Read My Pins (46 page)

Chapter 4:
KATRINA PIN, 1994. DESIGNER UNKNOWN, USA. 18KT WHITE GOLD, AMETHYSTS, DIAMONDS. 2.8" X 1.8" (7CM X 4.5CM).

Chapter 4:
WRAPPING UP BOW, CIRCA 1990. DESIGNER UNKNOWN, RUSSIA. 14KT YELLOW, PINK, AND WHITE GOLD; CRYSTALS. 2" X 0.7" (5.1CM X 1.7CM).

Chapter 4:
BLACK-EYED SUSAN, CIRCA 1960. © SANDOR, USA. ENAMELED GOLD-PLATED BASE METAL. 3.2" X 1.5" (8CM X 3.7CM).

Chapter 4:
DANDELION DIAMOND PUFF, 2006. © McTEIGUE & McCLELLAND, USA. 18KT WHITE AND YELLOW GOLD, DIAMONDS, ENAMEL. 4.4" X 1.3" (11.3CM X 3.3CM).

Chapter 4:
DANDELION, 2000. © McTEIGUE & McCLELLAND, USA. 18KT YELLOW GOLD, ENAMEL. 4.4" X 1.3" (11.3CM X 3.3CM).

Chapter 4:
LILY OF THE VALLEY, CIRCA 2006. DESIGNER UNKNOWN, ACQUIRED IN BELGIUM. YELLOW GOLD–PLATED BASE METAL, GLASS, CRYSTALS, SIMULATED PEARLS. 0.4" X 1.3" (1.1CM X 3.4CM).

Chapter 4:
TULIP, CIRCA 2006. DESIGNER UNKNOWN, ACQUIRED IN THE NETHERLANDS. ENAMEL ON COPPER. 4.4" X 1.1" (11.3CM X 2.8CM).

Chapter 4:
SEED PEARL FLOWER, CIRCA 1995. DESIGNER UNKNOWN, USA. ANODIZED BASE METAL, FRESHWATER CULTURED PEARLS. 3.2" X 1.5" (8.1CM X 3.9CM).

Chapter 4:
SUNFLOWER, 1995. © CAROLEE, USA. YELLOW GOLD–PLATED BASE METAL, RHINESTONES. 3.7" X 1.8" (9.5CM X 4.6CM).

Chapter 4:
PEARL FLOWERS, CIRCA 1995. JJ, USA. STERLING SILVER, MARCASITE, SIMULATED PEARLS. 2" X 2" (5.1CM X 5.1CM).

Chapter 4:
GOLD AND AQUA FLOWER, CIRCA 1950. DESIGNER UNKNOWN, USA. YELLOW GOLD–PLATED STERLING SILVER, RHINESTONES. 3.9" X 1.8" (10CM X 4.5CM).

Backmatter:
ARK WITH DOVES, 2000. LANGANI/KEITH LIPERT GALLERY, GERMANY/USA. GOLD-TONE BASE METAL, MOTHER-OF-PEARL, RESIN. 3.5" X 2.2" (8.8CM X 2.2CM).

Backmatter:
ANTS, CIRCA 1997. DESIGNER UNKNOWN, ACQUIRED IN ZIMBABWE. SILVER, CERAMIC. 0.6" X 0.4" (1.6CM X 1CM).

My
world consists primarily of ideas and policies that I convey through speeches and the printed word. This book is a departure. Ideas and words are still present, but the primary means of expression is visual. The pages are graced by works of art, small sculptures in the form of jewelry. I am thankful to the designers, manufacturers, photographers, vendors, and museums who have given me, and all of us, the opportunity to enjoy these treasures.

Books, like diplomacy, require a team. They also depend on financial resources. I have long worn St. John Knits' beautiful clothing around the world, and when that company offered to help with the sponsorship of the book, I knew it was a perfect fit. I am deeply appreciative to everyone at St. John Knits for their generous support.

While some teammates are new, others are familiar. This is my fourth book since the end of my tenure as secretary of state. On each, Elaine Shocas, Bill Woodward, and Richard Cohen have played pivotal roles. Elaine, in particular, was the inspiration and driving force behind this project. Without her, there would be no book or exhibit. I have often said that she has superb judgment and perfect political pitch, now matched by her remarkable creativity. Bill Woodward, a skeptic by nature, agreed to help with the writing, though he is more comfortable with issues of war and peace than jewelry. His work helps the stories on these pages to sparkle. Richard Cohen, my editor, continues to teach me that, in writing, less is often more, while I have almost convinced him that men should wear brooches. An Olympic fencer and author, Richard is writing a book about the Sun, a task worthy of my Atlas pin.

