Modern Guide to Antique Jewellery

Beth Bernstein

The Modern Guide to Antique Jewellery is the ultimate go-to-guide, taking the reader on a tour from the 18th to early 20th centuries. In a lively narrative style, jewellery historian and collector Beth Bernstein reveals how to spot, score and style rare and authentic pieces from the most influential dealers and shops. This book is a must-read for all enthusiasts and collectors who have an affinity for the jewels of the past and who want to look chic wearing them in the present.

Beth Bernstein is a jewellery historian, author and journalist. Her books include If These Jewels Could Talk (ACC Art Books, 2015), Jewelry’s Shining Stars (Fine Points Publishing, 2013) and My Charmed Life (Penguin, 2012). She has contributed to many consumer magazines, journals and publications over the past 20 years, including Forbes Online, Jewelry Connoisseur, 1stDibs, Departures, Four Seasons Magazine, Newsday and The Huffington Post, and was Senior Editor for two national jewellery magazines. Beth also has her own online jewellery magazine, Bejeweledmag.com, and lectures at, runs and participates in seminars at jewellery fairs and educational events.

THE MODERN GUIDE TO ANTIQUE JEWELLERY

HOW TO START, BUILD AND WEAR YOUR COLLECTION OF ANTIQUE JEWELLERY

THE MODERN GUIDE TO

ANTIQUE JEWELLERY Beth Bernstein

4.The Queen Who Ruled Jewels: The Victorian Period Introduction

1.Defining Your Style

2.Romancing the Stone: Gems in Antique Jewellery

3.Candlelight and the Lightness of Being: The Georgian Period

57

6

11

19

43

5.Sentimental Journey: Romantic and Sentimental Jewels

6.In Life and Death: Memento Mori and Mourning Jewellery

7.Touring History: The Grand Tour and Archaeological Jewellery

71

85

93

8.Back to Nature: The Art Nouveau Period 105

9.Time for a Change: The Edwardian and Belle Époque Era

10.A New Angle: The Art Deco Movement

12.Antique Essentials: Ten Pieces for Your Jewellery Collection 143

13.How to Wear Your Antique Jewellery 155

115

14.Jewellery Sleuth: How to Buy and Care for Your Collection 165 123

15.Shopping Guide 11.Alternative Materials: Non-Precious Metals 133

178

Georgian-period engraved 18-carat gold earrings, designed as stylised lutes with pearl decoration and centring on turquoise and diamond forgetme-nots, French, circa 1830. Courtesy of Kevin Kish

When I started collecting antique jewellery

for Kentshire NY

in the mid-1990s, I wasn’t the competitive type nor an ‘early bird’. But I learned

possibilities for acquiring the types of jewels

quickly that on Saturday mornings, if you

to which I was most attracted. Sometimes I

were going to get ‘the good stuff’, you

purchased pieces that were inexpensive yet

had to beat the other antique-jewellery

very much representative of a time period.

enthusiasts to the markets. This meant

Early on, I unearthed a Victorian 15-carat-

showering, grabbing a jolt of caffeine,

gold horseshoe ring, with a buttery yellow-

sliding on comfortable shoes and leaving

gold patina, a small mine-cut diamond

the house just as the sun was rising. It

in the centre, and ‘good luck’ spelt out in

also meant building relationships, so

applied letters. It was buried in a gold melt-

you could meet up with the exceptional

down pile at a pawn shop, on its way to the

dealers and scour through their new

scrapper. I bought it to wear on my little

wares in the hope of finding that rare

finger, where it has remained for over two

piece before they had even set up their

decades (I am still looking forward to all the

stands and stalls.

luck it’s supposed to bring me…). It cost me

I didn’t know much at the time, but

6 I THE MODERN GUIDE TO ANTIQUE JEWELLERY

I knew what I was drawn to: the subtle

a grand total of $22 – I’ve recently seen two similar pieces for $1,200 and $1,400.

glow of Georgian rose-cut and mine-cut

A few years later, I paid too much

diamond rings, and also – as a hopeful

for a beautiful example of a handmade

romantic – sentimental jewellery, which

giardinetti ring (from the Italian, meaning

I still collect today. While at markets,

‘small garden’), with an emerald flowerpot

I tried to educate myself, viewing and

filled with floral motifs comprised of

reviewing pieces from different time

diamonds and of emerald and ruby

periods and in various styles, from

gemstones. My heart melted when I saw

Victorian lockets to Edwardian and Art

it, and I learned about layaway and how it

Deco diamond brooch clips.

could be mine over time. It is still one of

I began to learn how to recognise styles and elements from different eras, but I also

my favourite rings.

As I purchased pieces I could afford

met new dealers, widening my scope of

in styles that I was drawn to, I often

contacts and therefore opening up more

wondered what it was that intrigued me and enticed me about antique jewellery.

If you put a late 20th-century heart next to one from the Victorian era, I would

7 I Introduction

in the cases set into the walls, it was like walking through history, recorded through the jewellery of each period. Before I left on Sundays, she piled books in my arms from the vast library in her shop, which I was to read during the week.

