Roofs Brooch (Padua, Italy)

Annamaria Zanella
(Italian, b. 1966)

Engraved and lacquered gold, iron

2002

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Cono Brooch (Padua, Italy)

Renzo Pasquale
(Italian, b. 1947)

Stoneware (grès ceramic), gold with niello (alloy of silver, copper and lead sulfides)

2015

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Brooch (Padua, Italy)

Francesco Pavan
(Italian, b. 1937)

Gold, silver, copper and nickel silver (Argentan)

1985

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Brooch (Padua, Italy)

Graziano Visintin
(Italian, b. 1954)

Gold, niello and enamel

2002

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Silk necklace (Padua, Italy)

Annamaria Zanella
(Italian, b. 1966)

Smithed, impressed and enameled gold, magnets (clasp)

2002

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Map of Venice brooch from the "Study for the Periodical Research" series (Padua, Italy)

Stefano Marchetti
(Italian, b. 1970)

Inlaid copper, silver and gold

1999

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Brooch (Italy)

Giampaolo Babetto
(Italian, b. 1947)

Molded, pressed, folded and stippled gold sheet with applied pigment

1995

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Babetto, the most renowned of Pinton's students, explores spatial relations and structures strongly influenced by the mathematical proportions found in Palladian buildings, as in this brooch. In the two rings [8,9], combinations of parallelograms are used to create dynamic counterpoints between closed and open structures.

Ring (Italy)

Giampaolo Babetto
(Italian, b. 1947)

Gold with applied resin

1995

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Ring (Italy)

Giampaolo Babetto
(Italian, b. 1947)

Gold

1981

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

"Gyro Bangle" bracelet (London, England, United Kingdom)

David Watkins
(British, b. 1940)

Silver, lathe-turned aluminum

1976

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Three Cone necklace from the "Wedgewood and Wendy Ramshaw" collection (London, England, United Kingdom)

Wendy Ramshaw
(British, b. 1939)

Gold, nickel alloy, unglazed stoneware (Jasperware)

1982

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Bracelet (The Netherlands)

Emmy van Leersum
(Dutch, 1930-1984)

PVC and paper

1980

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Necklace from "Serie Anhänger" (the Pendant Series) (Germany)

Hermann Jünger
(German, 1928-2006)

Gold

1994

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Necklace with pendants and box from the "Serie Kasten" (Box Series) (Munich, Germany)

Hermann Jünger
(German, 1928-2006)

Lapis lazuli, hematite, gold, painted wood (box)

1993

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Brooch (Bratislava, Slovakia)

Anton Cepka
(Slovakian, b. 1936)

Sawed and mounted silver

1998

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Model No. 203A bangle bracelet (Copenhagen, Denmark)

Vivianna Torun Bülow-Hübe
(Swedish, 1927-2004)

Silver, rutilated smoky quartz

1968

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Kinetic ring (Germany)

Friedrich Becker
(German, 1922-1997)

Silver, acrylic

1993

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Necklace (USA)

Olaf Skoogfors
(American, b. Sweden, 1930-1975)

Bent silver wire, sheet silver, polished moonstone

1973

Promised gift of the Susan Grant Lewin Collection

Modernette cuff bracelet (New York, New York, USA)

Art Smith
(American, 1917-1982)

Bent and flattened copper wire and bent and patinated sheet brass

1948

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

One of the few African Americans creating jewelry in the 1940s and 50s, Art Smith was drawn to making “wearable art”. He took inspiration for his biomorphic forms from modern sculpture, dance, and jazz. This bracelet gracefully embraces the wrist, using positive and negative space in a composition that reveals patches of the wearer’s skin creating a new awareness of the body as a living armature.

Angular brooch (New York, New York, USA)

Art Smith
(American, 1917-1982)

Bent and flattened brass and copper wire

1949

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

One of the few African Americans creating jewelry in the 1940s and 50s, Art Smith was drawn to making “wearable art”. He took inspiration for his biomorphic forms from modern sculpture, dance, and jazz. This bracelet gracefully embraces the wrist, using positive and negative space in a composition that reveals patches of the wearer’s skin creating a new awareness of the body as a living armature.

Necklace (Baltimore, Maryland, USA)

Betty Cooke
(American, b. 1924)

Silver, brass

1948

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Bracelet (New York, New York, USA)

Art Smith
(American, 1917-1982)

Bent brass and silver wire

ca. 1955

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

One of the few African Americans creating jewelry in the 1940s and 50s, Art Smith was drawn to making “wearable art”. He took inspiration for his biomorphic forms from modern sculpture, dance, and jazz. This bracelet gracefully embraces the wrist, using positive and negative space in a composition that reveals patches of the wearer’s skin creating a new awareness of the body as a living armature.

