mostra

Art and jewelery in Rome

Jewelery and figurative arts at the Incinque Open Art Monti gallery in Rome. The space will host the Sinopie exhibition by Emiliano Alfonsi from 16 to 30 March as part of the Incinque Jewels project curated by Monica Cecchini. The objective is to make contemporary jewelery dialogue with other forms of art. The Sinopie project, curated by art historian Carmen Bellalba, was born as an itinerant project with the intention of being disseminated nationally among museums, exhibition spaces and places of culture. Alfonsi, born in 1980, creates his works using an ancient technique dating back to 1400, egg painting, for subjects that recall the Tuscan and Flemish Renaissance, but also the Pre-Raphaelites.

Opera di Emiliano Alfonsi
Opera di Emiliano Alfonsi

During the Sinopie exhibition period, the exhibition of the winner of the Rome Jewelry Week 2023, Francesco Ridolfi, will also be inaugurated on Thursday 21 March, who will compare himself with the creations of Emiliano Alfonsi and the other resident artists of Incinque Jewels. Ridolfi was selected as first place in the Incinque Jewels Award, with a Second Life theme, for his jewel Vite parallele. «Two parallel worlds, one natural and one artificial. A new horizon that opens up to many possibilities or an alienating destiny that will change us forever? On one side there is a beating heart that is linked to two roots of a tree, on the other a binary code and microchip. The two universes will probably coexist, only man will decide that”, explains the artist.
Myriam Bottazzi
Myriam Bottazzi

The works, some unpublished, by Emiliano Alfonsi will be on display and for Incinque Jewels the jewels of Myriam Bottazzi, Detailsdattimi, Chiara Fenicia, Claudio and Roberto Franchi, Angela Gentile, Emanuele Leonardi, Paolo Mangano, Maria Patrizia Marra, Matuta jewels, Maria Gaia Piccini, Anna Pinzari, Francesco Ridolfi, Simone Vera Bath and Lorella Verrillo.
Matuta gioielli
Matuta gioielli

A century of Scavia on display in Milan

Scavia is a historic jewelery brand in Milan. Founded in 1911, Scavia is one of the showcases that most coincide with the tradition of the Italian city, capital of design. Now the Bagatti Valsecchi Museum presents the exhibition The Golden Century of Scavia. A beauty that enchants, (8-12 November 2023). The exhibition also demonstrates a partnership between the House Museum and the jewelery house. Scavia’s business spans four generations. The Bagatti Valsecchi Museum, a late nineteenth-century building in neo-Renaissance style according to the taste of the brothers Fausto and Giuseppe, now owned by the Lombardy Region, is located in the so-called Fashion Quadrilatero of the city, like Scavia.

Gli orecchini Sandra Dia, disegnati nel 1988 per Elizabeth Taylor
The Sandra Dia earrings, designed in 1988 for Elizabeth Taylor

The jewelery Maison was founded by Domenico Scavia, a goldsmith, who moved from Valenza to Milan together with his wife Maria at the beginning of the twentieth century, with the idea of opening a jewelery laboratory, still active, in a building in Corso XXII Marzo . Her daughter Sara then continued her work, supported by her son Fulvio, standing out as one of the few leading women in the Italian goldsmith sector. Today the fourth generation of Scavia is represented by Fulvio and his son Alessandro, who brought a breath of innovation.
Liz Taylor indossa gli orecchini Scavia
Liz Taylor wears Scavia earrings

In the rooms of the Museum, some of the brand’s historic jewels are exhibited, in synergy with the permanent collection, alongside others of recent manufacture, the result of the creative flair of Fulvio Scavia and Alessandro Scavia. Like the Sandra Dia earrings, designed in 1988 for Elizabeth Taylor and which have now become iconic thanks to their unusual and fascinating shape. Or the blonde and black horn and gold necklace, a paradigm of the most classic cuts, the Due coni ring with two diamonds, thanks to which Fulvio Maria Scavia won the first Diamond International Award in 1976. In the exhibition there is no shortage of photographs of archive that traces a century of activity.

THE GOLDEN CENTURY OF SCAVIA
An enchanting beauty
8–12 November 2023
Bagatti Valsecchi Museum
Via Gesù, 5
20121 Milan
Opening hours:
Wednesday: 1pm-8pm
Thursday and Friday: 1pm-5.45pm
Saturday and Sunday: 10am-5.45pm
closed Monday and Tuesday
Ticket:
Full price: €12.00
Reduced and discounts: €9.00

Lavorazione del ciondolo Albero della Vita
Processing of the Tree of Life pendant

Collana Super Oscar ·
Super Oscar necklace

Fulvio Scavia e Sara Scavia nel laboratorio con gli artigiani
Fulvio Scavia and Sara Scavia in the workshop with the artisans
Fulvio Scavia
Fulvio Scavia
Il primo negozio Scavia a Milano
The first Scavia store in Milan
Modella indossa gioielli Scavia
Model wears Scavia jewels
Parure Fil Soie
Parure Fil Soie

The Rome Jewelry Week program

Jewelery and avant-garde, the mix of Rome Jewelry Week. The third edition (6-15 October) of the event dedicated to contemporary, author’s, artist’s and historic gold jewelery is promoted by the Incinque Open Art Monti association, this year in collaboration with Municipality I – Rome center, and the collaboration of Vive-Vittoriano and Palazzo Venezia and the Municipality of Valenza. The event has numerous initiatives on the agenda, with the underlying theme Second Life, between technology and sustainable reuse.

Da sinistra, Monica Cecchini, Alessandro Onorato, Valeria Percossi Papi, Giulia Silvia Ghia
Monica Cecchini, Alessandro Onorato, Valeria Percossi Papi, Giulia Silvia Ghia

The RJW event was conceived by the architect Monica Cecchini, director of the project, with the support of Giulia Silvia Ghia, councilor of Municipality I, and the consultancy of Barbara Brocchi, creative manager, illustrator, writer, designer and coordinator of the design department of the Ied-Roma jewel, by Bianca Cappello, teacher, historian and critic of jewellery, by Claudio Franchi goldsmith, silversmith, historian and art critic, and by Laura Astrologo Porché. Preview of the Rome Jewelry Week is the exhibition Beyond the Border – goldsmith and pictorial works of art by the artist Rocco Epifanio at the Casanatense Library (4-6 October).
Emanuele Leonardi, Fori Imperiali
Emanuele Leonardi, Fori Imperiali

The exhibition Ri-Trovamenti. The jewel between Rome and Valenza includes the works of the Neo Roman School of contemporary jewelery and the Valencian goldsmith masters on display in the rooms of the Napoleonic Museum, anticipating what will be the second edition of the Valenza Jewelry Week in 2024. The exhibition is curated by Monica Cecchini and Claudio Franchi.
Alessio Boschi. Copyright: gioiellis.com
Alessio Boschi. Copyright: gioiellis.com

In London the largest exhibition of Wallace Chan

The Wheel of Time: is the title of what promises to be the largest exhibition of Wallace Chan’s work in Europe. Christie’s is presenting the jewels-masterpieces of the Hong Kong master. The 150 jewels that make up The Wheel of Time will be exhibited at Christie’s King Street headquarters in London from 4 to 10 September. In addition to the jewels Wallace Chan presents six titanium sculptures, some of which have never before been seen in public. The works summarize the work of five decades. The exhibition is free and open to the public and is the fifth that Christie’s presents in collaboration with Wallace Chan, following the previous exhibitions in Hong Kong (2015, 2019) and Shanghai (2020, 2021). Most of the pieces on display, created over the past half century, have been lent by many of Chan’s major international collectors.

