Her work is held in over 70 public collections worldwide. Prospero’s Table (2004) now sits on public display at the Museum of Fine Arts, Houston, Texas. In 2018, National Museums Northern Ireland acquired the Purple Dream Ringset for their permanent collection (see overleaf).

Born in Sunderland in 1939, Wendy initially studied illustration and fabric design before embarking on a career in jewellery; her early work was created from paper and plastic – the wearer integral in the process, making paper jewellery designs from a flat cut out pattern. After completing a post-graduate qualification in Jewellery from Central School of Art and Design and establishing her studio in London in 1970 she began working predominately in silver and gold, creating a distinctive minimalist style which earned her the Council of Industrial Design Award in 1972.

Wendy Ramshaw’s work also encompasses designs for textiles, screens, gateways and sculpture but it is her signature ringsets which have become synonymous with her work. Developed from the mid 1960s, her early ringsets or ‘pillar rings’ with spire-shaped bezels were inspired by the Space Age and urban developments of the late sixties in Britain. The gemstones and their compositions reflect elements of Constructivism and the Pre-Raphaelites’ taste for semi-precious stones with natural inclusions and flaws. The ringsets are wearable sculptures, often simple geometric shapes or much larger complex works with multiple, individual rings made with both precious and non-precious elements. When unworn, the rings are stacked on a single stand, transformed into a ‘portable’ sculpture. Over the years, work has been inspired by: her family, literature, music, film and the wider world of fine and applied arts.

I have run my studio since 1970 and have used all kinds of techniques and materials, some of which will not be found in a conventional jeweller’s studio.

I believe this variety has contributed significantly to my art. Without assistants and apprentices, my work could not have developed as far as it has. I work with them in an intensely close relationship, often instructing in terms of a point of a millimetre, but their help has also enabled me to consider new ways of doing things, and to expand my horizons. To all of them, my sincere thanks for achievements which would have been impossible without them.

Wendy Ramshaw

Included in the publication alongside the collection is a transcript of Wendy’s text from various exhibitions held at The Gallery so that her voice stands out.

Christina Jansen The Scottish Gallery

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Right: Purple Dream Ringset, c.2006 Acquired by National Museums Northern Ireland, 2018

THE ROOM OF DREAMS

Room of Dreams at The Scottish Gallery, August 2002 6 Photo: Shannon Tofts

What Constitutes a Room‌ Four walls and a floor; a ceiling and an opening in one of the four walls to provide access to and from the enclosed space. A window and a door are desirable extras: they complete the normal room. The door creates a sense of privacy, the window a sense of security and freedom.

The floor of a room can tell many stories. It can give the age of the building: it can tell tales of grandeur and past magnificence. It can be homely and warm. In Room of Dreams the floor is called Carpet. This might be a reference to the magic carpets found in the tales of the Scheherazade. A magic carpet flies through the air taking its rider on an adventure into the unknown.

The walls of a room can be solid mass, such as wood or stone, or be delicate and transparent, as with Japanese paper screens. The red Corian screen in Room of Dreams suggests elements of both. A wall divides one space from another; as does the screen with its decorative red circles: yet it is also an object in its own right. The circles are like impossibly huge wheels of polished coral. The rich red colour of Corian is reminiscent of Japanese lacquer; and in turn Japanese screens.

In Room of Dreams, the floor is laid with Polyflor and has an inlaid pattern of red into white. The floor is fixed (albeit temporarily) and acts as a focus for the room, but it also suggests spaces beyond the limit of the room.

Rooms have many different functions and are furnished to answer these. Room of Dreams like all rooms, has furniture; it has pictures and objects. A table, a chair; a cabinet of curiosities, a light fitting. These most basic of elements are imagined anew, in glass, wood and steel. Each are objects in their own right yet all offer a perspective on Room of Dreams and its many functions.