When I arrived in the shop each weekend, we identified different elements and details of jewels, and every now and then there would be a pop quiz on Saturday morning. She also taught me the fine art choose the Victorian one every time.

of bargaining, and that mistakes are part

The more I was around the jewels from

of the learning process. Once, while I

the past, the more I understood my

was examining a breathtaking cabochon

obsession, one that has lasted 25 years.

emerald Art Deco ring, she advised, ‘Each

There is a sacred beauty to these pieces,

time you hold a piece in your hand and

offering a connection to the past, to

examine it, you sharpen your eye and

the jewellers who made them, and to

gain insight into the world of jewellery,

the people who owned them. There are

and you begin to inhabit that world,

magic and mysteries that lie behind these

because there is always something else

jewels, which leave collectors like me

you can learn.’ Her words have stayed

imagining and finding more meaning each

with me for 20 years.

time we wear them. They defy time and

The times are different today. With

offer modern-day collectors keepsakes

the internet, so much information is at

that transport us to a place where each

our fingertips in an easily navigable,

piece seems to resonate with our own

searchable format. It might not always

moments and memories.

be correct, but it’s certainly simpler

To further my quest to learn more

than carrying home five coffee-table-

about antique jewellery, while writing

size books every weekend. ‘But’, says

and styling for fashion magazines during

Alexandra Hutchings of Métier Paris,

the week, I went to work at weekends for

‘the components of collecting haven’t

a renowned Madison Avenue dealer. Her shop was like a small museum – when we opened the safe and displayed the jewels

Many antique dealers and shop owners

explore different styles and eras before finding the one that suits them best.

Carrie Imberman, co-owner of New

experts on that particular era, for

York-based Kentshire, explains, ‘This

instance Georgian and Regency, Victorian

is not a science; basically, anytime you

or Art Deco. Some realise that they

start becoming interested in a piece or

are attracted to more than one period;

pieces of jewellery and begin to buy,

others stick to one category of jewellery,

you become hooked – you are bitten by

such as archaeological or sentimental.

the “collecting bug” and you begin to

This chapter is devoted to how collectors,

purchase what appeals to you (and

like experts, can learn how to integrate

what you can afford at the time).

their love of enchanting stories, the

Eventually your style and collection can

one-of-a-kind nature of antique pieces,

evolve or change but it traditionally

and their own individual tastes, and

begins like this.’

start to build a collection based on all these aspects.

When I’ve spoken with antique dealers

12 I THE MODERN GUIDE TO ANTIQUE JEWELLERY

Becoming a Collector

Some buy from one period and become

Katherine Purcell, joint managing director of Wartski, offers a similar take: A ‘collection’ may be haphazard,

and store owners about how to get going

whereas a ‘collector’ is someone

as a collector, their advice has been

motivated by something specific, be it a

various, but there are two suggestions

theme, a style, a historic period, a creator,

that they unanimously agree upon. One

even a material. People can unwittingly

is to take some counsel from friends who

turn into ‘collectors’, never having

are experts, but always ‘buy what tugs at

intended to be one. Maybe you found

your heartstrings and what speaks to you

that piece that made your heart skip a

on the most emotional gut level’. And, as

beat, a jewel you fell in love with, and you

another dealer put it, ‘There is no right

made that purchase, spontaneously. And

or wrong way to collect as long as you

then you find another piece that elicits

educate yourself on the pieces you are

the same feelings of elation. This is when

going to buy before you plunk down your

it becomes more systematic and you

credit card or cash.’

become what we refer to as a ‘collector’.

On the following pages are some of the main types of collectors. Which one do you identify with the most?

13 I Defining Your Style Early Victorian turquoise snake ring and pomander, circa 1840. Courtesy of Bentley & Skinner

For Art’s Sake You purchase jewellery that you are drawn to due to the historical significance of a specific piece, and how

additions to wider collections of

it encapsulates the aesthetic of the time

historical items, and many are of noble

period in which it was made. These pieces

provenance or are among the rarest

are usually museum quality, and often

pieces, and may have taken years to find.’

pricey. And they are often fragile. You

The idea of collecting jewellery as one

don’t buy them to wear but as examples

might collect art is a specialised one, and

of extraordinary design and craft – you

its exponents are as rare as the pieces

buy them to admire.

being collected. However, since jewellery

‘This type of collector is few and far

is the one form of pure artistry that can

between. And they are definitely not

also be worn, even die-hard historians

beginners,’ Alexandra Samuel of London-

who opt for a more academic approach

based jeweller Berganza explains.

might consider devoting a portion of their

‘We do have some customers who are

collection to pieces that can be put on,

serious collectors of pieces from certain

at least on special occasions.

periods, purchasing examples that are quintessential to a certain era. These pieces of jewellery are sometimes

Edwardian natural pearl and diamond pendant earrings

by Ghiso, circa 1900. Courtesy of Pat Saling Jewelry Collection

Natural Pearl Associated with the moon and symbolic of enchantment, pearls have a connection

set into crowns and sewn on clothes. Today,

to love and marriage in many cultures.

the prices of rare pieces of natural-pearl

In Hinduism, it is believed that Krishna

jewellery match those for diamonds, rubies

plucked the first pearl from the depths

and sapphires. Unlike these other gems,

of the ocean and gave it to his daughter

which were formed underground, pearls are

Pandaia on her wedding day as a symbol

considered gems but not stones – they are

of love, union and purity. Pearls are

organic, and form within various species of

described in ancient Greek legends as

freshwater and saltwater molluscs.

