1.Crown decorated with fish
Gold; Savu, Indonesia; before 1932; purchased from K. Heynen-Lans; TM-789 -1
The daughter of a king of the island of Savu married a Dutchman. They lived on the island of Sumba, and later moved to the Netherlands. Her collection of gold jewellery includes traditional pieces for the king’s female relatives. Other items display a European influence. These were probably specially commissioned. In 1932 one of her daughters gave the collection to the museum.
2. Decorative comb
Gold, metal; Savu, Indonesia; before 1932; purchased from K. Heynen-Lans; TM-789-3
3. Necklace
Gold alloy; Savu, Indonesia; before 1890; purchased from K. Heynen Lans; TM-789-2
4. Fish necklace
Gold; Savu, Indonesia; before 1932; purchased from K. Heynen Lans; TM-789-5
5. Hip ornament
Gold; Savu, Indonesia; before 1932; purchased from K. Heynen Lans; TM-789-18
6. Decorative comb, suwah
Gold, horn; Bali, Indonesia; before 1909; gift of the Ethnology Museum of the Royal Military Academy in Breda; RV-3600-104
This Balinese horn comb is inlaid with gold on both sides. It would be worn in the hair, inserted into the top of a bun.
7. Ear studs
Gold; Bali, Indonesia; before 1887; courtesy of Natura Artis Magistra Royal Zoological Society; TM-A-5768a,-b
Balinese women wore ear studs like these on special occasions, as a sign of their wealth and status. These ones have been decorated using the granulation and filigree techniques. Wearing progressively larger studs made the holes in the ears gradually larger. They were kept open and stretched using rolls of palm leaf or paper. Women still wear ear ornaments like this today, but in smaller holes. They are kept in place using a screw system.
8. Head ornaments for fontanelle, pupuk
Gold; Bali, Indonesia; before 2002; gift of J. Polak; TM-5989-3,-4
These gold ornaments protect the baby’s fontanelle. The Balinese regard this as a highly vulnerable spot, where evil forces can easily gain access in the first phase of life.
9. Ring with blue stone
Gold; Bali, Indonesia; before 1948; purchased from J. Aalderink; TM-1828-1
This gold ring is based on an old design. Rings like these are still made in Bali today. The unique properties of precious and semi-precious stones are particularly important in Indonesia, acting as amulets to ward off illness and misfortune, or ensure the wearer has a long, healthy life.
10. Two cufflinks made into a brooch
Gold; Bali, Indonesia; 1924; gift of the Ethnology Museum of the Royal Military Academy in Breda; RV-3600-3157
This unique decorative pin from Bali is made of two cufflinks.
11. Saint George and the Dragon ring
Gold; Klungkung, Indonesia; 1892; acquired from the Colonial Museum, Haarlem; TM-H-29e
A British gold sovereign has been soldered onto this silver Balinese ring. The sovereign was a coin minted in Britain and in areas colonised by the British. The visible side of the coin shows Saint George, the patron saint of England, who slayed a mythical dragon. The other side, with an image of Queen Victoria, was apparently less appealing to the Balinese silversmith.
12. Breast ornament, mase, in the form of a horseshoe
Gold; Tanimbar Islands, Indonesia; gift of F. Liefkes; RV-Liefkes-366
In the southeast Moluccas priceless items of jewellery are important family heirlooms. The objects are mainly regarded as relics of a glorious ancestral past. This one was worn on a chain with large links. The pendants on such items of jewellery, known as mase, usually feature human faces or forms.
13, 14. Ornamental combs, petat
Gold leaf, wood, horn; Bali, Indonesia; before 1909; gift of Dutch East Indies Government; RV-1684-20, -21
Balinese women would wear combs like these in their hair.
15. Bracelet worn by important men in northern Sumatra, gelang Karo
Gold; gilt; Northern Sumatra, Indonesia; before 1922; gift of Christian Wilhelm Janssen; TM-157-2
Karo Batak noblemen would wear such bracelets at their wedding, and at important ceremonial gatherings. They signal the wealth and status of the owner, who might perhaps be a village chief or datu (priest). A relatively large proportion of copper has been added to the gold to give it a reddish sheen, ‘suasa’. The hollow bracelet contains tiny stones that make a noise when the wearer moves their arm.