Wendy Ramshaw, Room of Dreams The Scottish Gallery, August 2002

Prospero’s Table, 2004 ‘Prospero’s Table is inspired by Shakespeare’s last play, The Tempest. The White Table with locked drawers appears to float in space as it rests upon a completely transparent acrylic base. The white drawers when opened reveal the inside of the table to be scarlet. The contents of the table, almost all of which are pieces of jewellery, relate either to Prospero himself, to the sea or to the spirits who inhabit the island on which Prospero lives. Here are Prospero’s pen, book and ring; a necklace of stars for Miranda, his daughter….’

Graham Hughes, A Life’s Partnership, p192, published Starcity, 2009

I work in both the fields of Jewellery and of Public Art. Working at a small and a large scale – from millimetres to meters. I regard these activities as site specific. Both kinds of design relate to the human form but in different ways. My large-scale work is all situated in the UK; my jewellery has been exhibited and acquired throughout the world.

Some pieces are included in museum and public collections; others are worn privately on an every day basis. Most of my jewellery is made in parts or sections, so that the owner can share in the way the piece is worn. Some pieces of my jewellery are easy and simple and some more complex. Because the work in the studio is always evolving and I am curious to see the way new developments will resolve themselves, I never tire of searching for new directions within which to progress.

Wendy Ramshaw

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Opposite: Prospero’s Table, 2004 From the collection of Museum of Fine Arts, Houston (Alice Pratt Brown Museum Fund) Photo: Graham Pym

The idea of taking part of a dream or fairytale as an inspiration... I worked on my exhibition Picasso’s Ladies for a ten-year period and saw that Picasso chose to do what he wished on any given day, changing his ways of working both technically and aesthetically throughout his life.

He was free. When I conceived the idea of the Room of Dreams I was free. I had no idea what the response of others might be. I simply went ahead for myself alone, and for The Scottish Gallery of course.

Wendy Ramshaw in conversation with Beatriz Chadour Sampson, p131, Rooms of Dreams, published 2012, The Harley Gallery & Ruthin Craft Centre

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Chain of Stones for Woman Ironing, Necklace, 1991 Picasso’s Ladies Series (1989-1999) silver gilt, cubic zirconium

Neckpiece (5 part), 1994 silver gilt, copper, brass

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Yellow Raindrops Long Earrings, 2006 18ct yellow gold, citrine, white Delrin stand Yellow Buzz Ringset (10 part), 2006 18ct yellow gold, citrine, white Delrin stand with yellow bands

Left: Ringset (5 part), 2017 18ct yellow gold, citrine, clear acrylic stand

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Right: Ringset (8 part), 2017 silver, 18ct yellow gold settings, garnet, citrine, clear acrylic stand

18ct yellow gold ringsets with semi-precious stones, including Set of Rings for Portrait of Dora Maar (centre), 1990, Picasso’s Ladies Series (1989-1999) 18ct yellow gold, fire opal, cornelian garnet, citrine, ruby, enamel, inlaid brass stands

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Things for Portrait of Nusch, Pendant Earrings, 1976 18ct yellow gold, moonstone, amethyst included in the Picasso’s Ladies Series (1989-1999)

Left: Ringset (11 part), 2005 18ct yellow gold, amethyst, garnet, iolite, ruby, brass stand with black inlay Right: Ringset (10 part), 1995 18ct yellow gold, amethyst brass stand with inlay

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Orbit Neckpiece, 1989 disc and cone with black inlay, nickel alloy, resin

Black Ringset (8 part), 2014 18ct white gold, onyx, turned black anodised aluminium stand

Black Disc Brooches, 1982 hand formed black basalt, 18ct yellow gold Wedgwood Series

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Three Cone Necklace, 1982 18ct yellow gold, Picasso Jasper Wedgwood Series

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Pillar Ringset (3 part), 1976 9ct yellow gold, blue and orange cornelian, black acrylic stand

Earrings, 1994 Wedgwood ceramic, 18ct yellow gold, amethyst, cornelian Wedgwood Series

Left: Pendant Earrings (2 part), c.2010 turned anodised aluminium, gold, turned Delrin stand Right: Pendant Earrings (2 part), c.2010 turned anodised aluminium, gold, turned Delrin stand

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Left: Ladder and Wheel Ringset (3 part), 2000 18ct white gold, inlaid nickel stand New Millennium Series Right: Pendant Earrings, 1971 silver, 18ct yellow gold, moonstone

You may know that the lines of imaginary maps are often evident in my pieces. They are some kind of homage to my Father’s profession. Constructed from fine gold wires, they may be symbolic of travel and potential discovery. I am often working on a subconscious level.

