Her father was noted gemologist Antonio C. Bonanno, who was known as one of the founding fathers of gemology, however, Kathryn Bonanno found her life heading in a different direction. “I went to school for theater arts, but I wasn’t making any money,” recalls Bonanno, who resides between New York City and Monaco. “My sister Karen, convinced me to work part-time for my dad and once I got started I really got into it.”
Bonanno studied at the Columbia School of Gemology, which was founded and run by her father in Washington, D.C. and later in Silver Spring, Maryland. “He had four hour classes. He would spend the first two hours lecturing and then we would spend another two hours looking at gemstones,” remembers Bonanno who went on to get her Fellow of the Gemmological Association (FGA) with Distinction from the Gemmological Association of Great Britain in London. “Gemologically, it was a huge help. I owe my profession to my family. But while they focused on gemology, I embraced jewelry as well.”
When she was just 16 years old, Bonanno moved to Italy. She stayed in Europe for a number of years working for jewelry stores selling contemporary jewelry. The turning point in Bonanno’s career came when she went for a job interview at Sotheby’s auction house. They suggested that she go to one of their auctions in St. Moritz. While Bonanno was in St. Moritz she met Isi Fischzang, a New York City 47th Street jewelry wholesaler. “I left Italy and moved to New York City,” Says Bonanno. “He taught me a lot about the trade.”
What Is Good Design?
Ultimately, Bonanno launched her eponymous wholesale jewelry business in New York in 1991, selling to stores and other dealers. She specializes in very fine jewelry made from 1910 to 1950 with a focus on the Art Deco period. In addition to jewelry, Bonanno focuses on natural colored gemstones with no treatment. “My favorite period is Art Deco,” confides Bonanno. “I love Egyptian Revival, both Van Cleef & Arpels and Lacloche made divine pieces in that style. I love Cartier’s Egyptian Revival because they actually incorporated antique pieces of Egyptian art into their jewelry. And tutti frutti from Cartier is the best, although Ostertag also has some lovely tutti frutti. Of course Verger Freres made outrageous pieces for all the houses. There are so many wonderful design houses and I love them all, but the French design houses during the Art Deco period are hands down my preference.”
So what is it that makes good design and a well-made piece? For Bonanno, it comes down to balance and harmony; the piece needs to flow. “The design speaks to me first — the balance or contrast of the colors of gemstones and then fineness of the stone’s quality. A piece needs to be smooth to the touch and it has to feel good in the hand, there should not be any rough edges,” she says. “It needs to be flexible and if it’s platinum it needs to be light and there should never be too much metal. Also, the back needs to be as well finished and as beautiful as the front.”
Manhattan and Monaco
Bonanno splits her time between Manhattan and Monaco, while she says that the likes of clients on both sides of the Atlantic have become more similar, there are still some differences. She finds that her European clients are primarily interested in design, while for American clients design is important, but they are more interested in the quality or rarity of the gems. One similarity between her European and American clientele: They all want signed pieces.
Early in her business, Bonanno would buy pieces from auction houses, a jewelry buying venue that was at one time the exclusive domain of dealers, but now the auction houses have brought worldwide awareness of jewelry to the general public. This new awareness by consumers and the heavy marketing by auction houses has, according to Bonnano, made it harder for dealers to purchase jewelry that way. “It used to be that I would bid on things that other dealers wouldn’t buy,” comments Boannno. “I had gemstone knowledge so I was able to evaluate stones in a way that other dealers didn’t. At that time not all stones came with a gemological report like they do now. I used to get really great deals on gems at the auctions.”
The Thrill of the Search
For Bonanno, the most interesting aspect of being in the jewelry business is the search for that special piece. She sees it as a never ending treasure hunt, where she tries to find the best of the best examples of jewelry from a particular period. Bonanno looks for pieces that are 100 percent original, with no parts replaced or altered. She is also very particular about authenticity of an item and if there is any question about a piece, Bonanno will pass on it. “My word is everything to me,” comments Boannno. “It’s who I am. If I discover a mistake I will own up to it. We all make mistakes, we just have to be honest about it.” Additionally, she also only offers untreated gemstones, no heat, no fillers.
So how does Bonanno decide what to add to her collection? “It’s my heart,” she concludes. “I’m very impulsive, if I see a piece and it speaks to me, I buy it.”
Top of page: Kathryn Bonanno. Untreated 16.40-carat Ceylon sapphire, diamond and platinum ring, accompanied by an AGL report stating that the sapphire is of Sri Lankan (Ceylon) origin with no clarity enhancements and no gemological evidence of heat; Art Deco diamond, ruby, emerald and platinum articulated bracelet, Oscar Heyman, circa 1928; Art Deco “Porte Bouquet” diamond and platinum brooch with white gold pin, setting is articulated so that when the ends are squeezed a flower may be inserted, signed Cartier, with original box, circa 1930, accompanied by an IAJA letter of expertise stating that the brooch is by Cartier London; Art Deco diamond, emerald and platinum “Vase” lapel watch, by Haas Neveau, Paris-Geneva, circa 1925.
Authored by Amber Michelle