Forever Dancing – Wind’s Tale brooch. Yellow Diamond, Morganite, Tsavorite Garnet, Crystal, Butterfly Specimen, Mother-of-Pearl, Fancy Coloured Diamond, Diamond, Pink Sapphire, The Wallace Chan Porcelain, Titanium
Forever Dancing – Wind’s Tale brooch. Yellow Diamond, Morganite, Tsavorite Garnet, Crystal, Butterfly Specimen, Mother-of-Pearl, Fancy Coloured Diamond, Diamond, Pink Sapphire, The Wallace Chan Porcelain, Titanium

We are delighted to bring the imagination of Wallace Chan to London and present this unique exhibition celebrating five decades of artistic excellence. Our fifth collaboration with Chan reaffirms Christie’s longstanding relationship with the artist and we look forward to welcoming visitors to the exhibition.
Mei Y Giam, Private Sales Director, Christie’s Jewellery

Legend of the Color Black, spilla-scultura con diamanti neri. L'impressionante pietra centrale del pezzo, uno dei più grandi diamanti neri tagliati conosciuti al mondo, pesa 312,24 carati, insieme a diamanti grigio argento, zaffiro cristallino, agata nera, titanio e la porcellana Wallace Chan
Legend of the Colour Black, a remarkable black diamond shoulder brooch sculpture. The impressive centre stone of the piece, one of the largest known cut black diamonds in the world, weighs 312.24 carats, alongside silver grey diamonds, crystal sapphire, black agate, titanium and the Wallace Chan Porcelain

It is not easy to describe Chan’s work, which ranges from the traditional canons of Chinese aesthetics with an imagination without ethnic boundaries combined with an astonishing technical ability. The highlight of the exhibition is Legend of the Color Black, an extraordinary brooch-sculpture with black diamonds. The impressive center stone of the piece, one of the largest known cut black diamonds in the world, weighs 312.24 carats, along with silver gray diamonds, crystalline sapphire, black agate, titanium and Wallace Chan porcelain, a material Chan employed years to develop and which is five times stronger than steel.
Another noteworthy piece is The Joy of Life brooch, with one of Chan’s most prominent motifs, a charming butterfly, composed of pink sapphire, sapphire, tsavorite garnet, diamond, yellow diamond, pearl and titanium.
Brooch The Beauty of Greatness
Brooch The Beauty of Greatness

A deeply philosophical man, Wallace infuses his jewels with oriental spiritualism. This is why he spends his entire creative life interpreting and reinterpreting, experimenting with endless combinations of gemstones, mediums, styles, aesthetics, and executed with his world-renowned techniques.
François Curiel, President, Christie’s Europe

Spilla The Joy of Life, composta da zaffiro rosa, zaffiro, granato tsavorite, diamante, diamante giallo, perla e titanio
The Joy of Life brooch. Pink Sapphire, Sapphire, Tsavorite Garnet Diamond, Yellow Diamond, Pearl, Titanium

Wallace Chan, born in 1956 started as a gemstone carver in 1973 at the age of 16. He is an artist, but also an innovator: The Wallace Cut is an illusory three-dimensional carving technique invented in 1987. He has a strong ability in titanium processing, and has patented a technology to enhance the brightness of jadeite. Chan’s works are in the permanent collections of the Long Museum, Shanghai (2023), Museum of Fine Arts, Boston (2023), British Museum (2019), Capital Museum of China (2010) and Ningbo Museum (2010). He has held solo exhibitions with his works at Fondaco Marcello (Venice, 2021 and 2022), Canary Wharf (London, 2022), Christie’s (Shanghai, 2021), Asia House (London, 2019), Christie’s Gallery (Hong Kong, 2019) , Gemological Institute of America Museum (Carlsbad, 2011), the Capital Museum of China (Beijing, 2010), the Kaohsiung Museum of History (Taiwan, 1999) and Deutsches Edelsteinmuseum (Idar-Oberstein, 1992).
Collana The Blue Mile
Necklace The Blue Mile

In the blink of an eye, half a century flew by. I am honored by the opportunity to present my largest exhibition in Europe at Christie’s in London. My heartfelt thanks go to Christie’s for supporting my creative journey over the years and around the world. I am also grateful to my longtime collectors for lending the pieces, without their friendship the exhibition would not be possible. Time is an eternal wheel that spins endlessly with no beginning or end. In the creative process, time is such an intangible yet omnificent theme.
Wallace Chan

Wallace Chan
Wallace Chan

Also clocks and automatons at GemGeneve

Geneva, the capital of watchmaking and one of the major centers of fine jewelry. Two aspects that the next edition of GemGèneve (Palaexpo, 11-14 May 2023) has decided to enhance. The event dedicated to vintage jewellery, design and gems returns to combine an exhibition inside the exhibition pavilion. For the new edition, GemGenève and the Geneva Art and History Museum (Mah), one of the largest in Switzerland, are organizing an exhibition centered on the mechanisms of automatons, art objects and music, with pieces from its collections. The Mah has been active since the 18th century. And, for the occasion, it brings 25 small and medium-sized works, as well as works created at the end of the 19th century, supplied by the International Watchmaking Museum of La Chaux-de-Fonds, by François Junod, Swiss sculptor and automaton maker, and by the exhibitors of GemGenève.

Orologio da tasca a ripetizione dei quarti, musica e automa Capt & Janin Ginevra, Mende, ca. 1810 Oro lucidato e inciso, smaltato Il braccio destro dell’automa sfiora la lira per tutta la durata della melodia (meccanismo a lame dritte). Ginevra, Museo d’arte e storia
Orologio da tasca a ripetizione dei quarti, musica e automa Capt & Janin. Ginevra, Mende, ca. 1810. Oro lucidato e inciso, smaltato. Il braccio destro dell’automa sfiora la lira per tutta la durata della melodia (meccanismo a lame dritte). Ginevra, Museo d’arte e storia

Watchmaking has been practiced in Geneva since the 16th century, associated with the development of vast commercial networks and linking converging technological innovations. The variety of objects kept in this section highlights the mechanisms of watches and the inventions derived from art mechanics with gears, music boxes and automatons: the latter are particularly complex, as they combine technical and historical aspects, up to philosophy and even to magic. Sounds produced by technique and simulated gestures performed mechanically have been surprising marriages between craftsmanship and technique of the past.
Scatolina con scomparti, con automa e orologio. Ginevra, ca. 1800. Oro rosa, oro colorato, smaltatura champlevé e miniature smaltate. Automa arrotino in oro colorato e smalto 7,7 cm di lunghezza, 3,18 cm di larghezza, 1 cm di spessore. Ginevra, Museo d’arte e storia
Scatolina con scomparti, con automa e orologio. Ginevra, ca. 1800. Oro rosa, oro colorato, smaltatura champlevé e miniature smaltate. Automa arrotino in oro colorato e smalto 7,7 cm di lunghezza, 3,18 cm di larghezza, 1 cm di spessore. Ginevra, Museo d’arte e storia

These clocks, most of which include a musical mechanism, reached their peak of popularity around 1840. The same passion can be found in the mantel clocks, which transform into real shows, with music boxes and singing birds: the creations are inspired by everyday life, rural scenes or the circus world. Music often accompanies the shows: simple music boxes, which can play one or more melodies, are commissioned from specialized craftsmen and integrated into watch cases.
The principle of the carillon was invented in 1796 by the Genevan watchmaker Antoine Favre. He had the idea of replacing the complex mechanism of bell stamps and hammers, used for clocks and snuffboxes, with steel blades that vibrate when struck by pins arranged on a cylinder.
Benoît; Japy Frères Ginevra, Beaucourt (Francia), ca. 1852. Bronzo dorato, automi in legno dipinto, quadrante smaltato, base in legno dipinto, cupola in vetro. Suoneria che scandisce il tempo ogni ora e ogni mezz’ora; meccanismo musicale che suona due melodie, ricaricabile tirando un cordino 83 cm di altezza (vetro compreso), 49 cm di larghezza, 28 cm di profondità. Ginevra, Museo d’arte e storia
Benoît; Japy Frères Ginevra, Beaucourt (Francia), ca. 1852. Bronzo dorato, automi in legno dipinto, quadrante smaltato, base in legno dipinto, cupola in vetro. Suoneria che scandisce il tempo ogni ora e ogni mezz’ora; meccanismo musicale che suona due melodie, ricaricabile tirando un cordino 83 cm di altezza (vetro compreso), 49 cm di larghezza, 28 cm di profondità. Ginevra, Museo d’arte e storia

Pendola con automi e musica (di una coppia). Guangzhou (Cina), Londra, ca.1800. Ormolu, smalto, argento, avorio, pittura su vetro, vetreria policroma, metallo dipinto. Suoneria allo scatto dell’ora, automi e carillon (nella base) attivabili quando si desidera, 90 cm di altezza, 38 cm di larghezza, 33 cm di profondità. Ginevra, Museo d’arte e storia
Pendola con automi e musica (di una coppia). Guangzhou (Cina), Londra, ca.1800. Ormolu, smalto, argento, avorio, pittura su vetro, vetreria policroma, metallo dipinto. Suoneria allo scatto dell’ora, automi e carillon (nella base) attivabili quando si desidera, 90 cm di altezza, 38 cm di larghezza, 33 cm di profondità. Ginevra, Museo d’arte e storia

Through history with Ivan Barbato

Craftsmanship, goldsmithing, creativity. But also tradition and dedication. Ivan Barbato represents the new generation of Italian gold and silver working professionals. Barbato was born in Gallarate in the province of Varese and works in Cardano al Campo, also in the province of Varese. An exhibition at the Incinque Open Art Monti Gallery in Rome is dedicated to him. Monica Cecchini’s gallery will host Barbato’s works from 5 to 7 May. The exhibition is titled In the footsteps of matter.