Necklace (USA)

Ronald Hayes Pearson
(American, 1924-1996)

Silver

1975

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Tourmaline Brooch II (USA)

Eleanor Moty
(American, b. 1945)

Silver, polished tourmaline quartz, ivory

1980

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Brooch (USA)

Arline Fisch
(American, b. 1931)

Sheet silver, mosaic stone, rolled and compressed stainless steel mesh and knitted copper wire

1984

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Through her studies of weaving and inspired by gold sewn into pre-Colombian textiles, Fisch invented techniques combining metalsmithing skills with textile techniques to create jewelry that has influenced generations of jewelry makers.

Ring (Baltimore, Maryland, USA)

Betty Cooke
(American, b. 1924)

Silver, gold

1985

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Ring (USA)

Claire Falkenstein
(American, 1908-1997)

Folded sheet silver, bent silver wire

1955

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

"Spirit With 3 Legs" brooch from the "Spirit Houses" series (USA)

Arline Fisch
(American, b. 1931)

Woven silver and gold, agate

1988

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Through her studies of weaving and inspired by gold sewn into pre-Colombian textiles, Fisch invented techniques combining metalsmithing skills with textile techniques to create jewelry that has influenced generations of jewelry makers. Some of Fisch’s works hold symbolic references, such as this brooch inspired by Australian Aboriginal burial poles.

Necklace (USA)

Claire Falkenstein
(American, 1908-1997)

Glass, bent, flattened, and welded copper wire, leather

1965

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Brooch from the "Canvas" series (Munich, Germany)

Karen Pontoppidan
(Danish, b. 1968)

Painted canvas on wood, applied tin, silver, iron

2014

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Pontoppidan wrapped and folded a painted canvas over a trapezoidal wood body, transforming the "painting" into three dimensions. She then embellished the surface with appliquéd jewelry medallions, thereby underscoring the interrelations of jewelry and the fine arts.

Not titled brooch from the "DeMarco" series (USA)

Thomas Gentille
(American, b. 1936)

Bronze, gold, industrial paint

20th century

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Gentille occasionally uses gold for its unsurpassed light collecting and reflecting qualities, focusing primarily on brooches in alternative materials that have little or no traditional association with jewelry including aluminum and bronze. His drawing [31] underlines his sensitivity to color and form.

Not titled 7 two-part brooch (USA)

Thomas Gentille
(American, b. 1936)

Bronze, gold, findings

20th century

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Brooch from the "Palette" series (Munich, Germany)

Jiro Kamata
(Japanese, b. 1978)

Dichroic mirror, Corian, silver

2015

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

In this brooch, two rectangular dichroic mirrors are mounted vertically on a flat Corian base causing them to take on an insubstantial or floating quality and creating diaphonous color effects that change with the viewer's position and fill the space with light while leaving voids between the mirrors.

Not titled 8 brooch (USA)

Thomas Gentille
(American, b. 1936)

Eggshell inlay, metal

20th century

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

For more than five decades, Thomas Gentille has resolutely explored concepts, materials, and techniques that combine a painter's eye for line, color, and light with an architect's knowledge of proportion and form. Gentille executed the subtle, painterly surface of this brooch with the intricately executed eggshell technique that took him six years to master.

Brooch "Postpriori II" from the "Postpriori" series (Stone Ridge, New York, USA)

Jamie Bennett
(American, b. 1948)

Enamel on electroformed copper, silver and gold

2008

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Jamie Bennett works exclusively with opaque enamel, avoiding illusionary space to focus purely on the surface relationships of color and pattern. The two-dimensional approach in his Postpriori series celebrates the decorative nature of jewelry with influences from both western and non-western historical motifs.

Tropical Punch necklace (Hamburg, Germany)

Axel Russmeyer
(German, b. 1964)

Glass, crystal, resin, metal and plastic beads, ribbon, thread, gold

2006

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Russmeyer has a longstanding fascination with beads and is interested in their legacy as historic objects, amulets, and social symbols across a variety of cultures. His work focuses on color and texture and the juxtaposition of these two elements. This colorful necklace is composed of "beaded beads," each of which Russmeyer considers a complete work.

