FORTY YEARS2014

3 Atelier Munstener

4 Arata Fuchi4 Devta Doolan5 Glenda Arentzen

6 Claudio Pino6 Michael Boyd7 Élise Bergeron

8 Barbara Heinrich

10 Brooke Marks-Swanson10 Ginny Whitney11 Claude Chavent 11 Rebecca Laskin

12 Marco Borghesi13 Janis Kerman13 Lucie Heskett-Brem

14 Roland Dubuc14 Sydney Lynch15 So Young Park

16 Tod Pardon

18 Linda Kindler-Priest

Cover - Peter Schmid/Atelier Zobel

View an Online Retrospective Museum of the past Forty Years at www.aaronfaberpresents.com

Dear Patricia, Dear Ed,

Congratulations to the 40-year anniversary of Aaron Faber Gallery, from all of the Munsteiner family! Can you imagine that from these 40 years, we are already working together closely for 30 years!

Our first meeting was in the year 1984, and one year later I have held my first exhibition in New York, at your Gallery in Fifth Avenue. I think I was one of the first European designers of contemporary jewelry to show his work at Aaron Faber. Only five years later, in 1990, I had a second exhibition with you, together with several other European artists and friends: Michael Zobel from Germany, Christophe Burger from France, Kurt Neukomm from Switzerland and Isolde Baumhackl from Austria.

Following these first exhibitions, I had the honor to hold another exhibition in 1997 together with my sons Tom and Jörg, and my daughter-in-law Jutta. Since then, Tom and Jutta have followed in my footsteps and are still working together closely with both of you. In the year 2008, I had the honor of a retrospective show during the SOFA fair in Chicago together with you.

In all these years, we have had a trusting and very interesting cooperation, with a lot of creativity behind it. You are always on the search for something new in the field of gems and jewelry. I gladly look back to all the times we met, in New York, Chicago, Tucson, Las Vegas... or even in our hometown Stipshausen!

From my private collection, I have selected a special cameo, which I created in the year 1985 - the year of our first exhibition in your house. I would be very happy to provide this piece of work to be exhibited for the time of your Anniversary Exhibition.

We wish you and your whole team the best of success with new contemporary jewelry and sculptures... hopefully for another 40 years to come!

Our best wishes,

Bernd and HanneTom, Jutta and Philipp

And the whole Munsteiner Team!

3

Happy Anniversary!!

I’m very happy that I can celebrate and collaborate with you on this special, memorial year. I’m very thankful for Lucie introducing me to Patricia in 2010. Because of my work with Aaron Faber Gallery, I’ve been able to participate in many important exhibitions, where more people have learned about me and my work.

As a result, I’ve received a lot of praise and encouragement for my work. My collaboration with Aaron Faber Gallery has given me confidence in my abilities and has helped me grow as an artist. For this, I will always be grateful to you.

Patricia and Edward, I wish you and Aaron Faber Gallery continued prosperity for another 40 years and beyond.

Arata Fuchi

I met Edward Faber in 1980 at the Rhineback Craft Fair. He was wearing a button that read “Fuck Art. Let’s dance.” I knew immediately that I would like

him.

In the years since that he, Patricia and I have worked together, I’ve alwaysbeen treated respectfully and honorably by two people who are exemplars of the careful consideration of the modern and contemporary jewelry movements.

I’m honored to have been dealing with them for so long and expect ourrelationship to continue for many years to come.

Devta Doolan

4

I have been fortunate to have had an uninterrupted representation at AF from the early ‘70’s when Edward and his then business partner presented contemporary jewelry in a small booth on 47th

Street, a fine jewelry center of the industry...then, in its mezzanine space...then to 53rd Street ...then to 52nd Street due to 666 Fifth Avenue renovations..then back to the original space slightly reconfigured.

Through this association, I have noticed that Edward and Patricia are as creative in their end of the business as the artists are creative in theirs... in financing the business, in marketing the work, in dealing with the unpleasant events of “shrinkage,” theft and burglary, in surviving a major construction by MOMA on 53rd Street.