Anello Abbracciando il mare
Anello Abbracciando il mare

Barbato’s story is not common: he was attracted to the trade when he was only eight years old, observing the ancient goldsmith’s shop where his mother worked from the window of his house. After his professional qualification in Milan, he worked for a decade in various companies in the goldsmith sector. In 2008 he opened his own laboratory atelier. He has received several awards, the latest of which, in 2022, at the Rome Jewerly Week, with the first prize of the Incinque Jewels competition. The goldsmith uses different materials and techniques, with a path that crosses history: the lava stone of Vesuvius, gold, mother-of-pearl, coral, shells, turquoise.
Pendente a forma di cuore con turchese intagliato
Pendente a forma di cuore con turchese intagliato

My jewels are made in a completely artisanal way, paying particular attention to metal working, the fretwork technique and wax modeling. These are handmade creations with gems of any kind, precious semi-precious and not. My mantra is a mix: shaping each piece with its frame and shaping a charm that can give emotions over time.
Ivan Barbato
La Maschera, con corallo intagliato e perla
La Maschera, con corallo intagliato e perla

The exhibition includes the Antica Roma collection, with jewels made of non-precious materials such as bronze and walnut travertine marble, and the Infinity collection, created in collaboration with the mosaicist Fabio Bordi. The visitor will be able to admire a series of jewels also in bronze where the meticulous modeling of the goldsmith is combined with the patient work of the micro mosaic in marble or Venetian enamels. Continuing you can

Incinque Open Art Monti Gallery
via Madonna dei Monti, 69 Rome
Exhibition times: Friday 5 vernissage 18/21, Saturday 6 11 /13:30 – 16:30/20:30, Sunday 7 11/13 – 16/20Orari della mostra: venerdì 5 vernissage 18/21, sabato 6 11 /13:30 – 16:30/20:30, domenica 7 11/13 – 16/20

Mostra di Ivan Barbato
Mostra di Ivan Barbato

Art and jewels with the Club degli Orafi at miart

Gold, jewels and art. The bond is tight. This is underlined by the participation of the Club degli Orafi Italia, supported by the governmental agency Ice, at Miart, the international fair of modern and contemporary art which takes place in Milan from 14 to 16 April 2023 in the space of Allianz MiCo, the largest congress center of Europe. Participation takes the form of the Double Face exhibition, which displays the artist’s jewels of eight members of the Club, curated by Alba Cappellieri.

Alba Cappelieri
Alba Cappelieri

The Double Face is not just a metaphor or a narrative device, but an opportunity to investigate and reflect on the double capacity of the jewels on display: precious objects, but also an expression of creativity, innovation and experimentation. From Titian to Anish Kapoor, from Salvador Dali to Cindy Sherman, from Jan Vermeer to Claes Oldenburg and again Giuseppe Penone, Michelangelo Pistoletto, Marina Abramovic: there are numerous artists who have explored and investigated diplopia as a reflection on identity in all ages but also on the invisible, the spiritual, illusions or shadows.
Gio' Pomodoro, bracciale, 1980, oro giallo, oro bianco, smalti, zaffiri, diamanti. Photo: Michele Porcari
Gio’ Pomodoro, bracciale, 1980, oro giallo, oro bianco, smalti, zaffiri, diamanti. Photo: Michele Porcari

For this reason, the works have been selected for their dual identities, with the work of artists such as Giò Pomodoro, who created the jewels for Cesari and UnoaErre, and Sergio Fermariello, author of the bracelet for de’Nobili, who here interpreted their respective research in the jewel medium with results of great interest and quality, the Puzzle Arlecchino earrings by Mattioli inspired by Pointillisme and the Carnival of Mirò, the creations by Vhernier, which refer to the elegant and soft shapes of the sculptures by Constantin Brancusi, Max Bill or Barbara Hepworth , or like the transformable necklace by Alfredo Correnti, inspired by the sinuosity of Art Nouveau. They are jewels that explore artistic experimentation, as in the Wave bracelet by Angeletti where the millenary tradition of jewelery meets the innovation of new materials or as in the coral skull by Liverino which is transformed into a sculpture.
Mattioli, anello della collezione Calatrava
Mattioli, anello della collezione Calatrava

In Milan art and jewels by Vasiliki Merianou




Jewels and art, sculpture and bijoux: the marriage is destined to continue. In Milan, the Rossini Gallery is specialized in periodically proposing the work of designers, artists and creatives who engage in the creation of jewels. It is the turn of the Greek artist Vasiliki Merianou (alias Lokta Art) with the Paramonas exhibition (March 23 – April), inspired by the western coast of the island of Corfu and, in particular, by the beach of Paramonas. Vasiliki Merianou won in 2022, the first prize in the 1st edition Contemporary Jewelery competition, organized by the Rossini Gallery. She now exhibits over 30 creations, including jewels and micro sculptures, in this personal exhibition.

Vasiliki Merianou, founder of the Lokta Art brand, who lives and works in Switzerland, offers jewels with defined archaic and organic shapes, with earthy shades such as red, brown or beige, combined with cold tones such as green and blue. The materials used are the most varied: stones, wood, string and paper, poor and heterogeneous elements. On the other hand they are artistic creations.

Rossini Gallery
Viale Monte Nero 58, Milan
from Thursday 23 March to 7 April 2023
times: from Tuesday to Saturday 10.00 – 19.00

Collana di Lotka Art
Collana di Lotka Art







Antonella Ferrara’s unique pieces




Gold, silver, natural stones and pearls, with the ambition of becoming wearable sculptures. They are the result of the work of Antonella Ferrara, who has a long (35 years) activity behind her. After studying goldsmith sculpture in Milan, Antonella Ferrara creates jewels in her studio-laboratory. At the center of her creative universe is the creation of micro-sculptures using gems and opals. They are all unique pieces with decorative, figurative elements that evoke modern symbols and historical references and constitute a thematic segment of her production, linked to her artistic experience.

Anello in oro con rubino
Anello in oro con rubino

Necklaces, bracelets, earrings, rings and brooches are inspired by wide-ranging themes, such as the Galaxia collection, or Treasures of the Sea, Ancestralia, but also the Wonders of the Earth. An example of the sources of inspiration is the mother-of-pearl medallion with a fantasy figure and inspired by the mythological element of the Greek divinity Aschepio, Aesculapius in Latin, symbol of health sciences and wisdom.
Collana con pendente in argento e oro, smalto
Collana con pendente in argento e oro, smalto

Anello con diamanti e perla scaramazza
Anello con diamanti e perla scaramazza
Orecchini Ethnos con oro e perle
Orecchini Ethnos con oro e perle
Medaglione con oro e madreperla
Medaglione con oro e madreperla
Orecchini con gocce di opale e oro sabbiato
Orecchini con gocce di opale e oro sabbiato

Anello di Antonella Ferrara
Anello di Antonella Ferrara







The jewels of ancient Egypt in Vicenza




Ancient Egyptian women also wore bracelets, necklaces and rings, which were often associated with amulets. Now some of the jewels of that culture that continues to fascinate after thousands of years are collected in an exhibition (from 23 December 2022 to 7 May 2023) at the Museo del Gioiello in Vicenza. In the halls of the museum, the exhibition displays scarabs, lotus flowers or the typical eye of Horus in the form of an amulet, terracotta necklaces and bracelets, strings of pearls and ivory rings, seals with the name of the pharaoh. They are jewels that were commonly used, as evidenced by paintings, reliefs and the analysis of the equipment of some mummies. In short, the ancient Egyptians were just as vain as humans are today.

