About Jane Wiberg

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In 1959, a jewelry workshop carrying the name of Jane Wiberg opened in Copenhagen, Denmark. She had spent her early years of training under Just Andersen, one of the defining figures of Danish design after the war. His studio brought her into contact with other apprentices such as Karen Strand and Arje Griegst, who would also go on to become important names. That environment shaped her, but Wiberg’s style soon began to stand on its own.<br><br> Nature was her constant reference point. The forests and coastlines of Denmark showed up in her work not in a literal way but through texture, weight, and surface. Marks from hammer and chisel were never polished away. Instead, she left them visible, turning what most would hide into proof of the hand that made the piece. The result felt close to the raw materials themselves, and different from the glossy uniformity that defined much of the jewelry of that era.<br><br> Her small shop in the city drew people looking for more than decoration. Customers found silver and gold that seemed to carry stories of the land around them, pieces that felt rugged and alive. Collectors began to take notice, and over time her work became known beyond Copenhagen. Each item carried its own fingerprint, an individual presence that made it rare and desirable.<br><br> Wiberg stopped producing new pieces in 1983, but by then she had established a body of work that was unlike anyone else’s. Her jewelry is still collected around the world, valued not only for its scarcity but for the way it captures a moment in design history. The imperfections she emphasized remain her signature, reminders that beauty can be found in what is natural, unpolished, and human.