Space, light, structure: the jewellery of Margaret de Patta

Pin inside glass bubble
Pin, 1956, by Margaret De Patta
(Image credit: Lee Fatherree)

The words 'contemporary jewellery' so often point to 'futuristic' pieces made from hard metals and clean, sharp lines that it's good to be reminded of the quiet Surrealist quality and softer, irregular contours that typified the American Wearable Art Movement. Nothing embodies its timeless Bauhaus aesthetic more than jeweller and artist Margaret De Patta, whose work is currently the subject of a major retrospective in the US.

The exhibition 'Space, light, structure: The Jewellery of Margaret De Patta' is at the Oakland Museum of California until May 13 and will transfer to New York's Museum of Arts and Design in June.

De Patta was born in California in 1903 and trained as a sculptor and painter at the California School of Fine Arts. By the age of 23 she had taken up a scholarship at the Arts Students League in New York where the pervading principles and methods of the experimental European art scene - Constructivism, the Bauhaus - began to infiltrate her design sensibilities and inform her aesthetic. But it was only when she couldn't find a wedding ring that echoed her taste for modernist design that she set her sights on jewellery design.

The correlation between jewellery, sculpture and architecture - in that all involved 'space, form, tension, organic structure, scale, texture, interpenetration, superimposition, and economy of means' - was obvious to her.

De Patta's brooches, rings and pendants, then, work like wearable sculpture: pieces move, apposite materials integrate and negative space becomes positive. It's not often that jewellery is awarded the same cultural status as art but, as Ursula Ilse-Neuman, MAD's Curator of Jewelry points out, 'Her cerebral jewellery expresses her own evolving aesthetic and social philosophy as it unfolded over four decades of enormous change in American society.'

Margaret De Patta died in 1964. As a homage to one of its own, the San Francisco jewellery and metal work gallery Velvet da Vinci also pays homage to de Patta this month. Having acquired stones and beach pebbles found by De Patta from her estate, the gallery asked 16 jewellers, including Petra Class and Deborah Lozier, to contribute to its De Patta Project. By reinterpreting her work and ways of thinking into their own, the De Patta legacy is carried on in an organic form of which she surely would have approved.

Pendant in white gold and crystal, with five inlaid diamonds

Pendant in white gold and crystal, with five inlaid diamonds, 1960, by Margaret De Patta

(Image credit: John Bigelow Taylor)

Yellow gold pendant

Pendant in yellow gold and rutilated quartz crystal, 1948, by Margaret De Patta

(Image credit: M Lee Fatherree)

Abstract pendant resembling a guitar

Pin in sterling silver, coral and malachite, 1947-50, by Margaret De Patta

(Image credit: John Bigelow Taylor)

White gold ring with brown pins inlaid

Ring in white gold and rutilated quartz crystal, 1949, by Margaret De Patta

(Image credit: © 2011 Museum Associates LACMA)

Silver pin with beach pebbles attached against black background

Pin in sterling silver, beach stones and pebbles, 1964, by Margaret De Patta

(Image credit: John Bigelow Taylor)

Transparent ring with black pins inlaid

Ring, 1947 by Margaret De Patta

(Image credit: press)

Silver ring with black face and pearl inlaid

Ring in sterling silver, with pearl, 1947-50, by Margaret De Patta

(Image credit: John Bigelow Taylor)

White gold wire pendant

Pendant in 14k yellow gold and wire, 1976, by Margaret De Patta

(Image credit: John Bigelow Taylor)

Double black stone ring in silver

In homage to Margaret De Patta, who died in 1964, the San Francisco jewellery and metal work gallery, Velvet da Vinci (who acquired stones and beach pebbles found by De Patta from her estate) have asked 16 jewellers to reinterpret her work. Pictured is: Double Stone Ring, in sterling silver with river pebbles, 2012, by Sandra Enterline

(Image credit: press)

Gold brooch with amber and orange quartz stones

Brooch, in 18k and 22k gold with rutillated quartz stones, 2012, by Petra Class

(Image credit: press)

Copper brooch resembling fossil with pebbles

Brooch in copper with fossil dinosaur bone and river pebbles, 2012, by Deborah Lozier

(Image credit: press)

Silver rings with quartz stone tops

Rings in sterling silver with rutillated quartz stones cut by Francis Sperisen, 2012, by Geoffrey Giles

(Image credit: press)

Brooch with black onyx and a black diamond

Brooch in sterling silver, 18k gold and enamel with black onyx and a black diamond, 2012, by April Higashi

(Image credit: press)

Silver window pendant with quarts

'Window' brooch in sterling silver and 18k gold with quartz, opal and pebble, cut by Francis Sperisen, 2012, by Brigid O'Hanrahan

(Image credit: press)

Silver necklace pendant with quartz and onyx

Pendant in sterling silver with quartz and onyx, 2012, by Julia Turner

(Image credit: press)

Necklace pendant with black stones

Necklace in sterling silver with De Patta pebbles, 2012, by Terri Logan

(Image credit: press)

Silver and copper ring with green stone

Nautilaus Ring, in sterling silver and copper with De Patta green stone, 2012 by David Jones

(Image credit: press)

ADDRESS

Oakland Museum of California
1000 Oak St.
Oakland, CA 94607
USA

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Caragh McKay is a contributing editor at Wallpaper* and was watches & jewellery director at the magazine between 2011 and 2019. Caragh’s current remit is cross-cultural and her recent stories include the curious tale of how Muhammad Ali met his poetic match in Robert Burns and how a Martin Scorsese Martin film revived a forgotten Osage art.