Amuleto Occhio di Horo
Amuleto Occhio di Horo

And the exhibition entitled Jewels and Amulets. Beauty in Ancient Egypt, curated by the director of the Egyptian Museum of Turin, Christian Greco, with the collaboration of the museum curators Paolo Marini and Cédric Gobeil, is an interesting opportunity to discover the taste of that era for jewelry. The museum space, managed by the Italian Exhibition Group (the company that organizes Vicenzaoro) together with the Municipality of Vicenza is located inside the Basilica Palladiana, in the city center, and usually houses a permanent exhibition with jewels that have made history, as well as to temporary events.

Interno del Museo del Gioiello
Interno del Museo del Gioiello

Visiting hours of the Jewelery Museum
from Tuesday to Friday from 10:00 to 13:00 and from 15:00 to 18:00
Saturday and Sunday from 10:00 to 18:00.
www.museodelgioiello.it

Un'immagine della mostra al Museo del Gioiello
Un’immagine della mostra al Museo del Gioiello

Locandina della mostra Gioielli e amuleti. La bellezza nell’Antico Egitto
Locandina della mostra Gioielli e amuleti. La bellezza nell’Antico Egitto

L'esposizione permanente al Museo del Gioiello di Vicenza
L’esposizione permanente al Museo del Gioiello di Vicenza

Maschera funeraria esposta al Museo Egizio di Torino, dettaglio
Maschera funeraria esposta al Museo Egizio di Torino, dettaglio






Walking Jewels at Esh Gallery




The idea is original: Walking Treasures. Walking treasures, an exhibition dedicated to contemporary jewellery. In Milan, the Esh gallery presents a new edition dedicated to artist jewellery. The exhibition includes jewels in gold, silver, bronze, glass, with stones and natural elements, on the thin line between art and design. The authors hosted are Daria Olejniczak, an artist based in Berlin who creates rings and earrings in gold and silver with a dynamic soul, Chiara Davanzo, winner of the First Student Prize at Venice Design Week 2022, Miriam Arentz, whose beetle-brooches report in the ancient practice of guilloché is on the rise, Giulia Lentini, with jewels made with lost wax casting with colored stones, Annarita Bianco (Meristema Lab) and Sara Barbanti, with collections in silver and resin, Namkyung Lee, Juntao (Asa) Ouyang, Laura Foxes.

Creazione di Chiara Davanzo. Photo Pascal Arnet
Creazione di Chiara Davanzo. Photo Pascal Arnet

Walking treasures. Walking treasures
ESH Gallery Via Forcella 7 – 20144 Milan
t: + 39 0256568164 enquiries@eshgallery.com
www.eshgallery.com
Opening: Thursday 1 December, 18.00-21.00
From 2 to 23 December: 11.00-19.00
Creazione di Miriam Arentz
Creazione di Miriam Arentz

Anello di Sara Barbanti
Anello di Sara Barbanti
Orecchini di Daria Olejniczak
Orecchini di Daria Olejniczak

Anello di Giulia Lentini
Anello di Giulia Lentini







100 Fabergé jewels at GemGèneve




Fabergé jewels are part of the history not only of jewelry, but of culture. And they are not exclusively related to the mythical eggs collected by the tsars. The tradition, style and legacy of the Maison Fabergé have come down to us thanks to the special place occupied by the craftsmanship and creativity of Peter Carl Fabergé, the most famous designer of the family of jewelers active in St. Petersburg. His son, Igor Carl Fabergé, started a foundation that celebrates 40 years this year. And to celebrate the anniversary, he organized a major exhibition as part of GemGenève (3-6 November).

Calamaio ingioiellato d'oro a due colori a forma di fungo porcino. Oro, diamanti taglio rosa, cabochon rubis, cabochon zaffiri, mastro Frederich Koechli, San Pietroburgo circa 1900 larghezza 9,0cm Collezione Palais Royal Hong Kong Ltd
Calamaio ingioiellato d’oro a due colori a forma di fungo porcino. Oro, diamanti taglio rosa, cabochon rubis, cabochon zaffiri, mastro Frederich Koechli, San Pietroburgo circa 1900 larghezza 9,0cm Collezione Palais Royal Hong Kong Ltd

Bernard Ivaldi, president of the Igor Carl Fabergé Foundation, recalls that while most of the notoriety about Fabergé is concentrated on the precious Easter eggs commissioned by the Russian imperial family and important private patrons, the Maison’s business does not end here. This is why the Igor Carl Fabergé Foundation has decided to offer a different approach by presenting “new finds” and little-known objects as the starting point of the exhibition.

Spilla di presentazione imperiale “Aquila a due teste”. Oro, argento, diamanti, Bottega di Henrik Wigström, Carl Fabergé, numero di inventario 1418 San Pietroburgo 1903, Provenienza: Imperatrice Maria Fedorovna di Russia Lunghezza 4,5 cm
Spilla di presentazione imperiale “Aquila a due teste”. Oro, argento, diamanti, Bottega di Henrik Wigström, Carl Fabergé, numero di inventario 1418 San Pietroburgo 1903, Provenienza: Imperatrice Maria Fedorovna di Russia Lunghezza 4,5 cm

The exhibition includes over 100 pieces from private collections and offers a look at the richness and versatility of the Fabergé workshops. Many pieces have not previously been exhibited in Europe and some are presented for the first time in this exhibition.
Segnalibro oro smaltato. Oro, smalto, cristallo di rocca. Scatola in pelle originale su misura Officina di Mikhail Perkhin, Carl Fabergé, Numero di inventario 2976, San Pietroburgo circa 1900 Provenienza: Imperatrice Maria Fedorovna di Russia Lunghezza 5,9 cm
Segnalibro oro smaltato. Oro, smalto, cristallo di rocca. Scatola in pelle originale su misura Officina di Mikhail Perkhin, Carl Fabergé, Numero di inventario 2976, San Pietroburgo circa 1900 Provenienza: Imperatrice Maria Fedorovna di Russia Lunghezza 5,9 cm

Campanello a forma di cuore. Argento dorato, oro, smalto, perle, calcedonio, Provenienza: Granduchessa Elena Vladimirovna e Nicolas Principe di Grecia Larghezza 5,0 cm
Campanello a forma di cuore. Argento dorato, oro, smalto, perle, calcedonio, Provenienza: Granduchessa Elena Vladimirovna e Nicolas Principe di Grecia Larghezza 5,0 cm
Sigillo a mano in nefrite ingioiellato. Oro, nefrite, rubini, perle. Bottega di Mikhail Perkhin La matrice è incisa con lo stemma della famiglia di Gorchakov Altezza 12,3cm
Sigillo a mano in nefrite ingioiellato. Oro, nefrite, rubini, perle. Bottega di Mikhail Perkhin La matrice è incisa con lo stemma della famiglia di Gorchakov Altezza 12,3cm
Cornice del vaso di Pandora. Cornice smaltata, argento dorato, argento dorato, smalto, Workmaster Israel Roukhomovsky, Parigi circa 1910
Cornice del vaso di Pandora. Cornice smaltata, argento dorato, argento dorato, smalto, Workmaster Israel Roukhomovsky, Parigi circa 1910
Bollitore d'argento semplice. Una grande "bouilloire" in argento semplice con un supporto e il bruciatore, Numero di inventario 23184, officine di Mosca di Carl Fabergé, 1901 Altezza 24,00 cm
Bollitore d’argento semplice. Una grande “bouilloire” in argento semplice con un supporto e il bruciatore, Numero di inventario 23184, officine di Mosca di Carl Fabergé, 1901 Altezza 24,00 cm
Chitarra russa a sette corde. Bomboniera a forma di chitarra russa a sette corde, scolpita da un'unica pietra di agata corniola, cornalina, oro, perle, smalto, numero di inventario 54223. Attribuito alla bottega di Mikhail Perkhin, Fabergé Lunghezza 10,2cm
Chitarra russa a sette corde. Bomboniera a forma di chitarra russa a sette corde, scolpita da un’unica pietra di agata corniola, cornalina, oro, perle, smalto, numero di inventario 54223. Attribuito alla bottega di Mikhail Perkhin, Fabergé Lunghezza 10,2cm
Spilla "Fiocco di neve" con gemme. Platino, diamanti. Attribuito al laboratorio di Alma Pihl, Carl Fabergé Diametro 3,2cm
Spilla “Fiocco di neve” con gemme. Platino, diamanti. Attribuito al laboratorio di Alma Pihl, Carl Fabergé Diametro 3,2cm

La campana di tre tartarughe suona. Campana circolare “Tree turtles”, oro, granato, diamanti con taglio a rosa, pietra dura, numero di inventario 553, Carl Fabergé. Provenienza: Imperatrice Maria Fedorovna di Russia Diametro 8,4 cm
La campana di tre tartarughe suona. Campana circolare “Tree turtles”, oro, granato, diamanti con taglio a rosa, pietra dura, numero di inventario 553, Carl Fabergé. Provenienza: Imperatrice Maria Fedorovna di Russia Diametro 8,4 cm







Discovering glass jewels




A jewel that uses glass is not considered precious. Nothing more wrong. Because glass in jewelry is a noble material that inspires creativity and passion. This is testified by an exhibition (23 April-16 October) organized at the Bijou Museum in Casalmaggiore. The title leaves no doubt: Glass. Italian jewels between 800 and 900. The exhibition, curated by Bianca Cappello, collects over 300 pieces of designer jewels and period documents that used this strong fragile material: long and colorful sautoir from the beginning of the century, Deco-style bracelets , millefiori murrine, Roman micro mosaic jewels made for the Grand Tour, large multi-strand necklaces and collars made with tiny beads to match the sartorial cocktail dresses of the Sixties.

