Understanding Jewellery: The 20th Century

Understanding Jewellery The 20th Century D AV I D B E N N E T T A N D D A N I E L A M A S C E T T I

CO N T E N TS

To our grandchildren: Allegra and Milo Phoebe and Max

07 Introduction 09

Chapter 1: The Glamorous Jewels of an Opulent Era 1900-1920

47

Chapter 2: Art Deco and the Triumph of Paris 1920-1940

123

Chapter 3: From Rationing to Glamour 1940-1960

181

Chapter 4: From Revolutionary Ideas to the Importance of the Brand 1960-1980

245

Chapter 5: The Impact of Emerging Markets 1980-2000

295 Acknowledgements 297 Index

CO N T E N TS

To our grandchildren: Allegra and Milo Phoebe and Max

07 Introduction 09

Chapter 1: The Glamorous Jewels of an Opulent Era 1900-1920

47

Chapter 2: Art Deco and the Triumph of Paris 1920-1940

123

Chapter 3: From Rationing to Glamour 1940-1960

181

Chapter 4: From Revolutionary Ideas to the Importance of the Brand 1960-1980

245

Chapter 5: The Impact of Emerging Markets 1980-2000

295 Acknowledgements 297 Index

INTRODUCTION

T

hirty years after the first publication of Understanding Jewellery it occurred to us that there was so much more that we would like to say – and to show – about the evolution of jewellery design in the twentieth century.

Until the early 1980s, colour photography was very rare in jewellery catalogues of the major auction houses and there were precious few collectors of vintage and antique pieces in the field. It amazes us today to recall how in the late 1970s and early 1980s, bracelets and plaque brooches from the Art Deco period were still being purchased and broken up for the diamonds.

However, the rapid growth in interest in jewellery as a collector’s field, which was accompanied by a steep advance in values, meant that more emphasis was soon placed by auction house catalogues on dating, research and provenance. At the same time, a great technical improvement was witnessed in the quality of the illustrations and the use of detailed images to highlight design and workmanship.

The intervening years have afforded us a vital perspective on events and trends that were still evolving

when we were writing the first edition. All of this has enabled us to put together a large and varied collection of new images – not always reproduced actual size – to accompany the text. This is a step away from the format of the original work, throwing extra light on the last decades of the century. The book makes no attempt to define jewellery of the twentieth century, but rather presents an individual viewpoint acquired over more than 40 years working in the field.

We like to feel that the publication of Understanding Jewellery in 1989 contributed in some way to the view that the best examples of jewellery can be considered an art form, not just mere ornaments. Our aim in writing this book is to reinforce this view – and to share our passion for this fascinating field with a growing audience. When we started, the market for period and vintage jewels was focused solely in Europe and the United States. Collectors of jewellery are now based throughout the world; several countries in Asia have become fast-growing markets, most recently mainland China.

Daniela Mascetti and David Bennett

7

INTRODUCTION

T

hirty years after the first publication of Understanding Jewellery it occurred to us that there was so much more that we would like to say – and to show – about the evolution of jewellery design in the twentieth century.

Until the early 1980s, colour photography was very rare in jewellery catalogues of the major auction houses and there were precious few collectors of vintage and antique pieces in the field. It amazes us today to recall how in the late 1970s and early 1980s, bracelets and plaque brooches from the Art Deco period were still being purchased and broken up for the diamonds.

However, the rapid growth in interest in jewellery as a collector’s field, which was accompanied by a steep advance in values, meant that more emphasis was soon placed by auction house catalogues on dating, research and provenance. At the same time, a great technical improvement was witnessed in the quality of the illustrations and the use of detailed images to highlight design and workmanship.

The intervening years have afforded us a vital perspective on events and trends that were still evolving

when we were writing the first edition. All of this has enabled us to put together a large and varied collection of new images – not always reproduced actual size – to accompany the text. This is a step away from the format of the original work, throwing extra light on the last decades of the century. The book makes no attempt to define jewellery of the twentieth century, but rather presents an individual viewpoint acquired over more than 40 years working in the field.