Double Cylinder pendant necklace (San Francisco, California, USA)

Sandra Enterline
(American, b. 1960)

Fabricated oxidized sterling silver, hand drilled and perforated yellow gold and stainless steel

2008

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

"Not titled 9" brooch (USA)

Thomas Gentille
(American, b. 1936)

Aluminum

21st century

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Egg Pendant necklace (San Francisco, California, USA)

Sandra Enterline
(American, b. 1960)

Hollow formed and fabricated silver and stainless steel

ca. 1991

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Brooch from the "Mirror Brooches" series (Gamischdorf, Austria)

Peter Skubic
(Austrian, b. Serbia, 1935)

Cut, polished, assembled and cold-connected stainless steel sheets and steel cable

2001

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

"Cavea (23)" brooch from the "Cavea" series (Munich, Germany)

Melanie Isverding
(German, b. 1978)

Laser-cut, folded and constructed silver elements, enamel, crushed hematite, glimmer, lacquer

2013

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Two bracelets from the "Aluminum Bracelets" series (Brooklyn, New York, USA)

Lisa Spiros
(American, b. 1959)

Etched aluminum

1988 (a), 1990 (b)

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Necklace from the "Spring Steel" series (New York, New York, USA)

Eva Eisler
(Czech/English, b. Czechoslovakia, 1952)

Stainless steel, cold connections

2002

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Brooch from the "Tension and Slate" series (New York, New York, USA)

Eva Eisler
(Czech/English, b. Czechoslovakia, 1952)

Silver, slate, cold connections

1991

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Brooch from the "Twisted Circles" series

Jiří Šibor

Cold-connected, riveted stainless steel and acrylic

2001

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Ring from the "FOREVERRING" Ring series

Bettina Dittlmann and Michael Jank
(German, b. 1964; German, b. 1972)

Hammered and patinated copper

2007

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Bracelet (Munich, Germany)

Doris Betz
(German, b. 1960)

Sawed sheet plastic bands (Hosta-glass) wrapped in iron wire

1997

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Brooch (probably Lubbock, Texas, USA)

Leslie Leupp
(American, 1944-2011)

Steel, gold

ca. 1987

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Fulfillment necklace (Philadelphia, Pennyslvania, USA)

Bruce Metcalf
(American, b. 1949)

Carved and painted maple, gold-plated brass; painted wood and Plexiglass case

2004

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Metcalf’s focus in this work is on sensuous, abstracted forms of flowers and decorative shapes that make quite unmistakable references to sexuality. Each element is carved and painted by hand with a composition that reinvents Baroque exuberance with contemporary vitality.

Brooch (Japan)

Kyoko Fukuchi
(Japanese, b. 1946)

Urushi lacquer

2013

Promised gift of the Susan Grant Lewin Collection

Brooch (Tokyo, Japan)

Kazumi Nagano
(Japanese, b. 1946)

Folded linen paper, nylon thread, gold wire, silver

2015

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Sensuous Thorn bracelet from the "Sculptural Bracelets" series (USA)

Shana Kroiz
(American, b. 1967)

Cast and oxidized silver, copper wire

2011

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Lavendoux brooch (Berlin, Germany)

Svenja John
(German, b. 1963)

Water jet-cut, surface treated, hand-colored and crafted polycarbonate (Makrofol®)

2002

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Necklace (New York, New York, USA)

Lella Vignelli
(Italian, 1934-2016)

Bent silver wire

2000

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Brooch from the "Sasso" series (Milan and Rome, Italy)

Giorgio Vigna
(Italian, b. 1955)

Electroformed copper, silver, mixed media, magnetic clasp

2000

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Corners necklace from the "Molten Jewelry" series (Stone Ridge, New York, USA)

Myra Mimlitsch-Gray
(American, b. 1962)

Molten tin poured on commercial brass chain then silver-plated and oxidized

2006

Promised gift of the Susan Grant Lewin Collection

Mimlitsch-Gray spilled molten tin onto chain to allow random elements rather than goldsmith’s practice to control the outcome. The deliberate use of plating like applying makeup on the surface of the free form, is a transparent attempt to make precious what had been an accidental spill.

