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Short conclusion – any other comments about the two pieces that you have been looking at.
‘All materials may be used to make jewels, provided they can be manipulated in one way or another.’
Carlos Pastor, Spanish Jewellery Designer
Neutral (plain colours, beiges etc)
Opaque (doesn’t let light through)
Robust (strong, not easily broken)
TexturedWords that you may find helpful
been successful? Do you think that the designer has succeeded in creating a good design? An important point to consider, would the target market buy it?
Grainne is originally from Northern Ireland. She now has a workshop in Edinburgh where she creates contemporary (modern) jewellery. From fashioning jewellery from flowers to trawling antique fairs for one-off items to complete her compartmental jewellery, Grainne is happy making a living doing exactly what she wants.
Grainne says: “I’ve always been quite creative. My parents always encouraged me to work with my hands taking up needlework and craft hobbies when I was younger. My aunt, Alison Kinnaird is a famous glass engraver, so I suppose I have been influenced by her too."
When Grainne left school, Edinburgh College of Art beckoned and although she studied many subjects, jewellery appealed because she liked to work on a smaller scale.Jewellery Designers working nowGrainne Morton
Grainne makes jewellery made up of smaller parts pieced together. She uses bits and pieces including old buttons as well as materials like silver, gold and oxidised copper.
A lot of her high fashion work - necklaces and bracelets - are made from laminated flowers. The artist has work in galleries abroad and has found favour in the States. She already supplies Barney’s in the US and Japan as well as taking orders from Liberty’s in the UK.
Grainne says: "My work is appreciated by American buyers because I make bigger pieces. I make a lot of compartmental jewellery for which I use old materials - the Americans like that because they know about history. The old paraphernalia isn’t worth a lot of money but I piece it together into very attractive jewellery.“
See some more examples of her work on the next slideJewellery Designers working nowGrainne Morton
Charm necklace £240
Large sampler brooch
Laminate petal flower necklace £270
Colour button necklace £230
Charm bracelet £220
After his father's death (father was Charles Lewis Tiffany, co founder of Tiffany &Co.) in 1902, Tiffany became vice president and Design Director of Tiffany & Co..
His familiarity with jewellery manufacturing at the firm, as well as the collaboration with his father on several pieces for the Paris Exposition Universelle in 1900, undoubtedly inspired him to produce jewellery at his own workshops.
He began experimenting, in much secrecy, with the design and fabrication of jewellery intending to introduce his work at the 1904 Louisiana Purchase Exposition in St. Louis.
Tiffany & Co. is still a famous jewellers. There are stores worldwide. See how the company has evolved by looking at slides 24 and 25.
Tiffany broke new ground with his work in jewellery. In the necklaces, brooches, and other forms he made, Tiffany, like his counterparts in Europe, transformed jewellery from mere jewelled ornament to art.
He used semiprecious stones—opals, moonstones, garnets, amethysts, and coral—in contrast to the precious gems set in pieces by Tiffany and Company. The semiprecious stones embodied the properties that he valued in other media.
The milky quality of moonstones, for example, resembled his creamy opalescent glass, and the fiery glow of opals, the glowing iridescent surfaces of his Favrile vases. Tiffany set the stones in novel and inventive ways, often in combination with colour, combining one or two hues with subtle variations.Louis Comfort Tiffany (1848-1933)
Beginning in 1907 jewellery designed by Tiffany and fabricated under his direction was made at the workshops of Tiffany and Company, where production was supervised by Julia Munson, who had transferred from the enamels department at Tiffany Furnaces.
When Munson retired in 1914, her post was filled by Meta K. Overbeck. Tiffany, who valued the dexterity and skill that women demonstrated in delicate handwork, staffed the jewelelry department predominately with female designers and artisans.Louis Comfort Tiffany (1848-1933)
This hair ornament is one of the most extraordinary pieces of Tiffany's jewellery to survive, incorporating a remarkably realistic rendering of two dragonflies resting on two dandelion puffs, or seed balls. Thematically characteristic of his work, it shows the plants not at the height of bloom, but in a natural fading state, just before the seed pods are blown away. Remarkably, one of the puffs is portrayed as already partially stripped of its pods. The dragonflies, a familiar Tiffany motif, feature shimmering black opals along the back and in an almost unbelievable creation in metal filigree, gossamer like wings. The hair ornament was originally owned by one of Tiffany's most ardent patrons, Louisine W. Havemeyer.
Hair ornament , ca. 1904Louis Comfort Tiffany (1848–1933)AmericanPlatinum, enamel, black and pink opals, garnets, H. 3 1/4 in. (8.3 cm)The Metropolitan Museum of Art, New YorkGift of Linden Havemeyer Wise, in memory of Louisine W. Havemeyer, 2002 (2002.620)
This necklace composed of grape clusters and leaves is one of the rare examples of Tiffany's earliest jewellery. Tiny circular black opals represent the fruit, and enamelling in shades of green on gold forms the delicate shimmering leaves. It was among the twenty-seven pieces that Tiffany made for exhibition at the Louisiana Purchase Exposition in St. Louis in 1904. The necklace was a gift to the Museum from Sarah E. Hanley, Tiffany's nurse and later companion, to whom he must have presented it.
Necklace, ca. 1904 Louis Comfort Tiffany (1848–1933)AmericanOpals, gold, and enamel, L. 18 in. (45.7 cm)The Metropolitan Museum of Art, New YorkGift of Sarah E. Hanley, 1946 (46.168.1)
Art Nouveau fabricated under his direction was made at the workshops of Tiffany and Company, where production was supervised by Julia Munson, who had transferred from the enamels department at Tiffany Furnaces. was a late 19th Century international design movement (trend). The timeline for Art Nouveau was mid 1880’s to approx 1910.
Art Nouveau involved design, architecture and the decorative arts.
Art Nouveau used the natural world as inspiration for designs. Flowers, leaves and birds are common features of work.Background to Art Nouveau (style of Tiffany jewellery)
Words used to describe fabricated under his direction was made at the workshops of Tiffany and Company, where production was supervised by Julia Munson, who had transferred from the enamels department at Tiffany Furnaces. Art Nouveau work:
Elongated shapes(tall as if stretched)
Natural motifs (images)
Designers whose work was in this style are as follows:
Louis Comfort Tiffany 1848-1933 (jewellery, lamps and glassware)
Charles Rennie Mackintosh 1868-1928 (architecture, furniture, textile design, interior design, painting)
Antoni Gaudi 1852-1926 (architecture)
Emile Galle 1846-1904 (glass and furniture)
Rene Lalique 1827-1886(jewellery and glassware)Background to Art Nouveau (style of Tiffany jewellery)
This is Tiffany jewellery as sold fabricated under his direction was made at the workshops of Tiffany and Company, where production was supervised by Julia Munson, who had transferred from the enamels department at Tiffany Furnaces.
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More jewellery as sold today fabricated under his direction was made at the workshops of Tiffany and Company, where production was supervised by Julia Munson, who had transferred from the enamels department at Tiffany Furnaces.
This is jewellery that is made from non-precious materials. It is often made to look like expensive jewellery but is not expensive to buy.