We like to feel that the publication of Understanding Jewellery in 1989 contributed in some way to the view that the best examples of jewellery can be considered an art form, not just mere ornaments. Our aim in writing this book is to reinforce this view – and to share our passion for this fascinating field with a growing audience. When we started, the market for period and vintage jewels was focused solely in Europe and the United States. Collectors of jewellery are now based throughout the world; several countries in Asia have become fast-growing markets, most recently mainland China.

Daniela Mascetti and David Bennett

7

THE GLAMOROUS JEWELS OF AN OPULENT ERA 1900-1920

I

n England, the period from the beginning of the twentieth century to the outbreak of the First World War is usually referred to as the Edwardian era, even though Edward VII died in 1910. In France, with a slight extension backwards to the mid 1880s, the era is described as ‘La Belle Époque’. In both countries, the atmosphere was very similar: it was an age of dramatically increased prosperity, great ostentation and extravagance. The traditional social structures of Europe and North America had begun to break down in the 1890s, typified by the rise of industrialists and entrepreneurs who had made their vast fortunes in business and manufacturing. Status no longer had to be inherited; it gradually became socially acceptable for one to ‘make a fortune’ – and to show that one had made it.

A pair of tortoiseshell and diamond hair combs, Cartier, circa 1910.

Gem-set hair combs were an alternative to tiaras at less formal events in the early 1900s.

10

Naturally, jewels were perfectly suited for the purpose of displaying one’s success. The newly wealthy sought assistance in manufacturing an image they thought appropriate to their recently acquired financial status and surrounded themselves with a plethora of advisers. Reputable dealers helped them to assemble their art collections, architects designed and chose the most suitable locations for their palatial mansions, couturiers provided them with the right clothes and jewellers supplied the precious ornaments to accompany them. If in the mid 1880s only a handful of Americans were millionaires, at the turn of the new century, more than a thousand had accumulated fortunes in excess of one million dollars and several, such as the Astors, Goelets, Vanderbilts, Morgans and Whitneys, had amassed hundreds of millions.

These new multi-millionaires and their wives flocked to the old world, intent on emulating – possibly even outdoing – the style of the old European aristocracy.

London and Paris were their principal destinations. In the latter they bought all the latest fashion accessories; the rue de la Paix was the elegant shopping centre where Worth, Doucet, Paquin and Rouff, the great dressmakers of the time, had their exclusive ateliers alongside the premises of some of the most famous jewellers, such as Mellerio, Aucoc and Fontana. Place Vendôme, home to several other fashionable jewellery maisons, was just down the road. Jewels were at the top of the list of priorities.

The relationship between fashion and jewellery became closer than ever when, in 1899, Cartier moved to 13 rue de la Paix, right next door to Worth, whose rich clientele, already prepared to pay the same prices for clothes as they were for works of art, wished to complement their dresses with specially designed jewels. The ties of friendship and marriage brought the two firms closer still, so that their spheres of influence became inextricably interwoven and they profited from each other’s patrons, creating jewels to complement a special gown or designing the ideal dress to set off a particularly important jewel.

The abundance of diamonds on the market, following the opening of mines in South Africa, boosted the jewellery industry and enabled the creation of ornaments lavishly encrusted with vast amounts of gems, for an eager market. In an era of relative peace, 11

THE GLAMOROUS JEWELS OF AN OPULENT ERA 1900-1920

I

n England, the period from the beginning of the twentieth century to the outbreak of the First World War is usually referred to as the Edwardian era, even though Edward VII died in 1910. In France, with a slight extension backwards to the mid 1880s, the era is described as ‘La Belle Époque’. In both countries, the atmosphere was very similar: it was an age of dramatically increased prosperity, great ostentation and extravagance. The traditional social structures of Europe and North America had begun to break down in the 1890s, typified by the rise of industrialists and entrepreneurs who had made their vast fortunes in business and manufacturing. Status no longer had to be inherited; it gradually became socially acceptable for one to ‘make a fortune’ – and to show that one had made it.

A pair of tortoiseshell and diamond hair combs, Cartier, circa 1910.

Gem-set hair combs were an alternative to tiaras at less formal events in the early 1900s.