Spilla a forma di galletto, vetro avventurina, oro giallo, oro bianco, diamanti, gemme sintetiche, Italia, 1940-1950
Spilla a forma di galletto, vetro avventurina, oro giallo, oro bianco, diamanti, gemme sintetiche, Italia, 1940-1950

Again: bouquet earrings from the 1950s, flower-child-style jewelry from the 1960s inspired by Native Americans, crystals from the 1980s, up to the experimental creations of great designers and artists. Before the advent of plastic, glass was considered the material par excellence in the creation of jewelry, a sort of symbol of the social evolution of women: from angel of the hearth to flapper, from lady of good society to career woman, from daughter minimalist ethereal flowers.

From prehistoric times to today, the glass jewel has been able to move in step with the language, ingenuity and aesthetics of society, always managing to tell it and show its characteristics. The glass in the jewel is fragile and indestructible at the same time, it is a material that tells the very high level achievable with artistic craftsmanship and that, in the last two centuries, has become a protagonist in the jewels of the fashion system, as well as in the jewelery of research and design.
Bianca Cappello, curator of the exhibition

Bianca Cappello
Bianca Cappello

Glass is a difficult material to obtain and work with, so much so that in history it was considered a secret by a few masters and for this reason they jealously guarded. Between the nineteenth and twentieth centuries, following the industrialization process, glass diversified its identity: on the one hand a product of the finest and highest craftsmanship subject to technical and artistic experimentation for luxury and refined jewels, on the other an industrial item for the general public used in low-cost jewelry. The staging of the exhibition was designed and built by the Iranian designer Sogand Nobahar, reworking recycled glass.

At the beginning of the twentieth century, the glass bead became an indispensable accessory in the elegant and seductive clothing of the modern woman and regained its fascinating role over the centuries, from Cleopatra to Elisabetta Gonzaga.
Augusto Panini, co-curator of the exhibition

Ercole Moretti, Collane con piastre di vetro a mosaico con occhi, Murano (VE), 1968
Ercole Moretti, Collane con piastre di vetro a mosaico con occhi, Murano (VE), 1968

Glass. Italian jewels between the 1800s and 1900s
curated by Bianca Cappello and Augusto Panini
From 23 April to 9 October 2022 – opening on Saturday 23 April at 3.30 pm
Bijou Museum
Via Porzio 9, 26041 Casalmaggiore (Cremona) Opening hours: from Tuesday to Saturday: 10.00-12.00 / 15.00-18.00; Sundays and holidays: 15.00-19.00. Entrance to the exhibition and museum: full € 3.00; reduced € 2.50. Free for school groups and holders of the Lombardia Museums Subscription. Distances: 25 km from Parma, 40 from Cremona and Mantua, 140 from Milan. Telephone: 0375 284424 205344
Catalog Bianca Cappello, Augusto Panini, Glass Jewels from Prehistory to the III Millennium, Antiga editions, 300 pages, text in Italian with over 300 color images. Format 24×30 cm, hardcover. Cover price 39 euros

Sautoir, perle di vetro da canna molata e conterie, Venezia, anni venti del XX secolo
Sautoir, perle di vetro da canna molata e conterie, Venezia, anni venti del XX secolo
Collana, perle di vetro a lume fiorate montate in filo di metallo, Venezia, XIX secolo
Collana, perle di vetro a lume fiorate montate in filo di metallo, Venezia, XIX secolo
Collana, perle di vetro a lume fiorate montate in filo di metallo, Venezia, XIX secolo
Collana, perle di vetro a lume fiorate montate in filo di metallo, Venezia, XIX secolo






Van Cleef & Arpels story on show in London




The long history of Van Cleef & Arpels began in 1896, although the actual foundation dates back to 1906. The Maison’s initiative in Paris is due to the Dutch diamond cutter Alfred Van Cleef and his father-in-law, Salomon Arpels. A lot of time has passed since then, but Van Cleef & Arpels remains one of the most famous jewelry brands in the world, also thanks to the fact that it was chosen by celebrities as royalty such as Grace Kelly, the Princess of Wales, Ava Gardner, Farah Pahlavi, Eva Perón, Elizabeth Taylor, the Duchess of Windsor (to whom the idea of ​​the zip necklace is attributed) or Queen Nazli of Egypt. The jewels of the jewelry company, which is now part of the Swiss Richemont group, are often in the shape of flowers, animals, dancers.

La collana Zip, uno dei gioielli più famosi di Van Cleef & Arpels
La collana Zip, uno dei gioielli più famosi di Van Cleef & Arpels

And the historical jewels, which are now part of the Maison’s collection and private collections, are exhibited at the Design Museum in London until 20 October. The exhibition, entitled The Art of Movement, includes a hundred jewels and emphasizes the lightness and dynamism of the special pieces by Van Cleef & Arpels. The path is divided into four themes: Living Nature, Dance, Elegance and Abstract Movements. There are also sketches and drawings that tell the birth of the Maison’s jewels.
Ballerina, clip del 1952
Ballerina, clip con turchesi e rubini del 1952

Clip Trois Clochettes, 1964
Clip Trois Clochettes, 1964
Collana in oro, 1971
Collana in oro, 1971
Disegno preparatorio
Disegno preparatorio
Orologio segreto, 1937
Orologio segreto, 1937

Spilla a forma di ballerina
Spilla a forma di ballerina in oro, perle, smalto







The jewels of Queen Elizabeth seen up close




The farewell to Queen Elizabeth touch millions of people. But the queen leaves a legacy not only linked to her institutional figure, but also to her material. Starting with her jewels. And one of the events related to the queen’s jubilee, celebrated just two months before her death, concerns the display of her majesty jewels. The exhibition, organized by the Royal Collection Trust, is located in what used to be the Queen’s home, Buckingham Palace, London. Visitors can admire many of the Queen’s historic jewels, accompanied by original hand-finished images and prints taken by Dorothy Wilding (1893-1976), who has portrayed Elizabeth II on multiple occasions. The exhibition is titled The Platinum Jubilee: The Queen’s Accession and runs until October 2nd.

La regina Elisabetta indossa la tiara The Girls of Great Britain and Ireland
La regina Elisabetta indossa la tiara The Girls of Great Britain and Ireland

Jewelery is the most exciting item for aficionados. Also because there are not only jewels that have an exclusively historical value, as well as being precious. Many of the jewels on display, on the other hand, are among the favorites of the queen, who has worn them several times on official occasions and for the portraits of her that have become icons of her. For example, the Diamond Diadem tiara and The Girls of Great Britain and Ireland tiara.

La tiara The Girls of Great Britain and Ireland. La regina fece riattaccare la parte superiore e la fascia nel 1969 e da allora la tiara è diventata uno dei suoi gioielli più riconoscibili
La tiara The Girls of Great Britain and Ireland. La regina fece riattaccare la parte superiore e la fascia nel 1969 e da allora la tiara è diventata uno dei suoi gioielli più riconoscibili

The Diamond Diadem was created on the occasion of the coronation of George IV in 1821. It is a jewel made with 1,333 brilliant-cut diamonds and a band with two rows of pearls. Two diamonds are set in the shape of a rose, a thistle and two shamrocks: they are the national symbols of England, Scotland and Ireland. The diadem was inherited in 1837 by Queen Victoria and, among other things, appears on the first stamp ever created, the legendary Penny Black. The diadem went to Queen Alexandra, then to Queen Mary, Queen Elizabeth, the Queen Mother and then to Elizabeth II, who wore it on the day of her coronation and for the opening of parliament from the first year of her reign.