16. Pendant in the form of a cockerel
Gold; Tanimbar Islands, Indonesia; late 19th, early 20th century; gift of F. Liefkes; RV-Liefkes-451
In the southeast Moluccas priceless items of jewellery were important family heirlooms and status symbols. They were regarded as a sacred inheritance from the ancestors, and were kept in special baskets. The basic material for the jewellery was Western coins. It was believed that melting the gold ‘killed’ the material, and the goldsmith invoked the help of the ancestors in the process.
The ‘hot’ gold of the bride’s dowry, the gold jewellery, symbolised the male contribution to the process of creation. Cooling reciprocal gifts such as textiles represented female fertility.
17. Necklace, bura-bura
Gold, silver; Sumatra, Indonesia; 20th century; gift of F. Liefkes; RV-Liefkes-403
This necklace was worn by a Karo Batak bride as part of a full set of bridal jewellery. The chain was created using the filigree and granulation techniques. The half-moon pendant refers both to water buffalo horns and to the form of traditional (adat) Karo houses. These days, bridal jewellery sets are often made of gilded tin. They can be purchased or rented.
18, 19, 20, 30, 36. Mamuli and 29. Woridi
Gold; Sumba, Indonesia; 20th century; gift of F. Liefkes and J. van der Grift; purchased from J. Polak courtesy of Mondrian Fund, VSB Fonds and the VACN fund; RV-Liefkes-334,-335,-336; -337, TM-3937-8, TM-5787-36
Mamuli are ear ornaments in the form of the female genitalia, and they symbolise fertility. In the past, when the women in Sumba still stretched their earlobes, mamuli were worn in the ears, but nowadays they are hung around the neck. In Sumba they still play an important role in rituals associated with marriage and death, and are passed on from one generation to the next. People in Sumba believe that precious metals come from heaven. The sun is made of gold and the moon and stars are silver. Gold and silver are deposited on earth when the sun and moon set, and when shooting stars fall from the sky. Today, mamuli are worn by women throughout Indonesia as fashion items. A woridi (nr.29) resembles a mamuli, with a square or diamond shape in the centre.
21. Pomander, cepuk ambar
Gold; Aceh, Indonesia; before 1947; purchased from G. Tillmann; TM-1771-48
This gold sphere of very delicate openwork consists of two halves that are screwed together. A piece of amber or other fragrant substance would be placed inside. The pomander would be placed in a cabinet or chest to give clothes and other textiles a pleasant smell.
22. Pendant with opal
Gold; Aceh, Indonesia; before 1947; purchased from G. Tillmann; TM-1771-47
The goldsmiths of Aceh were known for their technical skill. They made items for sultans and other dignitaries. The style of this gold pendant suggests it was probably commissioned by Europeans. The pendant with an opal is sprinkled with spherules of gold in different sizes. The back has been left plain.
23. Brooch
Gold; Indonesia; before 1890; gift of Nicole Vonwiller Gerhard; TM-6107- 14a
24. Bracelet
Gold; South Sulawesi, Indonesia; 20th century; gift of F. Liefkes; RV-Liefkes-393
The exceptionally high standard of craftsmanship suggests that this bracelet was made in Makassar or Kendari, places where highly trained goldsmiths worked. The decoration on the bracelet is based on traditional Indonesian floral motifs. Given the fact that it differs from traditional jewellery, it was probably a specially commissioned piece.
25, 36. Duri-duri and sitepal
Gold; Sumatra, Indonesia; before 1910; purchased from Tassilo Adam; TM-137-461, gift of F. Liefkes; RV-Liefkes-326
If a pendant has a single large phallus-like thorn, it is known as a sitepal. Two such projections positioned either side of an opening in the centre symbolise the female genitalia, in which case the pendant is known as a duri-duri (which means thorns). Together, the pendants symbolise the union of man and woman, and are associated with fertility. These ear pendants were worn by both men and women, either singly or as a pair.