I am grateful to have observed such a gallery’s life span. It has been educational, sometimes frustrating, often amusing and above all never boring. From the beginning Edward and Patricia valued distinctive jewelry design in the studio craft tradition. Had they been interested in stock turnover they would have had a different sort of jewelry emporium, and studio goldsmiths’ work would not have had the high profile internationally that it now does. their success has been very good for the field. A significant activity supporting their focus has been the quality of the catalogs, advertising, exhibitions, etc. Each product was better than the last.

NYC is a tough town. Problems are bigger and more numerous, costs are higher. The is no down time. But they have persevered in good health, mission intact. Critical to their success, I believe, has been to attract and inspire competent staff, many of whom have been with them for many years; I like working with them very much.

A comment made to me by Edward many years ago shows how Edward’s and Patricia’s core values differed from other galleries early on.

In the ‘70’s the ambition of studio goldsmiths was to create what we called exhibition pieces. They were untouchable behind glass in museums, mainly. They were much appreciated, but rarely worn.

Speaking with a client who was entranced by a particular piece in the AF Gallery, Ed reminded her that true commitment was to go beyond admiration and to purchase it, to hold and to wear. Besides the potential for a sale, he was giving witness to the importance of the studio goldsmith’s work which many of us have long considered to be site specific fine art.

Glenda Arentzen

5

I had the pleasure and privilege of being part of a group exhibition of Quebec jewelers at Aaron Faber Gallery for the first time in spring 2011. Since then, Patricia and Edward invited me to participate in

other thematic exhibitions and present on a regular basis my work at the gallery.

It is therefore a very young cooperation artist - gallery. Only four years during which nevertheless, professionals and unforgettable friendships were forged with Patricia and Edward Faber.

First Patricia, a great gallerist, but also an audacious curator in the field of art jewelry. Patricia knows carefully how to select the works of artists but additionally, she has the genius to offer jewelers thematics that lead them to go further in other zones of their creative processes. I was brought personally to revise my approach and deepen my reflections through experimentation. My artwork is now more consistent, my technical expertise has increased but mostly we feel in my recent pieces, a stronger approach, totally focused on the manipulation of metals, yellow gold, white gold, silver, and the use of their properties .

Apart from the reliability, insight and assurance of Patricia Faber the professional, I also became acquainted with the Patricia with a discrete, relevant and delicious sense of humor, the gentle, reassuring person but also a festive and joyful friend. And together with her spouse and partner Edward, they are a team, a duo whose strengths and qualities complement each other for the best.

Besides, it is in very specific circumstances that I was able to know more of Edward Faber, this acknowledged specialist of the antique and contemporary jewelry and watchmaking. I am a jeweler and gemologist appraiser as well. It is in this context that Edward and I were allies to initiate and conclude after several months of work, meetings with as many singular personages, unusual and bizarre characters, an exceptional transaction: the sale of one of the biggest cut diamonds known in the world. It was an adventure fit for a movie script, filled with incredible stories, joys and disappointments. But mostly, I’m sure like me, Edward will remember this privileged moment where we could observe and hold this unique diamond of almost 85 carats! A rare opportunity in our business, is it not, Edward?

Good 40th anniversary Patricia, Edward and the entire team of Aaron Faber Gallery!

Élise Bergeron

6

For years, I dreamed of one day exhibiting my one-of-a-kind sculptural rings at the prestigious Aaron Faber Gallery in New

York City.

This beautiful story started in fall 2010, when Madame Patricia Kiley Faber came all the way to Montreal, Canada, to visit my workshop. She took the time to look at each of my pieces with so much attention that I could immediately see how passionate and knowledgeable she was about fine jewelry. She asked me key questions about my artistic process and about the stories behind each design. This was a precious moment that I will never forget. I knew we had something in common: a love for the transformation of raw material into unique and portable art.

I am extremely grateful to the Aaron Faber Gallery for all of the opportunities that have come to me as a result of our relationship. I would like to personally greatly thank Madame and Mister Faber for their appreciation of my designs, their real passion and dedication to the world of jewelry, and for opening the door of their fabulous gallery to me. It is such an important vitrine in the field and one of the most unique places in the world for fine jewelry design.

An immense, heartfelt thank you for work today and tomorrow in the field of jewelry, and happy 40th anniversary!

Claudio Pino

The Aaron Faber Gallery early on became the gold standard for galleries showing art jewelry in the United States. It was Edward and Patricia’s

insight, intuition and dedication that laid the foundation for a gallery that could last 40 years.