Il Diamond Diadem. È incastonato con 1.333 diamanti taglio brillante e 169 perle. Il diadema è stato originariamente creato per l'incoronazione di Giorgio IV nel 1821
Il Diamond Diadem. È incastonato con 1.333 diamanti taglio brillante e 169 perle. Il diadema è stato originariamente creato per l’incoronazione di Giorgio IV nel 1821

The Vladimir diadem, on the other hand, is so called because it was made for the Grand Duchess Vladimir of Russia and sold by her daughter to Queen Mary in 1921. Inherited from the current queen in 1953, the diadem was worn with its original pearl drops. . But there are also jewels that are visible in public for the first time, such as the Dorset bow brooch and a pair of diamond bracelets.

Diadema Vladimir. Realizzato per la Granduchessa Vladimir di Russia, questo diadema è stato venduto da sua figlia alla regina Mary nel 1921. Ereditato dalla regina nel 1953, il diadema è stato indossato con le sue gocce di perle originali
Diadema Vladimir. Realizzato per la Granduchessa Vladimir di Russia, questo diadema è stato venduto da sua figlia alla regina Mary nel 1921. Ereditato dalla regina nel 1953, il diadema è stato indossato con le sue gocce di perle originali

The Girls of Great Britain and Ireland tiara, on the other hand, has been owned by the queen since 1947, as a wedding gift from her grandmother, Queen Mary. Among the jewels there is also the Nizam of Hyderabad necklace in platinum with 300 diamonds: it was donated to Princess Elizabeth by the Nizam of Hyderabad (governor of the Kingdom, title of the native sovereigns of the Indian state of Hyderabad) as a wedding gift in 1947. Elizabeth II he wore it was often worn for official engagements and formal portraits.

Collana Nizam of Hyderabad in platino con 300 diamanti
Collana Nizam of Hyderabad in platino con 300 diamanti
Bracciale di Cartier in platino, diamanti e zaffiri
Bracciale di Cartier in platino, diamanti e zaffiri
Collana Delhi Durbar. È composta con nove smeraldi originariamente di proprietà della nonna della regina, Mary. Il diamante ovale da 8,8 carati è stato tagliato dal diamante Cullinan, il più grande mai trovato
Collana Delhi Durbar. È composta con nove smeraldi
originariamente di proprietà della nonna della regina, Mary. Il diamante ovale da 8,8 carati è stato tagliato dal diamante Cullinan, il più grande mai trovato
Garrard, collana regina del Sudafrica, 1947
Garrard, collana regina del Sudafrica, 1947
Garrard, bracciale della regina del Sudafrica
Garrard, bracciale della regina del Sudafrica
La regina Elisabetta II ritratta da Dorothy Wilding
La regina Elisabetta II ritratta da Dorothy Wilding
La regina Elisabetta II indossa il Diamond Diadem e la collana Nizam of Hyderabad
La regina Elisabetta II indossa il Diamond Diadem e la collana Nizam of Hyderabad
Spilla con diamanti dono della contea del Dorset alla regina Mary nel 1893. È stata donata alla principessa Elisabetta come regalo di nozze nel 1947
Spilla con diamanti dono della contea del Dorset alla regina Mary nel 1893. È stata donata alla principessa Elisabetta come regalo di nozze nel 1947







The jewels of the Venice Film Festival




The jewels, together with clothes with less and less fabric, are also for 2022 the protagonists of the Venice festival. The Venice International Film Festival, number 79 in history, is one of the world events that offers greater visibility. It is therefore logical that the actresses try to show their best, helped by the great jewelery houses that lend their jewels to sparkle on the red carpet. The photographers present therefore have the function of focusing on the images that will travel around the world. Here are some of the jewels seen on the Lido, the island of Venice that hosts the screenings of the competing films.

Dorra Zarrouk con gioielli Messika
Dorra Zarrouk con gioielli Messika

Tunisian actress Dorra Zarrouk participated wearing Messika high jewelery. The Parisian Maison supplied a diamond necklace and a pendant ring. Also by Messika are the jewels of the American actress Camilla Mendes, with Pear Appeal earrings and the Diamond Magnet 2 ring, from the Magnetic Attraction High Jewelry collection. The Belgian model Rose Bertram chose, instead, Wild Moon High Jewelry earrings and ring and the double Miss Milla ring. DI Messika also the asymmetrical High Jewelry Illusionnistes earrings, from the Voltige High Jewelry collection for the Italian actress Matilde Gioli. The French brand was among the most representative., He also convinced the Italian actress Anna Foglietta, with High Jewelry Kashmir earrings, mixed with the Desert Bloom ring, as well as the British actress Charithra Chandran, with the Solena Maya earrings from the collection High Jewelry by Messika.

Anna Foglietta con orecchini Messika
Anna Foglietta con orecchini Messika

But it’s not just high jewelery that shines: two Italian actresses Aurora Ruffino and Valeria Angione wore Pandora jewelry from the Timeless and Signature collections. And while Federica Panicucci, Italian TV presenter, chose Damiani’s Emozioni collection, entertainer Camilla Boniardi opted for the set of Salvini’s Magia collection.

Nilufar Addati sul red carpet della Mostra del Cinema di Venezia indossa orecchini e anello in oro bianco e diamanti della Diva Collection di Leo Pizzo
Nilufar Addati sul red carpet della Mostra del Cinema di Venezia indossa orecchini e anello in oro bianco e diamanti della Diva Collection di Leo Pizzo

High jewelry, on the other hand, with another Italian brand, Leo Pizzo. They wore the jewels of the Maison of Valenza Nilufar Addati, with earrings and ring in white gold and diamonds from the Diva Collection, and Ludovica Pagani, with a set of rings, earrings, necklace, bracelets in white gold and diamonds from the Flora Collection.

Always top of the range with Pasquale Bruni: the Italian actress Aurora Giovinazzo and Filipino model Kelsey Merit chose the jewels designed by Eugenia Bruni. And always by Pasquale Bruni are the jewels worn by Cristiano Ronaldo’s partner, Georgina Rodriguez, the Italian singer Nina Zilli and the fashion guru Anna Dello Russo.

Aurora Giovinazzo con collana di diamanti by Pasquale Bruni
Aurora Giovinazzo con collana di diamanti by Pasquale Bruni
Georgina Rodriguez con girocollo di Pasquale Bruni
Georgina Rodriguez con girocollo di Pasquale Bruni
Ludovica Pagani sul red carpet della Mostra del Cinema di Venezia indossa la parure di anelli, orecchini, collana, bracciali in oro bianco e diamanti della Flora Collection di Leo Pizzo
Ludovica Pagani sul red carpet della Mostra del Cinema di Venezia indossa la parure di anelli, orecchini, collana, bracciali in oro bianco e diamanti della Flora Collection di Leo Pizzo
Kesley Merrit con gioielli di Pasquale Bruni
Kesley Merrit con gioielli di Pasquale Bruni

Charithra Chandran in Messika
Charithra Chandran in Messika

Greta Ferro con i gioielli Messika
Greta Ferro con i gioielli Messika

Camilla Boniardi con gioielli Salvini
Camilla Boniardi con gioielli Salvini
Aurora Ruffino con gioielli Pandora
Aurora Ruffino con gioielli Pandora






David Webb’s animals in New York




New York hosts the first exhibition dedicated to David Webb, a historical name of American jewelry. Among the most famous jewels of the Maison are the bracelets in the shape of animals, which are the subject of the exhibition. They are bracelets carved and enameled, with gold and precious stones set. All jewelry has been made in New York premises starting in 1948. David Webb gained fame after working as an apprentice for a jeweler uncle. In 1962, David Webb’s jewels won First Lady Jackie Kennedy as official state gifts.