Brooch (Tokyo, Japan)

Ritsuko Ogura
(Japanese, b. 1951)

Rolled, pasted and cut corrugated cardboard, silver

2010

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Bracelet (Tokyo, Japan)

Ritsuko Ogura
(Japanese, b. 1951)

Rolled, pasted and cut corrugated cardboard, silver

2005

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Necklace from the "Kalandia Checkpoint Deganit" series (Herzliya, Israel)

Stern Schocken
(Israeli, b. 1947)

Crushed aluminum soda cans, zircons

2007

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Brooch from "The Mind in the Hand" series (Israel)

Esther Knobel
(Israeli, b. 1949, Poland)

Silver embroidered with iron thread

2007

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Necklace (USA)

Joyce Scott
(American, b. 1948)

Glass beads, thread (Peyote stitch technique)

2000

Promised gift of the Susan Grant Lewin Collection

Brooch from the "Weiss (White)" series (The Netherlands)

Iris Eichenberg
(German, b. 1965)

Porcelain, leather, silver, thread

2009

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Set of three brooches and holder from the "Heimat" series (The Netherlands)

Iris Eichenberg
(German, b. 1965)

Metal, thread skeins, cardboard box

2004

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Hot Bed brooch from the "Re: Pair and Imperfection" series (Chicago, Illinois, USA)

Kiff Slemmons
(American, b. 1944)

Silver, carved wood fragment, coral; handmade paper box

2006

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Necklace and stand from the "X" series (The Netherlands)

Iris Eichenberg
(German, b. 1965)

Oxidized nails, metal wire, silver, steel, wood, perspex

2014-15

Promised gift of the Susan Grant Lewin Collection

"Due Respiri" necklace (Italy)

Bruno Martinazzi
(Italian, b. 1923)

Gold

Promised gift of the Susan Grant Lewin Collection

Eye brooch (Italy)

Bruno Martinazzi
(Italian, b. 1923)

Patinated and etched copper, stone

1995

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Renowned as a sculptor and goldsmith, Martinazzi developed a visual language that places the human body and spirit at the center of his jewelry creations. His pieces are unmistakable in their bold renderings of specific parts of the body — eyes, lips, hands, breasts, and buttocks — and convey complex layers of meaning.

Mom brooch from the \"Haunted by 36 Women\" Series (Amsterdam, The Netherlands)

Ted Noten
(Dutch, b. 1956)

Nylon

2009

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Black Sectional neckpiece from the "Islet" series (Philadelphia, Pennsylvania, USA)

Doug Bucci
(American, b. 1971)

3-D-printed, glass-filled and dyed nylon, silver

2011

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Brooch (probably Tuscany, Italy)

Manfred Bischoff
(German, 1947-2015)

Gold, cut coral

1987

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Manfred Bischoff worked with gold, coral, and jade to produce intricately conceived and precisely wrought sculptural compositions in which he frequently sought to capture the moment when an idea or emotion takes on physical form. This brooch consists of a non-idealized fragment of a female body that suggests Paleolithic fertility figures such as the Venus of Willendorf.

Brooch from the "Continuum" Series (Amsterdam, The Netherlands)

Katja Prins
(Dutch, b. 1970)

Silver, sealing wax

2007

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Mitla necklace (USA and Oaxaca, Mexico)

Kiff Slemmons
(American, b. 1944)

Handmade paper

2012

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Brooch from the "Immigrant" series (Israel)

Esther Knobel
(Israeli, b. 1949, Poland)

Recycled tin, painted fabric, nickel silver, stainless steel wire, elastic thread

ca. 1990s

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Ojo de Agua necklace (USA and Oaxaca, Mexico)

Kiff Slemmons
(American, b. 1944)

Handmade paper

2005

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Ring and Mold from the "Fast ASHANTI" series (Switzerland)

Johanna Dahm
(Swiss, b. 1947)

Cast silver (closed cycle technique) (ring), clay (mold)

2002

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Bracelet from the "Candy Wear" series (Cambridge, Massachusetts, USA)

Daniel Jocz
(American, b. 1943)

Electroformed, assembled and soldered silver covered in electrostatically applied rayon flocking bonded with adhesive, magnets (clasp)

1999

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

These whimsical pieces [76, 90, 91] remind both wearer and viewer that one of the most important aspects of jewelry is enjoying what you wear. Jocz’s bold forms convey a sense of fun with their simple shapes covered in neon-colored flocking, an unconventional material with a soft fuzzy texture.