To say the least I’m thrilled and honored to be represented by them. Happy Anniversary!

Michael Boyd7

8

I have worked with Aaron Faber Gallery for almost 30 years and still remember how exciting it was to meet the Fabers at my first trade show at the ACC winter Market in Baltimore.

Mrs. Faber instantly related to my work and started to include it in her shows at the upstairs gallery at their first location. I went for the opening to New York and was amazed at how many European artists the Fabers represented. Having just moved to the US from Europe I was thrilled and excited to be represented by the Aaron Faber Gallery.

From here on, our relationship developed and matured but the excitement of being represented by such a wonderful gallery has never changed.

Mrs. Faber has a great eye and and deep passion for contemporary jewelry, but at the same time she also values good craftsmanship and wearability. In this, she has inspired many of my designs that match all of these criteria. She is and has been an influential patron and advocate for contemprary art jewelry and has been instrumental in the growth and blossoming of our field.

The gallery with its great location in midtown has become a destination for shoppers from all parts of the world, and has made collectors out of many first time jewelry buyers.

I would like to emphasize that selling contemporary art jewelry pieces is not an easy business and it took a considerable amount of commitment and vision to run a successful gallery. Edward Faber has played a great role in supporting the art jewelry side of the gallery with his antique jewelry and collectible watch business. A happy marriage in more than one way!

It is impressive to watch the gallery mount several important shows year after year, always including young emerging artists as well as international artists.

In order to edit and make these shows meaningful, the gallery staff headed by Mrs. Faber needs to stay informed on what is happening in the field, which requires a fair amount of travel in the US and abroad. I commend Mrs. Faber for stepping up to all of the demands that travel entails, time away from the gallery and from home, tretching through poorly lit and ventilated convention centers to find interesting pieces of jewelry and new artists and for enduring many of the other inconveniences of traveling.

But the result is well worth the effort. Walking into the modern gallery space just off Fifth Avenue is breathtaking and rewarding, with so many hand selected one-of-a-kind pieces of art jewelry on display.

It takes a lot of time and effort to build great relationships, and the Aaron Faber Gallery is very rich in in that respect. They have forged rewarding relationships with their growing number of collectors as well as with their artists.

I feel very fortunate to belong into the group of lucky artists represented by Aaron Faber Gallery.

Barbara Heinrich

9

I met Mrs. Faber at a Society of North American Goldsmiths conference (SNAG) when I was a 3yr year graduate candidate in

the MFA program at the University of Illinois. Patricia was leading a portfolio review and critically reviewed my creative work. I remember being thrilled and terrified that a gallery of this caliber would agree to give discerning insight on becoming a practicing studio jeweler.

Upon graduation, I was asked to be an emerging artist lecturer at SOFA Chicago and needed representation at the SOFA exhibition. Aaron Faber agreed to represent my work — that was 11 years ago! I have consistently been invited to participate in exciting exhibitions at the gallery and my work has been included at SOFA Chicago and SOFA NYC since our meeting.

I am honored to be part of their 40th Anniversary Retrospective. I have always been extremely appreciative that Patricia Faber agreed to take the leap on an emerging artist that was making unconventional large scale painted copper brooches. Since 2003, my creative work has been exclusively represented by Aaron Faber in NYC.

Brooke Marks-Swanson

How can it possibly be 40 years?

Patricia and Edward, the support of your fine gallery is an important addition to my personal and professional life. As an artist, I value the freedom to explore, grow, and follow my own ideas.

Early exhibitions come to mind- The Borges inspired show (unsure of the date...early 80s?) which led me to read Borges to find my images, and the Earl Pardon Memorial Show (1993) for which you produced a stunning poster, which has pride of place on my studio wall.

Thank you for everything.

Happy Anniversary, Patricia and Edward!

Ginny Whitney

10

It’s now been 25 years since I started working with Patricia and Edward. 25! I can’t believe it! It went like a flash.

The very first time we met was at Baselworld 1989. Frances, my then wife, and I were part of the “Group Design” which brought together ten European designers. An elegant woman stopped in front of our windows and shared interest in my creations with a watchful eye and a lot of relevance. It was Patricia. That day bore our collaboration, which has not ceased since.