Wendy Ramshaw, p134, Rooms of Dreams, published 2012, The Harley Gallery & Ruthin Craft Centre

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Plan in a Gold Circle, 1988 18ct yellow gold

Sun Planet Brooch, 2008 18ct yellow gold Drawings In Gold Series

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Home Brooch, 2008 18ct yellow gold Drawings In Gold Series

Opera Brooch, 2008 18ct yellow gold Drawings In Gold Series

Left: Double Image Pin, 2008 18ct yellow gold Drawings In Gold Series Right: City Plan Pin, 2008 18ct yellow gold Drawings In Gold Series

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Drawings In Gold ‘Drawings in Gold’ is a series of drawings which have been transformed into gold jewellery. In my studio the lines of a series of pencil drawings are re-drawn exactly, but now using fine gold wires in place of thin pencil lines. The drawings re-emerge in the fine lines of hard gold and can be worn as jewellery.

I try to draw without preconception. I draw a single line – a straight line or a curved line. I draw this line almost without thought. I add another line to the first – it may be curved or straight, but this time I am thinking of the relationship of one line to another. A third line is added, and now I am working with the drawing, adding and removing lines until I am finished and satisfied with the result. I have no aim other than that of making a drawing. The lines are very delicate – an unwelcome line or unwanted mark can easily be removed or replaced.

Wendy Ramshaw, Drawings in Gold, 2008

Left: Matching Drop Earrings, 2001 18ct yellow gold, acrylic stand (not shown) Right: Onyx Triangular Earrings, 1991 18ct yellow gold, onyx

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Pendant Earrings, 2010 18ct yellow gold, white Delrin stand

Set of Five Bracelets for Gertrude Stein (5 part), 1998 18ct yellow and white gold Picasso’s Ladies Series (1989-1999)

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Left: Apache Tears Ringset (10 part), 2007 18ct yellow gold, obsidian, silver, gold dust, black enamel, white and brown inlaid stand Journey Through Glass Series

Right: Ringset (2 part), 2005 18ct yellow gold, onyx, silver, gold dust, gold and enamel, clear acrylic stand

Chain of Glass Tears for ‘Weeping Woman’ by Pablo Picasso (1937) The inspiration for the shape of the tears came from a segment of mauve glass with a droplet-like shape which was once part of a Victorian chandelier.

This water-shaped form was recreated in luminous glass in shades of blue and green. The double-stranded necklace is strung to appear like a cascade of water droplets. Over 100 of these glass droplets are hung on the steel of the necklace, achieving an apparently random effect. The necklace expresses my feelings for the beautiful Dora Maar, who, according to the visual records of Picasso, wept many tears. The beauty of the colours may detract from the sadness of her crying. Dora Maar’s tears are lifted into another realm, as one might find in a fairy tale, which might not necessarily be a happy ending.

Wendy Ramshaw, p168, Picasso’s Ladies Jewellery by Wendy Ramshaw, published Arnoldsche, 1998

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Chain of Glass Tears for Weeping Woman, 1998 glass, blackened steel Picasso’s Ladies Series (1989-1999)

High Blue Fire Ringset (8 part), c.2007 18ct white gold, blue glass, silver, blue enamel, polished Perspex with blue inlay stand Journey Through Glass Series

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In Love with Blue Neckpiece, 2007 18ct yellow gold, blue grass fragments, large blue glass disc Journey Through Glass Series

Left: Seaside Ringset (5 part), 2014 silver, 18ct yellow gold, blue topaz, turned stand Right: Ringset (3 part), 1996 18ct yellow gold, enamel, gold dust, unidentified stone, turned stand