Necklace and key from the "Clockwork Love Wings Gold" series (Amsterdam, The Netherlands)

Frank Tjepkema
(Dutch, b. 1970)

Chemically etched, gold-plated stainless steel

2009

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Object with Ring/Grey Heron Airplane ring (Amsterdam, The Netherlands)

Felieke van der Leest
(Dutch, b. 1968)

Textile (viscose, polyester/polyamide), plastic heron, 14kt white gold, glass beads, marcasite

2006

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Rambutan ring (England)

Nora Fok
(English, b. Hong Kong, China, 1953)

Plastic, knitted, knotted and dyed nylon filament with black pearls

2003

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Brooch (Vienna, Austria)

Petra Zimmermann
(Austrian, b. 1975)

Polymethyl methacrylate, crushed pearls, rhinestones, smoky quartz, lacquer, gold leaf, blackened silver

2010

Promised gift of the Susan Grant Lewin Collection

Bracelet (New York, New York, USA)

Gaetano Pesce
(Italian, b. 1939)

Polyurethane resin

2009

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Ring from the "Glassring" series (The Netherlands)

Herman Hermsen
(Dutch, b. 1953)

Silver, glass

1986

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Columbia University Exhibition "The Presence of Objects" invitation bracelet (New York, New York, USA)

Gaetano Pesce
(Italian, b. 1939)

Polyurethane resin

1999

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Allouche Gallery Exhibition "One of a Kind Iconic Works" invitation (New York, USA)

Gaetano Pesce
(Italian, b. 1939)

Polyurethane resin

2015

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Fish Design invitation (New York, New York, USA)

Gaetano Pesce
(Italian, b. 1939)

Polyurethane resin

2004

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

One Man Show at Material Connection invitation bracelet (New York, New York, USA)

Gaetano Pesce
(Italian, b. 1939)

Poured and imprinted colored polyurethane resin

1997

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Collective Design Fair invitation (New York, New York, USA)

Gaetano Pesce
(Italian, b. 1939)

Polyurethane resin

2013

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Crazy Glasses necklace (The Netherlands)

Ted Noten
(Dutch, b. 1956)

Silver, fur, snakeskin

2008

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

This necklace, sporting mundane eyeglasses and a shabby piece of fur, is from Noten’s Sales exhibition which featured throw away objects and prototypes. They were placed in a gallery as part of an 80% off sale, devised to expose not only the greed of the public, but also the inability of art to escape capitalist market practices.

Necklace from the "Thunder I" series (Talinn, Estonia)

Kristiina Laurits
(Estonian, b. 1975)

Black salt, oxidized silver, horn, wood, paint, green amethyst, hematite

2014

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Tiara from the "Candy Wear" series (Cambridge, Massachusetts, USA)

Daniel Jocz
(American, b. 1943)

Copper and electroformed, assembled and soldered silver covered in electrostatically applied rayon flocking bonded with adhesive

2000

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

These whimsical pieces remind both wearer and viewer that one of the most important aspects of jewelry is enjoying what you wear. Jocz’s bold forms convey a sense of fun with their simple shapes covered in neon-colored flocking, an unconventional material with a soft fuzzy texture.

X brooch and two bracelets from the "Candy Wear" series (Cambridge, Massachusetts, USA)

Daniel Jocz
(American, b. 1943)

Electroformed, assembled and soldered silver covered in electrostatically applied rayon flocking bonded with adhesive, magnets (bracelet clasps)

2000-01

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

These whimsical pieces remind both wearer and viewer that one of the most important aspects of jewelry is enjoying what you wear. Jocz’s bold forms convey a sense of fun with their simple shapes covered in neon-colored flocking, an unconventional material with a soft fuzzy texture.

Multicolor Braid with Silver Flowers Necklace/Body Ornament (San Diego, California, USA)

Arline Fisch
(American, b. 1931)

Machine-knitted tubes of coated copper wire, flattened, assembled and braided; applied silver embellishments

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Satellite brooch from the "Photo Brooches" series (The Netherlands)

Herman Hermsen
(Dutch, b. 1953)

Aluminum dibond laminated photograph, plastic reflector, glass beads

2010

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Hermsen started working with photographs in 2009, often adding forms to the images. Here he associates the image of a radio telescope with ideas of sending something undefined and receiving brilliance in return through the plastic reflectors.

Be Long in Coming brooch from the "Dolomitensagen" series (The Netherlands)

Jantje Fleischhut
(German, b. 1972)

Silver, resin, print

2008

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

With this brooch, Fleischhut creates a story inspired by a legend about the Dolomite Mountains. The oval form features the faint outline of an enigmatic figure appearing before wind turbines and snow-covered mountains obscured by a misty, glowing amber sky. By playing with scale, and juxtaposing modern technology and nature, Fleischhut creates an imaginative mysterious scene.

