Design and jewellery in Ireland - by Breda Haugh

How an object comes into being has long fascinated me…the idea, who decides, and why?   Design is the fascinating process whereby such an idea  is brought on a journey to its place in our world- whether material or virtual, as metal, gemstones,  leather, textiles or plastics are brought  together by human intervention to form a piece of jewellery-  its design, with its own particular limitations, being as fascinating as that of any other object.

I came across some such design journeys recently while researching modern Irish jewellery of the mid twentieth century.

This was a time when great concern was being expressed about the quality of product design in Ireland, especially for the export market, which the government endeavoured to address by establishing the Kilkenny Design Workshops in 1963- filling them with experienced product Designers and craftspeople, primarily from overseas.

I love how the expression from different cultures has influenced and contributed to our sense of a modern Irish aesthetic.

Fig 1

Regarding KDW jewellery these influences can be seen in the silver prototype rings and cufflinks by Rudolf Heltzel. (Fig.1, 2), along with the Viking influenced necklet, (Fig.3) by Asger Max Anderson.

                Fig. 2                                

Regarding KDW jewellery these influences can be seen in the silver prototype rings and cufflinks by Rudolf Heltzel. (Fig.1, 2), along with the Viking influenced necklet, (Fig.3) by Asger Max Anderson.  It is discernible too in  Anderson’s Celtic influenced  Torc Bangle (Fig. 4) with his versatility seen in the strong form of  amethyst set ring (Fig. 5) contrasting with the  greater complexity in the technical drawing of the cluster ring-Later made.(Fig. 6) All motifs being characteristic of the Scandinavian aesthetic- fashionable  at the time.

 Fig. 3

 Fig. 4

 

Fig. 5

 

Fig. 6

 While this work was interesting and contributed to our knowledge of style and technique, exciting modern work was, however, also being made elsewhere in Ireland, with the most successful jewellery being that by the Swede Marika Murnaghan, who came to Dublin in the mid 1960s, having married solicitor Denis Murnaghan.  Initially she began making jewellery in the Searbhac (Hawk) workshop in Dunlaoire, moving on when her work proved a success.  She was to be replaced there by jeweller Linda Uhlemann.

 Fig. 7

Murnaghan was truly original- establishing a very successful manufacturing business with her modern jewellery collections, all of which with a lightness of touch, displayed a  strong influence of both her native Scandinavian culture and  of her adopted Irish one, which last greatly, absorbed her. (Fig. 7, 8, 9))  The work was additionally priced to have wide appeal, selling extensively in Ireland and more selectively the UK.  It was probably, however, through her strong branding and marketing, including her modern boutique interiors, that Murnaghan showed great vision (Fig. 10) contrasting greatly to what was generally to be experienced in traditional retail jewellers at the time.

Fig. 8

And additionally Marika Jewellery boutiques were strong competition for KDW outlets.   

At its height the company employed upwards of 40 people, only ceasing trading in the late 1980s due to Murnaghan’s untimely death.  She was held in considerable respect shown both by her commission, through competition, to design and make in 1983 the first piece of platinum to be hallmarked in Ireland (Fig.11) and currently by the inclusion of unique items of her jewellery and silverware in the collection of the National Museum of Ireland.

Fig. 9

 Another aspect of both Marika and KDW Jewellery was that their construct was acknowledged to be by a process known as Craft Design- a term rarely in use today, but sadly missed.

Fig. 10

Finally Marika Jewellery along with that of KDW were Viking/ Scandinavian invasions in the modern age, but this time pleasing to those truly conquered, resembling perhaps to how today we enjoy the products of H & M and IKEA, both of whom unpretentiously touch many people by addressing their requirements with quality design values and broad accessibility in the marketplace.

 Fig. 11

Further suggested reading:
·Dunlevy, M. (2001). Jewellery -17th to 20t h Centuries. Dublin: The National Museum of Ireland.

·Marchant, N. and Addis, J. (1985). Kilkenny Design: Twenty-one years of design in Ireland.  Kilkenny and London.

·Publications Teahan, J. (1987). The Company of Goldsmiths of Dublin, exhibition 1637- 1987. Dublin: The National Museum of Ireland, Dublin.

