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 | 739.27
| Ge Gere, Charlotte
i GE Q American and European
| jewelry 1830-1914

Morgantown Public Library

Morgantown, W. Va.

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DEMCO
American & european
Jewelry
1830-1914
American & European
Jewelry
1830-1914

Charlotte Gere

Crown Publishers, Inc. New York

Library of Congress Catalog Card No: 74-24776

ISBN: O—517—518708

Copyright © Charlotte Gere 1975

All rights reserved. No part of this book may be reproduced in

any form or by any means, electronic or mechanical, including
photocopying, recording, or by any information storage and
retrieval system, without permission in writing from
the publisher.

First published in the U.S.A., 1975, by Grown Publishers Inc.

Srontisprece: Festoon necklace by

Carlo Giuliano with black-and-
white enamelling, pearls and dia-
monds.

Created by Walter Parrish International Limited, London, England

Designed by Judy A. Tuke

Printed and bound in Spain by Novograph S.A.,

and Roner S.A., Madrid
Dep. Legal: M 5838-1975
to-C. EoG. and C.M.G.
in gratitude for their patience and forbearance

65199
 Digitized by the Internet Archive
in 2022 with funding from
Kahle/Austin Foundation

https://archive.org/details/americaneuropean0OOOgere
Contents

Author’s Acknowledgements 8
Picture Acknowledgements 9
Colour 9
Monochrome tia

PART|

Fashions and Styles 13

1350-1650" 15
[ool—1G/9> 35
1676-1914 63

PART 2
Materials, ‘lechniques
and Marks 21
Materials 83
Techniques 117
Marks 137

PART 3

Jewellers and Designers 145

Glossary 231
Bibliography 233
Index: 4235
Author’s Acknowledgements
I should like to thank the following people for their
kind and patient help during the research and writing
of this book, and particularly for their unfailing gener-
osity in sharing hard-won knowledge: Michael Bell of
S.J. Phillips; Gameo Corner; Malcolm Carr of Han-
cocks Ltd.; William Dane of the Newark Public Lib-
rary; Mrs. Elaine Dee of the Cooper-Hewitt Museum
of Design; James Draper of the Metropolitan Museum;
Anthony Gardner of the Purple Shop; Mlle. Gary of
the Musée des Arts Décoratifs; Percy Hennell of Hen-
nell Ltd.; John Jesse; Mrs. Barbara Macklowe of the
Macklowe Gallery, New York; Geoffrey Munn of
Wartski’s; Edward Croft Murray; Peyton Skipwith of
the Fine Art Society; and Howard Vaughan.
I should also like to acknowledge the forbearance
‘beyond the call of duty’ of Timothy Auger and Jane
Maitland Hudson of Walter Parrish International Ltd.,
and Mrs. Alexandra Webb, who had the unenviable
tasks respectively of editing, picture-researching, and
typing my manuscript.

C.G.
London, 1974
Picture Acknowledgements
Colour earrings; Italian, 1860-70. _ Birming-
For ease of reference within the book the colour ham City Museum and Art Gallery.
illustrations have been numbered in sequence a Gold pendant and earrings set with ‘Roman’
with the black-and-white. All the colour illustra- mosaic plaques; Italian, 1870-80.
tions are listed below, with the names of those Armytage Clarke, London.
to whom acknowledgement is due for permission 50 English mourning brooches and pendant.
to reproduce. Author’s family.
iy Jet necklace and pendant; English, c. 1870.
6 Gold bracelets by Rundell and Bridge. Whitby Literary and Philosophical Soci-
Privately owned. ety, Whitby, Yorkshire.
Gold mesh bracelet; English, c. 1830. 54 ‘Eve’ pendant by Philippe Wolfers. Wol-
Cameo Corner Ltd., London. fers Collection, Brussels.
Brooch set with diamonds and emeralds; ee) Mrs. Bischoffsheim, portrait by Méillais.
English, c. 1850. S.J. Phillips Ltd., Tate Gallery, London.
London. 59 Enamelled gold necklace, 1870-80. Fine
Enamelled gold brooches; English, c. 1840. Arts Society, London.
S.J. Phillips Ltd., London. 60 Gold pendant with preparatory designs, by
Silver ring brooch set with Scottish stones; John Paul Cooper, c. 1g10. Birming-
c. 1850. National Museum of Anti- ham City Museum and Art Gallery.
quities of Scotland, Edinburgh. 64 Mme. Adele Bloch-Bauer, portrait by Gus-
Garnet parure; English, ¢. 1840. Pile tav Klimt, 1907. — Osterreichische Gal-
vately owned. erie, Vienna.
‘Roman’ mosaic jewellery; Italian, c. 1850. 68 Liberty gold and silver jewellery, 1900-10.
Anglesey Abbey, the National Trust. Fine Arts Society, London.
Florentine intarsia parure; Italian, 1840-50. 69 Bow brooch pendant with Montana sap-
Harvey and Gore, London. phires. |Johnson, Walker and Tolhurst
Mme. Moitessier, portrait by Ingres, 1856. Ltd., London.
Trustees of the National Gallery, London. YL Design for Lalique pendant. Calouste
Miss Laing, portrait by Lord Leighton, Gulbenkian Foundation Museum, Lisbon,
1854 (detail). Syndics of the Fitz- Portugal.
william Museum, Cambridge. 73 Lalique enamelled gold pendant, c. 1go00.
28 Emerald and diamond tiara; English, c. Calouste Gulbenkian Foundation Mus-
1860. Christie, Manson and Woods, eum, Lisbon, Portugal.
London. Pendant cross set with variously coloured
29 Pencil and water-colour drawings of brace- sapphires. | Crown copyright, Geolog-
- lets; J. Hardman and Co., 1860-70. ical Museum, London.
Birmingham City Museums and Art Baltic amber pendant. Trustees of the
Gallery. British Museum (Natural History),
32 Castellani ‘archeological’ jewellery. S.J. London.
Phillips Ltd., London. Brooch set with sapphire and_ rubies.
34 Gold brooch set with turquoises. — Pri- Armytage Clarke, London.
vately owned. Gold pendant set with oval carbuncle;
Pall Tiffany silver ring set with sapphire; c. 1890. English, ¢c. 1870. Cameo Corner Ltd.,
Bloom and Son Ltd., London. London.
39 Tiffany necklace, pendant and earrings; 85 Gold fringe necklace by Robert Phillips,
1880-90. Bloomand Son Ltd., London. c. 1860, and enamelled gold pendant by
42 Gold necklace and earrings decorated with Carlo Doria, c. 1870. | Gameo Corner
cloisonné enamels; Alexis Falize, 1867. Ltd., London.
Ashmolean Museum, Oxford. 86 Gold ‘archeological’ jewellery by Giuliano,
5) Bracelets and earrings in the Japanese c. 1870. S.J. Phillips Ltd., London.
taste; English, c. 1880. Fine Arts Soci- 89 Ivory brooches and earrings; French or
ety, London. Swiss, c. 1850. The Purple Shop,
46 Etruscan-style gold necklace, bracelet and London.
 go Brooch set with lapis lazuli, by Giuliano, 171 Necklace comprising forty miniature Easter
c. 1880. | Fine Arts Society, London. eggs; Fabergé workshop, late nineteenth
gI Pearl jewellery; English, 1880-90. | Cameo century. Wernher Collection, Luton
Corner Ltd., London. Hoo, Bedfordshire.
oe Silver necklace and pendant; English, c. es Festoon necklace, by Carlo Giuliano, c. 1890.
1900. ‘Fine Arts Society, London. S.J. Phillips Ltd., London.
95 Brooch and earrings set with artificially es) Reverse crystal intaglios; second half nine-
coloured chalcedony. Crown copy- teenth century. Hancocks and Co.
right, Geological Museum, London. Ltd., London.
100 Bracelet by Mackay, Cunningham, Edin- 1o0) Pendants and brooch by Madeleine Martin-
burgh, 1848. Fine Arts Society, eau, ¢. 1900. John Jesse.
London. 202 Brooch set with fine mosaic panel by Mrs.
IOI Celtic-revival ring brooches in silver; Irish, Philip Newman, c¢. 1890. | Hancocks
1851. Fine Arts Society, London. and Co. Ltd., London.
Necklace, brooch and earrings set with 204 Pendant designed by Charles Ricketts, c.
topaz; English, c. 1840; brooch set with 1900. Syndics of the Fitzwilliam Mus-
topaz; French, c. 1850. | Cameo Corner eum, Cambridge.
Ltd., London. 206 Necklace by L.C. Tiffany, c. 1914. | Metro-
Snake necklace set with turquoises. politan Museum of Art, New York; Gift
Cameo Corner Ltd., London. of Sarah E. Hanley, 1946.
Brooches and earrings set with shell cameos; 207 Tiara designed and made by Henry Wilson.
French, 1840-50 and 1867. Privately Worshipful Company of Goldsmiths,
owned. London.
Necklace set with scarlet coral cameos; 208 ‘Freesia’ pendant designed and made by
Italian, c. 1850. Royal Institution of Philippe Wolfers. | Wolfers Collection,
Cornwall, Truro. Brussels.
Necklace, pendant and brooch by C.R.
Ashbee. John Jesse. The following colour illustrations appear on the
Necklace by Castellani and Castellani-style jacket, reading left to right, starting at the top.
earrings; Italian, c. 1870. Fine Arts Front: 80, 50, 163, 82.
Society, London Back: 85, 76, 34, 11, 95.
Enamelled silver cloak clasp, by Child and
Child, c. 1900. The Purple Shop, The following photographers were specially
London. commissioned to take colour photographs for
160 Two pendants designed and made by John this book.
Paul Cooper. John Jesse. John Bethell, 19
Waist clasp by Nelson Dawson set with Royston J. Dunn, 24
enamelled plaque by Edith Dawson, Gordon Roberton, A.C. Cooper Ltd., 6, 7, 10,
c. 1900. John Jesse. II, 15, 20, 32, 34, 43, 50, 59, 68, 69, 82, 86,
Group of enamels by Edith Dawson, c. 1900. 90, OI, 94, 101, 104, 105, 108, 155, 156, 160,
Handley Read Estate. 163, 170, 171, 194, 195, 199, 202.
Pendant and chain by Mr. and Mrs. Arthur R. Shone, 85
Gaskin, c. 1905. Haslam and White- John Webb, 55
way, London. Charles Wolf, 109
Monochrome
Acknowledgement is due to the following for Gift of Emily Crane Chadbourne (1952), 201
permission to reproduce black-and-white photo- Gift of Ronald S. Kane (1967), 224
graphs. Musée des Arts Décoratifs, Paris, 58, 81, 93, 134,
177, 178, 226
Armytage Clarke, London, 47 National Museum of Antiquities of Scotland,
Ashmolean Museum, Oxford, 142, 147 Edinburgh, 78
Bassano and Vandyk, London, 53, 57 National Museum of Wales, Cardiff, 210
Bayerische Verwaltung der staatl. Schlosser, ees Public Library, Newark, New Jersey,
Garten und Seen, Munich, 4 5, Lod
Mrs. Bickerdike, 139 New York Public Library, 145
Birmingham City Museums and Art Gallery, 13, Nottingham Castle Museum, 49, 97
31, 99, 115, 152, 164, 189, 1g0, 216 Private owners, 40, 41, 63, 84, 87, 106
Birmingham Public Library, 148 Public Record Office, London (BT50/380, design
Bloom and Son Ltd., London, 39, 83, 185 number 352623), 135
British Museum, London, Trustees of the, 62, Purple Shop, London, 219
L547. 220 S.J. Phillips Ltd., London, 1
Baron von Caloen Collection, 121, 184 Royal Society of Painters in Water-colour,
Cameo Corner Ltd., London, 74, 79, 96, 150, 167 London, Trustees of the, 122 :
Chaumet, Paris, 158 Royal Academy of Arts, London, from Oster-
Christie, Manson and Woods, London, 45, 147, reichisches Museum fir angewandte Kunst,
Sy Eales : Vienna, 166, 193
Connaissance des Arts, Paris, 125 Royal Institute of British Architects, London, 21
Cooper-Hewitt Museum of Decorative Arts and Staatliche Museen, Preussischer Kulturbesitz
Design, Smithsonian Institution, New York, Kunstgewerbemuseum, Berlin, 162, 175
38, 174, 188, 225 Stichting Historische Verzamelingen van het
Danske Kunstindustrimuseum, Copenhagen, 143 Huis Orange — Nassau, 3
Debenham Coe, London, 182 Smithsonian Institution, Washington D.C., 48,
Ferrers Gallery, London, 12 107
Fine Arts Society, London, 44, 111, 131, 133, Sotheby’s Belgravia, London, 8, 92, 110, 227
0 tAg, 163, 202, 223 Tate Gallery, London, 17
Fitzwilliam Museum, Cambridge, Syndics ofthe, Tessiers Ltd., London, 23
220 Twining Collection, the Worshipful Company of
Eila Graham, London, 123 Goldsmiths, London, 27, 141
Geoffrey A. Godden, 102 Howard Vaughan Ltd., Eastbourne, 103
Geological Museum, London, Crown Copyright, Victoria and Albert Museum, London, 30, 120,
HOpeb2 7, 126, 120 [5i, 200, 209, 211
Hancocks and Co. Ltd., London, 126 Victoria and Albert Museum, London (Crown
Hennell, Frazer and Haws Ltd., London, 22, 56, Copyright), 9, 21, 26, 61, 77, 98, 130, 140, 149,
1gI 160, 176, 179, 180, 216,228
Pech Landesmuseum und Hochschulbiblo- Vieyra and Co., London, 154
thek, Darmstadt, 146, 172, 187, 192, 196, 205, Wartski Ltd., London, 137
21 H.S. Welby Ltd., London, 112
oe Museum, Forest Hill, London, 114 Wernher Collection, Luton Hoo, Bedfordshire, 2
Johnson Walker and Tolhurst Ltd., London, 16 Whitby Literary and Philosophical Society,
Museum of London Board of Governors, 88, 113 Whitby, Yorkshire, 51
Macklowe Gallery, New York, 18, 66, 67, 70, 124,
186, 198 The following photographers were specially com-
Metropolitan Museum of Art, New York: missioned to take black-and-white photographs
Whittelsea Fund (1953), 5 for this book.
Whittelsea Fund (1957), 209 Royston J. Dunn, 30, 113, 151, 201, 203
Whittelsea Fund (1959), 222 John Freeman, 63, 84, 87, 120
Whittelsea Fund (1961), 35, 36 Percy Hennell, 22, 56, 191
Bequest of Mary Kellog Hopkins (1945), 71 | Gordon Roberton, A.C. Cooper Ltd., 1, 16, 33,
Milton Weil Collection, Gift of Mrs. Ethel Weil AO Ate did, OO; 100, DIN, 180, 132, 199, eo,
Worgelt (1940), 116, 117, 118, 215 190, 136, 144, 107,108, 101, 193, 211, S29
Gift of Mrs. Robert E. Rose (1967), 119
 lek [el