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Rings for Woman in an Armchair, Ringset (6 part), 1998 18ct yellow gold, amethyst, fire opal, citrine, painted wooden stand Picasso’s Ladies Series (1989-1999)

Renaissance Ringset (10 part), c.1999 yellow precious metal, emerald, sapphire, garnet, ruby, clear acrylic stand

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Ringset (6 part), 1999 18ct yellow gold, silver, amethyst, blue enamel, clear acrylic stand

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Blue Grace Ringset (12 part), 2006 18ct matt white gold, lapis lazuli, blue enamel, white gold dust, blue inlaid nickel alloy stand

Timeless Pendant Earrings, 2008 silver, gilt, enamel, lapis lazuli, brass stand inlaid with bands of colour

Earrings, 1995 18ct yellow gold, lapis lazuli, blue enamel

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Midnight Two Ringset (4 part), c.2010 yellow precious metal, lapis lazuli, blue inlaid stand

Encircled Ring, 2010 18ct yellow gold, emerald, white Delrin stand Ringset (9 part), 1999 18ct yellow gold, enamel, emerald, sapphire, frosted acrylic stand New Millennium Series

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Ringset (6 part), 2017 18ct yellow gold, silver, amethyst, iolite, blue topaz, green carnelian, emerald, clear acrylic stand Earrings, 1994 Wedgwood ceramic, 18ct yellow gold, cornelian, peridot, amethyst Wedgwood Series

Stud Earrings (4 part), 2010 18ct white gold, moonstone

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Found Earrings (2 part), 2001 silver, 18ct white gold, moonstone, white Delrin stand

Encircled Ring, 2010 18ct white gold, moonstone, white Delrin stand

Left: Weights and Measures I Ringset (4 part), 2009 silver, frosted acrylic stand Right: Weights and Measures II Ringset (4 part), 2009 silver, frosted acrylic stand

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Left: Ringset (6 part), 1994 silver, 18ct yellow gold, frosted acrylic stand Right: Blanc Avec Blanc, 2000 18ct white gold, large white agate, diamond, clear acrylic stand New Millennium Series

Journey Through Glass Some artists work in response to the natural beauty of nature. I work with the beauty of man-made structures. The universe in miniature and in totality is made of geometric patterns, forms, rhythms, order. Because I come from the northern town, now the city, of Sunderland, my aesthetic from childhood onwards responds to the beauty of ships, the sea and the sky above. My father spent most of his professional younger years as a ship’s navigator. My grandfather was the Master of a ship under sail. The danger and romance of such professions sometimes illuminates my thoughts.

I see man’s creative and destructive instinct as part of nature, his buildings, cities, planes and ships no less enthralling than a honeycomb or an ant hill.

Wendy Ramshaw, Journey Through Glass The Scottish Gallery, August 2007

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Air Necklace, 2008 18ct yellow gold chain, glass spheres Journey Through Glass Series

Sphere 2 Necklace, 2007 18ct yellow gold chain, glass sphere Journey Through Glass Series

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Left: Alphabet Enamel Ring, c.2007 hand engraved, black enamel, white gold dust, clear acrylic stand with black inlay Right: Ringset (5 part), 2001 18ct white gold, onyx, white Delrin stand with black inlay

Upper: Trace 1 Brooch, 2007 18ct white gold, sand blasted glass Journey Through Glass Series

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Lower: Trace 3 Brooch, 2007 18ct white gold, sand blasted glass Journey Through Glass Series

Brooch, 2014 18ct yellow gold, silver

Black Brooch for Torso of a Woman, 1998 matt black stove enamel Picasso’s Ladies Series (1989-1999)

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Pair of Necklaces oxidised white metal, yellow metal links Picasso’s Ladies Series (1989-1999)

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Swingtime for Harlequin and Woman with Necklace, 1997-1998 silver, red stove enamel, perspex, vintage beads, pearls Picasso’s Ladies Series (1989-1999)

