To me jewelry is not just a pretty object that can attach itself to the body somewhere. To me the best jewelry achieves full realization only when combined with the body—when worn, when interacting with a neck, shoulders, face, arm, hand. Consciousness of the body [and space] is over and above metal, stones, masses, lines and textures.

Art Smith

Models wearing the Half and Half necklace (left) and the Cover Girl choker (right)

Modern Handmade Jewelry

Toni Greenbaum

Jewelry is one of the most graphic indicators of personal identity. In sync with the body, it helps to define the individuals who wear it. Jewelry is also among the most revealing examples of material culture. The necklaces, earrings, bracelets, rings, and brooches worn by people throughout the ages contain powerful clues about the eras, traditions, habitations, and societies in which they lived.

To this day, jewelry continues to act as an important signifier. The twentieth century, along with the first two decades of the twenty-first, is particularly rich in what we refer to as “studio jewelry.” Studio jewelry, which is invariably handmade, can simply celebrate process and provide an alternative to fine or costume jewelry, but it can also harbor deeper meanings—concepts far beyond jewelry’s usual function as decoration, commemoration, or talisman. Studio jewelry exists at the nexus of art, craft, and design, often reflecting aesthetic concerns, theoretical doctrines, political agendas, or popular trends. Most studio jewelry is either unique or produced in limited edition. It can be fabricated from precious metals and gemstones, or created from materials outside the norm, or both. Studio jewelry may be easy to wear, or present tactical challenges. All in all, it is a most compelling adornment—whether we regard it technically, stylistically, artistically, or even existentially.

Work by Otto Künzli (left). His iconic Gold Makes You Blind bracelet, is featured in this sale. ES1 Ring by Ettore Sottsass (right).

Art Smith

Art Smith was one of the most admired mid-century jewelry designers, bringing sophistication and drama to large-scale works made for everyday-wear. As virtually the only prominent African-American jewelry designer of the era, Smith kept a studio and showroom (with only two assistants) in the bohemian Greenwich Village for thirty-three years.

Arthur "Art" Smith was born in Cuba in 1917 to Jamaican parents and the family permanently settled in Brooklyn in 1920. Smith studied commercial art and sculpture at Cooper Union under a scholarship, graduating in 1940. He took an evening jewelry course with Winifred Mason, an African-American jewelry designer (regarded as the first, to work on a commercial scale) who became a major influence and mentor to Smith. Instead of gold and silver, she worked primarily in copper and used motifs from West Indian culture and folk art.

Smith apprenticed under Mason at her shop and studio in Greenwich Village for several years and in 1946, Smith opened his own shop. Early years were difficult for Smith, as an openly gay black man, and his shop was the target of vandalism and break-ins. Despite these hardships, he quickly made a name for himself in the downtown bohemian arts community with his stunning, sensual jewelry, that was sensitive to the movement of the body. He was close to and made works for luminaries such as Lena Horne and Duke Ellington. He also created commissions for modern dance companies run by choreographers including Talley Beatty and Claude Marchant.

By the mid-1950s, Smith's designs were carried by Bloomingdale's and boutiques across the country and they regularly appeared in Harper's Bazaar and Vogue. During this time, he was creating smaller works, on a larger production scale, such as stylish earrings, cufflinks and rings in sterling silver and gold that incorporated attractive stones.

In 1970, the Museum of Contemporary Crafts, New York (now the Museum of Arts and Design) held a retrospective celebrating Smith's work. Due to declining health after a heart attack, Smith was less produgious in the later part of his life; his shop closed in 1979 and he passed away in 1982. He was honored with another retrospective at the Jamaica Arts Center, Queens in 1990, curated by the African-American artist and filmmaker Camille Billops, and the Brooklyn Museum held the show From the Village to Vogue in 2008, highlighting Smith's momentous contribution to the medium.

Auction Results Art Smith