Necklace (The Hague, The Netherlands)

Vera Siemund
(German, b. 1971)

Enameled steel, steel and sawed, embossed, enameled and mounted silver

2010

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Siemund chose dramatized black and white portraits of “divas” of the 1960s that emphasize the manipulations of personas at that time, perhaps opening our eyes to our own acceptance of today’s more sophisticated photoshopped images.

Necklace from an untitled series (Berlin, Germany)

Daniel Kruger
(German, b. 1951, South Africa)

Clear and mirrored acrylic glass, pressed and layered flower petals and leaves, insects, silver, pigment

2015

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Whorl pendant neckpiece from the "Embodiment" series (High Falls, New York, USA)

Jennifer Trask
(American, b. 1970)

Carved cow and ox bone, snake vertebrae, resin, plastic (found objects), diamonds, gold, silver

2010

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Padova neckpiece (Doetinchem, The Netherlands)

Maria Hees
(Dutch, b. 1948)

Stained, laminated, bent, sanded and varnished birchwood

1985

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Sea Fan brooch from the "Up from the Deep" Series (Salida, Colorado, USA)

Harold O'Connor
(American, b. 1941)

Fabricated, roller-printed and granulated silver and gold

1992

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Brooch (USA)

John Iversen
(American, b. Germany 1953)

Cast bronze

1995

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Garlic (Knoblauch) pendant necklace (Munich, Germany)

David Bielander
(Swiss, b. 1968)

Folded sheet silver

2009

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Bird Slip-on brooch from the "Black Birds" series (The Netherlands)

Iris Eichenberg
(German, b. 1965)

Sheet copper, electroformed copper, ribbon (silk)

2012

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Brooch from the "Ginger" series (Germany)

Sam Tho Duong
(Vietnamese, b. 1969)

Electroformed silver

2004

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Untitled (5) necklace from the "Compounding Fractions" series (Munich, Germany)

Attai Chen
(Israeli, b. 1979)

Paper, paint, coal, glue, linen

2010

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Necklace from the "Found at...Made in..." series (Caleta, Brecknock, Chile)

Rian de Jong
(Dutch, b. 1951)

Wood, beads, rope, polymer clay (porcelana fria)

2015

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Pendant necklace from the "Spiegel" series (Munich, Germany)

Jiro Kamata
(Japanese, b. 1978)

Mirrored camera lens, blackened silver, stainless steel, nylon cord

2010

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Kamata believes that castoff lenses are repositories of moments to be remembered in people's lives.His Spiegel pendant draws the viewer into a disorienting reflected world that shifts according to the object or person appearing in the eye of its wide-angled, mirrored lens.

Reflections of St. Mary's necklace (El Paso, Texas, USA)

Rachelle Thiewes
(American, b. 1952)

Sterling silver, gold, carved slate

1994

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Thiewes’s introduction to jewelry was the long, swaying rosaries of the nuns at the school she attended. This necklace suggests a rosary or a woman’s chatelaine, with its long chain and pendant ring of free-swinging forms reminiscent of keys and tiny accessories.

"Blinker" brooch from the "Sportfiguren (Sports Figures)" series (Amsterdam, The Netherlands)

Gijs Bakker
(Dutch, b. 1942)

Gold, aquamarine, PVC-laminated newspaper

1988

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Gijs Bakker's Blinker brooch satirizes the continuing worship of athletes by transforming a newspaper image of the superstar Dutch striker Regi Blinker into jewelry. To add an exclamation point, Bakker links the outsize celebrity to money by overlaying the soccer ball with an aquamarine gemstone.

Reliquary of My Own Making necklace (USA)

Kiff Slemmons
(American, b. 1944)

Photo transparencies, mica, silver

2008

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Slemmons’s necklace pays homage to its own creation. Each transparency depicts her hand and the steps she takes in fabricating the work, chronicling her creative process. In her words, “not only did I make the reliquary, it is a reliquary for this kind of making.” thus both a celebration and a lament.

Brooch (Germany)

Bettina Speckner
(German, b. 1962)

Ferrotype, silver, silver wire, rubies, marcasite

2005

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Speckner uses an old tintype portrait of a mysterious couple, taking them out of context and generating an emotional impact that is heightened by the seemingly random, but carefully calibrated overlays of precious gems. These added elements obscure rather than decorate the historical image, transforming it intoa nuanced contemporary work.