Left: Conversation Neckpiece, 2008 18ct yellow gold Drawings In Gold Series Right: Hanging Landscape Chain, 2008 18ct yellow gold Drawings In Gold Series

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Pins, 2009 18ct yellow gold Drawings In Gold Series

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Soft Geometric Ringsets, c.1990s silver, turned acrylic stands

Left and Middle: Complex Geometric Ringsets (5 part), 2017 18ct yellow gold, silver, clear acrylic stands Right: Complex Geometric Ringset (5 part), 2018 18ct yellow gold, clear acrylic stand

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Basic Geometric Ringsets (4 part), 2018 silver, clear acrylic stands

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Above: Midas Touch 4 Earrings, c.2009 18ct yellow gold Left: Midas Touch 1 Neckpiece, c.2009 steel Right: Midas Touch 2 Neckpiece, c.2009 steel, 18ct yellow gold

Lucciole Large Neckpiece, 2009 18ct yellow gold and glass sphere Journey Through Glass Series

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5 Strand Necklace, c.2009 silver

Left: Ringset (29 part), 2000 silver, enamel, gold, clear acrylic stand New Millennium Series

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Right: Ringset (17 part), 2000 silver, enamel, gold, clear acrylic stand New Millennium Series

Enamel Necklaces silver, 18ct yellow gold, enamel, onyx

Enamel Necklaces silver, 18ct yellow gold, enamel, onyx

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Left: Ringset (3 part), 2000 18ct yellow gold, silver, enamel, tourmaline, clear acrylic stand Indian Collection Right: Ringset (3 part), 2000 18ct yellow gold, silver, enamel, pink ruby, clear acrylic stand Indian Collection

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Left: Ringset (1 part), 2001 silver, enamel with gold dust, clear acrylic stand Indian Collection Right: Ringset (3 part), 2001 18ct yellow gold, silver, enamel with gold dust, amethyst, clear acrylic stand Indian Collection

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Diamond Ringsets, from 1998 - 2004 18ct yellow gold, diamonds, clear acrylic and white Delrin stands

Pendant Earrings (2 part), 2007 18ct white gold, diamonds, white Delrin stand

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Left: Ringset (11 part), 2000 silver, 18ct white gold, sapphires, clear Perspex stand New Millennium Series Right: Pendant Earrings (3 part), 2007 18ct matt white gold, diamonds, white Delrin stand

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The Empress Ringset (9 part), 2007 silver, amethyst, white Delrin stand

Brooches for Portrait of Dora Maar, 1996-1997 18ct yellow gold Picasso’s Ladies Series (1989-1999)

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18ct Yellow Gold and Silver Ringsets, 2002 - 2017 various semi-precious stones, including: ruby, tourmaline, garnet, citrine, amethyst and iolite

WENDY RAMSHAW, CBE, RDI SELECTED BIOGRAPHY 1939 1960

1961 1970

Born Sunderland NDD, College of Art and Industrial Design, Newcastle-upon-Tyne ATD, Reading University Postgraduate Studies, Central School of Art and Design, London

AWARDS 1972 Council of Industrial Design Award 1975 De Beers Diamond International Award 1981 Wedgwood Ltd, Visiting Artist 1986 Worshipful Company of Goldsmiths,

Lady Liveryman 1993 Pallant House, Chichester, Artist in Residence 1999 University of the Arts London,

Honorary Fellow 1999 Royal Designer for Industry 2003 Commander of the Order of the

British Empire 2006 Royal College of Art, Senior Fellow

RESIDENCIES 1978 Western Australian Institute of

Technology, Artist in Residence with

David Watkins 1985 Royal College of Art, Visiting Artist,

glass department 1990 Dartington Crystal, Visiting Designer 1996 Printmakers Workshop, Inverness,

Visiting Artist 2005 St John’s College, Oxford, Artist in Residence 2006 Pilchuck Glass School, Seattle,

