Joel Arthur Rosenthal, better known as JAR, is one of the most celebrated yet elusive contemporary jewellers.
Born in New York in 1943, he studied art history and philosophy at Harvard University before moving to Paris, where he briefly worked in the film industry, as a textile designer and as an apprentice at Bulgari. It was in Paris that Rosenthal’s artistic vision took shape, leading him to establish his jewellery house, JAR, in 1977 on the Place Vendôme with his partner Pierre Jeannet.
Unlike traditional luxury brands, JAR operates with an air of mystery. There is no shop window, no mass production and no advertising. Rosenthal creates only a limited number of pieces each year, often for a select clientele who receive an invitation to acquire his work. In 2002 it was estimated that only around 250 people worldwide actually owned a work created by JAR. His jewellery has never been readily available for public sale; to visit his atelier at 7 Place Vendôme one must apply and be welcomed in, making JAR pieces highly sought after at auction.
JAR’s designs are instantly recognisable for his use of striking colour combinations, something which first manifested itself in his early works as a textile designer. However it’s possible that JAR’s most revolutionary contribution to the jewellery world was his pioneering adoption of titanium and other “non precious” metals such as aluminium. Like Cartier’s early adoption of platinum more than a century earlier, Rosenthal’s use of these lighter-than-air metals allowed for a complete transformation in the construction and relevant aesthetic of his bejewelled creations. Many of his pieces resemble natural forms, from flowers to leaves to butterflies, which coupled with his signature pavé technique, bring a fairytale-like quality to his work.
Despite his reluctance to engage with commercial trends, Rosenthal has earned a cult following among collectors, celebrities, and royalty. He was the first living artist to be celebrated with a retrospective exhibition the Metropolitan Museum of Art in New York. Yet JAR remains one of the most elusive names in jewellery - an artist who allows his work to speak for itself.
One of the few opportunities to acquire a creation from the house of JAR came in 2002. The exhibition 'The Jewels of JAR, Paris' opened in November 2002 at the Gilbert Collection in Somerset House, London. The exhibition consisted of 400 pieces, largely lent by 145 private collectors. So secretive was the source of many of the jewels that photography was not permitted on at least half the exhibits.
Guests of the exhibition toured rooms in complete darkness making their way with a torch in hand. To view the displays, the viewer must literally shine their light on them, making each viewing experience unique and private.