26, 27 Rings
Gold, ruby; Indonesia; 1880; gift of Nicole Vonwiller Gerhard; TM-6107-15,-16
Charles Sayers (1901-1943) gave these Indonesian-made brooch and rings to his wife Olga Sayers-Stern (1907-2003). It is an example of the sophisticated art of goldsmithing in Indonesia. The Indonesian goldsmith used techniques like granulation and filigree to make the ring, in which a ruby has been set, along with two smaller red precious stones.
28. Ear ornaments, toge, with ornamental screws in the shape of a mythical dragon
Gold; Sulawesi, Indonesia; before 1998; purchased from J. Polak, courtesy of Mondrian Fund, VSB Fonds and the VACN fund; TM-5787-12a – d
These tail-like ear studs, toge, worn by the Bugis people of South Sulawesi. The stud, which is worn to the front, has granulation and filigree decoration. The back features a naga, a mythical serpent. These earrings are worn by wealthy women.
29, 30. text nr. 18
31. Head ornament for women, siger
Gold; Sumatra, Indonesia; before 1937; purchased from H.R. Rookmaaker; TM-1119-1
This head ornament was worn at ceremonies by important women and dancers, often in combination with several gold hair ornaments. The headdress is worn at an angle, so that the ship shape can clearly be seen. The ship motif is very important in the culture of Lampung, symbolising changes in life.
32. Ear discs, subang
Gold; West-Sumatra; Indonesia; early 20th century; gift of F. Liefkes; RV-Liefkes-401
These ear discs, subang, were part of women’s traditional costume worn on festive occasions, and were also worn by brides on their wedding day. Despite their huge size, they are quite light, as they are made of very thin gold plate. The triangle motifs represent bamboo shoots, a symbol of fertility. The gold has a red sheen, a popular colour among the Minangkabau, which was obtained by first treating the gold with a mix of saltpetre, alum and salt, and then with lemon juice, salt and sulphur.
33. Necklace, nifatofato
Gold; Nias, Indonesia; before 1883; donated by the International Colonial and Export Exhibition; RV-370-3048
Goldsmiths on the Indonesian island of Nias were aristocrats, si ulu, who had special links to the upper world. Gold was regarded as a powerful material that could restore unity between the upper world and the human world. Anyone who owned a lot of gold would display it during ceremonies, to enhance their status. The jewellery had to be new, however, so old jewellery was melted down to make new pieces. The repeated working of gold was associated with the eternal nature of light and creation.
34. Woman’s ear ornament, raja mahuli
Gold; Karo Batak, Sumatra, Indonesia; before 1921; purchased from T. Tassilo; TM-137-469
The majority of the gold used in the Batak countries was mined in the region. The goldsmiths worked to order, and clients often brought their own gold when commissioning a piece. Ear ornaments of this kind are called raja mahuli. Karo women would wear them on a large ring through their ear lobes on festive occasions.
35. Ear ornament
Gold; Java, Indonesia; 750-1550; courtesy of Rembrandt Association; TM-2960-300
This solid gold ear ornament comes from Java, but jewellery of this kind has been found throughout Southeast Asia. The design of the earring dates from before the arrival of Hinduism and Buddhism in Java. The ornament would have been cast, and was probably worn in a hole through the ear lobe, with the heaviest part hanging down.
36. text nr. 25
37. Breast ornament, belak mean
Gold; Flores, Indonesia; 1870-1950; courtesy of Museum Nusantara; 7082-S-815-1
Only royal families own and wear gold jewellery on the islands of eastern Indonesia. In Flores, gold jewellery is generally cast, as with this circular cast breast plate, belak mean, decorated with a sun symbol.
38. Necklace, kanatar
Gold; Flores, Indonesia; 1870-1930; courtesy of Museum Nusantara; 7082-S-815-3
A regal necklace made of gold thread or silver-gilt thread. The axe is an important symbol in Flores, which features in other items of jewellery too. Loops and spirals in filigree work decorate the edges of the pendants.
