Petra Hölscher – författare

Scandinavian studio jewellery is simply unimaginable without Tone Vigeland (b.1938) and her work. Her distinctive objects flatter the human body and captivate through their dimensions and volume, yet they are assembled from the tiniest hand-crafted components. Tubes of silver wire, precisely cut plates, spheres and eyelets, all in small scale, are invisibly interconnected, and Vigeland's use of heavily oxidised, almost iron-black silver and steel is a typical feature. The result: art on the human body - highly aesthetic, perfectly executed and always wearable. Around 150 jewellery objects from 1958 to 2010 document Tone Vigeland's pioneering creativity. They are complemented with a selection of objects and sculptures from 1998 to the present day, which can now be seen in an exhibition and publication for the very first time. Text in English and German. Exhibition: Die Neue Sammlung - The Design Museum, Munich (DE), 11.3.-11.6.2017

The Danner Rotunde, the jewellery room in the Pinakothek der Moderne, Munich, was opened in 2004. Ambitious activities by the Danner-Stiftung and Die Neue Sammlung - The Design Museum, with the support of renowned jewellery artists such as Hermann Jünger, Otto Künzli and Peter Skubic, bore the fruit of two globally renowned jewellery collections. Today these comprise far in excess of 1,700 jewellery items, presented in pictures for the first time in this synopsis. Interviews with the creative minds behind these two unique collections in the field of studio jewellery enable insights into a previously unknown history, and an illustrated chronology arrives at astonishing results. Biographies on more than 300 jewellery artists also present those who have been virtually forgotten today. An indispensable compendium on the subject of contemporary jewellery art.Text in English and German.

The name Marzee refers to intertwined identities. There is Marie-José van den Hout (known as Marzee), the dealer and the individual whose drive and passion makes everything possible. There is Galerie Marzee, the institution with a rich backstory, a fabulous building, and enviable programs. And there is the Marzee Collection, more than 2,500 objects that track the history of Marzee the individual and Marzee the gallery.This book, with a foreword by Petra Hölscher, chapters by Susan Cummins, Flos Wildschut, and Lizzie Atkins, and photographs by Michiel Heffels, tells the story of the dealer, the gallery, and the collection. In 1978 Marie-José opened the first Galerie Marzee in an old butcher’s shop in Nijmegen, the Netherlands; today the gallery occupies an impressively renovated grain warehouse on the river Waal. Imbued with the powerful minimalism of the building, Marzee the book presents over 300 pieces from the Marzee Collection that have been chosen and arranged by Marie-José van den Hout herself.