A Good Lesson of Jewellery Historical past

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The Fascination of Jewelry: 7000 Years of Jewelry Artwork on the MAKK
New everlasting exhibition
Museum für Angewandte Kunst Köln, Cologne, Germany

Bernhard Schobinger, Vorhangschienearmreif (Curtain Rod Bangle), 1991, bracelet in copper-nickel alloy, silver, moonstone, 2 ¾ x 3 ⅛ inches (69 x 78 mm), photo: MAKK / VG Bild-Kunst Bonn, 2025
Bernhard Schobinger, Vorhangschienearmreif (Curtain Rod Bangle), 1991, bracelet in copper-nickel alloy, silver, moonstone, 2 ¾ x 3 ⅛ inches (69 x 78 mm), photograph: MAKK / VG Bild-Kunst Bonn, 2025

A person at a show case is laughing out loud. There’s nobody else round. I in all probability look puzzled, so he factors at a bangle fabricated from a curtain rail and moonstones. His enjoyment of Bernard Schobinger’s intelligent use of a discovered object makes me snigger, too. We’re in The Fascination of Jewellery, the brand new assortment presentation on the Museum of Utilized Arts (MAKK) in Cologne, Germany.

Pendant amulet, Persia?, 9th–6th century BC, in bronze, 1 ⅛ x 1 ⅛ x ⅞ inches (28.2 x 30 x 21.5 mm), donation Elisabeth Treskow, photo: MAKK / DetlefSchumacher.com. “The eyes and nostrils as well as the furrows on the [bull’s] forehead are suggested by notches,” states Lena Hoppe’s description in the catalog and online collection.
Pendant amulet, Persia?, ninth–sixth century BC, in bronze, 1 ⅛ x 1 ⅛ x ⅞ inches (28.2 x 30 x 21.5 mm), donation Elisabeth Treskow, photograph: MAKK / DetlefSchumacher.com. “The eyes and nostrils in addition to the furrows on the [bull’s] brow are steered by notches,” states Lena Hoppe’s description within the catalog and on-line assortment.

The MAKK owes its assortment of almost 1,700 items to a few donated collections and quite a few smaller items and acquisitions. It has all of it: purposeful fibulae, medieval cross pendants, and Artwork Deco items constituted of one of many first plastics, Galalith. Many up to date items have been added in current many years. But that is the primary time a considerable cross-section has been offered. Because of monetary help from a household basis and the museum’s buddies, the exhibition is accompanied by a complete e-book, and all of the reveals have been made accessible on-line.[1]

Exhibition view, The Fascination of Jewellery, MAKK Cologne, Germany, 2024, photo: MAKK / Oskar Lee. The showcases with tilting back walls were specially made for the exhibition. The curators opted for an atmosphere like in a treasure room.
Exhibition view, The Fascination of Jewelry, MAKK Cologne, Germany, 2024, photograph: MAKK / Oskar Lee. The showcases with tilting again partitions have been specifically made for the exhibition. The curators opted for an environment like in a treasure room.

The present covers all the jewellery matters
Coming into the jewellery room from the museum’s spacious central corridor, I go away daylight behind. It takes a couple of seconds earlier than I can distinguish the rows of matte-black show instances. The curators, museum director Petra Hesse and researcher Lena Hoppe, have organized this exhibition as a mixture of chronological shows and material that span epochs. Virtually all the jewellery matters are lined, together with memento, nature, identification, gender, and luxurious for the lots.

David Watkins, Jazzz, 1987, neckpiece in Colorcore plastic, 13 x 9 x ⅜ inches (331 x 230 x 9 mm), on permanent loan from the Overstolzengesellschaft, photo: MAKK / DetlefSchumacher.com. This is one of the largest pieces in the collection.
David Watkins, Jazzz, 1987, neckpiece in Colorcore plastic, 13 x 9 x ⅜ inches (331 x 230 x 9 mm), on everlasting mortgage from the Overstolzengesellschaft, photograph: MAKK / DetlefSchumacher.com. This is likely one of the largest items within the assortment.

The 28 totally different themes make for the proper lesson in jewellery historical past. A show about performance holds an historic belt buckle, a strap finish,[2] and a pomander. One other, about dimensions, reveals two very inflexible torques by David Watkins and Wendy Ramshaw. All 370 items are offered as in a treasure trove, shimmering in small puddles of sunshine. Even Watkins’s massive, machine-cut plastic piece from the Eighties.

Elisabeth Treskow (designer), Gertrud Weber-Vogel (fabricator), Untitled, 1967, brooch in gold (embossing, granulation), sapphire, fire opal, ¾ x 1 ¾ x 1 ¾ inches (19.8 x 44.6 x 44 mm), on permanent loan from the Overstolzengesellschaft, photo: MAKK / DetlefSchumacher.com
Elisabeth Treskow (designer), Gertrud Weber-Vogel (fabricator), Untitled, 1967, brooch in gold (embossing, granulation), sapphire, fireplace opal, ¾ x 1 ¾ x 1 ¾ inches (19.8 x 44.6 x 44 mm), on everlasting mortgage from the Overstolzengesellschaft, photograph: MAKK / DetlefSchumacher.com

Within the textbook record of matters, the pursuits of some native personalities usher in additional coloration. There are, for instance, the vintage carved gem stones donated by the artist and first feminine artwork trainer in Cologne, Elisabeth Treskow. We owe a show case with outdated and new granulation work to her examine of Etruscan methods. And the outstanding Nineteenth-century parures, or units of matching jewellery, have been the private obsession of one other large museum benefactor.