36 I THE MODERN GUIDE TO ANTIQUE JEWELLERY

the tears of the gods, and it was believed

One of the most legendary pearls, La

that wearing pearls would prevent women

Peregrina, had many owners and travelled

from crying on their wedding day. Perhaps

through many countries over the years,

it’s no surprise that pearls remain the

having been discovered in the Gulf of

jewel of choice for brides! There is also

Panama in the early 16th century and

a superstition that pearls are unlucky

brought to the Spanish court. In the course

if worn with impure emotions, but if

of the following century, it is reputed to have

worn with a pure heart, they symbolise

been worn by a number of royal figures,

virtue, fertility, modesty, love and the

including Mary Tudor of England, as well

cycle of life. In Shakespeare’s Troilus and

as Margarita and Isabella of Spain, before

Cressida, Troilus declares of Helen of

coming into the possession of the Bonaparte

Troy, ‘Why she is a pearl, whose price hath

family in the early 1800s. This pear-shaped

launched above a thousand ships, and

saltwater pearl, with a name that aptly

turned crowned kings to merchants.’ This

means ‘the wanderer’, was auctioned in 1969,

metaphor uses the tremendous value of

when it was snapped up by Richard Burton

pearls as a symbol of the loveliness and

as a gift for Elizabeth Taylor. She had the

major impact of the famous queen.

French jeweller Cartier design a necklace

Before the creation of cultured pearls

of pearls and rubies around it, based on

in the early 20th century, natural pearls

a 16th-century portrait of Mary Tudor. The

were the most valuable of all gems, worn

choice of Cartier was perhaps appropriate –

only by the nobility and the very wealthy,

in 1916, the firm’s co-founder Jacques Cartier traded a pearl necklace for the property that was to become his landmark Fifth Avenue store in New York.

v Gold and black enamel engraved cuff bracelet with

a pearl-set “button”, in 18-carat gold, France, circa 1880.

Courtesy of Kentshire. Photograph: Kevin Kish for Kentshire, NYC

Whenever I talk to a either a novice or a consummate collector about the first antique piece they purchased, it will

can be bold and fit in well with the

go on to collect rare earlier pieces such

modern aesthetic. I find the jewellery of

as Georgian jewellery, or later original

this era to be a wonderful place to start a

pieces from the Art Deco period. There are

collection because antique pieces that are

numerous reasons why collectors across

often over 120 years old are still found at

the board are enamoured with Victorian

good price points. They are usually less

jewellery, a classification that spans the

gem-laden than Art Deco jewels, yet still

reign of Queen Victoria, from 1837 to

intricately made. Additionally, there is a

1901. Some of the first pieces in my own

charm to early Victorian jewellery of the

collection were Victorian: a multiple-drop

Romantic period, which encapsulates the

moonstone necklace, a double-headed

optimism of the young queen and reflects

snake ring, a turquoise pavé-set heart

a prosperous time in British history.

padlock, and an intricately detailed pair

58 I THE MODERN GUIDE TO ANTIQUE JEWELLERY

The designs of the Victorian period

inevitably be Victorian, whether they

As an iconic figure, Queen Victoria was

of high-carat-gold drop earrings. These

a trendsetter and her style was copied

pieces ranged in feeling from light-hearted

widely in both the UK and the rest of

to sophisticated, and captured the creative

Europe. During her lengthy reign, there

differences and sensibilities of the three

were three different periods in jewellery:

distinct periods of Victorian jewellery, all

Romantic, Grand and Aesthetic. All were

of which have an instant appeal, and are

visually and expressively distinctive and

easy and versatile to wear. Dana Kiyomura,

each of them ushered in a wide range of

owner of Keyamour in New York City,

silhouettes, motifs and symbolic imagery,

agrees and adds:

which continue to influence modern jewellers today. During the three periods, new gemstones were discovered, and industrial innovations created advances in gem cutting, setting and production, leading to more affordable jewellery.

Omar Vaga of the London-based store Bentley & Skinner says: Pieces from the Victorian era are always appealing to a large number of

our customers. The strong individuality of each piece, before jewellery began to be mass-produced towards the end of the century, is an important factor, revealing the high level of craftsmanship and the application of techniques, many of them

allowing women from a wider range of

forgotten or lost today. But the pieces have

social backgrounds to wear fine jewellery.

held up through time and seem almost

The Grand period encompassed the two

contemporary, depending on the styles and

decades during which the Queen mourned

the materials with which they are made.

