THE RENAISSANCE JEWELLER SET GEMS IN IMAGINATIVE WAYS, WITH AN EMPHASIS ON NARRATIVE AND SYMBOLISM.
to her wardrobe for his preparatory sketches. Wearing the jewels Holbein had designed for them, his patrons were thrilled with his meticulous depictions of their clothing and finery. And since Holbein’s portraits hung in the most prominent homes and public spaces, they became ideal platforms to showcase his talents and garner more commissions. Under the influence of the Reformation, commissions in Northern Europe dwindled, and, like Holbein, many jewellery designers and craftsmen were forced to relocate in search of patrons. They settled in various European courts, eventually transferring their methods to local artisans. As a result, it is often difficult to determine where a particular jewel originated – for instance, a pendant might be commissioned by an Italian patron, designed by a German painter and executed by a Flemish craftsman for a recipient living in France. Fully executed jewels also crossed borders, offered as ambassadorial gifts or included in a dowry, like those Elisabeth of Valois brought from France to her marital home in Spain. Whether magnificent crown jewels, medals or even simple wedding rings, Renaissance gems – much like today’s jewellery – had the power to transcend cultures, conveying sovereignty, political allegiance and eternal dynastic bonds. Jonquil O’Reilly is an Old Master Paintings specialist at Sotheby’s New York.
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