kashions and Styles

1830-1850

In the year 1830 William IV succeeded to the throne of

England and Louis-Philippe was elected King ofthe French;
their modes of accession were different, but in fact the life-
styles of the two kings were surprisingly similar; both were
conditioned by experience and force of circumstance to
behave without pretension, and dedicated to erasing from
their peoples’ minds the extravagant or otherwsse unsatis-
factory behaviour of their predecessors. William was anxious
to dispense with the coronation ceremony, previously used
as an excuse for lavish expenditure on jewellery, regalia,
and ceremonial clothing, although he was persuaded to go
through with a very modified version of it using the least
possible new regalia and dispensing with the costly Corona-
tion Banquet. Louis-Philippe contented himself with a
procession and a simple ceremony of investiture; during
the whole of his reign a great number of the French crown
jewels, ‘which had been re-assembled and remounted by
Charles X during his own brief reign, lay untouched in
their cases in the Royal Treasury, only to be disinterred by
Napoléon III after his marriage to Eugénie de Montijo
in 1853.
It was natural that the most valuable stones should have
been re-used, and circumstances at the end of the eighteenth
century made it inevitable. As a result of the French Revolu-
tion a vast amount of diamond jewellery belonging to the
aristocratic families of France was sold, much of it in
England, where shrewd men like Philip Rundell, of Rundell
and Bridge, and Mr. Jefferies of Cockspur Street, managed
2 overleaf: Czarina Marie Feo-
to obtain stones at very advantageous prices. The re-
dorovna; this minature by Ivan
establishment of a court in France by Napoléon I had Winberg, dated 1830, shows the
brought an enormous demand for stones, and every available Czarina wearing the traditional
piece of diamond jewellery was broken up and reset in the heavily jewelled kokoshnik head-
newly fashionable neo-classical style. The collapse of the dress.
Empire and»the restoration of the monarchy brought an-
other change in fashion, and the result was further alteration
of all jewellery set with precious stones. 3 opposite: The sister of Czar
The process was to continue throughout the nineteenth Alexander IT, Queen Anna Pav-
century. Only one or two French royal pieces believed to louna of the Netherlands, painted in
be absolutely authentic survive from the Restauration period, Russian dress in 1846; the extrava-
between the First and Second Empires; one or two more gant taste still displayed by some
pieces reputedly the property of members of the Bonaparte European royalty 1s apparent here.

-
 family still exist, but the jewellery belonging to the Empress
Eugénie that was left in France after the collapse of the
Second Empire was sold by order of the Ministére des
Finances in 1887, and the pieces which were smuggled out
to England in the luggage of the Princesse de Metternich
were sold over the years by the Empress herself.
Not all European royal families had been sufficiently un-
nerved by the French Revolution to dispense with lavish
jewellery. Between 1830 and 1832 a number of stones from
the famous Wittelsbach Treasury ruby collection were reset
by Kaspar Rielander, the Munich jeweller, into a parure
consisting of a tiara, necklace, bracelets and brooches for
4 Parure in rubies and diamonds Theresa, wife of Louis I of Bavaria. Rielander also made
made in Munich by Kaspar Rie- for her an elaborate tiara of fine diamonds, which was sold,
lander in 1830 for Queen Theresa of with a number of other Wittelsbach pieces, at Christie’s
Bavaria. il 1931.

16
 5 French fashion plate drawn by
Pierre Numa in 1836, showing hair
‘ ZLB ornaments typical of the ‘Romantic’
rn period.

On the whole, extreme modesty in personal ornament

became the fashion at this period. Portraits of both Queen
Adelaide of England and Queen Marie-Amélie of France
show them wearing either gold jewellery of great simplicity
such as a sautoir (a long chain or bead necklace usually
looped up and secured at the waist-band with a pin or
brooch) and a watch-chatelaine, or no jewellery at all; in
this they were followed by many of their subjects, partic-
ularly the Orleanist supporters in France who rejected the
vulgar, profuse display of precious stones which had
6 Pair of bracelets in gold decorated characterised the social gatherings at the court of Napoléon.
with engraving and translucent en- Marie-Amélie generally wore no jewellery in public. This
amels, the clasps of gold set with would have been a startling departure even for the wife of
diamonds on tour a guillocher a moderately well-to-do landowner let alone the wife of a
enamelling ; made by Rundell and reigning king; it was moreover from discretion rather than
Bridge, 1830. The ciphers are
necessity as she was found, at her death, to have owned
those of King William IV and
seventeen complete parures, many of precious stones.
Queen Adelaide; the bracelets were
given to Mrs. Fitzherbert by the
As with the sporadic attempts in the eighteenth century
King at the time of his accession to to regulate the extravagance of the court and the aristocracy
the throne. by banning or discouraging the use of diamonds, the
necessity to make the most of modest materials stimulated

18
invention in the jewellery trade. French gold jewellery of
the period between 1830 and 1848 is usually very light in
weight, being made up either of stamped and chased
plaques united by delicate chain, or of filigree in elaborate
coils and gold mesh both of which gave an air of substance
to the smallest actual amount of metal. These jewels were
often set with small, coloured stones of little value and
decorated with translucent enamel in jewel-like colours,
and were often quite large in size. Very long earrings and
wide bracelets, fashionable at this time, were perfectly
practicable in these materials as they were not unbearably
heavy.
Both Louis-Philippe and, to an even greater extent,
William IV have been largely ignored in the nomenclature
applied by the historians to styles in the decorative arts.
Only the use of ‘Regency’ and ‘Victorian’ is really recognised
for English styles in the nineteenth century, and the style
of Louis-Philippe is usually lumped together with its
predecessors in the blanket term, ‘Restauration’. This is
hardly fair to a period of considerable innovation, when a
style quite distinct from the classicising styles of around 1800
was evolved and which furthermore does not simply anti-
cipate the rococo and neo-Gothic decorative vocabulary of
the early Victorian period, or the over-rich reinterpretation
of the style Marte- Antoinette which was fashionable during the

sReERS
SSS
Second Empire (1850-1870). The period is sometimes 7 Bracelet of gold mesh and filigree
referred to as the ‘Romantic’ period, which does suit the decorated with gold beads, the clasp
sel with a topaz and turquoises ;
light-hearted, rather eighteenth-century use of exaggerated
English, c. 1630.
Gothic motifs and the very accurately observed botanical
forms, which were used to make delicate flower or ivy-leal
brooches and necklaces. The Viennese excelled at making
a type of very light botanical jewellery from textured and
engraved gold, and by 1840 this had become very fashionable
in Paris. Some of the Viennese and French pieces in this style
are quite large. They were used quite impartially as brooches
or hair ornaments as an extravagant substitute for the real

19
 flowers almost universally worn, in the evening as a corsage
or in the hair, throughout the nineteenth century. English
copies, or versions, of this type of work dating from the
same period and slightly later are usually much smaller
with the flowers often made of tinted ivory or pale coral
and enriched with small coloured stones, either coral or
turquoise being the most frequently used.
The cult of the classical remains of Rome, Pompei and
Herculaneum continued long after the severities of the
true neo-classical style had been supplanted by the more
exuberant Romantic style. Cameos, which, since about
1800, had been absolutely essential adjuncts to the costume
of any woman with pretentions to a fashionable appearance,
remained popular up to 1850 and for at least a further
twenty years; but the latest fashion to originate in Italy was
for mosaic jewellery. This was made from the little mosaic
ornaments showing views of the Roman ruins or copies of
motifs from the frescoes at Herculaneum and Pompeii
which had been uncovered comparatively recently. These,
with the similar intarsia ornaments from Florence which
became popular a little later, were to remain in fashion for
over thirty years. They were first widely worn in the 1820s
and were still being imported into the United States with
other ‘fashionable’ trinkets in the 1850s and 1860s.
With the accession of Queen Victoria in England some
of the excessive caution of the late King was abandoned, and
a more elaborate coronation ceremony was planned, which
involved the resetting and remaking of some of the British
crown jewels. A coronation banquet was planned in the
form of a mediaeval tournament, for which mediaeval dress
would have been worn; this was possibly inspired by the
Quadrille Marie Stuart organised by the Duchesse de Berri in
1829, the first manifestation of the mania for Gothic acces-
sories and ornaments which were to be fashionable all over
Europe until the middle of the century. The Eglinton
Tournament, which took place two years‘later, probably
8 An example of English botanical realised the plans for the coronation banquet with some
jewellery: a naturalistic brooch in fidelity, and also confirmed the fears of the Queen and her
the form of a convolvulus spray in advisors by being immensely expensive. However, the
gold and wory; c. 1840. Queen’s wish to organise a mediaeval entertainment was
eventually fulfilled in 1842 with the ‘Spitalfields Ball’, held
with the admirable intention of benefiting the semi-
moribund Spitalfields silk-weaving industry, for which all
the guests were required to wear Plantagenet costume.
Contemporary reports and pictures reveal the small extent
to which actual Gothic ornaments were used as models for
the jewellery. French experiments with the style cathédrale, a

20
very sculptural style based largely on details of mediaeval g Flower spray in diamonds, c.
On
church architecture, were only just beginning (1839), and T0450.

the Gothic marriage jewellery designed by Pugin, which

was to provide the model for the English mediaeval style,
was not yet made. Most of the jewellery worn at the palace
was in the form of lavish pearl and diamond ornaments with
a few concessions to historical costume in the shape of
elaborate chatelaines and rosaries.
Despite the changes in fashion and the great technical
advances which took place throughout the nineteenth cen-
tury, the design of most diamond jewellery remained much
as it had beea towards the end of the previous century. The
extensive experiments with form and techniques of cutting
and setting in diamond jewellery had preoccupied the
eighteenth-century jeweller almost to the point of excluding
development in other materials like gold. So there was
established a type of ‘perfect’ diamond jewel which was
copied and re-copied throughout at least three-quarters of
the nineteenth century. It is very hard to date the most
 extensively used forms, the bouquet or flower spray, the
star, the bow, or the girandole (the last is the least used in
this period) with any real accuracy.
In the year of the young Queen’s accession (1837), her
grandmother’s diamonds were finally sold by Rundell and
Bridge, in an attempt te liquidate some of the debts incurred
by George IV. But in spite of the dispersal of these valuable
stones, which included the diamonds given to Queen
Charlotte by the Nawab of Arcot, and the surrender after
years of wrangling of the crown jewels claimed by the King
of Hanover (the throne of Hanover had passed to one ofthe
Queen’s uncles, Ernest, Duke of Cumberland, in 1837,
since it could not descend through the female line), the
jewels owned by the Queen, both in the form of crown
jewels and her own private property, added up over the
years to a very magnificent collection. It included the
jewellery from the East India Company’s exhibit at the
Great Exhibition; this the company presented to her in
1851.
Queen Victoria was not in any sense a leader of fashion.
She did not even acquire a crinoline until her visit to Paris
in 1855, and although she was relieved to think she had

10 Naturalistic acorn-spray brooch

in diamonds and emeralds ; English,
Cc. 1850.
presented a sufhciently fashionable appearance to stand
comparison with the intensely sozgnée figure of her hostess,
the French themselves thought her clothes, and particularly
her accessories, very dowdy. But her taste in jewellery had
a considerable effect on the taste of her contemporaries, in
England if not in America at this period, and her passion
for tartan, copied by the intensely Anglophile French
Imperial family, became for a brief time the height of
fashion in France. The Queen’s known preference for
jewellery with sentimental associations made portrait
miniatures, set to wear as brooches, pendants or bracelet
clasps, very popular, and the great extent to which English
widows wore commemorative jewellery in preference to
any other ornament was certainly due to her example in
mourning the Prince Consort so single-mindedly.
A passage in her will lists some of the presents of jewellery
11 Pair of brooches in gold, decor-
given to her by Prince Albert during their marriage, ated with translucent enamels over
beginning with her wedding present, a brooch made of a engraving and set with diamonds
large sapphire surrounded by diamonds, and also a suite and rubies in the form of bouquets of
of jewellery, consisting of a necklace, two brooches and a flowers and leaves. These are typical
pair of earrings of opals and diamonds, which was designed of conventional jewellery of the
by the Prince himself. (The Prince’s passion for opals was period; English (?), c. 1840.