10

Naturally, jewels were perfectly suited for the purpose of displaying one’s success. The newly wealthy sought assistance in manufacturing an image they thought appropriate to their recently acquired financial status and surrounded themselves with a plethora of advisers. Reputable dealers helped them to assemble their art collections, architects designed and chose the most suitable locations for their palatial mansions, couturiers provided them with the right clothes and jewellers supplied the precious ornaments to accompany them. If in the mid 1880s only a handful of Americans were millionaires, at the turn of the new century, more than a thousand had accumulated fortunes in excess of one million dollars and several, such as the Astors, Goelets, Vanderbilts, Morgans and Whitneys, had amassed hundreds of millions.

These new multi-millionaires and their wives flocked to the old world, intent on emulating – possibly even outdoing – the style of the old European aristocracy.

London and Paris were their principal destinations. In the latter they bought all the latest fashion accessories; the rue de la Paix was the elegant shopping centre where Worth, Doucet, Paquin and Rouff, the great dressmakers of the time, had their exclusive ateliers alongside the premises of some of the most famous jewellers, such as Mellerio, Aucoc and Fontana. Place Vendôme, home to several other fashionable jewellery maisons, was just down the road. Jewels were at the top of the list of priorities.

The relationship between fashion and jewellery became closer than ever when, in 1899, Cartier moved to 13 rue de la Paix, right next door to Worth, whose rich clientele, already prepared to pay the same prices for clothes as they were for works of art, wished to complement their dresses with specially designed jewels. The ties of friendship and marriage brought the two firms closer still, so that their spheres of influence became inextricably interwoven and they profited from each other’s patrons, creating jewels to complement a special gown or designing the ideal dress to set off a particularly important jewel.

The abundance of diamonds on the market, following the opening of mines in South Africa, boosted the jewellery industry and enabled the creation of ornaments lavishly encrusted with vast amounts of gems, for an eager market. In an era of relative peace, 11

ART DECO AND THE TRIUMPH OF PARIS 1920-1940

L

‘

A unique ruby and diamond double-sided bangle/bracelet, Boucheron, Paris, circa 1935.

The scale and the volume of this remarkable bangle bring to mind African silver and ivory bracelets, which had been showcased in the famous Exposition des Arts Coloniales in Paris in 1931.

48

ive and forget the past’ was the motto of the day.

The First World War had ended, and a fresh era was ushered in. Freedom of expression became the new rule – especially among women, for whom the necessity of working in industrial roles, providing munitions and supplies for the war effort, opened up at the same time new opportunities and a glimpse of a life that had been unimaginable even a decade before.

and allowed them to enjoy the energetic dances of the time – the Charleston, tango and foxtrot.

As men were conscripted to the front, women mastered every job that had previously been off-limits to them; they drove ambulances, worked in factories, managed farms and ran offices. The delicate and fragile women from Edward VII’s England became a strong and mature workforce, conscious of their capabilities and competence. Frivolity was discarded, function embraced. Gone were the constricting bodices, sweeping skirts and elaborate hairstyles of the early years of the century. Shorter dresses and cropped hair allowed women greater freedom to perform their new roles.

The ’20s marked Coco Chanel’s launch into the fashion world. Her sporty silhouettes would remain in vogue for years to come, and her classical two-piece suits (accompanied by yards of pearls, and chains in gold or gilt) became the indispensable garment for all fashionable women.

The trend continued in the post-war years as hair was trimmed à la garçonne, and silhouettes became thinner and flatter. Women demanded greater diversity in their wardrobe, and the divide between day and evening wear widened dramatically. Trousers, emblem of the emancipated woman, were exchanged for fluid sleeveless tunics at night. The waistline for both day and evening wear dropped to the hips and the hems gradually rose to above the knee. This enabled women a far greater freedom of movement during the day

Chanel suits set new standards for day wear, while the creations of Madame Grès and Madeleine Vionnet epitomised the style of the night. Their long dresses, cut diagonally en bias and draped in satin and silk, embraced the figure, while the 1920s cloche hat was set aside in favour of tricorns, turbans, and small rounded boxes, perched on the top of the head.

Androgynous, yet sexy: that was the 1920s aesthetic.

