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elements for myriad variations in form. Designs made unabashed reference to modern industry. Starting in 1929, goldsmith and metalworker Naum Slutzky made jewelry from industrial materials such as metal sheets and sections of tubing and perforated disks of chrome-plated brass. Meanwhile, the great avant-gardists Jean Fouquet, Gérard Sandoz and Raymond Templier, members of the Union des Artistes Modernes in France, founded in 1929, were revolutionizing the fundamental definition of jewelry: “To be beautiful, a material doesn’t have to be rare or costly,” they wrote. “A material is beautiful when it is aesthetically gratifying to the eye and sense of touch simply because of the way it has been worked and used with forethought.” The “motor jewelry” of French designer Jean Després was anything but “lovely to look at”; its details are reminiscent of pistons, crankshafts and gearboxes. It might nonetheless be viewed as the harbinger of Bengel jewelry.

Thanks to the good rail links between their small town and Paris – a train ran daily from the French metropolis – the Idar-Oberstein industrialists were able to keep up with the Paris Zeitgeist, and interest in well designed costume jewelry grew rapidly among manufacturers in the German town. Since the late 19th century, the Oberstein section (a city in its own right until 1938) had been, along with Pforzheim, Hanau and Schwäbisch Gmünd, an important Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92  |  Page 93  |  Page 94  |  Page 95  |  Page 96  |  Page 97  |  Page 98  |  Page 99  |  Page 100  |  Page 101  |  Page 102  |  Page 103  |  Page 104  |  Page 105  |  Page 106  |  Page 107  |  Page 108  |  Page 109  |  Page 110  |  Page 111  |  Page 112  |  Page 113  |  Page 114  |  Page 115  |  Page 116  |  Page 117  |  Page 118  |  Page 119  |  Page 120  |  Page 121  |  Page 122  |  Page 123  |  Page 124  |  Page 125
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