23
12 Portrait sketch of Queen Vic-
toria by Winterhalter, showing the
Queen’s conventional taste.
not shared by his successors. ‘The opals were all replaced
with rubies, those of the main part of the set in 1902 and
the remainder in 1920.) The seven other pieces on the list
were as follows: a bracelet set with a portrait miniature of
Prince Albert by William Essex given to the Queen at
Christmas in 1844; a bracelet of gold and blue enamel set
with portraits of the Queen’s elder children (24 May 1845) ;
a similar bracelet set with portraits of the younger sons
(26 August 1856); a shawl pin in silver and carbuncles,
an exact replica of an ancient Irish brooch 1n the library
of Trinity College, Dublin (Christmas, 1849)—a similar
piece is illustrated [14]; a cairngorm picked up by the
Prince Consort at Loch-na-Gar, 27 September 1848, set
in a ring-pattern Celtic style brooch with garnets and
pearls in blue and white enamel flowers (21 November
1848, probably a more elaborate version of the Celtic

24
brooch illustrated [14]; a brooch made of diamonds,
rubies and sapphires, in the form of the French and English
colours with a Turkish crescent, bound by a Crimean ribbon
(Christmas 1858) ; and lastly, a brooch in the form of Prince
of Wales’s feathers in white enamel, with a coronet of gold
set with small pearls, and banded with a motto on a blue
enamelled riband (10 February 1842).
The two most valuable of these presents, the sapphire
brooch and the opal set, were left by the Queen to the
Crown. Unlike the magnificent jewels, the remaining
pieces, which were left to members of the family, are
surprisingly modest for a royal person; they differ hardly
at all from the kind of things that any reasonably prosperous
nineteenth-century husband would have expected to give
to his wife, and would certainly not have satisfied the more
lavish ambitions of the Veneerings or Mr. Merdle. It was
still customary at this period, when financial circumstances
permitted, to present a bride with a corbeille de mariage, a
jewel-casket containing some, at least, of the jewellery
which her social obligations would make it necessary for
her to wear. Perhaps this would include the basis, in the
form of a brooch and a pair of earrings, of an elaborate
parure, which would be added to on suitable occasions. It
might eventually consist of a tiara and a jewelled comb-
mount, a necklace with a detachable pendant and matching
earrings, one or more brooches, and a pair of bracelets.
The idea of the parure, or large matching set of jewellery,
originated in the early eighteenth century, but the design of
each piece in these early sets was not nearly so carefully 13 Drawing of John Ruskin’s wife
matched as in the later sets, the only uniting factor in some Effie by Millais. She was later to
cases being the use of, predominantly, one or two kinds of become Lady Millais. Compare the
stone. In the nineteenth century the parure became in- ecceniru naturalistic ornaments in
creasingly rationalised with exact replicas of the motifs being the design of the trara, the heavy
necklace and shell-shaped earrings,
repeated in each piece, a manifestation of modern taste
and the armlets in the form of ser-
which was deplored by Mrs. Haweis in The Art of Beauty pents, with the Queen’s more tradi-
(published in 1878), and which she blamed on the increased teonal jewellery.
use of machinery in the jewellery trade. Mary Russell Mit-
ford, writing to a friend in 1806, describes a parure of
amethysts consisting of a necklace, bandeau, tiara, cestus
(girdle), armlets, bracelets, brooches and shoe-knots. To
judge from portraits of this date the set described here
would not have matched in every detail, unlike the garnet
set which dates from 1830-40, or the Florentine pietra dura
set [20] probably made in about 1850.
As well as a set of jewellery designed to be worn on formal
occasions the mid-Victorian lady would almost certainly
have owned a number of very plain gold pieces which were
 worn during the day; matching brooches and earrings;
pairs of bracelets—these were very fashionable in the 1830s
and were often the only jewellery worn in the daytime; a
number of fine gold chains of varying length, some of which
had a practical purpose in holding eyeglasses, fans or muffs;
and a chatelaine, worn suspended from the waistband, which
could carry a watch and various other small useful articles
such as a notebook and pencil, a vinaigrette or a pair of
tiny scissors. An enormous polished steel chatelaine with
long chains from which every manner of useful object is
suspended was made by a Mr. Durham, a Sheffield cutler,
and exhibited in the Great Exhibition in 1851, but it would
already have been rather an anachronism at this date, as
chatelaines went out of fashion in the forties, and were
only revived with the taste for Renaissance ornament in the
1880s.
14 Engraved silver ring brooch, in
the Celtic style, set with Scottish
Stones; C. 1850.

26
 In addition to the simple gold jewellery worn during the 15 Parure consisting of a necklace,
day many women also owned souvenirs of travels in the a brooch, a pair of earrings and a
form of mosaic-set jewellery from Rome, tiny enamelled bracelet; pinchbeck set with pearls
pictures of famous views from Switzerland, and agate- and and carbuncles; English c. 1840.
granite-set pieces from Scotland. Portrait miniatures of The set shows signs of having been
assembled over a period of time.
members of the family set as jewellery were widely worn,
and these would be joined over the years by melancholy
reminders of the passage of time in the form of mourning
jewellery (see p. 56), of which every family seems to have
retained at least one or two pieces. By 1830 men had almost
entirely abandoned the wearing of any very elaborate
jewellery and would probably only have, in addition to
the necessary gold watch, a signet ring, a scarf- or tie-pin
and a couple of fobs. Children were expected to begin
 wearing jewellery at a relatively early age; the girl in The
First Earring, painted by David Wilkie in 1834, appears
to be about eight or nine. She is already wearing a gold
bracelet and will soon have on quite substantial gold
earrings, but children’s jewellery was mostly very simple
throughout the nineteenth century and was virtually
unworn after 1goo.
Queen Victoria’s influence did not at this time extend
greatly to America, where comparatively little jewellery
was worn before the mid-nineteenth century. Until the
American Revolution, English taste had been the dominant
influence, but then for obvious reasons patriotism led
16 Swrss enamelled brooch and ear- many ladies to look elsewhere for their ideas—to France in
rings, probably bought as souvenirs, particular.
showing local landscapes. At this period (i.e. during the 1830s and 1840s) the
jewellery trade in the United States consisted, as in the
eighteenth century, mainly of the manufacture by local
silversmiths of small personal ornaments with some func-

17 The First Earring by David

Wilkie (1834).

28
tional purpose, like buttons, clasps and buckles. This was
supplemented by imports from Europe, good-quality jewel-
lery from Paris, delicate gold costume accessories from
Vienna, and inexpensive low-carat gold or pinchbeck
jewellery from Birmingham in England and Hanau in Ger-
many. Some of these imported pieces were only partly
finished, and were mounted or supplied with chains or
catches, and sometimes marked, in the United States.
Even in the early 1800s American women were, by
European standards, very modestly adorned, and most of
the jewellery they wore was imported. A number of American
firms were established in principal cities, but few relied
solely on jewellery sales for their income. The portrait
painted by Henry Inman of Angelica van Buren (daughter-
in-law of the eighth President) in 1842 (and still in the
White House) is unusual in that the sitter’s dress is much
in the style of the young Queen Victoria—she had recently 18 American gold jewellery: ear-
attended the Queen’s coronation. But generally at this rings and bracelet, 1840-50.
date Americans admired Parisian taste much more than
English. Charles Lewis Tiffany was importing Parisian
jewellery from 1841, but only concentrated on jewellery
manufacture after 1850.
Contrary to popular belief jewellery was very expensive
during almost the whole of the period covered by this hook.
It was not until the 1870s that mass-production of jewellery
in Birmingham began to make any real impression on the
English jewellery trade, and even at this date only the most
19 Many mid-Victorian ladies
owned souvenirs of their travels, such
as these brooches, bracelets, and a
bracelet clasp in gold set with panels
of Roman’ mosaic ; Italian, c. 1850.

20 opposite: Parure consisting of

necklace, pendant, earrings, brooch,
bracelet and studs, in gold decorated
with filigree and set with panels of
Florentine intarsia (pietra dura)
work ; Italian, 1840-50.
 21 This portrait of Queen Victoria
was painted on the occasion of the
first birthday of Arthur, Duke of
Connaught ; in the background Prince
Albert considers the plans for the
Great Exhibition. The Queen is
wearing a version of the popular
tiara russe.

insignificant, cheap and trifling pieces were produced

entirely by machine. The kind of jewellery that was worn
in the evening by ladies of the Court or at fashionable
22 A design for a tiara russe, a social gatherings was still made entirely by hand of precious
shape originating in the Russian materials whose cost, in real terms, would seem surprisingly
court based on the traditional koko- high even today. It was only at the turn of the century that
shnik, from the nineteenth century pieces of some merit, both technically -and from the point
design books of Hennell Limited, of view of the materials employed, began to be produced
now Hennell, Frazer and Haws. very cheaply and in considerable quantities.

BOeese...
:

Bo
 The widespread use of machinery in the manufacture
of jewellery was to reduce the contribution ofthe individual
designer or craftsman to a point where it became too
insignificant to be recorded or used as a selling device by the
retailer. One of the ways in which the period from about
1830 onwards differs so completely from the eighteenth
century 1s in the cult of the individual designer, a revival of
the Renaissance practice which was very appropriate to
the introduction of the neo-Renaissance style into jewellery
design which occurred at about this date (1830-40) and was
to remain a chief source of inspiration for jewellery in the
continuously popular historical revival manner until the
late 1880s and 1890s. The cult of the individual was probably
begun, or at least stimulated, by the many exhibitions
which were mounted during the nineteenth century in an
effort to improve standards in industrial design and to
increase trade. From 1839 onwards trade exhibitions were
held in Paris in a large Palavs de l’Industrie at the Champ de
Mars. It was the eleventh, and last, of these exhibitions
which inspired the first, and probably the most famous, of 23 A tiara russe shown here as il
the great International Exhibitions which occurred in could be worn, as a necklace. An
Britain at regular intervals throughout the period, the example ofexpensive diamond jewel-
Great Exhibition of 1851. lery of the mid-nineteenth century.
1851-187

The mid-Victorian period might well be called the Age of 24 opposite: A portrait of Mme.
Exhibitions, so much did the movement of fashion depend Moitesster by J. A. D. Ingres
on what appeared at the many exhibitions which took place (1856), showing French jewellery
from the Great Exhibition of 1851 onwards. In the illustrated of the type worn in the mid-nine-
catalogues we have an extensive and unusually complete teenth century.
record of the work of nearly all the jewellery firms with
any claim to importance throughout Europe and_ the
United States, the sort of record of designers and makers
that otherwise only exists in the inventories of royal or
aristocratic collections, with the additional bonus of large
numbers of illustrations of reasonable accuracy [26].
Fashions in inexpensive jewellery can be dated with some
accuracy to the dates of publication of these illustrated
catalogues which were widely used for the same purpose
as the pattern books of engraved designs which circulated
in the eighteenth century.
The first main exhibition to take place after 1851 was the
Dublin International Exhibition of 1853. This was followed
two years later by the first French international exhibition,
the Exposition Universelle in Paris in 1855. The holding
of three exhibitions in such quick succession led to a certain
amount of duplication of the exhibits; Queen Victoria
recorded in her diary when she visited the Paris exhibition
that she recognised things she had already seen in London
and in Dublin. In 1862 the second English International
Exhibition took place after a delay of a year caused by the
death of the Prince Consort. Here the Roman jewellers,
the brothers Castellani, exhibited for the first time and
were widely acclaimed; and, even more important from
the point of view of decorative art in Europe, the prints
and ceramics of Japan were put on show, confirming the
interest which had been growing ever since the first Japanese
objects had reached Paris a few years before. Three years
later, in 1865, a second Dublin International Exhibition
was staged, followed as in the previous decade by another
Exposition Universelle in Paris in 1867, at which the
English ‘archaeological’ jewellery was much admired, and
the beautiful Japanese-style cloisonne jewellery made by 25 Detail from a portrait of Miss
Alexis Falize was shown [42]. Laing by Lord Leighton (1854),
Alongside these hitherto relatively unexplored avenues of showing the type ofwide gold brace-
design the magnificent display of the remounted diamantes lel fashionable at that date.
26 Bouquets of brilliants, pearls
and other jewels designed by Lemon-
nier for the Queen of Spain, as illus-
trated in the Official Catalogue
of the 1851 Great Exhibition in France, No, 304, p. 1191, ;
Bouquet, comPoseD OF BRILLIANTS AND PEARLS, AND OTHER JEWELS. LEMONNIER, Paris.
London. Tue Proreaty or Her Masesty THE QUEEN OF SPAIN.

