Drawing in Space

The Direct Welding Technique

“Mr. Yurman works with bronze rods, sculpting directly with the pure white heat of
an acetylene torch to create works of art that are diminutive in size but not in scope."

“Mr. Yurman works with bronze rods, sculpting directly with the pure white heat of an acetylene torch to create works of art that are diminutive in size but not in scope."

From a review of David’s exhibition of welded sculptures in Martha’s Vineyard, 1970

From a review of David’s exhibition of welded sculptures in
Martha’s Vineyard, 1970

Learning with the Masters

A b o v e

In 1958 at the age of 15, David Yurman learned
direct welding from sculptor Ernesto Gonzalez. The
technique, developed by Picasso and Julio
Gonzales, involves melting thin metal rods with an
acetylene torch to create forms that are linear yet
three-dimensional. The method was aptly described
by the sculptors as “drawing in space."

Sculptor Jacques Lipchitz with David
Yurman, apprentice, in the artist’s studio,
Hastings-on-Hudson, New York, 1963

L E F T

Learning with the Masters

Sculptor Jacques Lipchitz with David
Yurman, apprentice, in the artist’s studio,
Hastings-on-Hudson, New York, 1963

In 1958 at the age of 15, David Yurman learned direct welding from sculptor Ernesto Gonzalez. The technique, developed by Picasso and Julio Gonzales, involves melting thin metal rods with an acetylene torch to create forms that are linear yet three-dimensional. The method was aptly described by the sculptors as “drawing in space."

“

Making direct-welded sculptures
was like dreaming with my hands.

Making direct-
welded sculptures
was like dreaming
with my hands.

Line Takes Form

A B O V E

Drawing was, for David, an essential means of
expression—to this day he always carries a
moleskin sketch pad.

David Yurman working on a
commissioned sculpture in Hans Van de
Bovenkamp’s studio, Greenwich Village,
New York, c. 1968

As he mastered the art of direct welding, his
drawings took form in bronze. Angels, faces
and mythical figures sprung from his torch.
Belt buckles and jewelry soon followed, the
precursors to the designs that would one day
make his name a brand.

Line Takes Form

R I G H T

Drawing was, for David, an essential means of
expression—to this day he always carries a moleskin
sketch pad.

David Yurman working on a commissioned sculpture in
Hans Van de Bovenkamp’s studio, Greenwich Village,
New York, c. 1968

As he mastered the art of direct welding, his drawings took form in bronze. Angels, faces and mythical figures sprung from his torch. Belt buckles and jewelry soon followed, the precursors to the designs that would one day make his name a brand.

A B O V E

David assisted artist Edward Meshekoff in
welding decorative railings on the promenade
of New York’s Koch Theatre in Lincoln Center.

Art for All

Traces of David’s welded reveries also have a permanent home at Lincoln Center, in the railings of
the promenade in the David H. Koch Theater, designed by Philip Johnson in the early 1960s.
Edward Meshekoff, a public works artist, used David’s welding skills to execute his vision for the
organic, tactile balustrades.

Yurman incorporated some of his personal style in the work, with whimsical forms subtly wrought
into the metal—little hidden Rorschach-like secrets to delight a very observant theatergoer.

Traces of David’s welded reveries also have a permanent home at Lincoln Center, in the railings of the promenade in the David H. Koch Theater, designed by Philip Johnson in the early 1960s. Edward Meshekoff, a public works artist, used David’s welding skills to execute his vision for the organic, tactile balustrades.

Yurman incorporated some of his personal style in the work, with whimsical forms subtly wrought into the metal—little hidden Rorschach-like secrets to delight a very observant theatergoer.

A B O V E

Detail of a direct-welded bronze belt
David made for Sybil in 1969.

Gifts for Sybil

David’s direct-welded jewelry became more
minimal, showcasing the metal rods themselves.
Often with Sybil in mind, he would ask himself
Would Sybil like it? Would she wear it?

The first piece he created for her was a tactile chain
of welded links that she wore around her waist as a
belt, looped twice as a necklace or even multiple
times as a bracelet.

David’s direct-welded jewelry became more minimal, showcasing the metal rods themselves. Often with Sybil in mind, he would ask himself
Would Sybil like it?
Would she wear it?

The first piece he created for her was a tactile chain of welded links that she wore around her waist as a belt,
looped twice as a necklace or even multiple times as a bracelet.

“…And here we have what gives Madison
Avenue its raison d’être.”

A B O V E

The New Yorker’s Victoria Roberts
marked the opening of David Yurman’s
store on Madison Avenue

R I G H T

The New Yorker’s Victoria Roberts
marked the opening of David Yurman’s
store on Madison Avenue.

“…And here we have what gives Madison
Avenue its raison d’être.”

Inspiring Madison

The original linked belt for Sybil inspired the DY Madison® Collection, a modern interpretation of chain that is just as versatile as its forerunner. It’s named for the company’s first boutique, which opened on Madison Avenue in 1999.

Each link, simple and pure, harks back to David’s early welding, using metal rods to draw lines in space.its forerunner. It’s named for the company’s first boutique, which opened on Madison Avenue in 1999.

Each link, simple and pure, harks back to David’s early welding, using metal rods to draw lines in space.

The original linked belt for Sybil inspired the DY Madison® Collection, a modern interpretation of chain that is just as versatile as its forerunner. It’s named for the company’s first boutique, which opened on Madison Avenue in 1999.

Each link, simple and pure, harks back to David’s early welding, using metal rods to draw lines in space.