Prince Albert’s death in 1861. Mourning

The Romantic period refers to the

jewellery became fashionable, based on

earlier years of Victoria’s reign, during which

the pieces and materials that Victoria

she married Prince Albert. Sentimental

chose to wear. Whitby jet was one of the

motifs (see chapter 5) dominated, many

gemstones she chose for lockets, carved

of which had first been popularised in

floral cameo-style brooches, earrings and

the Georgian era or earlier, for instance

long strand of beads. Although Whitby jet

floral and foliate imagery and different

is actually 180-million-year-old fossilised

types of hearts and hands. A variety of

wood, it is considered a gemstone and was

new flowers, lover’s knots, bows, buckles,

found in mass quantities around the small

crescent moons, stars and serpents all

seaside town of Whitby on the north-east

became established as prevalent symbolic

coast of England. Black onyx was another

motifs in all classifications of jewellery.

stone that came into vogue during this time.

The construction and styling of the pieces

Other details and accents that were popular

were more refined than in Georgian times:

included black-enamel tracery and seed

gems could now be cut to fit a setting due

pearls (which were associated with tears)

to technological advances. Backs were

– the latter were often mixed with deep

now opened and the light bounced off

garnet and completed the sombre mix.

the stones, displaying their true colours and natural character. Turquoise became one of the most popular stones, in a wide range of motifs and settings. In addition, the Industrial Revolution was in full swing

Archaeological Revival jewellery also typified this time, and was widespread,

59 I The Queen Who Ruled Jewels: The Victorian Period

18-carat yellow gold locket featuring an enamel cherub.

Courtesy of Keyamour

Turquoise serpent necklace with diamond and garnet-set head, in 18-carat gold, circa 1860. Courtesy of Kentshire. Photograph: Kevin Kish for Kentshire, NYC

v Late Victorian ruby and diamond crescent brooch, with one row of graduating cushion-shaped rubies and a row of graduating old-cut diamonds set in silver, all on gold mount with brooch fitting, circa 1890. Courtesy of Bentley & Skinner Diamond-set star brooch with a larger centre

diamond surrounded by twelve diamond-set rays, all old-cut, all grain-set in silver on yellow gold back with detachable brooch fittings, circa 1870. Courtesy of Bentley & Skinner

v

Turquoise-set swallow brooch in 15-carat gold.

Courtesy of Glorious Antique Jewelry

Crescent moons often celebrate moon goddesses, and are therefore associated legendary Manhattan-based store Fred

with female empowerment. They also

Leighton. ‘As soon as it was placed on

symbolise change, reflecting the moon

Queen Victoria’s finger in 1839, the serpent

waxing and waning, similar to the ebb and

became the motif that would set a trend

flow of life. Victorian brides often wore

throughout England, then throughout

brooches with a crescent moon cradling a

Europe and the United States.’ As a result,

flower on their honeymoon – these sweet

snakes became one of the most iconic

pieces are called ‘honeymoon brooches’,

motifs in all forms of Victorian jewellery,

and were said to represent the magic of the

and continued to signify enduring love.

moon and the sweet nectar of the flower.

Crescent Moons The crescent-moon symbol dates back to 62 I THE MODERN GUIDE TO ANTIQUE JEWELLERY

at least the third millennium BC, and was one of the first used by humankind. It was very popular in jewellery from Georgian through to Victorian times, first in brooches, then for other styles such as pendants. Mine-cut diamonds, alone or mixed with rubies, emeralds or sapphires, were often used, as were turquoise and moonstone.

heart, it is a well-known symbol for the virtues of faith, hope and charity, with the cross signifying faith, the anchor hope, and the heart charity. Anchors are mostly seen in Victorian brooches or pendants, or set with gemstones on the front of lockets, sometimes diamonds, sometimes turquoise, sometimes both, or alternatively with a specially cut garnet.

Birds A wide range of birds featured on Stars

Victorian jewellery, but swallows and

While we are looking to the sky for

doves are probably among the most

symbolism, stars are another powerful

common. Turtle doves indicated purity,

motif, representing guidance. Victorian

love and fidelity, symbolising happiness

stars were often accented with old

in one’s marriage and family. Swallows

rose- and mine-cut diamonds signifying

are another reference to the sea, as they

endurance, and sometimes set with

were reputed to always find their way

moonstone centres for added meaning.

back to the nest, and thus provide safe

They were mostly seen in brooches, in

passage for sailors, leading them to land.

pendant/brooches, or with diamonds or other stones (such as seed pearl and turquoise) set into the top of a locket.

Anchors The anchor is associated with sailors out at sea, protecting their homeland and discovering new lands and opportunities. Due to these original meanings, this symbol expanded to encompass hope and steadfastness.

63 I The Queen Who Ruled Jewels: The Victorian Period

When combined with a cross and a

This story gave swallows the meanings of ‘safe home’ or ‘return safe’ when featured on jewellery. There are also connotations of faithfulness, since swallows were known to mate for life.