Flyer necklace (Halle, Germany)

Dorothea Prühl
(Germany, b. 1937)

Cut and drilled elm wood, cord

2010

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Pendant necklace from the "Fragments" series (Germany)

Otto Künzli
(Swiss, b. 1948)

Picture frame fragment, wood, steel

1986

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Necklace from the "Fred Pendant" series (The Netherlands)

Ted Noten
(Dutch, b. 1956)

Fly and pearl in cast acrylic resin, cord (necklace); leatherette-covered cardboard, artificial fur (case)

2003

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

In the Fred pendant, Noten casts a single pearl along with a dead fly in his signature acrylic material. As he strives to expand his audience beyond collectors and museums Noten challenges and invades our comfort zone with jarring combinations of the familiar and the incongruous.

Necklace from the "Spaces" series (Menomonie, Wisconsin, USA)

Aric Verrastro
(American, b. 1985)

Steel, acrylic paint, polyester cord, thread

2015

Promised gift of the Susan Grant Lewin Collection

Temptation brooch from the "Organic" series (Madison, Wisconsin, USA)

Donald Friedlich
(American, b. 1954)

Cast, ground, sandblasted, acid-etched and polished glass, anodized niobium, cast and laser-welded gold, fabricated silver and gold (setting)

2013

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

The Image (Das Bild) brooch from "Das Bild" series (Munich, Germany)

Otto Künzli
(Swiss, b. 1948)

Postcard in acrylic sleeve, brass, rubber band

1981

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

It's Getting So Dark necklace (Estonia)

Kadri Mälk
(Estonian, b. 1958)

Pre-historic shark's tooth, faceted citrine and fluorite, jet, hematite, silver, black coral

2015

Promised gift of the Susan Grant Lewin Collection

Necklace from the Lapis Series (Amsterdam, The Netherlands)

Ruudt Peters
(Dutch, b. 1950)

Ground jade mixed and cast with acrylic resin, gold

1997

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Gold Makes You Blind (Gold Macht Blind) bangle bracelet (Munich, Germany)

Otto Künzli
(Swiss, b. 1948)

Black rubber over gold

designed 1980, executed 2016

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

In this iconic work, Künzli shrouds a gold ball in a featureless black rubber tube. While criticizing the aura of the precious, he nevertheless acknowledges the power of gold's allure even when it is invisible, testing the wearer's faith in the integrity of the artist.

Brooch from "The Droog Collection Mercedes-Benz Brooches" series (The Netherlands)

Ted Noten
(Dutch, b. 1956)

Fragment cut from painted steel body of a Mercedes-Benz car

2003

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Necklace from the “What you say is not always what you have experienced” series (Stockholm, Sweden)

Hanna Hedman
(Swedish, b. 1980)

Silver, powder-coated copper and paint

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Only the Names Have Been Changed Brooch, one of a two-piece series (Munich, Germany)

Stefan Heuser
(German, b. 1978)

Cast gold

2008

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Brooch "No. 953" from the "Walled Garden" series (Barcelona, Spain)

Ramón Puig Cuyàs
(Spanish, b. 1953)

Painted wood, plastic, silver, painted acrylic

2004

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

The Manhattan Piece smoking jewelry (Munich, Germany)

Otto Künzli
(Swiss, b. 1948)

Dannemann cigarillos box, brass, rubber, resin (ureol), paper, linen (book)

1987

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

When confronted with an anti-smoking campaign during a 1988 visit to New York, Künzli took a stand "against fanatical discrimination" exploiting the magical and ritual aspects of smoking itself. Künzli's inherently subversive approach to the function of jewelry as a tool for non-conformity is expressed with biting humor in The Manhattan Piece and its accompanying manual on how to use it most effectively.

Untitled (15) brooch (Westport, Connecticut, USA)

Keith Lo Bue
(American, b. 1964)

Assembled found objects (patinated metal pocket watch case, leaf, glass beads, crushed glass, 19th-century engravings, watchmaker's glass vial, cork, sand), glass paste, metal

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Pin brooch from the "Collection of different pin brooches" series (The Netherlands)

Beppe Kessler
(Dutch, b. 1952)

Wood, textile, foam, acrylic paint, pins

1992

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Necklace (New York, New York, USA)

James Wines, Alison Sky, Michelle Stone
(American, b. 1932; American, b. 1946; American, b. 1944)

Clear plastic tube filled with ColorCore Formica fragments

1985

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Necklace from the "Ingredients" series (Germany)