39. Ear ornaments, bela
Gold; Flores; Indonesia; 1870-1930; courtesy of Museum Nusantara; 7082-S-815-7ab
These flat gold ear ornaments, bela, have granulation work decoration along the edges. The bela form is important in the Ngada culture of Flores. It is also found in architecture, for example, carved into wooden panels.
40. Carp pendants, kalung baderan
Gold, diamond; Java, Indonesia; early 20th century; gift of F. Liefkes; RV-Liefkes- 328
Kalung (pendant) baderan (carp) are worn on a chain. They are used as amulets for children of Chinese origin, particularly girls. In China the carp symbolises courage and perseverance. This is associated with a Chinese legend that tells how carp swimming upstream in the Yellow River encountered a waterfall in the upper reaches of the river, known as the Dragon Gate. Only a few carp managed to make the final leap, and they turned into dragons. This explains why the heads of these fish resemble dragons.
41. Jewellery featuring head of a monster
Gold; Java, Indonesia; 1350-1400; purchased from G. Tillmann; TM-1278-7
This important item of gold jewellery from the Indo-Javanese period features three wheels, sudarsanacakra, which are associated with the Hindu god Vishnu. The Garudas on either side might also refer to Vishnu. The monster’s head, kala, at the top of the piece is particularly striking. It is not clear how exactly this piece would have been worn. The brooch pin on the back is a later addition.
42. Gold plate shaped like a tortoise
Gold; Java, Indonesia; 700 - 1500; acquired from National Museum of Antiquities; RV-1403-3205
In the Indo-Javanese period (750-1500), when a temple was being built priests would place pieces of gold plate beneath a statue of the deity and also under the foundations. They were cut into certain shapes, either geometric, human or animal, like this tortoise. The priests created a pattern that turned the temple into a symbolic model of the cosmos, to which the gods could descend.
43. Ear ornaments
Gold, amethyst; Java, Indonesia; 1300-1500; purchased from G. Tillmann; TM-1771-1,-2
Many jewellery designs from the Indo-Javanese period (750-1500) are derived from nature. These earrings date from the Classical Javanese period. They were cast using the lost wax technique, and the gold was then worked further.
44. Ear pendant in the form of a one-eyed monster
Gold; Java, Indonesia; 700 – 1550; purchased from G. Tillmann; TM-1278-4
This ear pendant is from the Indo-Javanese period (750-1500). It depicts the head of a one-eyed monster, with ornamentation above, below and to the sides. Monster’s heads and demons provided protection from evil.
45. Ear ornament
Gold; Java, Indonesia; 750 – 1550; purchased from G. Tillmann; TM-1771-12
This gold ear ornament consists of a ring with ‘shoulders’ between which a square stone once sat. Above the stone is a tiger’s claw motif among four petals. In the Indo-Javanese period, tiger’s claws symbolised strength and protection, and were worn as a talisman.
46. Ear pendant with curlicue and leaf decoration
Gold; East Java, Indonesia; 700-1550; purchased from G. Tillmann; TM-1278-5
A lot of jewellery designs from the Indo-Javanese period (750-1500) are derived from nature.
47. Ear studs
Gold; Suriname; before 1963; donated by the Tropical Products Department of the Royal Tropical Institute (KIT); TM-3290-207a,b
48. Hairpin with gold five-dollar coin
Suriname; before 1963; donated by the Tropical Products Department of the Royal Tropical Institute (KIT); TM-3290-213
49. Brooch with fine filigree work
Gold; Curaçao; before 1966; donated by the Tropical Products Department of the Royal Tropical Institute (KIT); TM-3602-97
50. Flower ear pendant
Gold; Curaçao; before 1966; donated by the Tropical Products Department of the Royal Tropical Institute (KIT); TM-3602-100
51. Ear pendant
Gold; Curaçao; before 1966; donated by the Tropical Products Department of the Royal Tropical Institute (KIT); TM-3602-98
52. Ear pendant
Gold; Curaçao; before 1966; donated by the Tropical Products Department of the Royal Tropical Institute (KIT); TM-3602-99
53. Ear ornaments
Gold; Mexico; before 1977; purchased from W.J.M.M. van Miert; TM-4324-52a/b
54. Dopring
Gold; Walcheren, the Netherlands; 1865; courtesy of the Dutch Open Air Museum
Wealthy women in Zeeland would wear a broad ‘dopring’ on Sundays and religious holidays. The ring was part of their traditional dress.