Women wore bold make up, and plenty of it – bright red lipstick, white powder, and heavy black pencil around the eyes. Soft cloche hats, worn low on the brows, enhanced the starkly painted exoticism of their features.

By the 1930s, glamour and femininity had returned to women’s fashion. The waistline crept up to a natural position, while tailored tops, which enhanced the natural curves of the female body, replaced the deconstructed tunics of the previous decade.

Jewellery adapted to this paradigm shift, as fashion altered from one decade to the next. As dresses became 49

ART DECO AND THE TRIUMPH OF PARIS 1920-1940

L

‘

A unique ruby and diamond double-sided bangle/bracelet, Boucheron, Paris, circa 1935.

The scale and the volume of this remarkable bangle bring to mind African silver and ivory bracelets, which had been showcased in the famous Exposition des Arts Coloniales in Paris in 1931.

48

ive and forget the past’ was the motto of the day.

The First World War had ended, and a fresh era was ushered in. Freedom of expression became the new rule – especially among women, for whom the necessity of working in industrial roles, providing munitions and supplies for the war effort, opened up at the same time new opportunities and a glimpse of a life that had been unimaginable even a decade before.

and allowed them to enjoy the energetic dances of the time – the Charleston, tango and foxtrot.

As men were conscripted to the front, women mastered every job that had previously been off-limits to them; they drove ambulances, worked in factories, managed farms and ran offices. The delicate and fragile women from Edward VII’s England became a strong and mature workforce, conscious of their capabilities and competence. Frivolity was discarded, function embraced. Gone were the constricting bodices, sweeping skirts and elaborate hairstyles of the early years of the century. Shorter dresses and cropped hair allowed women greater freedom to perform their new roles.

The ’20s marked Coco Chanel’s launch into the fashion world. Her sporty silhouettes would remain in vogue for years to come, and her classical two-piece suits (accompanied by yards of pearls, and chains in gold or gilt) became the indispensable garment for all fashionable women.

The trend continued in the post-war years as hair was trimmed à la garçonne, and silhouettes became thinner and flatter. Women demanded greater diversity in their wardrobe, and the divide between day and evening wear widened dramatically. Trousers, emblem of the emancipated woman, were exchanged for fluid sleeveless tunics at night. The waistline for both day and evening wear dropped to the hips and the hems gradually rose to above the knee. This enabled women a far greater freedom of movement during the day

Chanel suits set new standards for day wear, while the creations of Madame Grès and Madeleine Vionnet epitomised the style of the night. Their long dresses, cut diagonally en bias and draped in satin and silk, embraced the figure, while the 1920s cloche hat was set aside in favour of tricorns, turbans, and small rounded boxes, perched on the top of the head.

Androgynous, yet sexy: that was the 1920s aesthetic.

Women wore bold make up, and plenty of it – bright red lipstick, white powder, and heavy black pencil around the eyes. Soft cloche hats, worn low on the brows, enhanced the starkly painted exoticism of their features.

By the 1930s, glamour and femininity had returned to women’s fashion. The waistline crept up to a natural position, while tailored tops, which enhanced the natural curves of the female body, replaced the deconstructed tunics of the previous decade.

Jewellery adapted to this paradigm shift, as fashion altered from one decade to the next. As dresses became 49

ABOVE LEFT A gold and diamond ring, ‘Coup de vent’, Boucheron, Paris, 1940s.

This is a popular ring design from the late 1930s that endured throughout the 1940s. During the war years, clients would often supply not only the gold necessary to create a jewel but also the gemstones. These were usually obtained by unmounting older pieces; as a consequence, a variety of cutting styles are often found in the same jewel.

ABOVE RIGHT A gold and diamond ring, Suzanne Belperron, maker unknown, Paris, circa 1945, from her personal collection.

An avant garde jewel from the years towards the end of the war, this ring combines five large baguette diamonds in a massive, fluted, yellow gold mount.

The overall shape is indebted to bridge-shaped rings of the 1930s.

LEFT CENTRE A gold, amethyst and tourmaline ring, René Boivin, Paris, 1946.

A pair of gold, ruby and sapphire rings, Cartier, Paris, 1940s, from the collection of Daisy Fellowes.