Iris Bodemer
(German, b. 1970)

Pyrite, glass, gold, wool, Kevlar

2008

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Coldstar necklace from the "Dekorationswut" series (Australia)

Helen Britton
(Australian, b. 1966)

Silver, molded plastic, lacquer

2012

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Bracelet from the "Dekorationswut" series (Germany)

Helen Britton
(Australian, b. 1966)

Silver, enamel, mirrors, paint

2013

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Ring from the "Dekorationswut" series (Germany)

Helen Britton
(Australian, b. 1966)

Oxidized silver, Swarovski chain, lacquer

2013

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Necklace (USA)

Ramona Solberg
(American, 1921-2005)

Dominos, silver, leather cord

1989

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Signature Piece necklace (USA)

Kiff Slemmons
(American, b. 1944)

Mass-produced metal-rimmed key tags, ink

2005

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

"Dieg Bou Diar 1" necklace from the "Dieg Bou Diar" series (Amsterdam, The Netherlands)

Mieke Groot, metal worked by Moussa Thiam, glass blown by Edwin Dieperink
(Dutch, b. 1949; Senegalese; Dutch)

Steel, lamp-blown glass, silver, thread, magnet (closure)

2006

Promised gift of the Susan Grant Lewin Collection

Groot produced a rhymthmic balance of forms through her collaboration with glassworker Edwin Dieperink in Amsterdam, who created blown glass globes, and Senagalese craftsman Moussa Thiam who transformed discarded tomato paste cans into brighty colored “beads.”

"Desert Necklace" from the "Handle with Care" series (Amsterdam, The Netherlands)

Peter Hoogeboom
(Dutch, b. 1961)

Slip cast and glazed ceramic, silver, cork

1995

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Brooch (Vienna, Austria)

Petra Zimmermann
(Austrian, b. 1975)

Polymethylacrylate, found black glass, printing ink, onyx beads, silver leaf, blackened silver

2008

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Ring from the "NY NY ...Right Before My Eyes" series (Jersey City, New Jersey, USA)

Rian de Jong
(Dutch, b. 1951)

Electroformed copper on stones and earth

2009

Promised gift of the Susan Grant Lewin Collection

Necklace (Amsterdam, The Netherlands)

Lucy Sarneel
(Dutch, b. 1961)

Antique textile, rubber, onyx, nylon, zinc

2006

Promised gift of the Susan Grant Lewin Collection

Cufflinks and three studs with packaging from the "Colorcore Personal Adornment" series (New Paltz, New York, USA)

Robert Ebendorf and Ivy Ross
(American, b. 1938; American, b. 1955)

ColorCore Formica (cufflinks, studs), printed cardboard (packaging)

1983

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Necklace from the "Colorcore Personal Adornment" series (New Paltz, New York, USA)

Robert Ebendorf and Ivy Ross
(American, b. 1938; American, b. 1955)

ColorCore Formica fragments, clothespins (painted wood, metal), cord

1983

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Shield #3 brooch from the "Time Structures" series (Gardiner, New York, USA)

Sergey Jivetin
(Uzbekistani, b. 1977)

Steel watch hands pressure fitted on fabricated silver frame

2005

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Knot brooch from the "Singularity" series (USA)

Sergey Jivetin
(Uzbekistani, b. 1977)

Annealed and bent steel jeweler's saw blades, steel

2007

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Collage - "Candy Wear" Jewelry Series

Daniel Jocz
(American, b. 1943)

Photocopy and applied adhesive paper on white wove paper

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Print - The Mind in the Hand

Esther Knobel
(Israeli, b. 1949, Poland)

Etching from embossed aluminum plate on white wove paper, perforated and stitched with iron thread

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Drawing - Designs for Roofs Brooch

Annamaria Zanella
(Italian, b. 1966)

Pen and black ink, brush and watercolor, graphite on cream wove paper

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Drawing - Study in Color and Form

Thomas Gentille
(American, b. 1936)

Brush and watercolor, pen and ink on vellum paper

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Drawing - Design for Postpriori II Brooch

Jamie Bennett
(American, b. 1948)

Brush and watercolor, ink, graphite on white wove paper

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum

Drawing - Designs for a Brooch

Graziano Visintin
(Italian, b. 1954)

Graphite, black and red color pencil, brush and gold paint on cream wove paper mounted on white wove paper

The Susan Grant Lewin Collection, Cooper Hewitt, Smithsonian Design Museum