They are mostly seen in brooches or pendants in old-cut diamonds, turquoise or seed pearls, sometimes with rubies for eyes.

Dragonflies Throughout history, the symbolism of the dragonfly has drawn on their agile movement and transformative life cycle. In certain cultures it is believed that, like the butterfly, dragonflies

64 I THE MODERN GUIDE TO ANTIQUE JEWELLERY

represent new beginnings and changes in life – the idea that was adopted by

they first became fashionable in myriad

the Victorians to signify the need to

gems and settings, but mostly in brooches,

embrace change rather than fear it, and

tie pins (also knowns as stickpins) and

move forward into the future, whatever

bracelets with horseshoes in the centre.

it may bring. Dragonflies were mostly

They were often set with old-cut diamonds

seen in brooches set with seed pearls

or gemstones such as garnet, ruby,

and gemstones such as ruby, sapphire

sapphire, turquoise and seed pearl. Facing

and turquoise. During the Art Nouveau

upwards they are said to bring luck to the

era, dragonflies remained popular, often

wearer, while facing downwards they send

embellished with vivid gemstones and

luck out into the universe. When combined

lifelike transparent enamelling.

in one piece with a four-leaf clover or a

Horseshoes There is no motif more associated with

shamrock, they are doubly lucky.

Acorns

luck than the horseshoe. These are as

Acorns were designed in gold or silver,

popular now as in Victorian times, when

with the former being more popular and more collectible. They were rendered with a texture that mimicked a real acorn with engraved leaves, and were symbols of

horseshoes, the locket opening, bearing French assay mark, circa 1860. Courtesy of Bentley & Skinner

diamond, ruby and sapphire, respectively for eternal love, passion and faithfulness. good luck and of stability and growth as

Alternatively, they were engraved with

they come from the mighty oak tree. They

hearts, swallows and other imagery that

can also represent strength and fertility.

depicted love, desire and friendship.

Acorns are most collectible as earrings if

The cuffs were often outlined with blue

they can be found with the original ear

enamelling or set with gemstones, while

wire and all the other elements of the

the lockets were set with a variety of

motif are unchanged. Many of the small

gems or diamonds.

pendants on the market today were once part of a pair of earrings, of which one has got lost, but they do make pretty additions

Popular Styles Fringe Diamond Necklaces

to charm necklaces – if the price is right,

From the early 19th century, fringe

purchase one and have some fun.

diamond necklaces took on a variety of

Buckles

different silhouettes, sometimes in silver

During Victorians times, jewellers created

over gold in a series of graduated spear

buckle designs in homage to the chivalry

or teardrop shapes that encircled the

of the medieval Order of The Garter. But

neck. Those combining diamonds with

they had an additional, deeper meaning –

natural pearls were dressier and are

buckles were representative of holding on

most collectible today – when you can

tightly to a loved one and affectionately

find them. However, other breathtaking

protecting them. They were mostly seen

designs are available, including drops of

in rings, lockets and cuff bracelets. Where

coloured gemstones such as moonstones,

the buckle holes would be, they were set

garnets, amethyst and peridot.

with mine-cut diamonds or with a mix of

Engraved gold and old-mine-cut diamond ring of belt strap motif, in 18-carat gold, England, hallmarked Chester, circa 1905. Courtesy of Kentshire. Photograph: Kevin Kish for Kentshire, NYC

65 I The Queen Who Ruled Jewels: The Victorian Period

French mid-19th-century horseshoe locket of gold, ruby, emerald and diamonds with a motif of three interlocked

In the middle of the 19th century, the Grand Tour was a standard European trip for

the British upper classes – and indeed for those of other nations – intended to heighten cultural sophistication. Typical destinations included France and Greece, but the most popular was Italy – Rome, Florence, Venice, Naples and the ruins of Pompeii. The country was a treasure chest for tourists, who brought back small jewellery souvenirs from their trips, including micromosaics, cameos and

to the breathtaking mosaic styles being

intaglios set into brooches, earrings, rings

produced, the variety of cameos carved in

and panels for necklaces and bracelets.

materials from shell to coral or lava, and

The subjects of these purchases included

the ancient intaglios set into high-carat

celebrated ancient Roman architecture,

gold for tourists. Many of these jewels

often in ruins, as well as famous paintings

are still on the market today, although

and naturalistic pictorial scenes.

it is rarer to find a pietra dura brooch in

94 I THE MODERN GUIDE TO ANTIQUE JEWELLERY

Pat Novissimo has studied Grand Tour

excellent condition than it is a carved-shell

jewellery closely, and describes its origins

one. During the 20th century, cameos got

and styles, while also welcoming its re-

handed down and stayed in the family but

emergence on the market:

weren’t worn much – they became jewellery

The Grand Tour became the thing

your grandmother would wear. In the last

for people of means to do, travelling

few decades, however, new collectors have

through Europe and collecting jewels

started discovering a few here and there

on the way. Italy was particularly

at antique shows and museum exhibits,

abundant with desirable pieces thanks

beginning to catch on to the beauty of the craft. Cameos started coming out of the safes. Many were sold to dealers who understood the carvings and the subject matter, and which pieces were rare and collectible. The dealers began to introduce them to their clients, who enjoyed their imagery, and cameos made a comeback.

necklace with detachable pendant,

signed “C.G.” for Carlo Giuliano, circa 1890.