These are stylish examples of the boule ring, a favourite with Parisian jewellery maisons from the 1930s, whose popularity lasted well into the second half of the twentieth century. Similar sapphire and ruby beaded jewels from Cartier, dating to circa 1950, were included in the collection of the Duchess of Windsor, a contemporary of Daisy Fellowes who shared her passion for avant garde fashion in dress and jewellery.

This ring is very much the product of the enforced creativity during the war years, due to a lack of diamonds and precious stones: moreover, this combination of colours would have been unthinkable in the 1930s. The boxy, solid construction of this ring would have been a perfect match for the squareshouldered dress fashion of the war years.

LEFT A gold, emerald and ruby ring, Cartier, Paris, 1950s.

The ring was clearly designed around a Mughal engraved emerald. The basket mount of pierced and carved gold-set with circular-cut rubies, recalls similar techniques in Rajasthan jewellery.

176

177

ABOVE LEFT A gold and diamond ring, ‘Coup de vent’, Boucheron, Paris, 1940s.

This is a popular ring design from the late 1930s that endured throughout the 1940s. During the war years, clients would often supply not only the gold necessary to create a jewel but also the gemstones. These were usually obtained by unmounting older pieces; as a consequence, a variety of cutting styles are often found in the same jewel.

ABOVE RIGHT A gold and diamond ring, Suzanne Belperron, maker unknown, Paris, circa 1945, from her personal collection.

An avant garde jewel from the years towards the end of the war, this ring combines five large baguette diamonds in a massive, fluted, yellow gold mount.

The overall shape is indebted to bridge-shaped rings of the 1930s.

LEFT CENTRE A gold, amethyst and tourmaline ring, René Boivin, Paris, 1946.

A pair of gold, ruby and sapphire rings, Cartier, Paris, 1940s, from the collection of Daisy Fellowes.

These are stylish examples of the boule ring, a favourite with Parisian jewellery maisons from the 1930s, whose popularity lasted well into the second half of the twentieth century. Similar sapphire and ruby beaded jewels from Cartier, dating to circa 1950, were included in the collection of the Duchess of Windsor, a contemporary of Daisy Fellowes who shared her passion for avant garde fashion in dress and jewellery.

This ring is very much the product of the enforced creativity during the war years, due to a lack of diamonds and precious stones: moreover, this combination of colours would have been unthinkable in the 1930s. The boxy, solid construction of this ring would have been a perfect match for the squareshouldered dress fashion of the war years.

LEFT A gold, emerald and ruby ring, Cartier, Paris, 1950s.

The ring was clearly designed around a Mughal engraved emerald. The basket mount of pierced and carved gold-set with circular-cut rubies, recalls similar techniques in Rajasthan jewellery.

176

177

FROM REVOLUTIONARY IDEAS TO THE IMPORTANCE OF THE BRAND 1960-1980

T

he 1960s was a tumultuous decade, with upheaval at all levels of society and throughout the arts. Protest, controversy and dispute called into question the post-war state of comfort brought by the restored economic growth.

The changes in jewellery design were similarly radical, reimagining classical concepts and pushing the boundaries of fashion and jewellery. Colour and optical illusions in the creations of artists such as Victor Vasarely and Richard Anuszkiewicz were widely inspirational in both the fine and decorative arts and started a movement that became known as ‘Op Art’. As a result of this movement, jewels became characterised by geometrical, abstract shapes and splintered outlines. A good example of the influence of abstract art on jewellery is the production of the London jeweller Andrew Grima, who created wonderfully idiosyncratic jewels that explored the use of uncut crystals and textured metal surfaces.

Dior’s ‘New Look’ met many challengers, as designs

by Pierre Cardin, Paco Rabanne and Courrèges drew on Op Art for inspiration. Space exploration continued to entrance public imagination and filtered into jewellery design in the shape of rockets, Sputnik satellites and stars.

A gold, lapis lazuli and diamond parure, Van Cleef & Arpels, 1970s.

Many sautoirs of this period, as here, supported a variously decorated circular medallion. In this case, the whole design is dominated by circular elements carved in lapis lazuli, framed by fluted gold and highlighted with small, brilliant-cut diamonds.