Spilla a forma di rana del 1964 con i disegni originali
Spilla a forma di rana del 1964 con i disegni originali

David Webb’s first animal bracelet dates back to 1957 and by 1963 the company had produced an entire bestiary, featuring frogs, horses, zebra (the company’s mascot), monkeys, snakes, elephants and big cats. By the end of the Sessamta years, the smart set and all of Hollywood wore David Webb’s animal bracelets. The New York exhibition is titled A Walk in the Woods: David Webb’s Artful Animals and takes place at the Madison Avenue flagship store in New York City from September 19 to October 2. In addition to the jewels, the exhibition includes preparatory drawings, as well as photos and videos made by Noah Kalina.

Bracciale a forma di zebra
Bracciale a forma di zebra
Bracciale a forma di giraffa
Bracciale a forma di giraffa
Pantera in oro, diamanti e smeraldi
Pantera in oro, diamanti e smeraldi

David Webb
David Webb







Tiffany on display with Vision & Virtuosity




Vision & Virtuosity: can you define Tiffany’s work, which has lasted for almost two centuries, like this? The American Maison, now part of the LVMH group, thinks so and has organized an exhibition that arrives at the Saatchi Gallery in London. On display are over 400 items from the Maison’s archives: for lovers of the brand it is an opportunity to see pieces that have entered the history of jewelry up close.

Spilla disegnata da Jean Schlumberger con diamanti e acquamarina
Spilla disegnata da Jean Schlumberger con diamanti e acquamarina

The collection documents Tiffany’s work from its founding in New York City (in 1837) to today. High jewelery with historical pieces, the famous Tiffany shop windows and the recently acquired Empire Diamond of over 80 carats, up to important memorabilia of popular culture such as the original screenplay of the film Breakfast at Tiffany’s.
Audrey Hepburn davanti alle vetrine di Tiffany, a New York
Audrey Hepburn davanti alle vetrine di Tiffany, a New York

Vision & Virtuosity tells the extraordinary story of one of the oldest luxury jewelers, through its nearly 200-year history of pioneering creativity, legendary craftsmanship and sourcing of the world’s most extraordinary diamonds and precious stones. This exhibition perfectly captures our long heritage of combining tradition and modernity. We are thrilled to share the world of Tiffany & Co. and our unique style in fine jewelry with London.
Anthony Ledru, President and Chief Executive Officer, of Tiffany & Co

Anthony Ledru
Anthony Ledru

The exhibition is divided into seven stages. Each explores different themes that have influenced the life of the Maison: from the work of the founder, Charles Lewis Tiffany, to the jewels of designers such as Jean Schlumberger and Elsa Peretti. There is also a section dedicated to the Blue Book high jewelery collection, a room centered on Tiffany’s legacy in the world of love, with the iconic solitaire ring featuring Tiffany Setting in 1886 (which has six thin prongs instead of four). Finally, space for the film that contributed to the myth, Breakfast at Tiffany’s, and great diamond-based creations, including the aforementioned 128.54-carat Tiffany Diamond.
Tiffany Diamond, gemma gialla da 128,54 carati
Tiffany Diamond, gemma gialla da 128,54 carati

From the beginning, Tiffany & Co. has held a unique position within the culture. Vision & Virtuosity celebrates the House’s most important moments, showcases its incredible archives and illustrates why Tiffany & Co. is such an iconic brand.
Alexandre Arnault, Executive Vice President, Product & Communications of Tiffany & Co

Alexandre Arnault
Alexandre Arnault

The exhibition catalog, available in two formats, contains images with the creations of Louis Comfort Tiffany and Gene Moore, as well as Jean Schlumberger, Elsa Peretti, Paloma Picasso, John Loring and many other designers. With a foreword by Andre Leon Talley and a text by Vivienne Becker, the 160-page volume is published by Assouline New York and will be available in the exhibition’s gift shop and at the Tiffany store on Old Bond Street in London, starting June 10. 2022.

Vision & Virtuosity
London, June 10-August 19, 2022
Saatchi Gallery
Duke of York’s HQ, King’s Rd
Tickets available starting May 2, 2022 on the Tiffany & Co. Exhibition app (iOS and Google Play), or directly at the exhibition

Il catalogo della mostra Vision & Virtuosity
Il catalogo della mostra Vision & Virtuosity

Collana con ametista, giada e oro disegnata da Julia Munson sotto la direzione di Louis Comfort Tiffany nel 1906
Collana con ametista, giada e oro disegnata da Julia Munson sotto la direzione di Louis Comfort Tiffany nel 1906
Il poster della mostra
Il poster della mostra

La Saatchi Gallery a Londra
La Saatchi Gallery a Londra







Arnaldo Pomodoro’s jewels




Arnaldo Pomodoro is one of the great Italian sculptors, who to date (2021) has reached the beautiful age of 95. For some time he has made many of his works available to the public at the Arnaldo Pomodoro Foundation (Via Vigevano 9, Milan), as well as online. But, in addition to having created impressive sculptures, Pomodoro in his long career also enjoyed designing necklaces, bracelets, rings, brooches, cufflinks, boxes, cigarette cases, small medals, made with the method of fusion on cuttlefish bone and with the ” addition of hammered threads, lumps of material, fine stones or rough stones, and more. Now Arnaldo Pomodoro’s online Raisonné Catalog is enriched with the new section dedicated to jewels. There are about 800 works, ornaments made mostly in a single copy, which testify the artist’s experiences in the field of goldsmithing since the 1950s, have been collected and documented for the first time, together with the drawings on paper made for their design.

Arnaldo Pomodoro, Spilla, 1958
Arnaldo Pomodoro, Spilla, 1958

Seeing today the images in sequence of all the jewels in the Raisonné Catalog moves me deeply; first of all because they are largely unknown works, not shown in exhibitions or illustrated in books and magazines. These small precious objects, which last for a long time unaltered and seem to contradict the incessant and inexorable passage of time, contain many ideas, references, experiences and present, so to speak, a repertoire of expressive elements of my own language. Examining them in the progression of their whole and in the details of each, they reveal correspondences and characteristics that refer to the unfolding of my research and my overall history as an artist.
Arnaldo Pomodoro

Inaugurazione della mostra Arnaldo Pomodoro Sculture nella città, a Bologna, 28 giugno 1971 (Foto: Ugo Mulas, Eredi Ugo Mulas. Tutti i diritti riservati)
Inaugurazione della mostra Arnaldo Pomodoro Sculture nella città, a Bologna, 28 giugno 1971 (Foto: Ugo Mulas, Eredi Ugo Mulas. Tutti i diritti riservati)

The Raisonné Catalog online is a project in progress conducted by the Arnaldo Pomodoro Foundation under the supervision of the artist: an immediate, free, always updated and precise consultation tool, aimed at scholars, cultural institutions and students, collectors, market operators, as well as that to the general public, who want to deepen their knowledge of the Master’s work. After the sections dedicated to Sculptures, Drawings, Multiples, Scenography and Jewelery, the catalog will progressively address all the other areas experimented by the artist with his work: Design Studies, Graphics, Applied Arts.
Arnaldo Pomodoro, Collana, 1966
Arnaldo Pomodoro, Collana, 1966

The publication of the section dedicated to jewels marks a further step forward in the research activities undertaken by the Foundation, pursuing a precise cultural policy of involving users in a mutual exchange of information, which over time will enrich both the online catalog and the database. of the Archive. Furthermore, from December 22nd, the Arnaldo Pomodoro online archive (a web portal, freely accessible) will be enriched with new materials useful for documenting and deepening the life and work of the Master, as well as the artistic and cultural history of the Twentieth century which saw him participate.
In particular, the materials of the Audiovisual section are doubled, in which it will now be possible to view about 50 films from 1964 to today, in full or preview form, acquired from cinematographic films, Vhs and DVDs, containing artist films, documentaries, interviews. , videos of the inauguration of works and exhibitions, various kinds of filming. Additionally, there are two new sections: Photographs and Different Materials.

Arnaldo Pomodoro, Collana con sfere, 1964
Arnaldo Pomodoro, Collana con sfere, 1964

From the Photographs section, a first selection of about 200 shots will be accessible, portraying Arnaldo Pomodoro on various occasions, with friends, artists, exponents of culture and institutions, often taken by great photographers such as Paolo Monti, Ugo Mulas, Maria Mulas and Carlo Orsi . The whole nucleus of about 150 posters of exhibitions and theatrical performances will be online in the Different Materials section, which will be followed, in the next releases, by the awards received by the artist and all those unusual and curious materials of various kinds, such as calendars, diaries, postcards.
Anello e bracciale, 1966
Anello e bracciale, 1966

Anello, 1966
Anello, 1966

Bracciale, 1966
Bracciale, 1966







Van Cleef & Arpels story in Milan





There are milestones in the history of art, such as Leonardo da Vinci’s Mona Lisa, or in architecture, such as the Parthenon in Athens. But there are milestones in jewelry too. Some of these landmarks were created by Van Cleef & Arpels. An example is the Zip necklace, the result of an exceptional goldsmith technique and an uncommon idea of ​​an uncommon person like the Duchess of Windsor, Wallis Simpson, who in 1938 would have suggested this zip-shaped necklace to Renée Puissant. daughter of Estelle Arpels and Alfred Van Cleef. A difficult task: the designer only managed to make it in 1950.

