Whether you would enjoy this weighty (399 pp.) book or prefer to give it a pass depends on how you view yourself as a collector, and how interested you are in the broad field of contemporary European (particularly German) jewelry.

The author, former general editor Schmuck Magazin, does not pretend to have an international focus, nor is he an expert on “art jewelry”.  However, he offers detailed and thoughtful information on later 20th century European jewelry, concentrating on top of the line manufacturers, studios, and leading designers who have succeeded in making work which is both artistic and commercially successful. 

The book begins with a short history of jewelry from the Arts and Crafts movement till World War II, followed by the post- war goldsmithing renaissance, including pioneers like Max Fröhlich, Sigurd Persson, Friedrich Becker, Klaus Ullrich, Hermann Jünger, and that great duo Emmy van Leersum and Gijs Bakker.  The central portion – on glossy paper with bigger than life-size photographs, mostly one to a page – displays the work of over 80 contemporary artists ..... many if not most of whom will be unfamiliar to American collectors.  Needless to say, the work is superbly crafted, with the sheen of excellence acquired through long apprenticeships with European schools and older, established designers.

The author has arranged this impressive collection in chapters entitled clear form and minimalism, colored precious stones in a new light, jewelry as sculpture, variable jewelry systems, traditional values with modern influences  and new signs and symbols.  Probably the most visually daring is a small chapter on concepts of young jewelry designers.  Each of the supersized photos has a short caption where Ludwig attempts (with variable success) to highlight the special feature of the design.

The most interesting section of the book gives detailed profiles of 63 jewelry designers and modern manufactories amply documenting why Germany is still such a power-house in the field.  It also shows the interconnectness  of the jewelry world, and the blurring of often made distinctions between “art jewelry”, “one-offs” or “production jewelry”.  Well designed work in weird materials can be artistic and precious:  innovative gem cutting, unusual designs with traditional pearls or gemstones can still be “art”.  And the often intensive training received by these artists shows the web of apprenticeships from leading professors, distinguished artists and commercial studios which helps develop skill, inspiration and ultimately, success.

MODERN JEWELLERY DESIGN
Reinhold Ludwig
Arnoldsche Art Publishers $85