de la Couronne, the crown jewels of France, reassembled and

lavishly reset for the Empress Eugénie by order of Napoléon
III, must have appeared rather conventional. They were
largely designed in the ‘revived’ eighteenth-century taste, the
style Marie-Antoinetle; while this style was possibly not the
height of fashion during the first half of the nineteenth
century, it was continuously used for this kind of grand
precious jewellery from the 1780s until at least the early
years of the present century. The task of remaking all the
jewellery for the Empress was so great that no less than
eight firms were employed asjoailliers de la Couronne during
the Second Empire. They were Maison Bapst, Lemonnier
[27], Kramer, Mellerio, Baugrand (a firm much favoured
by the Empress, which was acquired by Ernest Vever on
the death of the owner in 1870) [225], Ouzille-Lemoine,
Viette, and Fester. The large number of these jewels which
remained in Paris after the fall of the Empire in 1870 were
appropriated by the government and finally sold by order
of the Ministére des Finances in 1887. The illustrated
catalogue of the sale provides a valuable insight into the
appearance of the type of jewellery considered suitable for
the fashionable grande tenue in the second half of the nine-
teenth century.
Four South Kensington International Exhibitions fol-
lowed, in 1871, 1872, 1873 and 1874. Serious critical
interest in them had by this date visibly diminished with the
increasingly commercial nature of what was shown, and
the effect on current taste was less marked. The catalogues
remain, however, good indicators of stylistic trends, the
preponderance of neo-Renaissance and ‘Egyptian’-style
jewels reflecting their popularity with the general public.
In 1872 Howell and James, a large commercial firm which
sold jewellery among other things, showed jewellery in the
Renaissance manner designed by Matthew Digby-Wyatt
and Charles Eastlake. The latter was also the author of
ints on Household Taste and other books on decoration
highly influential in America, which actually inspired a
whole range of furniture designs in the ‘Eastlake’ style.
T. and J. Bragg of Birmingham showed ‘Egyptian’ jewellery
designed by the Birmingham painter, Walter Langley, in
the same year.
In 1873 a Universal Exhibition was held in Vienna, and
in 1876 the first International Exhibition was held in
America, the Philadelphia Centennial Exposition. This is
widely regarded as a crucial date for the decorative art
movement in America, when dependence on European
ideas and inspiration began to diminish, and a sense Ol a
separate American cultural identity began to emerge. In 27 Brooch made by Lemonnier for
1878 yet another Exposition Universelle took place in Paris, the marriage ofthe Empress Eugéme.
The largest pearl known as ‘La
which established the reputations of a number of designers
Régente’ came from the French crown
who were to dominate the jewellery scene in Paris during
jewels.
the last quarter of the century, among them Lucien Falize,
Jules Debat (for Boucheron) and Eugéne Fontenay. After
this none of the exhibitions attracted any serious critical
Ss)~I
 attention for many years. Reports completely lack the
excitement of the earlier years, until the turn of the century
when the 1900 Exposition in Paris, through the startling
nature of the Art Nouveau objects on show, attracted the
attention of the press throughout the world
The Great Exhibition of 1851 had afforded craftsmen and
manufacturers of nearly all the countries of Europe, and
the small contingent from the United States of America
(who were actually showing no jewellery), the opportunity
to make comparisons and take stock of achievements. In
many cases this opportunity was to be the occasion of some
unpleasant surprises. The English at least were forced to
recognise the superiority of the French taste, though they
could regard with some complacency the inferior work-
manship of their rivals.
The cumulative effect of the jewellery displayed at the
exhibition must have been magnificent. Some of the more
lavish separate collections were individually of great value
(even if this was exaggerated in many cases), and the value
of the whole display must have been enormous. Although
many of the styles shown were not absolutely new, in that
they had first been used some years before, they were cer-
tainly new to many of the visitors who flocked to the Crystal
Palace. Both neo-Renaissance and Gothic-style jewellery
had been made in France since the very end of the 1830s,
and Pugin’s celebrated marriage jewellery [218] had been
designed in 1846 and made in 1847; but the Exhibition (at
28 Emerald and diamond tiara which Pugin’s jewellery was shown) afforded the first oppor-
which can be converted into a neck- tunity for many people of seeing these historical revival
lace, or separated to form brooches; styles actually in use. It is significant that the fashion in
English, c. 1860. England for Gothic and mediaeval-style jewellery, in spite

38
 29 Drawings in pencil and water-
colour of medieval-style bracelets
es
Srom the stockbooks of 7. Hardman
and Co. ; 1860-70.

of mediaevalising social occasions like the Eglinton tourna-

ment and the Spitalfields Ball, dates from the mid-1850s
and not from the time ten years earlier when they were first
fashionable in France.
The same is true of the ‘archaeological’ jewels first shown
by the Castellanis in 1862; although F. P. Castellani claimed
to have been making copies of antique jewellery [32] since
1826 the fashion for jewellery inspired by the work of
the Greek and Etruscan goldsmiths of the Classical period 30 Design in pencil and water-
was at its height in the 1870s. The re-opening ofthe Castellani colour for medveval-style bracelets by
workshops in Rome in 1858 must have made a considerable William Burges.

DE ay bacrdhe
AA bons
Cte Wanton, ae
PAI. oe
 stir, because by June 1859 Punch was already publishing an
imaginary account of a visit to the shop by an impressionable
young girl. Although intended to be humorous, this pas-
sage tells us a great deal. It is in the form of an imaginary
letter from ‘Mabel’ to her mother, and is entitled ‘letter
from A Young Lady. on the High Classical School of
Ornament’.

‘... My great object in Rome is to go, the very first

thing, to that dear, delightful, interesting shop,
CASTELLANTI’S, in the via Poli, where, Imogen says,
you have nothing to do but to lay down scudi enough,
in order to be made perfectly classical in appearance
and style. Only think of that! Everything there is taken
exactly from the antique, so that you are quite safe in
choosing whatever you like, and cannot go wrong.
‘By the way, Imogen says, it is just as well to take a
look at the Etruscan Room in the Campana Museum
when you have a spare hour, that you may satisfactorily
judge for yourself what perfect copies CASTELLANIT’S
ornaments are. Imogen’s jewel-casket contains two or
three handsome Bullas, one set with stones of lapis-
lazuli, one with rubies, and all with those charming
devices in raised gold letters, AEI, PAX, LUX, VIS,
&c., &c. Also an immensely thick and massive gold
circlet for the throat, in exact imitation of the cord
round the neck of the dying gladiator— Etruscan arm-
lets and fibulae of every possible pattern and device,
rings for every day of the week with the name of the
appropriate god engraved on each (as Saturn for
Saturday, &c.), and as for Greek daggers and Roman
pins for the hair, they are innumerable!
‘Imogen, however, confided to me (and I am sure
I am committing no breach of trust in imparting it all
to you, dear), that the only drawback to her classical
arrangements is her very small and diminutive stature.
You know she has hitherto always rather piqued her-
self on her “‘fairy-like proportions’’, but on this occasion
she has found them very inadequate to the massive,
heavy, not to say ponderous, style of ornament, which
it seems, a classical costume requires. Between our-
selves, she confessed to me, that the weight of her
Bullas, and her gladiator’s necklace is positively dis-
tressing to the collar-bones; that her hair is visibly
diminished since she took to wearing Greek daggers
and Roman pins, both of which are so pretty and so
antique, that she is unable to give a preference to

40
 either, and thus is obliged to wear both at once; and
even now (although it is some months since she under-
went the operation of being bored), her poor little ears
suffer martyrdom with the weight of her favourite ear-
rings—exquisite flying figures of Victory which are
supposed to be constantly whispering joyful tidings of
new conquests...’

The earrings mentioned in the last sentence must have been

just the same as the ones illustrated [32] which are indeed
both quite large and rather heavy. The drawing which
accompanies the passage in Punch reproduced here [33],
though cruel, is very informative, and 1s one of the very few
pictures of a Victorian woman wearing this kind of classical
jewellery.
C. L. Eastlake says in Hints on Household Taste (1868), ‘It
is a well-known fact that chaste and well-designed objects
of jewellery—such as those, for instance, which have been
reproduced from antique example—will not sell in the
English market. There is a demand for rare and expensive
gems, and a ceaseless demand for showy designs, provided
they are novel; but for that exquisite school of the goldsmith’s
art which Castellani has laboured to revive in Rome, there
is little popular appreciation in this country.’ This was not
strictly true as the Earl of Dudley had, in the previous year.
bought a gold diadem shown by Castellani at the Exposition
in Paris for the then considerable sum of £1,000, and English
travellers in Italy did shop from the Castellani workshop
and from the many other firms which made similar ‘archaeo-
logical’ jewellery. Eastlake condemns specifically the more

31 Examples ofinexpensive English

gold jewellery, made in Birmingham,
in the Etruscan taste.

0 tg Pes 3

oe So te
Pe ~ f

Zz,ee Gide ee

41
 32 opposite: Group of jewellery in
gold in the ‘archeological’ style by
Castellani; top, circular pendant
decorated with blue enamel ; centre,
set ofbrooch and earrings with pen-
dant ‘winged Victories’, c. 1860;
below, gold gem-set bracelet in the
Italian medieval style, c. 1870.

33 The drawing accompanying

Mabel’s letter to her mother in
Punch, June 1859 (see p. 40).

34 Brooch in gold decorated with

wire filigree, the centre pavé-set with
lurquotses.

A YOUNG LADY ON THE HIGH CLASSICAL SCHOOL OF

ORNAMENT.

expensive manufacturers, claiming that they have been

surpassed in taste by their cheaper colleagues. He goes on,
‘...I say expressly of expensive jewellery, that we shall look
vainly for improvement in design for that which is of
moderate price and exposed in ordinary shop windows is
often in far better taste. The best examples are either directly
copied or partially imitated from modern Roman work,
the design of which is chiefly based on antique precedent. . . . ‘

Bracelets, brooches, necklaces (with pendants in the form /

/
Al
of ancient bulla), earrings, armlets, &c., of this kind may )
i
Wd
now be bought in many of the shops in Regent Street and NT
0
j
Oxford Street.’ It is perfectly true that a considerable i
1;
’
quantity of inexpensive gold jewellery in the ‘Etruscan’ ‘
i
style was made in England, much of it in Birmingham, and
N
‘
a number of such pieces are illustrated, but it seems in-
excusable in a man with opportunities to compare these EE
eee

with the work of the Italian goldsmiths to claim that they

are really of the same quality either technically or artistically.
 Eastlake was subsequently to be proved wrong, and
archacological-style jewellery, particularly the less rigorously
antique in design like the stone-set and enamelled work of
Castellani and Carlo Giuliano, became very fashionable,
and remained so until almost the turn of the century.
It is sometimes difficult to remember how very different
was the balance of commercial power in the mid-nineteenth
century. The enormous size of the now vanished Austro-
Hungarian Empire made the still partially undeveloped
United States look small and unimportant in terms of world
trade, which was really what the Great Exhibition and all
the subsequent similar International Exhibitions were all
about. In 1851 no jewellery was shown from America, in
contrast with the large and enormously valuable exhibits
from France, England, Russia and India. But there was
already a hint of what the vast natural resources of the
United States would later provide, in the solid gold tea-
service made of gold from the recently (1848) discovered
sources in California. Very little jewellery was, at this date,
manufactured in America, most of the fashionable society
women still preferring to shop in Paris, or to buy jewellery
and clothes imported from France or (less desirable) England.
Mrs. George Bancroft, wife of the American Minister to
England (1844-1848), wrote in Letters from England, “Their
manners are perfectly simple and I entirely forget, except
their historic names fall upon my ear, that I am with the
proud aristocracy of England. The forms of society and the
standard of dress are very like ours except that a duchess or
a countess has more hereditary point lace and diamonds.’
Lady Stuart Wortley confirms this view of the highly
‘Europeanised’ aspect of American social life, saying in
Travels in the United States,‘ . . . Crowds of carriages, private
and public, are to be seen in Broadway, passing and re-
passing every moment, filled with ladies beautifully dressed
in the most elaborate Parisian toilets.’ When Tiffany first
opened his shop in New York he sold jewellery and ‘novelties’
imported from Paris and Vienna, and continued to buy in
Paris, from firms like Boucheron, well into the 1870s. Other
jewellery shops throughout the United States were, as can
35 An American design for a pen- be seen from advertisements which appeared in fashion
dant showing the influence of the magazines and newspapers, importing inexpensive jewellery
English jewellery exported from in considerable quantities from London and Birmingham,
Birmingham. and, while they remained fashionable, traditional and local
ornaments in mosaic or coral from Rome and Naples. The
commercial dangers of supplying the whole of the demand
for jewellery by this large-scale and indiscriminate impor-
tation of foreign goods, some of rather indifferent quality,

44
 were early understood by the government, and a fairly
heavy duty was imposed on ‘imported jewellery in 1850.
From this date the manufacture of cheap, fashionable orna-
ments began to increase in the traditional silversmithing
centres in America, but the number employed in this trade
remained very small compared with the large workforce
employed by the English jewellery trade in Birmingham.
The two main American centres for the manufacture of
jewellery on a commercial scale during the nineteenth
century were Newark in New Jersey, and Providence, Rhode
Island. Records of the trade begin in both centres in the
early years of the century, in 1801 in Newark, and in 1810 36 Another American pendant de-
in Providence when there were 100 workmen employed in sign; cf. the example opposite.
the manufacture of jewellery in the town. By 1876 ‘nearly $

;
3
2,000’ men and women were employed in the trade in
f j
Providence, and records in 1880 show that 2,163 wage- £
{
earners were absorbed by the jewellery trade in Newark. {
Whereas in England, even the jet industry in Whitby alone
employed nearly 1,500 at the height ofits prosperity and in
the years between 1866 and 1886 the number employed by
the jewellery trade in Birmingham rose from 7,500 to 14,000.
In spite of this huge discrepancy in numbers employed,
highly organised mass-production enabled the American
manufacturers to export enough jewellery, and at com-
petitive enough prices, to threaten seriously the prosperity of
the Birmingham manufacturers. The result was to force the
trade in England to increase mechanisation in all the manu-
facturing processes. The huge natural resources in their own
country gave the American jewellers a further advantage,
and by the last quarter of the nineteenth century American
manufacturers were exporting the type of jewellery which
had previously been imported.
L. C. Tiffany claimed that he had been the first designer
to persuade the Americans that their native products in the
form of luxurious and expensive pieces of jewellery were
the equal of, if not superior to, those made in Paris. It is
true that rich Americans had become, certainly by the end
of the Second Empire if not before, the most valued customers
of the Parisian manufacturers of all kinds of luxury goods;
but a number of quite distinctive styles in jewellery had
been evolved for fashionable American ladies from the
1860s onwards, for instance the large and elaborately gold-
mounted tortoiseshell combs, and the stylish gold jewellery
decorated with engraving and ‘blooming’ and rococo or
classical patterns in black and white enamel, to name only
two examples. American manufacturers had also been very
quick to see the possibilities of the Japonaiserte designs, based
 on the newly discovered decorative art of Japan, partly no
doubt from a feeling of pride in the achievement of the
American Commander. Perry who had been instrumental
in opening up trade with Japan for the first time since
the seventeenth century. But the real sense of their artistic
identity, in the decorative arts at least, seems to date from
the great Centennial Exposition in Philadelphia which took
place in 1876. For the first time American manufacturers
37 Ring in silver set witha sapphire, were competing with their European rivals on their own
made by Tiffany and Co., c. 1890. ground. The need to evolve a purely American personality,
independent of the enervating admiration for European,
and particularly Parisian, styles in the design of personal
ornaments as well as furniture, ceramics and glass, became
a first priority with American artists and designers. The
following years were to reduce American dependence on
European guidance to a lower level than ever before.