·Thorpe, R (ed). (2005). Designing Ireland, A retrospective exhibition of Kilkenny Design Workshops 1963-1988.  Kilkenny: Crafts Council of Ireland.

Image credits:
Figure 1, Rudolf Heltzel, Silver Prototype rings c1960s. Designing Ireland Catalogue Image by Roland Paschhoff. Courtesy CCOI. Figure 2, Rudolf Heltzel, L+R  Prototype silver cufflinks  1966/7. Designing Ireland Catalogue. Image by Roland Paschhoff. Courtesy CCOI. Centre cufflink by Marcus Huber. Figure 3,
Asger  Max Anderson :1971- Hammered silver Necklace.  Designing Ireland Catalogue. Image byRoland Paschhoff. Courtesy CCOI. Figure 4,  “Torc” Bangle, silver 1972. Asger Max Anderson. Designing Ireland Catalogue. Image by Roland Paschhoff. Courtesy CCOI. Figure 5, Silver amethyst set ring. Asger Max Anderson :1971. Designing Ireland Catalogue. Image by Roland Paschhoff. Courtesy CCOI. Figure 6, Asger  Max Anderson - Technical Drawing  :1971 Archive: Byrne D. Figure 7, Murnaghan  wearing unique silver pendant. Archive - National Museum of Ireland  The Irish Woman  September 1978. Courtesy the Irish Country Women’s Association. Figure 8, Marika Jewellery. Archive; National Museum of Ireland. Evening Herald 1970. Images Courtesy  Independent Newspapers. Figure 9, Selection, Marika rings - Archive; National Museum of Ireland - Evening Hearld 1970 Courtesy ;  Independent Newspapers. Figure 10, Marika Retail outlet. Archive; National Museum of Ireland  Evening Hearld  1970. Courtesy ;  Independent Newspapers. Figure 11, Decorative Hair comb, platinum.L16.5cm 1983.  The Company of Goldsmiths of Dublin - Exhibition 1637-1987. Courtesy; The Company of Goldsmiths.

Article written by Breda Haugh - www.bredahaugh.com

RDS Student Art Awards 2011

Congratulations to Linda Uhlemann on winning the Print Award at the recent RDS Student Art Awards 2011. Linda successfully completed a four year BA [Hons} In Visual Art Practice in The Institute of Art Design and Technology Dun Laoghaire. Linda majored in print-making.

Her graduation project was called "The House". The etchings are inspired by a house that Linda used to visit on holidays when she was a child.

"My final project was called “The House” and it concerned a house I used to visit when I was a child. I returned to it through a series of coincidences only to find it derelict, I traced the owners and unravelled the story of why this had happened. My work then became involved with memory and how it slips away and cannot be defined and contained."

'The House', consisting of four large etchings and and artists book

Etching and chincolle - Title empty corridors

Etching and chincolle - Title Mirror

Etching and chincolle - Title Bedroom

Etching and chincolle - Title Stairwell

The RDS Student Art Awards has an annual prize fund in excess of €16,000. Encompassing the RDS Taylor Art Award which has been awarded since 1860, the Awards are the most prestigious art awards open to registered art students of all award-bearing courses in Ireland.

The Awards continue the long tradition of the Society’s developmental role in supporting and nurturing the creative arts in Ireland. Until 1877, Ireland's first 'Drawing School' was managed by the Society after which it was transferred to the Government to become the Metropolitan School of Art and Design and later the National College of Art and Design.

The RDS Student Art Awards are significant in the recognition of excellence and best practice in the work of students registered in full and part-time award bearing art courses. They also provide a platform for exhibiting works that students might not have the opportunity to do otherwise. Previous winners of the RDS Student Art Awards include Walter Osborne, William Orpen, Mainie Jellett, Melanie Le Brocquy, Arthur Gibney, Dorothy Cross, Eamon O’Kane and James Hanley.

An exhibition of winners and a selection of works of excellence chosen by the judges is shown at the RDS National Crafts Competition & Student Art Awards Exhibition during the Discover Ireland Dublin Horse Show in the RDS Concert Hall.