182

New fortunes were made in America and in Europe, prompting a surge of jewellery sales. In Europe, the newly wealthy were still attracted to the Place Vendôme, although other names had begun to emerge. Designers such as Meister in Zurich, Wilm

and René Kern in Germany and, of course, Bulgari in Rome started to offer attractive local alternatives.

An article that appeared in the December 1963 issue of Connaissance des Arts confirms the distinctive look of Bulgari jewels by stating: ‘Un bijou Bulgari se reconnaît comme se reconneît un tailleur Chanel’ – ‘A Bulgari jewel can be recognised as if it were a Chanel suit’.

As wealth increased, more substantial purchases were made. However, this went hand in hand with an increase in crime, and a subsequent reluctance to display jewels. Jewellery split into two distinctive classes. Bank vault jewellery was simple, set with large, rare stones. ‘Fun’ jewels were more inventive, but less intrinsically valuable, designed to be displayed rather than put into storage.

The 1950s distinction between diamond jewellery for evening wear and gold ornaments for the daytime disappeared. A new dichotomy arose, between unique one-of-a-kind creations and less expensive but still stylish jewels, made for women just starting to spend their own money on their wardrobes and accessories.

The goal of fashion was innovation; shock value became real value. Mary Quant introduced the mini skirt; Vidal Sassoon cut his first bobs. By the late ’60s, New York boutiques stocked hot pants and baby doll dresses. Psychedelic colour schemes, vinyl overcoats and chequered monochrome patterns were all the rage. This fashion hardly required accessories like jewellery. It was the more traditional production of fashion houses such as Givenchy in Paris and Oleg 183

FROM REVOLUTIONARY IDEAS TO THE IMPORTANCE OF THE BRAND 1960-1980

T

he 1960s was a tumultuous decade, with upheaval at all levels of society and throughout the arts. Protest, controversy and dispute called into question the post-war state of comfort brought by the restored economic growth.

The changes in jewellery design were similarly radical, reimagining classical concepts and pushing the boundaries of fashion and jewellery. Colour and optical illusions in the creations of artists such as Victor Vasarely and Richard Anuszkiewicz were widely inspirational in both the fine and decorative arts and started a movement that became known as ‘Op Art’. As a result of this movement, jewels became characterised by geometrical, abstract shapes and splintered outlines. A good example of the influence of abstract art on jewellery is the production of the London jeweller Andrew Grima, who created wonderfully idiosyncratic jewels that explored the use of uncut crystals and textured metal surfaces.

Dior’s ‘New Look’ met many challengers, as designs

by Pierre Cardin, Paco Rabanne and Courrèges drew on Op Art for inspiration. Space exploration continued to entrance public imagination and filtered into jewellery design in the shape of rockets, Sputnik satellites and stars.

A gold, lapis lazuli and diamond parure, Van Cleef & Arpels, 1970s.

Many sautoirs of this period, as here, supported a variously decorated circular medallion. In this case, the whole design is dominated by circular elements carved in lapis lazuli, framed by fluted gold and highlighted with small, brilliant-cut diamonds.

182

New fortunes were made in America and in Europe, prompting a surge of jewellery sales. In Europe, the newly wealthy were still attracted to the Place Vendôme, although other names had begun to emerge. Designers such as Meister in Zurich, Wilm

and René Kern in Germany and, of course, Bulgari in Rome started to offer attractive local alternatives.

An article that appeared in the December 1963 issue of Connaissance des Arts confirms the distinctive look of Bulgari jewels by stating: ‘Un bijou Bulgari se reconnaît comme se reconneît un tailleur Chanel’ – ‘A Bulgari jewel can be recognised as if it were a Chanel suit’.

As wealth increased, more substantial purchases were made. However, this went hand in hand with an increase in crime, and a subsequent reluctance to display jewels. Jewellery split into two distinctive classes. Bank vault jewellery was simple, set with large, rare stones. ‘Fun’ jewels were more inventive, but less intrinsically valuable, designed to be displayed rather than put into storage.

The 1950s distinction between diamond jewellery for evening wear and gold ornaments for the daytime disappeared. A new dichotomy arose, between unique one-of-a-kind creations and less expensive but still stylish jewels, made for women just starting to spend their own money on their wardrobes and accessories.