Courtesy of ©2019 Christie’s Images Limited

vv Giuliano pendant with rose-cut

diamonds, oval cabochon star ruby, pearls and white, black and blue enamel, signed “C.G.” for Carlo Giuliano, circa 1885.

Courtesy of ©2019 Christie’s Images Limited

Etruscan Revival gold and coral hinged bangle, one side set with twelve cabochon-cut corals, surrounded by wirework decoration of geometric design, the other side with wirework of similar design, applied motto “ROMA”, all with bead edge in 18-carat yellow gold, circa 1870.

Courtesy of Bentley & Skinner Enamelled gold and diamond pendant

by Froment-Meurice, centred with painted enamel panel by Alfred Meyer, framed by openwork foliate motifs applied with white and pink opaque enamel interspersed with diamonds within two rows of gold beading, the outer border decorated with black enamel applied with delicate white opaque enamel motifs. The painted enamel depicts a Classical female figure akin to a Pompeiian fresco from the Villa of Cicero featuring a dancing Maenad, circa 1867-1870.

Image courtesy of Wartski, London.

95 I Touring History: The Grand Tour and Archaeological Jewellery

v Giuliano diamond and multi-gem

v Plique-à-jour pendant necklace, depicting a gold Juliet at the moment when Romeo sees her on her balcony.

Juliet is highlighted by peridots and pendant freshwater pearls. Plique-à-jour enamel window panes glow behind,

The Art Nouveau movement, lasting from

1885 until 1910, overlapped with the end of the Victorian era, then ran almost

while sparkling diamonds framing her head represent the dawn light. France, circa 1900. Courtesy of Anthony Virardi at Macklowe Gallery 18-carat yellow gold, plique-à-jour enamel, diamond and ruby double dragonfly ring, French. Courtesy of Fred Leighton

concurrently with the Edwardian and Belle Époque period (see chapter 9). Like the

of nature, including insects, birds and,

Edwardian and Belle Époque, Art Nouveau

most predominantly, floral motifs. Sensual,

represented a revolt against industrial

ethereal and sometimes disturbing versions

mass-production. Both styles embraced

of the female form were also a recurring

influences from natural elements –

theme. Intricately detailed pieces displayed

although these elements were interpreted

bold mixes of gems; materials were

in dramatically different fashions.

unorthodox and daring for fine jewellery;

Art Nouveau approached jewellery – and all the decorative arts – with a welcome fluidity and artistic expression.

and several different types of enamelling were used in trailblazing designs.

The Art Nouveau movement began

The movement broke new ground, with

in France, influencing all of Europe, and

rebellious arrangements of precious

soon reaching the United States. The

and non-precious metals combined with

main proponents of Art Nouveau in

unusual coloured gemstones, and with

France included Jean Després, Lucien

suggestive rather than realistic depictions

Falize, Maison Vever, Georges Fouquet and Lucienne Gaillard. When the style hit the United States, Louis Comfort Tiffany, son of the founder Charles Louis Tiffany,

106 I THE MODERN GUIDE TO ANTIQUE JEWELLERY

became a leader of the movement.

But none of these jewellery designers were as influential as René Lalique, who pioneered an entirely new style with his visionary masterpieces and his ingenuity in skill and application. He was instrumental in initiating the radical combination of materials, the sensuous lines and the details of Art Nouveau, and changed the way that fine jewellery was perceived.

These details included his use of horn, both carved and bleached; his treatment

framed by floral motifs, applied with pearlescent and plique-à-jour enamel, suspending a polished emerald, accented with circular- and single-cut rose diamonds.

Signed Masriera Y Carrera, indistinct Spanish assay mark, circa 1915. Courtesy of Bentley & Skinner

the Art Nouveau period also utilised

v Plique-a-jour enamel and diamond dragonfly brooch by

a combination of enamels, sometimes

Boucheron, the wings mounted en tremblant, Paris, circa

translucent, sometimes transparent. These

1900. Wartski, London

pieces are often characterised by the designers’ ability to create an effect similar

materials and techniques. Much of this

to that of a stained-glass window, in which

was a breath of fresh air, yet it was still

the light shows through the piece, through

within the realm of what fine jewellery was

their use of the most intricate type of

supposed to be. The Art Nouveau designers

enamelling – plique-à-jour.

threw out the rules and redefined what jewellery was going to be, as one century finished and the next began.