55.’Akkelde’ ring from Marken
Gold; Marken, the Netherlands; 1787; courtesy of the Dutch Open Air Museum
This type of ring is common in several provinces in the Netherlands, and was the forerunner of Zeeland’s 'dopring'.
56. Earrings
Gold; Walcheren, the Netherlands; 1859-1880; courtesy of the Dutch Open Air Museum Arnhem
Earrings of this type are also known as ‘pike mouth’ or ‘snake mouth’ earrings. On the island of Walcheren in Zeeland, they were known as ‘snake’s heads’.
57. Ear irons
Gold; Zuid-Holland province, the Netherlands; c. 1900; courtesy of the Dutch Open Air Museum Arnhem
‘Ear irons’ were worn throughout the Netherlands. They were used to keep a close-fitting cap in place. They eventually fell out of fashion in the cities, but remained as popular as ever in rural areas. There were many variations. Gold curls could be hung on the ear irons. The richer the woman, the bigger the curls.
58. Mourning pendants
Gold, jet; the Netherlands; 1880-1900; courtesy of the Dutch Open Air Museum Arnhem
These mourning pendants were part of the mourning dress worn by women from Axel. They would be hung from their ear irons.
59. Earring with cutter
Gold; 2024; the Netherlands
Men from Dutch fishing villages have been wearing gold earrings for many years. If a fisherman drowned and his body washed up, his gold earring could be sold to pay for his funeral. The initials of the wearer would often be engraved on the earring, so that he could be identified.
60. Ear iron
H. Fliringa; Gold; southeast Friesland, the Netherlands; 1839; courtesy of the Dutch Open Air Museum Arnhem
In Groningen, Friesland and Drenthe, the ear iron evolved into a kind of helmet. It certainly ensured that the wearer stood out. But although this looks like a lot of gleaming gold, the ear irons were very thin. This one is made of 20-karat gold and weighs 71.3 grammes.
61. Fisherman wearing gold earring
Photograph; the Netherlands; 1880-1944; courtesy of the Dutch Open Air Museum Arnhem
62. Women wearing traditional dress of Noord-Beveland
Photograph; the Netherlands; 1956; courtesy of the Dutch Open Air Museum Arnhem
63. Göndschük (breast ornament)
Gold, silver, cornelian; Afghanistan; 1880-1920; purchased from Baobab Aziatica; RV-5100-2
This is a göndschük or gursaktscha, a hexagonal breast plate worn by Teke Turkmen women. The plate would be attached to a metal neck strap, a bukau. These ornaments are in a typical Teke style. They are partially gilded and decorated with cornelian, a red semi-precious stone believed to have magical powers of protection. The Teke are most famous among all Turkmen groups for the many and varied forms of their jewellery. The high point of Teke jewellery production was in the nineteenth century, when the Teke Turkmen invested much of the wealth they had acquired from the slave trade in jewellery.
64. Ear pendants in the shape of a shield
Gold; Syria; AD 200-300; courtesy of the National Museum of Antiquities
These gold earrings must have made a beautiful impression, remaining clearly visible under dark hair or a head cover. They are in the shape of an oval shield on a tapered braid. They are based on a local Syrian design.