Maker unknown, cannetille parure, Netherlands, 1825–1830, in gold, necklace 1 x 15 x ½ inches (25 x 380 x 12 mm), drop earrings 1 x ½ x ¼ inch (26 x 14 x 5 mm), donation Rosy Petrine Sieversen, photo: MAKK / DetlefSchumacher.com
Maker unknown, cannetille parure, Netherlands, 1825–1830, in gold, necklace 1 x 15 x ½ inches (25 x 380 x 12 mm), drop earrings 1 x ½ x ¼ inch (26 x 14 x 5 mm), donation Rosy Petrine Sieversen, photograph: MAKK / DetlefSchumacher.com

Piecing collectively the data
Every of the thematic shows has an introductory textual content. I want they have been much less basic and talked about the examples on view. The works themselves are labeled solely with a yr, the maker, and—crucial someway—at all times the place of creation. However even the show about materials experiments doesn’t point out supplies.

Exhibition view, The Fascination of Jewellery, MAKK Cologne, Germany, 2024, photo: Saskia van Es. The showcase themed “Found objects” has the design typical of the exhibition, including a general introductory text, silhouettes, short descriptions, and the inevitable QR code.
Exhibition view, The Fascination of Jewelry, MAKK Cologne, Germany, 2024, photograph: Saskia van Es. The showcase themed “Discovered objects” has the design typical of the exhibition, together with a basic introductory textual content, silhouettes, quick descriptions, and the inevitable QR code.

A tiny amulet catches my eye. It comes from Persia, however what is that this unfamiliar form? Pointing the cellphone on the QR code on the glass case not solely resolves the query (it’s a stylized bull’s head forged in bronze) but additionally opens a wealth of on-line descriptions by curators Hesse and Hoppe which can be nicely price studying!

Nhat-Vu Dang, No. 3, from the series Where the Hell Are My Keys?!, 2019, neckpiece in silver, leather, pendant 2 x 2 ⅞ x ⅜ inches (50 x 74 x 10 mm), photo: MAKK / DetlefSchumacher.com. The artist is a Dutch-Vietnamese jewelry creator based in Berlin and Hanoi.
Nhat-Vu Dang, No. 3, from the sequence The place the Hell Are My Keys?!, 2019, neckpiece in silver, leather-based, pendant 2 x 2 ⅞ x ⅜ inches (50 x 74 x 10 mm), photograph: MAKK / DetlefSchumacher.com. The artist is a Dutch-Vietnamese jewellery creator primarily based in Berlin and Hanoi.

On the show case about “Jewelry & identification,” for instance, the introduction warms the customer to the concept jewellery can provide nonverbal clues about one’s cultural identification. However how? Following the QR code for Nhật-Vũ Dang’s neckpiece from the sequence The place the Hell Are My Keys? reveals that the engraved pottery shards underline how the artist is torn between two international locations that occur to have a ceramics custom, the Netherlands and Vietnam.

Was I going to unlock these treasures 370 instances? No. Then I discovered the accompanying catalog[3] within the room and noticed that each one these texts have been in it! I used the e-book as an alternative of my cellphone.

A brilliant e-book
The catalog paperwork the exhibition precisely. The texts are similar, together with the considerably stiff selections within the English translation, with phrases corresponding to polysemic, conjecture, and concomitantly (AJF’s editor, a local English speaker, is herself unfamiliar with a few of this vocabulary). Each one of many 370 items within the exhibition is pictured within the e-book, grouped beneath the identical themes. The data that I received’t miss something provides me a way of serenity. In contrast to the dimly lit museum gallery, this e-book is obvious and brilliant. I can now see the mini mosaic in a larger-than-life picture of a neoclassical brooch.

Michelangelo Caetani di Sermoneta, Casa Castellani, fibula brooch, Rome (Italy), c. 1860–1863, in gold, micromosaic, 1 ½ x 2 ½ x ½ inches (37 x 62 x 12 mm), photo: MAKK / Martin Klimas
Michelangelo Caetani di Sermoneta, Casa Castellani, fibula brooch, Rome (Italy), c. 1860–1863, in gold, micromosaic, 1 ½ x 2 ½ x ½ inches (37 x 62 x 12 mm), photograph: MAKK / Martin Klimas

This e-book can also be one of many official catalogs of the museum’s assortment, because the catalogs Schmuck I and II have been in 1985.[4] Hesse and Hoppe invited one of many authors of these books, Beatriz Chadour-Sampson, to contribute to the brand new tome. First, she outlines the historical past of the gathering primarily based on a few main donations. However she wastes no time in taking the reader on a lightning-fast flight by way of European jewellery historical past. She makes use of the items she knew so nicely as stepping stones, however doesn’t talk about the newer additions very a lot. Within the final half, Chadour-Sampson compares a number of museums with jewellery of this caliber. Some focus on an period, others on a sort, corresponding to rings. Her conclusion is that the MAKK is outstanding in displaying a whole historical past of bijou without delay, one thing that may solely be seen on the V&A, in London, the Schmuckmuseum, in Pforzheim, and the MFA, Boston.