38 Two gold bracelets decorated

with black enamel, one set with
pearls; they are both of American
manufacture ;c. 1870.

aeye
Sa
PE
EO
ae
FS.
ORK
WE

GE
She
=
AE
Wye=Ros
*

39 opposite: Necklace, pendant and

earrings, showing diamonds alter-
nating with enamelled gold links in
the neo-Renaissance taste; made by
Tiffany and Co., 1880-90.

46
 The oriental influence on jewellery styles was an important
feature of this period, and not just in America. From the
late 1850s when Japan first resumed trade with the western
world until at least the early years of the present century,
jewellery designers were fascinated with the decorative art
and craft techniques of the East, particularly Japan. The
two decades before this had already seen a number of
tentative attempts to incorporate eastern motifs into the
mainstream of European taste, at this period primarily
obsessed with romantic historical revivals. This modified
eastern style used the Hispano-Moresque decorative pat-
terns, probably mostly taken from Owen Jones’s book on
Moorish pattern-making (Plans, Elevations, Sections and
Details of the Alhambra) published in 1842, to decorate the
settings of jewellery which was otherwise entirely western in
style. In the 1840s and 1850s the French produced a number
of pieces in the ‘Algerian’ style which were very similar to
the Hispano-Moresque pieces; Sir Austen Layard’s dis-
covery of Nineveh prompted the use of decorative motifs
taken from ancient Assyrian sculpture or goldsmiths’ work,
of which the horned ram’s head is the most persistently
recurring. These designs also used the eastern motifs within
a completely western framework and, with the exception of
the goldwork for which some attempt at research into
ancient methods was made, the techniques used were also
resolutely European and modern. With the spread ofinterest
in Japanese decorative arts and crafts, the situation was
completely changed and Japanese metalworking and
enamelling techniques were studied carefully by any
jeweller with any pretensions to working in the Japonaiserie
style. One of the first and most successful adaptations of

40 Both this bracelet, in silver with

coloured decoration, and the pendant
on the opposite page [41] show a
strong Oriental influence.

48
 41 Engraved silver pendant decor-
ated with a bird and a butterfly, each
in a different-coloured gold.

Japanese methods to be used for jewellery in Europe was

the cloisonné enamelling [123] which the French enamellists
made their special province (see p. 123) [142], though a
bracelet made by the London firm of Hunt and Roskell to
go with a set of jewellery by Falize proves that the English
were perfectly capable of producing work ofa similar quality
to the French. Jewellery designers in England and the
United States were, from the beginning, more interested in
the mixed-metal techniques at which the Japanese craftsmen
excelled.
When the wearing of the Samurai sword was banned from
the 1860s onwards many of the metalworkers who had made
the beautifully decorated sword furniture turned to supply-
ing the newly opened western market with small pieces of
decorative metalwork in the same techniques and style of
decoration; these were mounted in Europe as jewellery
[43]. This Japanese work was copied by jewellery firms at
every level: from Tiffany in America, whose experiments in
these Japanese techniques were prompted by Edward
Moore’s interest in Japanese art (see p. 223) and probably
carried out by the Japanese craftsmen employed by them,
to the mass-production workshops in Birmingham, England

49
 42 opposite: Necklace and earrings
in gold, decorated on both sides with
cloisonné enamels in the Japanese
taste, made by Alexis Falize in
1867. The earrings are marked with
the maker’s mark and the Paris
Assay Office mark for gold. Bought
in Paris in 1867 by H. F. Makins
for his wife Kezia, second daughter
offohn Hunt of Hunt and Roskell.

43 Group of brooches and earrings

in the Japanese taste: top, oblong
plaque of Japanese shakudo,
mounted in gold in England, c.
1870, centre, three gold brooches,
one with earrings en suite, decor-
ated with Japanese-style motifs in
coloured gold, English 1670-60;
bottom, pierced silver fan-shaped
brooch decorated with coloured gold
in the Japanese taste, English c.
1880.
44 Silver pendant in the shape of a
butterfly and set with amethysts, de-
signed and made in 1901 by Edgar
Simpson ;an example ofthe Oriental
influence at a later date.

which turned out a large quantity of silver jewellery during

the 1870s and 1880s inlaid with Japonaiserie decoration in
coloured gold (or copper and various alloys of metal less
valuable than silver). This latter practice was against the
assay laws in England but the work was probably done by
Japanese craftsmen employed by English concerns who
may — perhaps wilfully—have misunderstood the law. Much
of this Japanese-style ornament, especially that used in the
inexpensive silver jewellery, is taken practically unaltered
from the Japanese metalwork. The repertoire is somewhat
restricted, clinging to the more obvious and popular decor-

52
ative craftwork which was at this time (i.e. from the 1860s
onwards) being imported into Europe and America on a
large scale. Designs included the familiar branches of prunus
blossom, with or without birds on them, the clumps of
bamboo with a rather bored-looking stork standing beside
them, the rather bloated fish of some unidentifiable species
weaving its way through stylised waves, and fans held by or
decorated with male or female oriental figures with in-
scrutable expressions.
Though Japanese taste had the most widespread effect
on European and American taste and fashion, one should
not underestimate the influence of both Indian and ancient
Egyptian art on nineteenth-century jewellery design.
Egyptian-style jewellery, like Assyrian- and Etruscan-style
work, was really more a manifestation of the archaeological
revival and, since very little attempt was made to revive the
complex ancient methods used by the Egyptians to colour
their jewellery with inlays of coloured compounds, glass
and polished stones, the goldsmiths’ techniques were in
almost every respect identical to those used for mid-
nineteenth-century neo-classical jewellery. Some of the
‘Egyptian’ jewellery is set with real ancient scarabs rather
than modern hardstone imitations. From the point of view
45 Pearl chain, gold and enamel
gem-sel pendant by Giuliano, c.
1890, showing Indian influence.

oo
 of the collector of nineteenth-century jewellery, this had the
effect of raising the price quite artificially, and a piece con-
taining a valuable scarab which is otherwise quite undistin-
guished will almost certainly cost far more than a piece of
fine nineteenth-century goldsmiths’ work.
Curiously enough,: considering the close ties between
Britain and India, and the long years of trading between
the two countries, Indian taste made far less impression on
nineteenth-century fashion than did the Japanese. Indian
motifs were incorporated into jewellery designs, but it is
much more usual to find small pieces of Indian work mounted
in Europe without alteration; these were presumably re-
46 Necklace, bracelet and two pairs
garded as charming but undistinguished curiosities. Anglo-
of earrings in gold with filigree and
granulated decoration in the Etrus- Indians usually showed a profound indifference, tempered
can style; Italian 1860-70. This with faint distaste, for Indian work and where they were
set of jewellery was bought in lucky enough to come into possession of pieces set with
Italy in the late nineteenth century valuable stones, these were almost always broken up and
by Estelle Canziant, the painter. reset.

of
 47 Pendant and earrings in gold
decorated with filigree and set with
‘Roman’ mosaic plaques in the
Egyptian style ; Italian, 1870-60.

Indian goldsmiths and jewellers possessed a fatal facility

for copying European work and all the energies of the
European settlersin India seem to have been bent on per-
fecting the Indian craftsmen’s mastery of western techniques
to the impoverishment of the native abilities and creativity.
Towards the end ofthe nineteenth century the aesthetes who
had popularised the Japanese style became enthusiastic about
native Indian jewellery, which became quite fashionable
for a period, particularly after Queen Victoria became
Empress of India in 1878; but the characteristic Mogul
techniques of inlaying gems into jade, the delicate enamel-
work from Delhi and Jaipur, and the pavé-set turquoise
and gold jewellery from Madras were not imitated on a
commercial scale in the same way as the Japanese work
had been.
 No account of the jewellery worn on both sides of the
Atlantic in the mid-Victorian period would be complete
without reference to the very Victorian phenomena of
mourning and sentimental jewellery.
Observance of mourning was less important on the conti-
nent of Europe than in America or Britain. In America the
tradition of mourning tended to persist longer than else-
where, but it was based on the conventions observed in
Britain. These were strict and usually rigidly followed, down
to the smallest detail.
It is hardly likely that the members of the English Court,
plunged into deepest black by the death of some distant
member of the Royal Family quite unknown to them were
always displaying their true feelings. But nevertheless court
mournings were so frequent and so rigorously observed
during the whole Victorian period that it was considered
unwise to go on any journey with the Royal Family without
the complete mourning equipage of dress and ornaments.
These periods of mourning were absolutely dreaded by the
ladies of the Court. The length of time varied considerably,
from quite a brief mourning of three weeks for a second
cousin, which was sometimes not observed at all, to the two
years of full mourning followed by six months of half
mourning demanded by convention of the widow.
““*.. most thankful I shall be to see you with a couple
o’ pounds worth less of crape,”’ said Tantrippe, stooping to
light the fire. ““There’s a reason in mourning, as I’ve always
said; and three folds at the bottom of your skirt and a plain
quilling in your bonnet—and if ever anybody looked like
an angel, it’s you in net quilling—is what’s consistent for
a second year. At least that’s my thinking,’ ended Tantrippe,
looking anxiously at the fire; ‘‘and if anyone was to marry
me flattering himself as I should wear those hijeous weepers
two years for him, he’d be deceived by his own vanity,
that’s all.’ This passage from Middlemarch gives a wealth
of information about nineteenth-century mourning eti-
quette, and indicates a fairly robust and untypical frankness
about the burden of wearing unbecoming clothes for such
a very long period of time. Though Middlemarch was pub-
lished in the 1870s when observance ofthe strictest mourning
practices was at its height, the action is set in 1831, when a
more unsentimental attitude towards at least the outward
show was common. From the death of the Prince Consort
in 1861 until nearly the turn of the century the strict obser-
48 This scarf pin was issued in vance of mourning etiquette, particularly for a widow,
memory of President Lincoln after became widespread. Queen Victoria, though only forty-two
his assassination in 1865. at the time of her husband’s death, did not consider the

56
possibility of leaving off her mourning at any time; she
imagined that any widow with proper feelings would feel
the way she did, and she regarded the remarriage of widows
as a wholly improper act. This rigid and unbending attitude
on the part of the Queen greatly increased the wearing of
mourning jewellery, and it is clear that many widows wore
memorial brooches in preference to anything else for the
rest of their lives.
On the whole, mourning, memorial, sentimental or com-
memorative jewellery was not very exciting or innovatory,
rarely attracting the attentions of the designers who did so
much to form the taste of the nineteenth century. Notable
49 Whole suites of jewellery were
made from the hair of dead loved
ones; shown here are a necklace of
openwork beads and a_ pendant
cross made of blond human hair
and fastened with a gilt clasp
(English, 1830-50), and a gold
pendant enamelled in black, opening
to show panels decorated with hair
(English, 1870s).

