Robert Baines
Jeweller
/
Klimt02MemberSelectedSchmuck2020
Published: 01.05.2020
rmit.edu.auNecklace: Multiplicity 1, 2018-2019
Silver, electroplate, powder coat, lacquer
17 x 17.8 x 6 cm & 36.5 cm long with chain
Piece part of the memo Multiplicity at the exhibition Le Stanze del Possibile at Hannah Gallery.
Unique piece
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Necklace: Multiplicity 2, 2018-2019
Gold
12 x 19.5 x 5.8 cm & 32 cm long with chain
Piece part of the memo Multiplicity at the exhibition Le Stanze del Possibile at Hannah Gallery.
Unique piece
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Neckpiece: Perception, 2018
Silver, electroplate, lacquer.
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Neckpiece: Perception 3, 2018
Silver, electroplate, lacquer.
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Neckpiece: Perception 5, 2018
Silver, electroplate, lacquer.
15 x 15.2 x 7.5 cm. L: 37.5 cm
Photo by: Anton Juradjevic
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Pendant: Perception 5, 2017
Silver, electroplate, lacquer, granulation construction.
7 x 9.4 x 1.2 cm
Photo by: Anton Jadrijevic
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Neckpiece: Untitled, 2017
Silverpowder coatedd.
4 x 6 cm
Photo by: Robert Baines
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Neckpiece: Perception 4, 2017
Silver, electroplate, powdercoat, lacquer.
19 x 16.5 x 7.5 cm
Photo by: Anton Juradjevic
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Necklace: Steampunk from the Cosmos, 2015 - 2016
Gold 750, 255 gms.
12 x 39 x 10 cm
Photo by: Jeremy Dillon
Awarded at: Finalist Loewe Craft Prize 2016
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Brooch: Perception 4 and 5, 2015
Silver, powder coat, electroplate.
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Neckpiece: Perception 2, 2015
Silver, electroplate, powdercoat, lacquer.
31.5 x 23 x 13 cm
Photo by: Jeremy Dillon
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Brooch: Perception 2, 2015
Gold 750, 103gms.
9.5 x 10 x 5 cm
Photo by: Anton Juradjevic
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Brooch: Cosmos, 2014
750kt gold.
10.5 x 13 x 4.2 cm
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Brooch: Larger than Life, 2014 - 2015
Silver, electroplate, powdercoat, paint.
Photo by: Anton Juradjevic
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Brooch: Hey True Blue, 2013 - 2014
Silver, powdercoat, paint.
13 x 18 cm
Photo by: Jeremy Dillon
Model: Nellie Baines Misirilosoy.
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Brooch: Parrot, 2012
Silver, electroplated, powder coated, paint, found object.
10.5 x 16.9 x 2.4 cm
Photo by: Jeremy Dillon, Marion Fulk
Awarded at: Herbert Hofmann Prize 2013
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Bracelet: Yellow Giraffe, c. 2012
Sterling silver, powdercoat, electroplate, paint
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Bracelet: Car bracelet, 2009-2010
Silver electroplate, collected objects.
Photo by: Gary Sommerfield
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Brooch: Compact Disc circa 2000, 2010
Silver, glass powder coat, electroplate, compact disc.
8 x 8 x 3.5 cm
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Brooch: Redder than Green, 2009
Silver, powder coat, paint, electroplate
6.3 x 12.3 x 9.3 cm
Property of the artist
Photo by Jeremy Dillon
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Brooch: Meaner than Yellow, 2008
Silver, powder coat, electroplate, paint.
12 x 12 x 7.5 cm
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Brooch: Whiter than Red, 2006
Silver, powdercoat.
19.7 x 9 x 7.8 cm
Photo by: Garry Sommerfeld
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Bracelet: Courtly Love, 2005
Gold, silver, plastic.
8 x 7.7 x 5 cm
Photo by: Garry Sommerfeld
From series: More Amazing Schmuck Stories
West German, circa second half of tenth or early eleventh century.