The result was liberating for society,

Benjamin Macklowe expands on the importance of the enamelling techniques: Before we can even start to describe and understand the different enamelling

and for the jewellers, who were able to

techniques and the impact they had on the

tell the story they wanted through the

jewellery of Art Nouveau, it’s imperative

materials they believed would illustrate it

to mention that jewellers could now see

best. Ironically, the most valuable stones –

colour in a very different light – literally. The

diamonds, rubies, emeralds and sapphires

electric light bulb continued to evolve, and

– had less worth, in artistic terms, in the

this changed the jeweller’s relationship with

masterpieces of Art Nouveau. The creators

colour and the appearance of enamel – its

used moulded glass and gems such as

opacity or translucency.

moonstone and opal, alongside enamels, allowing them to layer colours, and play with opacity and translucency, imbuing the pieces with more dimension and inventive mixes of textures and tones.

Peter Schaffer of the New York Gallery A La Vieille Russie agrees with Macklowe, and explains how these extraordinary pieces were created: Designers of this period were absolutely unafraid to use glass and stones for their colour rather than their value. Most designers during

109 I Back to Nature: The Art Nouveau Period

Masriera Y Carreras pendant, in 18-carat gold enamel, emerald and diamonds. Designed as a winged nymph

These feature an openwork lacy or Garland-style pendant, with a dangling natural pearl or a pear-shaped old-mineor European-cut diamond in the centre.

This hangs from each side of a chain or from two chains that meet and suspend the central pendant.

Negligee Necklaces A version of the lavaliere, this has a centre bar or geometric form, usually set in diamonds, from which dangle two drops of different lengths in an asymmetrical fashion. The drops consist of everything from large bezel-set cushion-cut diamonds to Edwardian cluster motifs set techniques and motifs, but they were so graceful and delicate that they could be worn day or evening, and that hasn’t changed,’ says Saling. ‘Women want jewellery that complements their look rather than dominates it.’

Popular Styles Swag brooches These are usually oval or U-shaped pieces, often in the Garland style or with an intricate lacy pattern and a diamond border; a central mine-, cushion- or European-cut diamond or pearl; and a swag of small diamonds at the bottom.

Frequently, they have convertible mechanisms that allowed them to be worn as pendants.

with diamonds, pearls or coloured stones.

119 I Time for a Change: The Edwardian and Belle Époque Era

Lavaliere Necklaces

Niello fob pendant linked with locket, circa 1890. Courtesy of The Spare Room Antiques

v

These ‘pool of light’ necklaces were said to

Shakudo brooch

featuring an image of Mount Fuji, circa 1880.

bring luck and energy to the wearer, and

Courtesy of The Spare

today can be found predominantly in silver

Room Antiques

on the market. Since authentic rock crystal magnifies and refracts images, it is possible to determine if these pieces are genuine rather than imitation glass versions.

The application for this material changed dramatically in the Art Deco period. The rock crystal was carved, fluted and cut into geometric forms, depending

dimensional look in the ornamentation.

on the design. They were carved to create

Shakudo was traditionally used to make

cuff bracelets (see chapter 10) or to fit

fittings for Samurai swords, but once

into necklaces and brooches, and were

these were outlawed in 1876, the process

combined with diamonds and sapphires

was carried over to jewellery and small

to form brooch clips.

decorative items. Dealers will often refer

Shakudo

earrings’ or ‘Shakudo pendants’, as if the

The Japanese alloy Shakudo is composed

term describes a style rather than an

of copper and gold, which is often

alloy, which can be misleading!

treated to form a dark gunmetal or black background for jewellery that features 140 I THE MODERN GUIDE TO ANTIQUE JEWELLERY

to earrings or pendants as ‘Shakudo

Niello

customary Japanese motifs including

This technique, which came into fashion

naturalistic scenes of birds and flowers

during the late Victorian era, often gets

in gold and silver, providing a three-

confused with black enamel due to the similarities of the processes involved. As with enamel, the metal piece is engraved or embossed so that, once filled with an alloy of metals and sulphur known as niello, then fired and polished, a smooth yet decorative surface will be formed. Like shakudo, it is easy to presume, mistakenly, that a style rather than a technique is being described when dealers speak of ‘a niello locket’.

including ‘Tassies’, attributed to maker William Tassie.

Featuring sentimental and symbolic French or English

words or sayings, with illustrative motif; some are also rebus themes. Courtesy of Seal & Scribe. Photographer and designer Shari Cohen

Tassies From the 1760s, the Scottish engraver

Not surprisingly, ‘niello’ derives from

James Tassie produced copies of antique

the word for black in medieval Latin, but

hardstone and gemstone intaglio seals

its alloys can create different hues from

and cameos, as well as original works

light to dark. It is often applied to silver,

with classical motifs and portraits of

and creates the decorative touches that

famous contemporaries, using a moulded

can be found in linear station bar chains.