Even a strong team requires expert help. For
Read My Pins,
I turned to Vivienne Becker, a renowned jewelry historian, author, and journalist who provided a wealth of research, important suggestions, and corrections to the text. She helped place my collection in a broader historical context. John Bigelow Taylor’s photography is artistry at its best, and his images of the pins are spectacular, as are Dianne Dubler’s photo compositions. Together, they gave life to my pins, brilliantly capturing a range of moods, from sorrowful to playful. Credit for the imaginative and elegant book design belongs to Rita Jules and Miko McGinty; I will not forget their patience with my numerous suggestions and countersuggestions. Diana Walker’s cover photo proves that a true artist can do marvelous things, even with limited materials.

The production of this book, overseen by Melcher Media, benefited greatly from Charles Melcher’s impeccably high standards and the rigorous editorial guidance and ingenuity of Lindsey Stanberry and David Brown. I am fortunate that Lindsey and David, both extraordinarily talented and seemingly indefatigable, touched every aspect of this book. Assembling a volume with so many images is complicated, but Kurt Andrews performed his magic, and Bonnie Eldon marshaled all the moving parts. It has been a genuine pleasure working with the entire Melcher team, including Duncan Bock, Frances Coy, Daniel del Valle, Heidi Ernst Jones, Coco Joly, Lauren Nathan, Christopher Nesbit, Richard Pettruci, Lia Ronnen, Holly Rothman, Jessi Rymill, Morgan Stone, Shoshana Thaler, Anna Thorngate, Anna Wahrman, and Megan Worman. I always intended that this book should be fun, and I thank them for ensuring it was.

Since 2004, my publishing home has been HarperCollins. This project was a departure for the company as much as it was for me, and I am especially indebted to executive editor Tim Duggan for his encouragement. I am appreciative, as well, of the support provided by the HarperCollins family, including Brian Murray, Michael Morrison, Jonathan Burnham, Kathy Schneider, Tina Andreadis, Kate Blum, and Andrea Rosen. The brilliant Jane Friedman was an enthusiastic early backer of this book and a source of excellent ideas. Heartfelt thanks are also due to my matchless attorneys, Robert Barnett and Deneen Howell, who have loved this project from its inception. They have earned their pin-stripes.

The Museum of Arts and Design (
MAD
) is a true gem. Through its collections, presentations, and educational
programs, it celebrates arts, crafts, and design. The Museum challenges us to look at distinctive objects in an extraordinary light, thus providing the perfect setting for my pins. David McFadden, chief curator, and Dorothy Globus, curator of exhibitions, came to my home and pored over the collection. When they declared that it was suitable for Museum display, we had the green light we needed to proceed. I am enormously grateful to them both for their confidence and, more especially, to David for his thoughtful introduction to this book, and to Dorothy for helping to select the right pins and beautifully displaying them. My gratitude also goes to
MAD
’s director, Holly Hotchner, development director Ben Hartley, and every member of the Museum’s staff. Finally, the exhibit would not have been possible without the timely and generous support of Bren Simon, a talented businesswoman, a great patron of the arts, and my good friend.

This volume’s impressive index of pins was primarily the work of Martin Fuller, who spent hours in my home appraising the collection for the exhibit. I assured him that the pindex would prove a labor of love, and so it proved, but with emphasis on the “labor.” Marty’s expertise and sense of humor both came in handy, as did the skills of those who assisted him: Colette Fuller, Audrey Hagedorn, Joanna Smith, Katharine Taylor, Lois Berger, Brenda Forman, and Marie Dotson. I also thank Diana Phillips for the early working photographs and Reema Keswani for assembling the first catalog—my favorite pin-group description was “weapons of mass destruction.”

Like some of my most cherished pins, several people are in a category by themselves. In addition to providing strategic advice, Hamilton South and Anne Reingold of the HL Group were among the earliest and most enthusiastic supporters of this project. They were the first to evaluate the collection when they came to my home and spread out the pins on my bed. I am deeply grateful for all they have done and for their friendship. Their colleagues Lynn Tesoro, Joanne Langbein, Jordan Webb, and especially Arturo Diaz also provided valuable assistance. Patricia Syvrud of Jewelers Mutual Insurance Company has kept me up-to-date on the substantive issues of the jewelry industry, many involving foreign policy matters. My friend Bonnie Cohen had a positive answer whenever I had questions, and Helen W. Drutt English deserves credit for casting a spotlight on the connection between pins and diplomacy through the wonderful “Brooching It Diplomatically” exhibit. As with my other books, Kathy Robbins provided the best advice, and through her, the legendary Paris jeweler Joel Rosenthal, of JAR, recommended Vivienne Becker to me.