65. text nr. 76
66. Brooch featuring a stag with large antlers
Gold; Darevka, Russia; AD 600; courtesy of the National Museum of Antiquities
The Scythians were a nomadic people who inhabited large swathes of southern Russia from the 7th century BC onwards. In the graves of their kings, known as kurgans, they would underline the status of the deceased by burying a large number of grave gifts with him: horses, chariots, women and large quantities of gold symbolised the dead king’s wealth. The small piece here depicts a stag with a magnificent set of stylised antlers. The Scythians’ hunting culture, which originated in prehistory, continued to feature in later artworks.
67, 71. Pre-Columbian frog and mask pendants
Gold; Quimbaya; Colombia; 1000-1400; purchased from Niels Halbertsma; TM-2731-1, -2
In the pre-Columbian era, gold objects were probably appreciated by leaders from communities in the region we now know as Colombia, because of their sparkling appearance and eternal life. Moreover, they could be used to display their power. Such jewellery might consist of earrings, pendants depicting human or animal figures, and lip plugs
68. Necklace
Gold; India, before 1924; gift of Baroness Olga E.A.E. Wüste-von Gotsch; TM-229-67a
69. Ear rings, pendant and ring made using the filigree technique
18-carat gold; Côte d'Ivoire; 1970-1973; courtesy of Wereldmuseum Rotterdam; 7339-2a,b,-4,-5
This jewellery was bought by Ms Hervieux, a Canadian woman who lived with her family in Côte d'Ivoire from 1970 to 1973. They were made by a local goldsmith who was highly skilled in the filigree technique for which the region is famous. Hervieux chose them purely on the basis of personal taste, and wore them on special occasions, although they were bought as an investment.
70. Pair of bracelets
Gold, silver; gilded; Kolkata, India; 19th century; gift of Raja Sourindra Mohun Tagore; RV-651-36
71. text nr.67
72. Ear ornament
Gold; Quimbaya; Colombia; 1000-1400; purchased from Niels Halbertsma; TM-2731-5
73, 74. Nose ornaments
Gold; Quimbaya; Colombia; 1000-1400; purchased from Niels Halbertsma; TM-2731-3,-4
These nose rings were worn by men of high status in the Quimbaya culture. A lot of pottery depicts ancestor figures wearing similar nose rings.
75. Ring
Gold; India; late 19th-early 20th century; gift of H.J. van Eeuwijk; 7000-21
76, 77, 65 Souvenirs from Mecca
Gold; Jeddah, Saudi Arabia; 2015; courtesy of the Mondrian Fund;
7070-10, -57, -7, -8
These rings and ear pendants were made as souvenirs for those who have made the pilgrimage to Mecca. The designs and techniques were inspired by Indian jewellery.
78. Ruby ring
Meret Oppenheim (1913 - 1985); gold, ruby; Switzerland; 1985; courtesy of Design Museum Den Bosch
This gold ring by Swiss artist Meret Oppenheim consists of a gold disc with an upturned edge inside which 25 loose rubies roll around beneath a gold mesh, like a cage containing precious items. In this surrealist inversion, the rubies are not on display as usual, catching the light in their valuable setting.
79. Ear ornaments
Brass; gilded; Bamako, Mali; c. 1993; RV-5746-92
80. ‘Golden Baby’ brooch
Keith Haring (1958-1990); gold; United States; 1989; courtesy of Design Museum Den Bosch
This 'baby' is a frequently occurring motif in the work of Keith Haring. Haring’s universal visual idiom was very popular with the public. He deliberately enhanced the popularity of his work by producing it in series, which he sold at low prices. To meet the huge demand, in 1986 he opened the Pop Shop in New York, for which he designed posters, T-shirts, badges, brooches and other merchandise.
81. Fede ring
Gold; Italy; AD 100-200; courtesy of the National Museum of Antiquities
The use of hands as a symbol dates from ancient Rome, where fede rings were also used as wedding rings, symbolising a contract between two lovers. The name fede comes from the Italian expression ‘mani in fede’ (hands clasped in faith). Rings such as these are the forerunners of our wedding rings, which are generally less elaborate.