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Bracelet: Java-la-Grande, 2004 - 2005
Indo-Portuguese technique dating from the Circa. Second-quarter of the 16th century, silver-gilt, iron, plastic, wood,
9.9 x 7.4 x 8.9 cm
Photo by: Garry Sommerfeld
From series: More Amazing Schmuck Stories
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Body piece: Leg Brace for Lloyd (Beverly Hills Small Animal Hospital), 2004 (?)
Plastic, silver, steel, leather, paint.
8 × 7.7 × 5 cm
Photo by: Robert Baines
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Neckpiece: Redline 3, 2003
Silver, powder coat.
32 x 2.4 x 9 cm
Photo by: Garry Sommerfeld
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Neckpiece: Redline 1, 2003
Silver, powder coat.
29 x 29 x 3 cm
Photo by: Garry Sommerfeld
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Brooch: Saaremaa, 2002
Silver, gold, plastic car, metal car.
10.5 x 7.5 x 6.8 cm
Photo by: Garry Sommerfeld
From series: More Amazing Schmuck Stories
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Brooch: Bloodier than Black, 1998
Silver, powdercoat.
25.3 x 12.8 x 4.4 cm
Photo by: Gale Spring
Brooch 73.
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Ring: Intervention of Red, circa.?, 1996
Sterling silver, powdercoat, Coke® can, glass beads.
6.5 x 7 x 8 cm
Photo by: Jeremy Dillon
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Object: Intervention of Red, 1994
Gold, plastic.
4.2 x 2.4 x 3.5 cm each
Photo by: Garry Sommerfeld
Ear Ornament.
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Badge: Archegos 4, 1992
Gold, silver.
21 x 29.5 x 4.5 cm
Photo by: Jeremy Dillon
From series: Adventures of the Archegos
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Badge: Archegos 3, 1992
Gold, silver.
21 x 29.5 x 4.5 cm
Photo by: Jeremy Dillon
From series: Adventures of the Archegos
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Brooch: Visible Likeness. Plenitude, 1985
Gold, silver, bronze, enamel, stainless steel.
7.5 x 6 x 3.7 cm
Photo by: Garry Sommerfeld
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Brooch: Entering the Plenitude, 1983
Fine gold, coloured gold, silver, diamonds (80) 0.75, Aquamarine 3.82 cts., enamel, bronze.
4.2 x 6.3 x 3.1 cm
Photo by: Garry Sommerfeld
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Brooch: Things Hoped For. Antipodean Forms, 1982
Alloyed gold, silver.
9 x 9.1 x 2.6 cm
Photo by: Garry Sommerfeld
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Ring: Five Rings, California (?), 1969
Chrome plated silver, stone (?), case, print, pen on paper.
15 × 24.2 × 21.5 cm
Photo by: Robert Baines
Detail
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Pendant: Untitled, 1969
Sterling silver, white gold, yellow gold, mimetite crystal.
20.7 x 12.1 x 1.5 cm
Photo by: Garry Sommerfeld
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Ring: Together Again, c. 1964 (?)
Gold, paper, mirror.
4 × 3.5 × 3.5 cm
Photo by: Garry Sommerfeld
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Living Treasure: Master of Australian Craft, goldsmith and emeritus professor at RMIT University, Robert Baines has maintained an international profile with exhibitions, awards, lectures and publications for more than fifty years. His works are in prestigious public collections in Great Britain, Germany, France, Poland, USA, New Zealand, and Australia.
Statement
Broadly I have made pieces that manifest a chosen subject. A fundamental condition is that jewelry captures human drama and in that is a wealth of possibilities. There is an endeavor to build a contemporary statement referencing cultural history. There are dangers in this strategy as the work could be hastily dismissed because of its seeming preoccupation with historicity.My primary interest is in the history of the goldsmith and the artifact that makes it manifest. This basically starts with Bronze Age gold technology and the jewelry meanings over that broad period of Greek Gold of the High Classical Era (which includes the Etruscan period in particular). Subsequent jewelry histories have their wonder and offer abundant potential subjects to “play with.” Historical jewelry is a social and political document that is available to research, reinterpret, and question its authenticity.
CV 
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