Ark with Doves, Langani/Keith Lipert Gallery.

Many pins lead inevitably to many thanks. In the process of preparing this book, I learned more about the provenance of my own pins and also about the history of jewelry. I am grateful to the curators, historians, and other experts who gave generously of their time, provided images, research, or advice. Contributors from the various branches of the Smithsonian Institution include Evelyn Lieberman, director of communications and public affairs; Dr. Jeffrey Post, National Gem and Mineral Collection, and Randall Kremer, National Museum of Natural History; Lisa Kathleen Graddy, Ann Burrola, and Debra Hashim, National Museum of American History; Eileen Maxwell and Christopher Turner, National Museum of the American Indian; and Lucy Commoner, Cooper-Hewitt National Design Museum. Others deserving of credit include Yvonne Markowitz, Museum of Fine Arts, Boston; Diana Pardue, The Heard Museum; Clare Phillips, Victoria and Albert Museum; June Hargrove, University of Maryland Art
History Department; jewelry historians Diana Scarisbrick in London and Elise Misiorowski in California; researchers Emma Gieben and Andrea Wulf in London; Elizabeth Frengel, Society of the Cincinnati; Daphne Lingon, Christie's; Abby Kent Flythe, Abby Kent Flythe Fine Arts; Danusia Niklewics, Hallmark Research Institute; Ralph Destino, GIA Board of Governors/Cartier; Donna Baker, Kathryn Kimmel, and Amanda Luke, GIA; Matthew Runci, Jewelers of America; Cecilia Gardner, Jewelers Vigilance Committee; Bill Boyajian, Bill Boyajian & Associates; Renée Frank, Hélène Ribatet, Jacques Guyot, and Gaëlle Naegellen, Cartier; Stanislas de Quercize, Emmanuel Perrin, and Catherine Cariou, Van Cleef & Arpels; Annamarie Sandecki, Tiffany & Co.; Nadja Swarovski, Swarovski; David and Sybil Yurman, David Yurman; Ward Landrigan, Verdura; Christopher DiNardo, Liz Claiborne/Trifari; Christopher Sheppard, Kenneth Jay Lane; Phyllis Bergman, Mercury Ring; Patti Geolat, Jewelers Mutual Insurance Company; Santa Fe artist Carol Sarkisian; London goldsmith Kevin Coates; Jim Rosenheim, Tiny Jewel Box; Ann Hand, Ann Hand Collection; and Keith Lipert, Keith Lipert Gallery. I also thank Stephanie Streett of the William J. Clinton Foundation, John Keller of the National Archives/William J. Clinton Presidential Library, James Thessin of the U.S. Department of State, Robert Pilon of the Thelonious Monk Institute of Jazz, and photographer Timothy Greenfield-Sanders.

Other colleagues and friends who helped with this project include Brandon Berkeley, Tiffany Blanchard, Laura Brent, Micaela Carmio, Kristin Cullison, Laurie Dundon, Jean Dunn, Anne Fauvre, Wini Freund, Jessy Gelber, Steven Grey, Lauren Griffin, Rachelle Horowitz, Robyn Lee, Margo Morris, Natalie Orpett, Elizabeth Raulston, Lucia Rente, Michael Ross, Karen Scates, Anna Cronin-Scott, Wendy Sherman, Jamie Smith, Jay Steptoe, Dan Sullivan, Toni Verstandig, and Fariba Yassaee. Gary Hahn deserves special thanks for enabling me to use technology as an ally in organizing and describing my collection. With her inexhaustible supply of energy, Suzy George helped to manage various parts of this project. Jen Friedman performs diplomatic magic while handling all my press and book tours. Traveling as I do inevitably leads to damage; I extend my appreciation to the Urso family at Bert’s Jewelers in Washington, D.C., for keeping my pieces in good shape, especially those of the costume variety.

A book about pins requires, above all, pins. To those who have generously given me pins in the past, whether or not those gifts are displayed here, I thank you again very much. If you had any doubts about whether you chose the right gift, now you know.

Finally, as I make clear in the text, jewelry’s most important role is not in diplomacy, but in the connection it establishes to loved ones. My sister, Kathy Silva, contributed greatly to this book and helped me to organize my collection and to stay (more or less) sane when I thought that one of my treasures had gone missing. I am indebted to her. Thanks to my daughters, Anne, Alice, and Katie; to my brother, John Korbel; and to every member of my family for their unwavering support and love. My six grandchildren—David, Jack, Daniel, Maddie, Benjamin, Ellie—are the real jewels in my life, and it is to them that this book is dedicated.

Ants, designer unknown.