Strategic amassing
Leafing by way of this catalog, I study concerning the “profile” of the MAKK assortment and its give attention to Europe. The museum has the intention to symbolize extra ladies makers. One other purpose is to point out how trendy and up to date jewellery displays issues about sustainability and harmfully sourced supplies. Within the exhibition itself, this theme is just not overly current. However there’s a 1977 necklace by Peter Skubic in stainless-steel as an alternative of gold. It serves as an early instance of social and political critique expressed in jewellery that protests Apartheid in gold-producing South Africa.

Exhibition view, The Fascination of Jewellery, MAKK Cologne, Germany, 2024, photo: MAKK / Oskar Lee. The display case second from right, themed “Breaking with convention,” holds Peter Skubic’s necklace of chromium nickel steel and silver, from 1977. In the display case on the far right, you see Bernhard Schobinger’s Curtain Rod Bangle, from 1991.
Exhibition view, The Fascination of Jewelry, MAKK Cologne, Germany, 2024, photograph: MAKK / Oskar Lee. The show case second from proper, themed “Breaking with conference,” holds Peter Skubic’s necklace of chromium nickel metal and silver, from 1977. Within the show case on the far proper, you see Bernhard Schobinger’s Curtain Rod Bangle, from 1991.

Massive crowds
I typically discover that museum jewellery rooms don’t draw many guests. In Cologne there have been plenty of individuals after I visited, two months after the opening, each on an evening with lowered ticket costs but additionally on an everyday weekday. From their conversations, these weren’t jewellery insiders. The museum hasn’t but decided what’s the draw: the historic jewellery or the up to date items.

Karl Fritsch, Cairn Ring, München, 2007, © Karl Fritsch, photo: © DetlefSchumacher.com
Karl Fritsch, Cairn Ring, München, 2007, © Karl Fritsch, photograph: © DetlefSchumacher.com

Though Cologne now not has an artwork faculty with a jewellery division, fairly a couple of individuals bear in mind the times when Elisabeth Treskow and her contemporaries have been energetic within the metropolis, so the native historical past could possibly be what’s bringing in attendees. What could be measured, says curator Hoppe, is that for the reason that opening, in December 2024, the museum has seen customer numbers rise. Mission completed! Hesse and Hoppe have plans to maintain curiosity within the jewellery assortment eager by creating small, themed exhibitions in the primary room. In any case, solely a small portion of their 1,700-piece assortment is now on view. Non permanent exhibitions in one other a part of the constructing complement this ambition. Already, From Louise Bourgeois to Yoko Ono, a present about feminine artists who additionally designed jewellery, is scheduled for fall 2025, with loans from Paris.[5]

Annamaria Zanella, finger ring, Padua (Italy), 2006, © estate Annamaria Zanella, photo: ©DetlefSchumacher.com
Annamaria Zanella, finger ring, Padua (Italy), 2006, © property Annamaria Zanella, photograph: ©
DetlefSchumacher.com

I’m completely happy to see a brand new place on the jewellery map. The MAKK has taken the leap to make jewellery a focus. The Fascination of Jewelry is strong and dependable, and an ideal exhibition to take college students to.

Otto Künzli, finger ring Faceless, Munich (Germany), 1993, © VG Bild-Kunst, Bonn 2024, photo: © DetlefSchumacher.com
Otto Künzli, Faceless,  finger ring, Munich (Germany), 1993, © VG Bild-Kunst, Bonn 2024, photograph: © DetlefSchumacher.com

Extra info
See the jewellery that the MAKK has on-line right here.

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[1] See them right here. The museum’s web page for this exhibition is right here.

[2] A protecting and infrequently ornamental metallic casing on the free finish of belts, and so on.

[3] It’s printed by Arnoldsche Artwork Publishers.

[4] The MAKK printed thematic catalogs of their assortment, starting in 1963 with a quantity on glass, then stoneware, majolica, porcelain, and so forth. The tenth quantity, on jewellery (Schmuck), was too massive and was break up into Schmuck I, with 600 pages on neck, ear, arm, and garment jewellery, and the 350-page Schmuck II, on finger rings. The authors have been Anna Beatriz Chadour and Rüdiger Joppien. Schmuck I and Schmuck II have been the primary books on jewellery from antiquity to the current within the German language. The double quantity was printed in 1985, parallel to the final exhibition on the museum’s former location, the Overstolzenhaus.

[5] Discover extra info right here.

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