Artist in Residence 2010–12 Somerset House, Artist in Residence 90

PUBLIC COLLECTIONS

LARGE SCALE AND PUBLIC COMMISSIONS

Art Gallery of Western Australia, Perth Australian National Gallery, Canberra British Museum, London Broadfield House Glass Museum, Stourbridge Gallery of English Costume, Platt Hall, Manchester Cooper-Hewitt National Design Museum, New York Corning Museum of Glass, Corning, New York Crafts Council, London Liverpool Museum & Walker Art Gallery, Liverpool Middlesbrough Institute of Modern Art (MIMA) Museum of Fine Arts Houston Kundstindustrimuseet Oslo Metropolitan Museum of Art, New York Museum of Art and Design, New York Musée des Arts Décoratifs, Paris Museum of Fine Arts, Boston Museum Fur Kunst Und Gewerbe, Hamburg Museum of London, London Museum of Modern Art, Kyoto National Gallery of Victoria, Melbourne National Museums Northern Ireland, Belfast National Museums Scotland, Edinburgh National Museum of Wales, Cardiff Nordenfjeldske Kunstindustrimuseum, Trondheim Philadelphia Museum of Art Museum het Princessehof, Leeuwarden Newark Museum, New Jersey Powerhouse, Sydney, New South Wales Royal Scottish Museum, Edinburgh Schmuckmuseum Pforzheim Science Museum, London Shipley Art Gallery, Gateshead Sunderland Museum and Art Gallery, Sunderland Stedelijk Museum, Amsterdam Victoria & Albert Museum, London West Midlands Arts, Birmingham Worshipful Company of Goldsmiths, London

1976 British Government: Bird of Paradise,

gift on the independence of Papua New Guinea 1987 Quick food restaurants: Colorcore murals

and decorations for seven restaurants 1993 St. John’s College, Oxford: Gate to Fellows Garden 1996 Victoria & Albert Museum: Double Screen 1997 Borough of Eton and Windsor: street

furniture for Eton High Street 1998 City of Birmingham Symphony Orchestra:

door handles and glass doors 1999 Reading Town Hall & Museum: Timepiece,

aluminium mobile for the entrance 2000 Homes & Gardens and the Victoria &

Albert Museum: The Prince of Wales’ Medal 2000 Columbus Courtyard, Canary Wharf,

London: Columbus Screen 2000 The New Millennium Company:

Millennium Medal for HM Queen Elizabeth II 2000 Southwark Cathedral: glass panels and

bronze door handles for the Millennium Building 2001 City of Sunderland: sliding gates for

Mowbray Park 2001 Hat Hill Foundation: Circular gates for

Sculpture at Goodwood 2002 Priors Court School: Entrance gate (with

Richard Watkins) 2006 Pallant House Art Gallery: Gate (work in progress) 2007 Clare College Cambridge: Garden gate 2010 St John’s College Oxford: Two pairs of gates

for the Kendrew Quadrangle 2010 The New Edinburgh Gates for One Hyde

Park, London 2014 Portcullis Gates, 33 Davies Street, Mayfair, London

(selected from over 70 worldwide)

SOLO AND JOINT EXHIBITIONS WITH DAVID WATKINS (*) 1970 Wendy Ramshaw Jewellery, Pace Gallery, London 1972 CoID Award Exhibition, Electrum Gallery, London 1973 Goldsmiths’ Hall, London* 1977 Small Collection, Oxford Gallery 1978 National Gallery of Victoria, Melbourne* 1981 Helen Drutt Gallery, Philadelphia 1982 Victoria & Albert Museum, London 1983 National Museum of Wales 1983 Bristol City Museum and Art Gallery 1983 Gemeentelijk Vam Rekummuseum, Apeldoorn 1984 Concepts Gallery, Carmel, California 1987 Wendy Ramshaw/David Watkins,

Schmuckmuseum Pforzheim* 1987 Wendy Ramshaw, Lesley Craze Gallery, London 1988 Wendy Ramshaw: Knitted Outfits,

Museum het Princessehof, Leeuwarden 1990 Bohun Gallery, Henley-on-Thames 1990 From Paper to Gold, Royal Festival Hall, London 1991 Wendy Ramshaw - Selected Works, Lesley