oT
 exceptions are the pieces of marriage jewellery designed by
Pugin for his intended third wife, which were subsequently
shown at the Great Exhibition in 1851 [218] and the
marriage jewellery designed by Burges for Lord and Lady
Bute in 1872. These sets of jewellery which, like the French
presentation pieces designed by F.-D. Froment-Meurice
were in the neo-Gothic style, were widely copied in England
for a type of quasi-ecclesiastical jewellery of the kind made
by Hardman’s of Birmingham, some of which was certainly
designed as memorial jewellery with compartments for hair
and space for initials.
The form and ornamentation of all kinds of sentimental
jewellery altered only slightly from the 1830s until the end
50 Group of English mourning of the century, using a restricted repertoire of symbolic
brooches and a pendant; the three designs carried out in an equally restricted range of materials
centre brooches have date inscrip- which have been connected with the idea of jewellery of
tions, top 1831, centre 1854 and sentiment since the seventeenth century. These included the
1646. ubiquitous lock of hair; pearls, which are the symbol of
tears; and black, in the form ofjet, onyx or enamel, as the
symbol of mourning. The Victorian cult of hair grew to
almost manic proportions, and whole suites of jewellery
were made from the hair of a parent, a deceased husband,
wife or betrothed. These comprised a necklace with a
pendant cross, a brooch in the form ofa lovers’ knot, earrings,
and bracelets of plaited hair with clasps in the form of
miniatures backed with more hair, all mounted in gold.
Hairwork of great elaboration was shown by Messrs. Forrer
of Hanover Square at the Great Exhibition in 1851, but it
was considered very dangerous to entrust the work of
making up pieces of hairwork jewellery to some soulless
commercial concern since there was a danger that hair
other than that of the person to be commemorated might
be used. Books of instructions existed to enable women to
make their own hairwork jewellery (see, for instance, A
Jewellers Book of Patterns in Hairwork by William Halford
and Charles Young, 1864; or The Lock of Hair by Alexanna
Speight, 1871). Miniatures were often exchanged by en-
gaged couples, as well as being worn as memorial jewellery
in the form of brooches or bracelet clasps. These usually have
a compartment at the back designed to hold a lock of hair.
From the time of her marriage Queen Victoria nearly
always wore a heavy bracelet with a miniature of Prince
Albert in the centre.
For reasons of sentiment or family piety, and also perhaps
because of the low intrinsic value of the materials used in its
construction, a large quantity of nineteenth century com-
memorative and mourning jewellery has survived. and is
now very properly valued and collected for its historical
interest. Mourning jewellery is the best documented of any
type of non-royal jewellery, since many of the pieces bear
dated inscriptions, and the history of them is known, since
they are often retained by a member of the family for whom
they were made in the first place. It is ironical that this body
of well-documented material should be of so little use with
the dating of other types of fashionable nineteenth-century 51 Necklace and pendant in matt
pieces. and polished, carved jet, English, c.
Despite the doleful connotations of jet and other black 1870.
stone jewellery, the combination of black and gold, either in
the form of jet or onyx combined with gold, or of gold
decorated with black enamelling, became very fashionable
in the 1860s and 1870s. Much American jewellery survives
in this combination of colours, carried out in gold decorated
with engraving and contrasting areas of ‘dead’ or bloomed
gold with burnished gold, set either with onyx or Jet and
further enriched with black enamel in a version of tavlle
ae)
 @’ épargne in bands of quasi-rococo or neo-classical ornament.
This type of jewellery appears to have been popular over a
long period of years, a number of pieces bearing dated
inscriptions (which suggest that these at least may have had
some sentimental or commemorative purpose) range in date
from the 1840s until the late 1880s. These pieces are very
like contemporary French or English commercial produc-
tions which were imported into the United States in con-
siderable quantities, but they do seem to be unquestionably
of American manufacture, a theory supported in the case
of one or two pieces by the American patent office numbers
which they bear.
Jet was already being recommended for mourning in
1827, but the fashion for jet in preference to the other
permitted materials seems to have begun in 1850, when
Queen Victoria wore a jet parure to a banquet when she
was in mourning for her cousin the Duke of Cambridge.
The demand for jet jewellery created by the Queen’s
example was to stretch the capacity of the industry in
Whitby to its limits. In 1832 there were only two jet work-
shops in the town, employing in all twenty-five workers.
By 1850 there were seven, including that of Thomas Andrews
of New Quay, ‘jet ornament maker to H.M. Queen Victoria’.
in 1870 no less than 1,500 men and women were employed
in the jet workshops. From the late 1860s until the 1880s
there were at least fifteen jet ornament makers in London,
but of these only one claimed to use ‘best hard Whitby
only’! By the 1880s, with the supply already diminishing
rapidly, the demand for jet declined and the industry
died away.
Both ivory and jet were worn primarily as mourning
jewellery but became fashionable during the 1860s and
1870s with the new vogue for colourless ornaments. The
demand for jet was so great that the industry in Whitby
was quite unable to meet it and a great deal of so-called jet
jewellery is in fact made from French jet (1.e. black glass),
or the soft Spanish jet from Galicia. It was the low quality
of much of the work produced in these materials which led
to the decline in the popularity of jet. These formerly des-
pised productions of the nineteenth century are, like
memorial jewellery, now widely collected, and the best-
quality work, which is very finely carved in minute detail,
is now both scarce and expensive.
Perhaps the most interesting, and artistically satisfactory,
of the mourning and sentimental jewellery of the nineteenth
52 Three carved jet brooches, two century is the ring. In the first place these are almost without
polished and one unpolished. exception (the exception being, in the author’s view, the

60
very delicate black and gold enamelled snake brooches,
but these are certainly not to everybody’s taste) the most
wearable of all types of sentimental jewellery, and the range
of designs used is far greater than in brooches or lockets.
Ring lore is very complicated and the design of most rings,
with the exception of those used simply as a vehicle for fine
large stones, has some sentimental significance, beginning
with the ring shape itself which is the symbol of eternity.
The form of ‘Fede’ ring (from the Italian ‘Mane in Fede’)
with the symbol of the clasped hands, found in Roman rings
of the second and third centuries B.c., has been used con-
tinuously since mediaeval times, and very delicate examples
were made during the nineteenth century, this style being
particularly popular in the period c. 1825-1840. These ‘Fede’
rings were often made in the form of a ‘Gimmel’ ring in two
parts which fit together to symbolise the relationship be-
tween two people, and have a heart, or heart-shaped stone,
between the two clasped hands. Other rings bear semi-
cryptic inscriptions, including the word ‘Mizpah’ (from the
passage in Genesis, “The Lord watch between me and thee
when we are absent one from another’) which was popular
in the 1860s and 1870s, or the letters A E I, from the Greek
word meaning ‘forever’. The initial letters of the names of
the gems with which the ring is set sometimes spelt out a
message or a name, as in the ‘REGARD’ rings which were
traditionally given at the birth of the first child. These rings
and other pieces of sentimental jewellery with inscriptions
of this kind were far more popular in England than on the
continent, and on the rare occasions when French firms
made such pieces the inscriptions were often in English.
Princess Mathilde owned a bangle in black enamel with the
word ‘Remember’ spelled out in diamonds on it. ‘These were
probably a manifestation of the great mania in France during
the 1860s for English things, which also brought the dbzjoux
sports and bijoux hippiques into fashion, rather than strictly 53 A photograph of Princess
sentimental pieces, but the use of the English word seems Augusta of Schleswig-Holstein-
to indicate that this type of commemorative jewellery was Augustenberg, the wife of Kavser
one of the few contributions made by English jewellers to Wilhelm II, taken in the 1890s;
high fashion, a distinction usually reserved for the French, she is wearing a mourning necklace
and to a lesser extent, the Italians. of jel beads.
1376-1914

Any account of jewellery design in the late-Victorian and

Edwardian periods is almost bound to dwell dispropor-
tionately on the work of the Arts and Crafts Movement in
England and America, the Art Nouveau designers in France
and Belgium and the designers connected with the Jugendstil
in Germany and Austria. As far as the development of
fashionable taste is concerned these movements, with the
exception of the Art Nouveau work produced in France, are
of minimal importance. Certain commercial firms, notably
Liberty’s in London and Unger Bros. in the States, produced
jewellery based on Art Nouveau and Arts and Crafts forms,
rationalised and simplified for mass-production, and this
became very popular at the turn of the century. However,
the general trend in expensive fashionable jewellery con-
tinued on the lines laid down at the end of the eighteenth
century, and followed fairly faithfully ever since. Jewels
were thus largely composed of pearls and diamonds or other
precious stones, elaborately facet-cut to display to best
advantage their colour and internal fire, set in precious
metals, the settings sometimes enriched with coloured 54 ‘Eve’ pendant and chain in red
enamelling, or delicately chased and engraved. While gold set with opals, tourmaline,
‘archaeological’ jewellery, which had been adopted some- pearls, sapphires, diamonds and
what in the spirit of faut de mieux by the ‘aesthetic’ coterie wory, designed and made by
who were later to patronise the Arts and Crafts jewellers, Philippe Wolfers, 1897-1908.
largely ignored the decorative possibilities of precious stones,
it was nevertheless technically very sophisticated and made
of fine gold. 55 opposite: Portrait of Mrs.
The end of the eighteenth century and the first half of the Bischoffsheem by Millats ; the sitter
nineteenth saw the development of some of the technically is wearing a heavy Renaissance-
most sophisticated jewellers’ work to be attempted since style pendant and earrings.

56 Design for a diamond necklace

very sumilar to that worn by Queen
Alexandra [57] from the nine-
leenth-century design books of Hen-
nell Limited, now Hennell, Frazer
and Haws.

63
 57 Queen Alexandra photographed
in 1883 when she was Princess of
Wales; she epitomised the rich,
fashionable woman of her day, un-
affected by the ideals of the Arts and
Crafts movement.
the Greek and Roman periods. Even Cellini admitted that
to his chagrin he had been unable to achieve the charac-
teristic granulation found on Etruscan goldwork, that which
Castellani and his imitators managed to copy with some
success. The expertise needed for the most complicated
work was very great, and this led to a hitherto unknown
degree of specialisation in the trade. The result was that
 four or five men might be involved in the production of one
piece of jewellery. The names of the separate artists and
craftsmen concerned in making some of the elaborate neo-
Renaissance pieces designed by Alphonse Fouquet in the
late 1870s and 1880s are recorded. They include for instance
in the case of the grande chatelaine Bianca Capello the sculptor
Carrier Belleuse, the enamellist Grandhomme, and the
ciseleur Honoré, as well as the designer Fouquet himself. It is
not surprising that the name of the ciseleur, i.e. the chaser
and engraver, is given, as well as the sculptor; this branch
of the art of the goldsmith was much more highly regarded 58 Thegrande chatelaine Bianca
in France than elsewhere. A period of training with a Capello, designed by Alphonse
ciseleur was accepted as an essential part of the jeweller’s Fouquet and made in 1878. The
apprenticeship. Fouquet, had himself been trained by the design is also wlustrated[134].
famous French ciseleur Jules Chaise (1807-1870), who also
took Frédéric Boucheron as an apprentice. Two of Bou-
cheron’s craftsmen, Louis Rault and Jules Brateau, who
became admired ciseleurs with their own workshops at the
turn of the century, were trained by the other well-known
mid-nineteenth-century chaser and engraver, Honoré-
Séverin Bourdoncle (1823-1893), who did the work on the
Fouquet chatelaine and other Fouquet pieces. It is certainly
this insistence on the importance of the engraver that gives
French goldsmiths’ work the stylish and refined finish that
was so much admired during the nineteenth century.
This necessary specialisation was widely deplored by such
influential critics as John Ruskin and William Morris, who
tirelessly campaigned for the return to what they believed
to be the mediaeval workshop practice of entrusting the
whole of the work on a piece of jewellery, including the
design and all the manufacturing processes, to the hands
of one man, preferably an artist. The favourite examples
cited in support of this ideal were Botticelli and Francia,
both of whom are known to have trained as goldsmiths, and
who are believed to have made pieces of jewellery. It is
significant that neither Ruskin nor Morris, nor indeed other
adherents to this idea such as Charles Eastlake and Oscar
Wilde, had any actual experience of goldsmith’s work or
jewellery making.
William Morris trained as an architect in the office of
G. E. Street where he met Philip Webb, one of his associates
in the firm of Morris and Co. (founded in 1861) which was
to prove widely influential on the decorative art of the
second half of the nineteenth century. Morris’s great repu-
tation as a craftsman has led to every kind of craft revival
object being attributed to him, either as a designer or manu-
facturer. Wide though his capabilities were, he was not
able to encompass more than a limited number oftechniques 59 opposite: Necktace with five
and it seems that he never experimented with making pendants in enamelled gold set with
jewellery. The design of one piece is credited to him, how- pearls in the manner and tech-
ever: it was a necklace made by Margaret Awdry and nique of John Brogden; 1870-80.
exhibited at the Grafton Galleries in 1906. It is interesting to compare this with
the Japanese-style necklace by
The craft revival jewellers of the turn of the century who
Falize [42].
were inspired by these ideals were hampered at every turn
by their lack of sophisticated technical knowledge. Charles
Ricketts, who designed a number of pieces ofjewellery for
his friends, is known to have been highly dissatisfied with
them once they were actually made up, probably because
his lack of technical knowledge meant that he was ignorant
of both the possibilities and the limitations of working with
precious stones and metals. 60 Gold pendant set with emeralds,
As the craft jewellers were to discover, largely through a Sapphires, moonstones and garnets
process of trial and error rather than through the long designed and made by the craft-
professional training which was required on the continent, revival jeweller Fohn Paul Cooper,
it was actually possible to acquire a sufficiently professional c. 1910. The pendant is shown
standard of technique for working in metals and enamels to with two preparatory designs by
make products saleable without formal instruction of any him.
 kind. But even in their chosen field of working mainly in
silver and enamels set with plainly polished stones, the
standard of work generally fell below that maintained by
most nineteenth-century commercial firms. The incredible
technical facility of thescommercial craftsmen, particularly
those working in gold and silver, had by the middle of the
century come to be taken for granted. It is not unusual to
find highly professional technique being spoken of dis-
paragingly as of no importance, and it was in this climate of
opinion that the craft revival flourished in England and
in the United States. The products of these artist-craftsmen
were greeted with sympathetic appreciation, largely be-
cause the ideas of artistic and social reform proposed by
Morris and Ruskin had already begun to make a con-
siderable impression on a number ofpeople whose consciences
were not entirely clear, particularly in the matter of the
scandalous conditions of work in the factories where much
of the inexpensive decorative work of the period was
produced. Whatever the ideals of the early supporters of
the Arts and Crafts movement may have been, the in-
61 Design in pencil and water- escapable fact remains that the commercially most successful
colour for necklace and pendant, by of the many craft jewellery ventures that were set up at the
Arthur Gaskin. turn of the century were the largely mass-production
operations master-minded by shrewd businessmen like
Arthur Liberty, William Hutton, William Comyns and
Charles Horner, using the well-tried machinery of the
Birmingham and Sheffield workshops, which had earlier
been called despairingly by Pugin ‘those inexhaustible mines
of bad taste’. Whatever else the idealism of the craft
62 Sketches by Ricketts to show
three views of a pendant, from a
sketchbook dated 1899.

63 opposite: Three necklaces made

by Gaskin for members of the Gere
Samily, c. 1904.

68
69
64 opposite: Portrait of Mme.
Adele Bloch-Bauer, by Gustav
Klimt (1907). The minutely realis-
ttc painting of the ‘dog collar’ neck-
lace and the bracelets contrasts
strangely with the stylized dress and
background.