Collana e bracciale Zip degli anni Cinquanta
Collana e bracciale Zip degli anni Cinquanta nella mostra di Van Cleef & Arpels

This and other creations of the Parisian Maison are now on display, until January 9, 2022, in the Van Cleef & Arpels boutique in via Monte Napoleone 10, in Milan. The exhibition of collectible jewelry is called Creations beyond time and includes 32 pieces of fine jewelry and watches with a high artistic content. The jewels span a period from the Thirties to the Seventies and are part of the Van Cleef & Arpels Collection. Pieces that are accompanied by 67 others created more recently, as well as archival documents that testify to the great sources of inspiration of the Maison: couture, nature, distant cultures, dance and love. The lower floor of the Milanese boutique was set up ad hoc to offer a thematic itinerary, also with creations never exhibited before in Italy.
Collana e bracciale Corde, in oro con dettagli in diamanti
Collana e bracciale Corde, in oro con dettagli in diamanti

Another example of a jewel that marked an era is the Corde necklace, inspired by the world of Parisian couture. In the 1940s the Corde collection was known for its flexibility and ease of combinations. The intertwined gold created knots and trimming motifs while the ropes were adapted to clips, earrings and secret watches. Thanks to the particular closure, the 1947 Corde necklace (on display for the first time in Italy) can be worn at the desired length. Its aesthetic inspired the Liane collection, in which the height of the pompoms can be adjusted thanks to the clasp.

The Paillettes motif, created by Van Cleef & Arpels towards the end of the Thirties, is reinterpreted today with the Bouton d’or collection: necklaces, rings, bracelets and earrings with feminine combinations and always new colors such as the rose gold set, white gold and diamonds on show in Milan, with a play between concave and convex gold elements, which adds volume and dynamism to the creation.

Una versione contemporanea della collana Corde, con chiusura regolabile in diamanti e ametista
Una versione contemporanea della collana Corde, con chiusura regolabile in diamanti e ametista

Among the memorable jewels of Van Cleef & Arpels there is also the Couscous necklace, created in 1948, probably following a trip by the Arpels brothers to Morocco. The Arpels family has transformed these grains into a distinctive aesthetic, thus evolving the technique used to decorate the edges of jewels. Still used today in the Maison’s workshops, this craftsmanship inspired the Perlée collection, for example with the transformable Perlée couleurs pendant, the Perlée clovers and Perlée diamants bracelets, with the Perlée Signature and Perlée diamants pavé rings. The different types of gold enhance the sparkle of the gold pearls, the same used for the Couscous necklace, which features the Bagatelle floral motif (reference to the Jardins de Bagatelle in Boulogne, near Paris) in the colors of the French flag.

Flowers have always been one of the sources of inspiration for Van Cleef & Arpels. The Marguerite brooch is from 1907, while in 1925 it was the turn of the Fleurs enlacées, roses rouges et blanches bracelet: jewels that won the Grand Prix at the Exposition Internationale des Arts Décoratifs et Industriels Modernes de Paris. Over the years, the Maison has represented many floral styles, such as the Two Clovers ring from 1950, the Trifogli brooch from 1952 and the Fiore earrings from 1955. And today with the Folie des Prés collection.

Flowers are also the basis of the Rose de Noël collection which, like its homonymous flower (hellebore), opens in winter just in time for the winter holidays. The exhibition includes a pair of historic Rose de Noël earrings in green agate from 1977 and more recent ones in gray mother-of-pearl and onyx.

The seventies are the era of Entre les Doigts rings, invented by Van Cleef & Arpels: another milestone in jewelry. The latest Entre les Doigts from the Two Butterfly collection are exhibited at the Milan exhibition, which allow the grace and beauty of flying butterflies to rest on the fingers with elegant wings in ornamental stones or mother-of-pearl and diamonds, and from the floral themed collections Frivole, Lotus, Cosmos and Socrates.

Toujours sur le thème végétal, le trèfle à quatre feuilles, symbole de chance, est le motif qui a inspiré la collection Alhambra, à partir de 1968. Une collection porte-bonheur, étant donné qu’elle est toujours proposée aujourd’hui. En revanche, « pour avoir de la chance, il faut croire à la chance », disait Jacques Arpels, le neveu d’Estelle Arpels. Des célébrités comme Françoise Hardy, Romy Schneider portaient des bijoux de la collection, tandis que la princesse Grace de Monaco aimait superposer plus de motifs en pierres ornementales.

En 1954, Van Cleef & Arpels crée une collection La Boutique, également portée par la Princesse Grace de Monaco, la Princesse Soraya d’Iran ou Hélène Beaumont. La collection comprend des figures de mammifères, d’oiseaux et de papillons, aux tonalités ludiques, bienveillantes et poétiques, expression des années 60. Les miniatures représentent l’adieu au formalisme dans le port de bijoux de soirée pour un style non conventionnel. Comme pour les broches Petit Oiseau de 1961, les broches Tigre de 1968 et Girafe de 1972. En parallèle, les pin’s de la collection contemporaine Lucky Animals renouvellent le bestiaire traditionnel de la Maison.

Pour la première fois en Italie, le collier en or jaune et améthyste de 1971 est exposé. Le style révèle des influences indiennes, qui se dissolvent dans l’écho des colliers Art Déco des années 1920, qui comportent, comme ici, des pendentifs. glands, pampille.

Collana in stile indiano con ametiste e diamanti, assieme a una clutch interamente in oro con chiusura in diamanti
Collana in stile indiano con ametiste e diamanti, assieme a una clutch interamente in oro con chiusura in diamanti

Les bracelets Ludo (surnom de Louis Arpels) font également partie de la collection de bijoux présents dans l’exposition milanaise, comprenant géométries et styles graphiques, pierres précieuses et souvenirs Art Déco. En plus des trois pièces historiques Ludo, avec un tricotage spécial, un bracelet et un éclat de montre, qui ne dévoile le cadran qu’après avoir tourné le motif lapis lazuli ou corail.

Nées en 1935, les montres Cadenas ont permis aux femmes de regarder l’heure en toute discrétion, dans le plein respect des conventions sociales. Wallis, la duchesse de Windsor susmentionnée, en possédait un en platine et en diamants. Les exemplaires contemporains présentés sont en or et diamants.

Bracciali della collezione Ludo in maglia d'oro e rubini con chiusura in diamanti
Bracciali della collezione Ludo in maglia d’oro e rubini con chiusura in diamanti

L’un des jalons signés par Van Cleef & Arpels concerne la technique Serti Mystérieux. Breveté par la Maison en 1933, il représente encore aujourd’hui un véritable défi pour la joaillerie. La micro-mosaïque de pierres précieuses est soutenue par des pistes invisibles, qui obligent les maîtres lapidaires à intervenir sur chaque pierre. Le niveau de virtuosité augmente dans le cas des surfaces courbes. Ce procédé complexe a récemment évolué grâce au raffinement du Serti Mystérieux Navette, qui permet de reproduire la vitalité des plumes ou des pétales, et du Serti Mystérieux Vitrail, qui embellit les deux faces d’une même création. Exposée à Milan, la bague Céroessa en or blanc et or rose avec rubis sertis en corolle Serti Mystérieux taille chamois autour d’un diamant de 10,16 carats dialogue avec la bague Entre ouverte de 1956, dans laquelle le rubis invisible serti d’un le diamant se dévoile au centre d’anneaux d’or jaune et de platine.

Boutique Van Cleef & Arpels via Monte Napoleone, 10
20121 Milan
Jusqu’au 9 janvier 2022
Du lundi au samedi de 10h30 à 19h,
dimanche de 11 à 19

La locandina della mostra «Creazioni oltre il tempo»
La locandina della mostra «Creazioni oltre il tempo»







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