Craze Gallery, London 1993 Musée d’Art Moderne et d’Art

Contemporain, Nice* 1993 Jewellery Variations, Mikimoto Hall, Tokyo 1994 Cause for Celebration,

Lesley Craze Gallery, London 1995 The Indian Collection, Villa de Bondt, Ghent 1996 A marriage of Moonstones, Diamonds,

Silver & Gold, Lesley Craze Gallery, London 1998 Picasso’s Ladies, Victoria & Albert

Museum, London and American Craft

Museum, New York

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2000 Millennium Exhibition, Contemporary

Applied Arts, London 2000 The Paper Jewellery Collection,

Lesley Craze Gallery, London 2001 Picasso’s Ladies, Museum Kunstler-colonie, Darmstadt 2001 Wendy Ramshaw/David Watkins,

Galleri Metallum, Stockholm* 2002 Room of Dreams, The Scottish Gallery, Edinburgh 2002 Tiaras of Steel, Regalia for the Head,

Lesley Craze Gallery, London 2004 Wendy Ramshaw – Jewellery, Blackwell,

The Arts and Crafts House, Cumbria 2004 Prospero’s Table, The Scottish Gallery, Edinburgh 2005 Towers, The De Morgan Center, London 2006 Electrum Gallery, London 2007 A Journey Through Glass, The Scottish Gallery, Edinburgh 2008 Colourfield, Mobilia Gallery, Cambridge, MA 2008 Drawings In Gold, Bluecoat Display

Centre, Liverpool, and Lesley Craze

Gallery, London 2009 A Life’s Partnership* (Edinburgh, London) 2012 Inspired, Electrum Gallery, London 2012–14 Rooms of Dreams, UK Exhibitions at

Somerset House, London; Ruthin Craft

Centre, Denbighshire, Wales; Harley

Gallery, Welbeck Nottinghamshire;

Dovecot Studios, Edinburgh, Scotland;

MIMA, Midlesbrough; 2013 The Inventor, The Scottish Gallery, Edinburgh 2014 Black and White, Lesley Craze Gallery, London 2017 A Celebration, The Scottish Gallery, Edinburgh

SELECTED GROUP EXHIBITIONS 1973 British Design, Musée des Arts Décoratifs, Paris 1973 Electrum Gallery Opening Exhibition, London 1974 The Craftsman’s Art, Victoria & Albert

Museum, London 1974 Collectors’ Collections, Museum of Modern

Crafts, New York 1975 Contemporary Crafts of the Americas’

selector and exhibitor, Colorado 1975 5000 Years of Gold, Kyoto 1976 Treasures of London, Smithsonian Institute

travelling USA, Canada, Iran, Japan 1979 British Design Exhibition, Copenhagen 1980 International Jewellery 1900 –1980,

Kunstlerhaus, Vienna 1982 Jewellery Redefined, British Craft Centre, London 1984 Jewellery International, New York Museum of

Contemporary Crafts 1984 Contemporary Jewellery, The National

Museum of Modern Art, Tokyo and Kyoto 1986 British Design / British Art 1986, Kunstlerhaus, Vienna 1987 Prospectiva Contemporary European

Jewellery, Barcelona 1987 Tendenser 1987, Galeri F.15, Moss, Norway 1988 70 Jewellers and Silversmiths, Lesley Craze

Gallery, London 1989 Biennale des Bijoux, Paris 1989 Perth International Crafts Triennial, Perth, Australia 1992 Chicago International New Arts Forms Expo,

Hand & Spirit Gallery, Arizona 1994 10th Anniversary Exhibition, Lesley Craze

Gallery, London 1995 Shining Through, Crafts Council, London 1996 Jewellery from Europe, Galerie Metal, Copenhagen 1996 The Innovators, 25th Anniversary Exhibition,

Electrum Gallery, London 1996 New Times , New Thinking, Craft Council, London 1997 Modern British Design, Museum of Applied