In 1991, Patricia and Edward offered us a show -- “From Sham to 3D” -- that we accepted. It was very successful. We have since then participated in many group exhibitions. And now that I work alone, I am happy to still be part of Aaron Faber Gallery’s permanent artists.

In 2004, Patricia and Edward asked me to create a mural celebrating their 20 year anniversary. I made a diptych titled “30 Volumes.” This sculpture was exhibited at Sofa Chicago in October 2004 and Aaron Faber Gallery in New York.

I warmly thank Patricia and Edward, who were the first to say me and my work should meet successfully with the American public.

Happy anniversary!!!

Claude Chavent

My association with Aaron Faber Gallery began in 1992 when Patricia reached out to me for an enamel

exhibit she was planning. I have been with the gallery ever since.

Patricia Faber embodies that rare combination of an encouraging and supportive friend as well as a consummate professional. The gallery is loyal to its artists and works hard to promote them. When I recently returned to making jewelry after a hiatus of several years, my new work was embraced with enthusiasm and excitement.

I look forward to working with Aaron Faber for many years to come.

Rebecca Laskin

11

My first encounter with Aaron Faber was at a show in the spring of 1999. The event coincided with the opening of the new location of the store and gallery - its 25th anniversary and the launch of

the new web site. It could not have been more propitious time ...... a great opportunity!

Arriving at the Gallery directly from Italy with my work in hand, I found myself in an active construction site. Just a bit worried, I asked a guard if I had the right address. It was only days to the opening and the place was full of construction workers, boxes on the floor, wires hanging everywhere. The guard called Mr. Faber, who greeted me with a big, warm smile. He introduced me around and showed my pieces to the staff - and so began my American adventure!

I have been represented by the Faber Gallery since 2002, including the SOFA shows in New York and Chicago. I was invited to participate in many of the Gallery’s thematic exhibitions: “In the Water”, “Tahitian & South Sea Pearl Show” “Fresh Start: New Directions” , “Essentials for Men: Lapels and Cuffs,” “Red Gold” and others.

I found that at Faber I could express myself as I wished; no limitations as to size, color or cost were set. Following only the subtlest thematic suggestion, I was free to create works that honestly reflected my thoughts and personality. These pieces proved to be well appreciated for their inventiveness and creativity.

But certainly the foremost event in my relationship with Aaron Faber coincided with the Gallery’s 30th anniversary exhibition; a curator from the American Museum of Natural History saw one of my best pieces and asked to have it included in the museum’s forthcoming show “Pearls.” The exhibition then traveled from New York to Milwaukee, Tokyo, Sydney, Athens and Paris.

I am grateful to the Gallery, and honored - for none of of this would have happened without their faith in me and my work and without the sensitivity and devotion of Patricia and Aaron Faber – truly lights in the darkness for the artists they represent.

Marco Borghesi

12

Aaron Faber is a great gallery. I have always enjoyed the interesting and accomplished artists they

represent and I am terribly proud to have been chosen to be among them.

Patricia and Edward are very enthusiastic and committed to jewelry art and look after their artists with particular care. They are constantly thinking of new and exciting ways and places to present their work to help the public to see and fall in love with it. They are also very supportive of trade associations and institutions in jewelry.

They have a great team and justly enjoy world fame!

Lucie Heskett Brem

I have had the pleasure and honor of showing with Patricia and Edward since 1993.

At the 30th anniversary celebration at the gallery in NYC, I spoke about how, as an artist, just starting out, my penultimate goal was to show at Aaron Faber Gallery and now 21 years later, I am happily still represented by these exceptional Gallerists.

I have had the opportunity, over all these years, to be invited to participate in many group exhibitions and had a Two Person Show in 1997 and a Three Person Show in 2001. Most recently, my work was included in the Jewelery Artists of Quebec show in 2012.

To be able to say that I am represented in New York City at such a noted gallery as Aaron Faber, completes my resume in a way no other can. This connection, opened many other gallery doors for my work.

As we go forward, I can only wish continued success and good fortune for the whole Aaron Faber Gallery family.

Janis Kerman

13

My first contact with Aaron Faber was by way of an invitation they sent me in 2008 to take part in a group exhibition.