glass paste that allowed for finely tuned

This application on silver also appears in

detail. The most collectible of these

stars, which are a favourite of collectors

‘Tassies’ are those engraved with mottos

but harder to find. Pendants and lockets

or sentimental sayings, sometimes with

can feature everything from designs that

related imagery or a rebus – a puzzle

recall pinstripes or herringbone, to more

that incorporates both images and

feminine scrolly and floral patterns. There

letters. Tassies were set into necklaces,

are also wide cuffs, which can be a bold

brooches, bracelets and rings, the latter

statement on their own. More often than

of which were used, like their hardstone

not, niello chains have touches of rose

counterparts, as seals. Tassie also

gold or rose-gold plate over the silver to

created moulds for Josiah Wedgewood,

provide contrast and a softer look.

which were used in the production

Niello pieces are reasonably priced,

of Wedgewood’s famous Jasperware

elegant and contemporary-looking, and

ceramics. One of the biggest collectors of

run the gamut in styles. My choice is the

Tassie’s pieces was Catherine the Great

ultra-long chains that can be doubled or

of Russia. In 1791, a catalogue of 15,000 of

tripled, and have that touch of decoration

his designs was published, showing the

that has continued to attract jewellery

extraordinary extent of his work.

enthusiasts ever since they first came into style in the 19th century.

141 I Alternative Materials: Non-Precious Metals

v Glass intaglios from Georgian through Victorian times,

Top to bottom: contemporary rosette graduated rosecut diamond bangle, signed Fred Leighton (design by Fred Leighton studio); 14-carat yellow gold Etruscan Revival bangle bracelet, circa 1890s; contemporary 18-carat gold chain bracelets by Fred Leighton; contemporary thin black diamond bangle bracelet; square ruby line bracelet, French, circa 1950s; contemporary 14-carat gold chain bracelet by Fred Leighton with two antique wedding bands, in 18- and 14-carat yellow gold. All courtesy of Fred Leighton and styled by Rebecca Selva Left to right (and top to bottom): rose-cut diamond cluster ring; silver-top yellow gold rose-cut diamond cluster ring, circa 1800; emerald and diamond crowned-heart ring, circa 1800; white-enamel mourning band, circa 1741; diamond

The element of surprise is always the most important touch when creating an

white-enamel mourning ring (open back), circa 1769; mine-cut diamond cluster ring (open back), circa 1800. All Georgian. All courtesy of Fred Leighton and styled by Rebecca Selva

individual look. I love the look of gold vintage wedding bands on a chain around the neck. If you have a favourite idea or piece that you love wearing one way, try

One possibility when wearing three-

putting it on another part of your body

hundred-year-old rings is to just pile

where you think it might work – you might

them on. Take the cluster diamond rings

even start to prefer it that way. Rings

(those with a centre stone and a halo of

on a thin cable chain can add a delicate

diamonds) and play with them, getting

feminine touch to a tactile pile of bracelets.

comfortable about where you like them to

How to Wear Antique Rings

160 I THE MODERN GUIDE TO ANTIQUE JEWELLERY

Georgian Rings Rebecca Selva suggests:

sit on your fingers.

Add in memorial-ribbon style rings,

Then both our experts, Rebecca Selva and

which will have a diamond or other

Diane Richardson, discussed how to look

gemstone in the centre, two diamonds or

chic and current when wearing rings made

rock crystals on the sides, and the name

a century or more before you were born,

and dates of when the deceased was born

starting with Rebecca giving her thoughts

and died. Show your sentimental side by

on the earlier styles of the Georgian period,

finishing off the look with an emerald

before Diane took the story onwards from

heart ring in all old cuts of diamonds

Victorian to Art Deco, voicing her preference

Look at old paintings of women

for mixing the popular rings of the Victorian

in Georgian times – they had these

era with Edwardian or Art Deco eternity

spectacular rings on every finger. They

bands or wedding rings with raised patterns.

are the perfect inspiration for assembling a set of rings that you will love to wear, either stacked on a few fingers, or one on each finger like in the portraits.

Beth Bernstein

The Modern Guide to Antique Jewellery is the ultimate go-to-guide, taking the reader on a tour from the 18th to early 20th centuries. In a lively narrative style, jewellery historian and collector Beth Bernstein reveals how to spot, score and style rare and authentic pieces from the most influential dealers and shops. This book is a must-read for all enthusiasts and collectors who have an affinity for the jewels of the past and who want to look chic wearing them in the present.

Beth Bernstein is a jewellery historian, author and journalist. Her books include If These Jewels Could Talk (ACC Art Books, 2015), Jewelry’s Shining Stars (Fine Points Publishing, 2013) and My Charmed Life (Penguin, 2012). She has contributed to many consumer magazines, journals and publications over the past 20 years, including Forbes Online, Jewelry Connoisseur, 1stDibs, Departures, Four Seasons Magazine, Newsday and The Huffington Post, and was Senior Editor for two national jewellery magazines. Beth also has her own online jewellery magazine, Bejeweledmag.com, and lectures at, runs and participates in seminars at jewellery fairs and educational events.

THE MODERN GUIDE TO ANTIQUE JEWELLERY

HOW TO START, BUILD AND WEAR YOUR COLLECTION OF ANTIQUE JEWELLERY

THE MODERN GUIDE TO

ANTIQUE JEWELLERY Beth Bernstein