The goal of fashion was innovation; shock value became real value. Mary Quant introduced the mini skirt; Vidal Sassoon cut his first bobs. By the late ’60s, New York boutiques stocked hot pants and baby doll dresses. Psychedelic colour schemes, vinyl overcoats and chequered monochrome patterns were all the rage. This fashion hardly required accessories like jewellery. It was the more traditional production of fashion houses such as Givenchy in Paris and Oleg 183

A diamond necklace, probably English, 1960s.

This is a modest example of a design that was exceedingly popular throughout the decade. In more substantial examples, the leaf motifs – here set with several small round diamonds – would have been realised with single, marquise-shaped stones (see p.224).

The fashion in the 1960s was for necklaces to be worn at the base of the neck, while the 1970s saw the return of the sautoir.

212

A diamond necklace/bracelet/tiara combination, Mellerio dits Meller, Paris, circa 1960.

This very classical design was popular worldwide with many makers. The versatility of the construction enabled elements to be worn as bracelets as well as mounted on a tiara frame.

213

A diamond necklace, probably English, 1960s.

This is a modest example of a design that was exceedingly popular throughout the decade. In more substantial examples, the leaf motifs – here set with several small round diamonds – would have been realised with single, marquise-shaped stones (see p.224).

The fashion in the 1960s was for necklaces to be worn at the base of the neck, while the 1970s saw the return of the sautoir.

212

A diamond necklace/bracelet/tiara combination, Mellerio dits Meller, Paris, circa 1960.

This very classical design was popular worldwide with many makers. The versatility of the construction enabled elements to be worn as bracelets as well as mounted on a tiara frame.

213

276

A sapphire, citrine, onyx and diamond choker, ‘Terry Onyx’, Marina B., 1980s.

A spectacular diamond necklace, Harry Winston, 1986.

At this time Marina B. was renowned for her striking colliers de chien, like this example: composed of tubular onyx beads strung on springs that were designed to fit snugly around the base of the neck. Chokers like this became emblematic of the age.

This is a superb example of a traditional, timeless and very classical overall design, employed internationally by several of the Grandes Maisons as a perfect vehicle for the display of high-quality diamonds. The ten large pear-shaped stones forming the fringe motif at the front, weighing a total 99.34 carats, are all of D colour and internally flawless clarity.

277

276

A sapphire, citrine, onyx and diamond choker, ‘Terry Onyx’, Marina B., 1980s.

A spectacular diamond necklace, Harry Winston, 1986.

At this time Marina B. was renowned for her striking colliers de chien, like this example: composed of tubular onyx beads strung on springs that were designed to fit snugly around the base of the neck. Chokers like this became emblematic of the age.

This is a superb example of a traditional, timeless and very classical overall design, employed internationally by several of the Grandes Maisons as a perfect vehicle for the display of high-quality diamonds. The ten large pear-shaped stones forming the fringe motif at the front, weighing a total 99.34 carats, are all of D colour and internally flawless clarity.

277

This exciting new reference work on 20th-century jewellery provides a detailed history of jewellery design and development from 1900 to 2000.

Understanding Jewellery, by David Bennett and Daniela Mascetti, is often described as the must-have jewellery book of our time – a ‘Bible’ in the jewellery trade. First published in 1989, it has remained in print ever since, amassing a loyal following of devotees who admire its detailed information and stunning imagery.

In this new work, Bennett and Mascetti have taken the original concept of Understanding Jewellery a stage further. Now, with the benefit of 20 years of hindsight, they have concentrated on the 20th century alone by conducting a detailed survey of each decade, identifying the key players, trends and movements. The book is an encyclopaedic history of the various forms, techniques and materials employed by the companies and individuals who defined jewellery in the 20th century.

Most significantly, a new set of photographs make Understanding Jewellery: The 20th Century one of the most dazzling, absorbing and varied collections of jewellery images ever assembled in a book. This large format hardback volume is a perfect gift for all lovers of jewellery and the definitive guide for those who desire a deeper understanding of the subject.

ISBN: 978-1-78884-120-7

9 781788 841207

58500 £60.00/$85.00

www.accartbooks.com