They mentioned they discovered my work through my web site and proposed I participate in a show focused on the employment of paper techniques in metalwork. They said my work might be a match for this show or future shows. So it all began with “Cut, Fold, Stitch : Paper/Metal” in 2009 and now I am one of their studio jewelry artists.

From the start, I’ve had a very good relationship with the whole Aaron Faber team; I felt immediately that they understood my approach to jewelry-making and the specificity of my technique. I also had the opportunity to show Patricia Faber around my studio in Montreal and to explain my origami-style technique. During this studio visit, I knew that our collaboration would grow not only due to the exchange between a gallery and an artist but also because of our shared passion for the human dimension of studio jewelry.

There are not many showcases for studio jewelry artists and it is stimulating to be part of the Aaron Faber family. I can present my work in a renowned gallery celebrating its 40th anniversary where respect for the artist and the artistic process is given priority.

Roland Dubuc

I’ve been working with Aaron Faber Gallery since almost the beginning of my professional jewelry career in the mid- 1980’s.

My designs and style have changed direction and evolved over the years, and Aaron Faber Gallery has been an interested and supportive follower of my work all along. No matter where I’m showing my jewelry around the country, inevitably someone comes up to tell me that they own a piece that they’ve bought at “Faber’s.”

I’m proud to have been part of what is probably the longest-operating and best-respected venue for art jewelry in the country. It’s a testament to Patricia and Edward’s vision, knowledge of the field, and relationship-building history with artists and clients alike.

Sydney Lynch

14

Aaron Faber Gallery is the one of most influential galleries in all of America. It is a very great experience working with them and I’ve learned many different kinds of things from them. It is a great mutual relationship working with them.

After finished graduate school, I taught at RIT and Syracuse University as an adjunct professor for several years. I had an original dream being a full time artist but I was concerned if I could survive as one. I knew I had to challenge myself to make my dream come true. So I decided become a full time artist.

I met Aaron Faber Gallery at the ACC Baltimore wholesale craft show in 2007. They were one of my first carriers as professional jewelry artist. Fortunately they liked my work and we started to work together.

They ordered my work and invited many different kinds of exhibitions, SOFA, and personal trunk show. They used my work image to advertise their exhibitions on the magazines and SOFA catalog which were wonderful. It helped to jump start my carrier as a jewelry artist very quickly.

Aaron Faber Gallery plans different themed exhibition every year and is looking for new artists all the time keeping their presentation and spirit fresh and young. They are a leading gallery for contemporary and artistic jewelry.

I’m very lucky present my work at Aaron Faber Gallery and hopefully I can do so until retired.

So Young Park

15

Todd Pardon

16

Ed and Patricia Faber have touched my life, and my family’s, in ways in which I’m not sure they fully understand.

My father, Earl Pardon, has been showing his work with the Aaron Faber Gallery since their inception (and still has work there, since his passing in 1991). Forty years ago, Earl was already considered to be an early pioneer in the post-WII studio art jewelry movement. He had been teaching at Skidmore College since 1951, and had been in major exhibitions and commissions over the years.

And yet, he had never been represented by a gallery. When he retired as chair of the Skidmore art department, Earl was considering approaching galleries. My mother happened to see an article on a new gallery in Manhattan; Eunice pushed my father to get in touch with “Aaron Faber.” While most collectors and museums were interested in Earl’s mid-century work, Ed and Patricia Faber recognized the potential of his newer work. By re-introducing his work to the public, they gave Earl a center stage for the most productive years of his life. They did a great job, and he became prolific in his output.

And so, at some point, he needed an assistant, and hired me to work with him. I got to know my father as a person, and became really appreciative of his role, not only in art history, but also as a WWII vet -- and, amazingly, began to see him as just a guy. We worked together for four years, until his death. I thank the Fabers for their part in giving us that opportunity.

As for me, I had primarily considered myself a painter, and had only dabbled in jewelry. Soon after immersing myself in this medium with my father, I became enamored by the possibilities of jewelry as a form of wearable art.

I was starting to amass a body of work and to show in a few galleries. The Fabers were encouraging, but reluctant to take me on in their gallery. This was very shrewd on their part. They were waiting to see an unswerving commitment, passion and individuality in my work. This taught me a lot about the business of owning a gallery in Manhattan. (It’s also one of the reasons they are still in business after 40 years.)