Arts, Cologne, Germany

1998 Fifty Pieces of Gold, Contemporary Applied

Arts, London 1998 Jewellery Moves, National Museums of

Scotland, Edinburgh 1999 Fired with Colour, Aberdeen Art Gallery,

National Museums of Scotland, Edinburgh 2001 Mikromegas, BKV, Munich 2002 Tiaras, Victoria & Albert Museum, London 2002-03 The Ring, International Exhibition, Tour

included: Mobilia, Cambridge Massachusetts

USA; Ruthin Craft Centre Wales 2002 Zero Karat, American Craft Museum, New York 2005 Transformations: The Language of Craft,

National Gallery of Australia, Canberra 2006 Challenging the Chatelaine, Designmuseo, Helsinki 2008 Glass Wear - Glass in Contemporary Jewellery,

Schmuckmuseum Pforzheim 2008 Contemporary visions in Metal, Mobilia Gallery USA 2009 Creation II, Worshipful Company of

Goldsmiths, London 2009 LA Crème, 25th Anniversary exhibition, Lesley

Craze Gallery, London 2010 The Honey Bee and the Hive, curated by

Wendy Ramshaw, Contemporary Applied Arts, London 2011-12 Love Lace, Powerhouse Museum, Australia 2013 Objects of Status, Power and Adornment

Mobilia Gallery, USA 2013 Pop Art Design, Barbican, London 2013 Masters of Modern Jewellery,

Beetles & Huxley, London 2014 30 years in the Making, Lesley Craze Gallery, London 2013 Masterpieces: Art and East Anglia, The

Sainsbury Centre 2015 Modern Masters, The Scottish Gallery, Edinburgh 2015 A Sense of Jewellery, The Goldsmiths’ Centre, London 2015 Fine Lines, The Scottish Gallery, Edinburgh 2016 Paper/Plastic: Contemporary Adornment,

Racine Art Museum, Wisconsin USA

WENDY RAMSHAW SELECTED PUBLICATIONS Picasso’s Ladies, 1999 160 pages. Hardback publication in full colour presenting a collection of works by Wendy Ramshaw inspired by Picasso’s paintings of his wives, mistresses and friends.

Arnoldsche Art Publishers ISBN 9783925369803 The Paper Jewelry Collection, 2000 40 pages. A cut out and self-assembly collection of over 20 wearables in paper.

Wendy Ramshaw and David Watkins; Thames & Hudson, London ISBN 0-500-51019-9 The Big Works, 2004 163 pages. Paper back in full colour illustrating site specific large scale installations.

ISBN 84-607-9944-1 A Life’s Partnership, 2009 280 pages. Hardback publication in full colour. A survey of the life and work of David Watkins and Wendy Ramshaw.

Available from The Scottish Gallery, £25 Rooms of Dreams, 2012 208 pages. This hardback, casebound publication provides a unique insight into the fifty year career of this leading British designer. In-depth interviews, expert essays and sumptuous photography in this publication beautifully accompany the exhibition Wendy Ramshaw: Rooms of Dreams, a Harley Gallery touring exhibition in partnership with Ruthin Craft Centre.

Available from The Scottish Gallery & Ruthin Craft Centre, £25

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Published by The Scottish Gallery WENDY RAMSHAW: THE SCOTTISH GALLERY COLLECTION Current available works can be viewed online at www.scottish-gallery.co.uk/wendyramshaw ISBN: 978-1-910267-88-2 Designed by The Scottish Gallery Photography by William Van Esland and Elizabeth Jane Campbell for The Scottish Gallery Printed by J Thomson Colour Printers, Glasgow 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.

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CONTEMPORARY ART SINCE 1842 16 DUNDAS STREET • EDINBURGH EH3 6HZ +44 (0) 131 558 1200 • mail@scottish-gallery.co.uk • scottish-gallery.co.uk

Cover: Plan in a Gold Circle, 1988, 18ct yellow gold (p27) Inside cover: Black Ringset (8 part), 2014, 18ct white gold, onyx (p19) Right: Pendant Earrings (3 part), 2007, 18ct matt white gold, diamonds (p83)

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