65 Designs for plaques de cou

(these were elaborately worked cen-
tral sections of the ‘dog collar
necklace) by Colonna; c. 1900.
This style was made fashionable by
the then Princess Alexandra whose
neck was:scarred by an operation.
 revivalists produced in the way of ideas for easily imitated
and cheaply manufactured silverware and jewellery, their
refusal to be bound by the conventional value-orientated
assessment of the jewel’s artistic worth enabled them to
demonstrate the remarkably rich effects which could be
obtained with very inexpensive materials. Both French and
English designers at the end of the nineteenth century were
experimenting with unusual combinations of heavily flawed
or unevenly coloured stones; they used materials of no
intrinsic value, like horn, and glass, all enriched with

66 Two rings: the upper, black

opal, enamelled gold, and diamonds,
c. 1899; the lower, emerald scarab,
enamelled gold, diamonds, and
rubies, actually dated 1899; and a
black opal and enamelled gold pea-
cock-feather pendant, c. 1899; all
by Marcus and Co.
enamelling; or the newly fashionable colourless materials
like silver with moonstones and mother-of-pearl. The
buckles, waist-clasps and cloak-clasps which were widely
worn in this period show particularly well the use of silver-
smithing techniques in the manufacture of jewellery, and it
is this re-thinking of the function of silver in jewellery
design—formerly used as a cheap and unsatisfactory sub-
stitute for gold—which brought silver back into fashion.
Silver was widely used for jewellery in the 1840s and
again in the late 1860s and 1870s (coinciding with the
commercial exploitation of the rich ‘Comstock Lode’ which
 i

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i :
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7
a
i
4

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¢
¢

67 American necklace and pendant

in green enamel on gold, set with
blister pearls ; made by Marcus and
Go. (2), possibly from a Tiffany
Studios design. The piece is very
close to English craft-revival style.

73
 "a ~ SET
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was discovered in 1860), but by the 1890s it was regarded 68 opposite: Fewellery in gold and
with horror by fashionable women. Mrs. Gereth, in The Spoils silver, set with turquoises and moon-
of Poynton, by Henry James, speaks of her son’s future ‘lones and decorated with enamel,
mother-in-law whom she loathed and despised, as being the 4 by Liberty and Co., 1900-10.
type of woman to wear silver jewellery. The great extent to
which craft-revival jewellery was copied, both commercially
and by innumerable semi-amateur silversmiths up and down
the country both in Britain and in America, gives an idea
of how popular it became in the early years of the present
century. On the whole this experimental work was widely
commended by contemporary critics, but even the Ari
Journal and the Studio, generally staunch supporters of the
Arts and Crafts movement, occasionally sound a warning
note of criticism. In 1901, reporting on the Glasgow Inter-
national Exhibition, the Art Journal critic wrote: ‘Among
women’s work jewellery appears to take, considering the
small size of the objects, a rather conspicuous place. It is
mainly in silver, not as a rule wrought with the delicacy
which it is polite to attribute to the fingers of the delicate
sex. The impression it conveys is, rather, how easily the
modern craftswoman is satisfied, as well in the matter of
design as of workmanship. The first effect of the work is
pretty enough—a welcome change, it would be, from the
trade types, were it not that it falls too readily into a
mannerism ofits own which ceases, at last, to be interesting.
Enamel, upon which great reliance is placed, gives scope
for characteristically beautiful colour and is often distributed
with taste but the more one looks at the buttons, clasps,
plaques, pendants and so forth, the more one is disposed to
resent the carelessness (or is it incompetence?) of the
workmanship.
“There was a need for the protest of modern craftsmenand 69 Bow brooch in diamonds and
craftswomen against trade jewellery; but it is a pity that — sapphires, advertised in the Johnson,
many of them have yet so much to learn from the trade Walker and Tolhurst catalogue, c.
workman they look down on, who, for his part, is not 1999: priced al £24. It Oe with
entirely without reason when he looks down on them.’ oe oe oe Oe HOES
This serious criticism of the technical abilities of the craft phire Syndicate mine in Montana.
jeweller, voiced by many other commentators on other
occasions, can be taken to be directed mainly at the many
completely untrained student or amateur exhibitors: the
well-established workshops who relied on selling their
products to keep going were forced to attain a reasonably
professional standard of workmanship if they were to remain
in business. By 1901, the date of the comments quoted above,
a considerable number of these workshops, or Guilds, had
already been set up. Examples were the Art Workers’ Guild
in 1885, the Guild of Handicraft in 1887, the Arts and
i (Sy)
 Crafts Exhibition Society in 1888, and many others in
Britain. In America the Philadelphia Centennial Exposition
in 1876 had been the starting point for a whole spate of
native artistic activity, beginning in 1879 with the establish-
ment of L. C. Tiffany’s interior-decorating workshop,
Associated Artists, which was quickly followed by a number
of craft revival workshops including the Art Workers’
Guild in Providence (established in the mid-1880s), the
Chalk and Chisel Club in Minneapolis (1895, changed to
The Minneapolis Arts and Crafts Society in .1899), the
Boston Arts and Crafts Society and the Cicago Arts and
Crafts Society (both established in 1897), and the Guild of
Arts and Crafts of New York (set up in 1900). In both
70 Three American Art Nouveau Germany and Austria a similar wave of artistic activity was
brooches; top, by Unger Brothers, sweeping across the country, the Vereinigten Werkstatte
above by Kerr, below by Gorham. were founded in Munich in 1897, and the Grand Duke of
All are examples ofAmerican mass- Hesse’s artists’ colony was set up in Darmstadt in 1899. The
production. Vienna Secession Movement dates from 1897, and this was
followed in 1903 by the setting up of the famous Wiener
Werkstatte.
With the exception of the Art Workers’ Guild, which is
still in existence, the Wiener Werkstatte was one of the
longest lasting of these ventures, closing down only in
1937. Founded by Josef Hoffmann and Koloman Moser in
imitation of C. R. Ashbee’s Guild of Handicraft, the work-
shops avoided the pitfall of failing to maintain an acceptable
technical standard of work, by employing professionally
qualified craftsmen to carry out the designs supplied by
the artists associated with the venture. The craft ethic, so
enthusiastically embraced in Britain and the United States,
was quite alien to continental taste. Almost without
exception French and Belgian jewellery designers connected

76
with the Art Nouveau movement were either professional
jewellers themselves or were employed by professional firms
whose standards were maintained by rigorous training in
both the craft and, as often as not, fine art as well. Criticisms
of English or American craft jewellery often contain a
reference to René Lalique, whose work, though widely re-
garded as unpleasantly decadent, was recognised as being
of superb technical quality. This is true of most of the other
Art Nouveau jewellers, who also, while being prepared to
make experiments with hitherto neglected materials, often 71 An enamelled gold chain set
used fine precious stones in their pieces, a practice almost with pearls and diamonds, designed
completely abandoned by the English craft jewellers in by René Lalique in 1g00. It is
protest against materialist standards of judgement. In fact, interesting to compare this highly
when Arthur Gaskin was commissioned to make a piece sophisticated French work with the
which was to be set with diamonds he had to find a special drawing by Arthur Gaskin [61].

V7
78
place to lock them up in since his workshop had no safe, 72 opposite: René Lalique’s draw-
or even a cupboard with a good lock. He had never felt the ing for the pendant illustrated below.
need of one.
The whole of the period covered in this book is very well
documented ; by exhibition catalogues, by the large number
of illustrated periodicals which were published in the
nineteenth century, and, in the case of French jewellery,
by the publication between 1904 and 1908 of the standard
work on the period, La byouterie francaise au X1Xiéme siécle, by
Henri Vever, which was written when a large number of
the important designers and craftsmen of the second half of
the nineteenth century were still alive. Because of this mass
of documentary material it is possible to attribute accurately
a large number ofsurviving pieces to individual designers, or
at least to particular firms or workshops. It becomes tempting
to try and attribute the remaining unrecorded pieces, and a
great cult of names has grown up, particularly around the
work of the later period. A brief study of the volumes of the
Studio or the Art Journal show how impractical this is, since
they record a vast number of names about whom little or
nothing is known, but who were obviously competent and
prolific workers. A large amount of student work was pro-
duced every year in the many art schools which ran a
metalworking course. There were also a number of small
one-man workshops up and down the country, the names of
whose owners are not even recorded and whose unidenti-
fiable marks are to be found on small pieces of jewellery
which turn up from time to time. These workshops were run
on a poor financial basis and often closed after a relatively
short time, like that of one immigrant Polish silversmith
who made jewellery in silver and enamel, working in
London in the period before the First World War, and who
died of malnutrition in 1914. Under these circumstances, it
is wise to be wary of either making or accepting attributions
to particular artists without some reliable evidence, and to 73 Enamelled gold pendant with
judge jewellery by the best standards of artistic quality and baroque pearl, made by Lalique for
good workmanship. Calouste Gulbenkian, c. 1900.

74 overleaf: Gold, coral and pearl

necklace in the Etruscan style by
Giacinlo Melillo (1645-1915), a
pupil and imitator of Castellani; c.
1880.

pS)
 ran 12

Materials, lechniques
and Marks
Materials

This was a time of enquiry and exploration, of improved

communications, and the discovery of new resources; all of
which affected jewellery of the period, not least in the use
of materials. At a time of economic expansion, jewellery
output increased to meet new demand, and the discovery
of vast new sources of precious metals and stones was timely.
Victorian women everywhere were gifted with amazing
intellectual curiosity; this embraced geology, and explains
the interest in stones of primarily geological, rather than
necessarily great monetary, value. Mrs. John Sandford,
writing of Woman in her Social and Domestic Character (c. 1837)
says ‘... her very boudoir breathes an academic air. Its
decorations are sufficient to proclaim her character; its
shelves are filled with books of every tongue; its tables are
strewn with the apparatus of science; the casket ofjewels is
displaced for the cabinet of stones, the hammer and alembic
occupy the stand allotted for the work-box.’
Stones are traditionally divided into ‘precious’ and ‘sem1-
precious’; diamond, ruby, emerald, sapphire and pearl are 76 A piece of Baltic amber, con-
generally regarded as ‘precious’, while amethyst, aqua- laining a trapped spider and grass-
marine, topaz, tourmaline, peridot, zircon, garnet, and all hopper, mounted as a pendant in the
the other stones commanding a lower price than the precious nineteenth century.
stones, are all ‘semi-precious’ stones. This is usually regarded
as a dubious distinction since absence of flaws and depth
of colour are both important in determining price, and this

76 opposite: Pendant cross set with

variously coloured sapphires, zircon,
spinel, cairngorm and amethyst,
within a border of small rose-cut
diamonds.

77 A contemporary illustration of
an English brooch by Ellis and
Son ofExeter, who specialised in the
use of local stones.

83
 classification is now used as a guide to the status traditionally
accorded to these materials. The precious metals most
widely used in the nineteenth century were gold and silver,
with various non-precious metals like aluminium, copper,
bronze and steel being tsed mainly for ornamental pieces.
Space does not permit here an exhaustive technical account;
the aim is simply to indicate very briefly the range of
materials available to the jeweller of this period, and the
most typical uses to which they were put. :

78 Brooch by Ellis and Son of

Exeter set with possibly local agates.
The pin includes a safety device
which was patented by the firm.

Agate see Quartz

Alexandrite see Chrysoberyl

Amber
Amber is the fossilised resin of a prehistoric pine, pale-
yellow or rust-coloured. It is found mainly in East Prussia—
and occasionally on the sea-bed elsewhere. It was usually
made into plain, polished, round or facet-cut beads and as
a necklace was fashionable among the ‘aesthetes’ of the
1870s and 1880s. Inclusions trapped inside—such as a fly
or lichen—were highly prized. Pieces containing them were
mounted as polished pendants or brooches in their natural
shape. Stresses produced artificially or by working the stone
can produce a ‘sun-spangled’ effect. Reddish-brown Sicilian
amber from the Simeto river was much prized in this
period.

84
Amethyst see Quartz
Aquamarine see Beryl
Aventurine see Quartz

Beryl: Emerald and Aquamarine

Emerald and aquamarine are varieties of beryl. Emerald
ranges from dark bluish-green to an almost colourless pallor;
dark velvet-green emeralds are most prized. There are
imitations—‘Brazilian’ emerald (green tourmaline),
‘Oriental’ emerald (green sapphire), or ‘Ural’ emerald
(green demantoid garnet). Glass pastes are also used. Egypt,
Colombia, Brazil and the Ural mountains (where emeralds
were first found in 1830) are the main sources. Only the
rare unflawed stones were used in expensive pieces (often
combined with diamonds), except by ‘archaeological’ de-
signers like Castellani and Giuliano, who used the flawed
stones which were also used as beads at the turn of the
century, for the interesting effects of colour and texture.
Combined with gem-set and enamelled gold settings they
were used, like rubies and sapphires, in the neo-Gothic
jewellery (1850s) and Renaissance-revival jewellery (1870s
and 1880s). 79 Aquamarine pendant earrings,
Aquamarine ranges from clear sky-blue (most prized) to c. 1900, set in gold with pearls.
an almost colourless slate. Unflawed aquamarine is more
common than unflawed emerald. The large stones are most
often found as the centre ofa ring with a simple open-backed
setting.

Bog-oak sec Aken

Cairngorm see Quartz

Chrysoberyl and Spinel

Chrysoberyls are green, greenish-yellow (most popular in
this period), and pale brown. ‘Alexandrite’ (found on
Alexander of Russia’s birthday in 1830) is grass-green by
daylight, pinkish red by artificial light. “Cat’s-eye’, when
cut en cabochon, shows a streak of light in the interior. This
optical effect is known as ‘chatoyancy’. Chrysoberyl cat’s-
eye is known simply as ‘cat’s-eye’, and is not to be confused
 with ‘quartz cat’s-eye’, ‘sapphire cat’s-eye’, etc. Spinels are
ruby-red (occasionally known thus as ‘Balas ruby’), or
sapphire-blue, brownish-red, pinkish-red, violet-blue, purple
and mauve. Except for the cat’s eye, chrysoberyls and spinels
were in the nineteenth century usually cut in a mixed cut,
the top half like a brilliant, the lower half in a trap cut.