82. Frog pendant
Gold; Costa Rica; c. 1000-1520; courtesy of MAS - Museum aan de Stroom
This breast ornament possibly depicts a giant toad that lives in the regions of Costa Rica and Panama where gold was worked. The toad has a powerful toxin in glands behind its eyes. This piece might depict something similar. The toxin, which has a powerful effect on the central nervous system, could be harvested by shamans and prepared as a drug for use in rituals.
83. ‘Areion’ pendant
Georges Braque (1882-1963); Gold; France; 1962; courtesy of Design Museum Den Bosch
This pendant and brooch are part of the jewellery collection that cubist artist Georges Braque produced with master goldsmith Michel Heger de Löwenfeld during the last two years of his life. Braque did not like gold to shine, so Löwenfeld produced a layered gold composite that had a grainy surface. It was an innovation in the art of jewellery making, which was often imitated.
84. Ear ornament with flower motif
Gold; India; before 1921; gift of Olga E.A.E. Wüste- Barones von Gotsch; TM-229-67b
85. ‘Tête Modern Art’ pendant
Max Ernst (1891-1976); gold, France; 1974; courtesy of Design Museum Den Bosch
The design of this pendant reflects the surrealist painter and sculptor Max Ernst’s great interest in non-European folk art. The simple stylised face also features in his sculptures. Max Ernst played a key role in the surrealist movement in Paris.
86. Coin bracelet
Gold leaf, coins; Ottoman; Libya or Southwest Asia; before 1889; purchased by Indisch Instituut; RV-2668-3015
This piece was not originally a bracelet. It was made from necklaces. The original necklace was of a type common in the Ottoman Empire in the 19th century. Wealthy urban women wore gold jewellery, while silver and silver-gilt were more common in rural areas.
87. Status symbol
Matijs Korpershoek, made by Pauline Barendse; Gold; 2002; the Netherlands; courtesy of Design Museum Den Bosch
These sunglasses with solid gold lenses are intended above all as a status symbol. They can be worn in various ways: on the head, in the hair, hooked over a neckline or on a cord. Robbed of their original function, they acquire another, more refined role as an item of jewellery.
88. ‘Visage de faune’ medallion
Pablo Picasso (1881-1973); Gold; France; 1967; courtesy of Design Museum Den Bosch
This gold medallion has an image in relief depicting the head of a faun, a mythological figure. The design was drawn by Pablo Picasso and executed by the famous goldsmith Francois Hugo, who also marketed jewellery designed by Jean Arp, Max Ernst and many other artists in the 1950s and 60s. Picasso scratched the image directly into a wax disc, so the finished piece had the same immediacy as his drawing. Made in the form of a gold medallion, the result is slightly reminiscent of an ancient coin.
89. ‘Compression de byoux’ pendant
César Baldaccini (1921 – 1998); Gold; France; c. 1975; courtesy of Design Museum Den Bosch
This pendant is made of compressed gold jewellery. Various precious stones can be seen in the gold. The piece is characteristic of the work process of César Baldaccini one of the representatives of the Nouveau Réalisme art movement. Like the artists of the Pop Art movement, the Nouveaux Réalistes worked with everyday products familiar to the general public, stacking or deforming them to give them a different meaning.
90. Nagali (snake) ear ornaments
Gold; Rabari, India; before 1992; purchased from Van Koperberg BV; TM-5446-2a/b
91 and 93. ‘Madame’ and ‘Monsieur Abeille’ pendants
Jean Cocteau (1889-1963); Gold; Frankrijk; 1960; courtesy of Design Museum Den Bosch
These pendants were designed by artist and filmmaker Jean Cocteau. He was a versatile artist, who produced illustrations, drawings, posters, ceramics and jewellery. A distinctive feature of his work is his stylised line drawings. He made his first jewellery in the 1930s for couturiers like Chanel and Schiaparelli. These pieces were produced in editions of fifty by Parisian goldsmith François Hugo, who also worked with artists like Pablo Picasso, Max Ernst and Jean Arp.
92. Spectacles
Gold; Ivory Coast; purchased from F. Scensi; WM-76692