In 1990 I had my first show at the gallery, a 2-person show with my father, the year before he passed away. Looking back it seems like an almost impossible event: working on Earl’s work during the day, and my own on nights and weekends. From then on, both generations of the Pardon family have been linked with the Aaron Faber Gallery.

In 1997 the gallery hosted an exhibit that included my parents, my wife Jackie, and me. My mother, printmaker and fiber artist Eunice Pardon, passed away before the opening -- but by gosh, she had had a show to get ready for in those last weeks of her life. She was focused, and happy.

Eunice was also happy, ecstatic, to be a grandmother for those weeks before she died -- in part as a result of conversations my wife and I had had with the Fabers regarding the wonders of adoption. “Celebrate the mundane,” they said. “Have kids, have kids, have kids.”

We adopted our son, Dexter Guy Pardon, just in time for him to be held and loved by his grandmother.

Onward to Big Moose Lake. One year we invited the Fabers to vacation with us, and my in-laws, in the Adirondacks. With two of their three children, Ed and Patricia joined us in a week of wonderful, and at times wacky, relaxation. Loons laughed; we took a tour on a 1950’s Chris Craft while the driver recounted the story of the lake’s 1906 murder (and the supposed appearances by the victim’s ghost). We were visited by a bear one evening; we caught sight of deer every day; and our three-year-old Dex got to spend time with the “big kids.” Patricia fished off the dock with my father-in-law. We played cards. We counted chipmunks. Glorious.

I’ve continued to show with the gallery, in many exhibitions throughout the years. (Their yearly representation of my work at SOFA grew into a father-and-son exhibition at the 2012 SOFA Chicago.) Ed and Patricia were always tireless, and gracious. They have been forward-thinking in their handling of my work, and I have received attention and opportunity as a result of their direct efforts. Their staff has always been great with me.

I can’t express enough the gratitude I have for Edward and Patricia Faber. Not just personally, but also for their dedication in creating a venue for emerging generations of Art Jewelers for what may be an unprecedented length of time.

Happy Fortieth Anniversary to the Fabers and their staff. 17

To the Fabers with Respect,

I won’t tell how long I’ve been with the Gallery, but it was when invoices were written by hand and slides were used instead of digital images.

It was a time when I could walk into a Fifth Avenue gallery and be greeted by Ed Faber. The large fanciful winged piece of jewelry that I was wearing on my shoulder must have attracted his attention – it was too big to miss. I credit that brooch for introducing me to him and the start of a long relationship with the Gallery. That wonderful winged creation has long since flown away, but my relationship with the Fabers has lasted.

The Gallery has given me several very important moments in my life. The very first major show I had was a group show at Aaron Faber. My parents came and I remember my father sitting quietly for a long time. He was a person who never said much, but I knew at that moment he was proud. It was in his eyes: the realization his daughter had made it all the way to a Fifth Avenue gallery. Thank you, Pat and Ed, for that moment.

I have a lot of respect for the Fabers because of the support they’ve given to the development and appreciation of jewelry as fine art. There are only a few people I know who have worked so hard to promote jewelry artists and the craft overall. I am a long time member of SNAG -- Society of North American Goldsmiths – and the Fabers always donate something towards their conferences. Pat has been generous with her time and knowledge. She will sit down and talk with people on ways to grow as an artist and a business.

Some of my professional highlights have been because of you. Besides shows in the gallery, I’ve received full page images of my work in SOFA catalogues and participated in a talk at NY SOFA. The thing I smile about often in recollection is an enormous banner of one of my pieces in their gallery window. The piece was a two-part brooch called “Horus” and was almost the same size as me. The banner was so large, I’d have to hang it from my second story window to get the full effect! They generously gave me the banner --- and no, I don’t hang it outside!

Thank you for allowing me to be part of your history. You have definitely been am important part of mine.

Linda Kindler Priest

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Above ring by Harold O’Connor

Back cover ring by Paolo Marcolongo

View both of their video statements on theOnline Retrospective Museum:

www.aaronfaberpresents.com

666 Fifth AvenueNew York, NY 10103

(212) 586-8411www.AaronFaber.com

Retrospective: www.aaronfaberpresents.com