Chrysolite: Peridot and Olivine

Peridots are dark leek-green, and were fashionable in the
late-nineteenth century. They were popular with the Arts
and Crafts designers, and with firms such as Liberty’s and
Murrle, Bennett. The olive-green olivine was similarly used.
They are varieties of chrysolite, known as such in its
yellowish variety, also popular at the turn of the century.

Chrysophrase see Quartz

Citrine see Quartz

80 Brooch in highly chased gold set

with a large sapphire and eight
rubtes.

Coral
Coral is mainly found in the waters off Algiers, Tunisia,
Sicily, Naples, Sardinia, Corsica, Japan and Malaysia. The
nineteenth-century industry centred on Italy. The colours

86
 81 Coral parure made in Paris in
1838.

82 Pendant in gold, decorated with

champleve enamels and set with a
large oval carbuncle (garnet cut en
cabochon), in the ‘Holbeinesque’
taste; English, c. 1870.

range trom pure white (bianco) through shades of pink (pelle

@angelo, rosa pallido and rosa vivo) red (rosso, rosso scuro
and arciscuro). Beads, cameos or small ornaments were made
with primitive tools. The palest varieties were often used
to make flower petals for gold and enamelled botanical
jewellery. Branch coral (in its natural shape) tiaras were
popular in the 1850s and 1860s. Coral was popular through-
out the century in Europe, but most fashionable between
1830 and 1860; coral pieces were imported into America
well into the 1880s. It was often combined with turquoises
and half-pearls in simple gold brooches and bracelets. Coral
was supposed to ward off evil spirits—all Italian children
were given coral necklaces or amulets at birth—and a
small piece of coral jewellery was the traditional present
from a godparent.

87
 Cornelian see Quartz

Corundum: Ruby and Sapphire

Ruby and sapphire are varieties of corundum, red and blue
respectively. Purple, yellow and white sapphires are also
known but less desirable. Both are found in Siam, sapphires
also in Ceylon and Montana, U.S.A. (discovered there in
1895). They were popular throughout the century, less so
in the 1860s and 1870s when coloured jewellery was un-
fashionable. They were usually facet-cut and combined with
diamonds in expensive pieces, or cabochon-cut and set in
gold with enamel in the neo-Gothic or ‘Holbein’-style
jewellery fashionable in England in the 1850s and 1860s.
Both stones sometimes show ‘asterism’—the optical effect
of a six-pointed star—when cut en cabochon. Where there is
only one ray of light (as distinct from three) a ‘corundum
cat’s-eye’ is the result.

Diamond
Diamonds were fashionable everywhere throughout the
whole of the nineteenth century and their popularity sur-
vived both the movement towards unostentatious jewellery
in the 1830s and the views of the influential artistic coterie
at the turn of the century, by whom they were regarded as
vulgarly ostentatious. They are used for every kind of
jewellery where the design is intended to give prominence
to the stone rather than the setting.
Diamond is the hardest and most highly prized precious
stone. By 1800 Indian deposits were virtually exhausted;
but the Brazilian mines still produced stones throughout
the nineteenth century. American and Russian finds were
made, but without commercial significance, and work on
all of them virtually ceased except in Arkansas. The year
1868 saw the discovery of the great South African deposits
which produced spectacular stones—e.g. the Star of South
Africa (1869), the Tiffany (1878), the Victoria, or Great
83 Pendant cross set with diamonds, White (1884), the Excelsior (1893) and the Jubilee (1895).
c. 1850. The Cullinan, the largest ever recovered, was found in the
Transvaal in 1905.
Diamond hardness is expressed as 10 on the Mohs scale,
and other stones are related to it. Attempts to make artificial
diamonds were made in this period; results are unsatis-
factory even today. Ways of ‘improving’ diamonds were

88
tried—for example, backing with blue wax or varnish to
simulate the best blue-white colour. There are elaborate
tests for carat-weight, clarity and cut. Nineteenth-century
imitations included white varieties of sapphire, zircon, topaz
or beryl, alone, covered with a layer of diamonds (a
‘doublet’), or sandwiched between two layers (a ‘triplet’).
Colourless crystal and glass paste were also used. Real and
imitation stones were sometimes mixed. In practice an
expert opinion is the only safe guide to the collector.

Emerald see Beryl

Feldspar: Moonstone, Sunstone and

Labradorite
Moonstone, sunstone and labradorite are the varieties of
feldspar commonly found in jewellery. Moonstone is nearly
colourless with a slight milky sheen, and in some lights
displays a bluish tinge. It is cut en cabochon, and was popular
with the English and American craft jewellers. Sunstone,
like aventurine quartz, appears spangled, due to haemetite
af ?
° <
% >} anu
ea soe

84 Arts and Crafts necklace set

wilh moonstones and pearls, 1g00-
TO.

89
85 opposite: Fringe necklace in 86 below: Gold jewellery in the
gold, by Robert Phillips, c. 1860; ‘archaeological’ style; two fringe
pendant in enamelled gold set with necklaces, one set with cabochon-cut
cabochon-cut sapphires with three sapphires, and a pendant decorated
pendant pearls, by Carlo Doria, c. with enamels, made by Carlo
1870. Giuliano, c. 1870.
 or other inclusions. Hence, sometimes, the term ‘aventurine
feldspar’. It was used like the quartz, and also for small
aPaty carvings designed for rings. Labradorite, greyish by daylight,
&
&.
ee
can show a fleeting display of colour, but was rarely used
* tne
*
% for jewellery. .
#
A,
s
tw

Fluorspar (‘Blue-John’)
‘Blue-John’ (from a corruption of the French bleu-jaune) is
purple fluorspar; found in Derbyshire, England, it was used
to a limited extent in a similar way to Scottish agates and
granites, and for inlaid work similar to ‘Florentine’ intarsia
(See (p> 126),

Garnet
The usable, clear stones prized in the nineteenth century
came primarily from Ceylon, Brazil and Bohemia. The
blood-red pyrope is the best-known variety; it is found in
Bohemian-work, which used star- or flower-shaped clusters
of the small Bohemian stones. The violet almandine garnet
was widely used, usually as a ‘carbuncle’ (garnet cut en
cabochon) in the centre of brooches or pendants [82], or
cut in a heart shape for rings or the centre of a cross. The
hessonite, or cinnamon-stone, is greenish-yellow (sometimes
87 Labradorite scarab pendant,
imitated in the East by polished fragments of Coca-Cola
1900-10.
bottles!) ;the demantoid garnet ranges from deep emerald
green to pale yellow (sometimes known as ‘Uralian emeraid’);
spessartine is a red variety found also in the United States,
and these stones are used as an inexpensive substitute for
rubies and emeralds in neo-Gothic and Renaissance-revival
pieces.

Glass
Glass is best known in its use for paste imitations (see
p. 101), but was also used as a jewellers’ material in its own
right. Venetian glass-bead jewellery was rich and varied,
but little survives. The Venetian beads were often combined
with gold in combs, earrings, brooches and_ necklaces.
Major exponents of glass jewellery were Lalique, who
finally took up glass-making exclusively, and Tiffany, whose
‘Favrile’ glass scarabs were often used for jewellery in the
‘Etruscan’ taste.

92
 88 Garnet and coloured-gold grape
necklace and earrings; French,
1830-40.

Gold
Apart from its function as a setting for precious stones, and
a vehicle for enamel work, gold was used, alone or in
combination, for some of the best nineteenth-century work,
 e.g. Castellani’s ‘archaeological’ jewellery, and Fabergé’s
revival of eighteenth-century trois- and quatre-couleurs work
which was similarly technically demanding. There were
various sources: as with diamonds the traditional sources
were almost worked out by the early nineteenth century,
but gold had been discoyered in California and in Australia
in the mid-century; and in 1884 it was discovered in the
Transvaal. South Africa became the main producer. It is
usually discovered in association with silver (and was in
this combination thought to be a different metal, ‘electrum’),
or mercury; it does not oxidise, and is highly malleable.
Pure gold is too ductile for use in jewellery; it is used in
89 Three wory brooches and a pair combination with other metals, and the gold content is
of earrings; French or Swiss, c. expressed in carats. Pure gold is bright, pale yellow, and
1850. jewellery (particularly oriental) was often given a final pure
gold wash to improve the colour. Copper added gives red
or pink gold, but silver is usually also added to this for ease
of working. Nickel or nickel and zinc added give white gold
(today produced by the addition of 10% palladium, a form
of platinum). The permissibility of g-carat gold in England
from 1854 rendered substitutes such as pinchbeck un-
go Enamelled gold brooch set with necessary thereafter, although filled-gold (rolled-gold)
lapis lazuli; Carlo Giuliano, c. American jewellery was made throughout this period.
188o. English assay laws were in fact the most rigorous, but
broadly the same standards of quality were applied else-
where. The stamped imitation repoussé settings of cheap
‘rococo-revival’ jewellery fashionable in the 1860s were
sometimes filled with a compound to give weight and
appearance to pieces made with the thinnest possible metal.
From the beginning of the period the French tried mech-
anical gold-working—stamped Empire links and settings
are more successful than later attempts; French Empire and
Restoration attempts at cheap ‘Etruscan’ granulation of
‘Gothic’ filigree lack the quality of the best Italian models
of the same period, which were the result of much hard work
and research.

Horn
Horn was used at the turn of the twentieth century as an
g1 opposite: Group of pearl alternative to tortoiseshell. Lalique’s example was followed
jewellery set with pearls, half- by Gaillard, who fully exploited the material’s colouring.
pearls, and diamonds ; English, It became very fashionable in the early 1900s, much of the
1880-90. work being carried out by Japanese craftsmen in Paris.

of
g2 Horn hair-ornament by René
Lalique.

Iron see Paste etc.

Ivory
Ivory is the material obtained from mammoth tusks or
teeth. Like amber, it became a symbol of‘aesthetic’ protest
against extravagance in jewellery. Most ivory jewellery is
in the form of miniature sculptures or carvings. In the early
1800s the traditional ivory-carving industry in Dieppe,
France was revived, but died out by the mid-century. The
Swiss too specialised in delicate carving—for example crosses
elaborately wreathed in flowers or ivy, and hands holding
bouquets. Lalique, Wolfers, and the English sculptor
Richard Garbe were responsible for a revival in its use at
the turn of the century.*Much commercial Art Nouveau
jewellery used ivory, usually carved in low relief with one
of the motifs then fashionable, like the female head sur-
rounded by flowing hair.

Jet and Bog-oak

Jet is a black fossilised variety of brown coal found mainly
around Whitby, Yorkshire, England, and Galicia, Spain.
It was used in this period mainly for mourning jewellery.

96
Bog-oak is a hard, black, fossilised wood, found mainly in
Ireland buried in bogs. In jewellery it is found in much the
same applications asjet, and in some specifically Irish celtic
pieces as well. Much Irish jewellery was made on a ‘cottage-
industry’ basis, hence perhaps the variable quality of much
of the work.

Lapis lazuli
Lapis lazuli is an opaque blue stone ranging from greenish-
blue to purple-blue, dark-blue being the most desirable.
Iron pyrite inclusions usually appear as bright gold specks.
Afghanistan is the principal and traditional source; a paler
variety comes from the Chilean Andes. In this period it
was frequentiy used in neo-classical and Egyptian revival
jewellery, and in inlaid work and intarsia panels. It is most
effective with gold, but craft-revival designers in England
and America combined it with silver. Stained jasper served
as an Imitation, known as ‘Swiss’ or ‘German’ lapis. Some
rather garish imitations were made from glass containing
spangles of copper crystals.

Labradorite see Feldspar

Malachite
Malachite is a stalagmite copper ore with characteristic
circular banding due to the crystal formation; it ranges from
dark (foncée) green through ordinaire and claire to light
(pale), green, similar to ‘Queen Anne’ green. Pieces of
malachite were most often used as low-relief cameos, en
cabochon, or as beads. Although widely distributed, malachite
was in fairly short supply since the principal sources are in 93 Three-coloured gold bracelet set
the Ural mountains; the production of the famous Nizhnu- with malachite; French, 1830-40.
As
aa 3 ey
Tagilsk and Mednorndiansk mines were once the preroga- 94 opposite: Necklace and pendant,
tive of the Russian Imperial family. It was discovered in sulver partly gilt and set with
Australia in about 1850, and thereafter became more plenti- amethysts and mother-of-pearl ; cf.
ful. After 1850 some inexpensive pieces were produced from the necklace by Bernard Cuzner
slightly convex pieces inlaid into silver or silver-gilt, or with [164]; English, c. rgoo.
long cylindrical, hexagonal, or octagonal beads. Unlike the
earlier cameo work, the quality is rarely high. It was
occasionally used as the surround of the delicate Italian
mosaic fashionable from 1830 to 1860, and in round gold
‘Etruscan’ brooches. Before the great influence of Fabergé,
the stone was best exploited by the Italians.

Marquisite see Paste etc.

Moonstone see Feldspar
Moss-agate see Quartz
Olivine see Chrysolite
Onyx see Quartz

95 Brooch and earrings in gold set

with artificially coloured chalcedony.
Much of the cutting and colouring of
agates was done during the nine-
teenth century at Idar-Oberstein in
Germany.

Opals
The paler opals were often undervalued in the nineteenth
century because they were held to be ‘unlucky’. Untl they
were discovered in the mid-nineteenth century in Australia,
99
96 Set ofthree brooches ; the smaller the main source of the stone was Hungary. Hungarian stones
paw has been converted to earrings. have a milky-white background to a display of red, blue
They are ofgold set with opals and -and green fire. Yellow or pinky-red ‘fire’ opals were mined
small diamonds; English, c. 1890. in Mexico from 1835. The stones were extensively used at
the end of the nineteenth century particularly by French
Art Nouveau and English craft jewellers. Cameos cut in
opal became popular briefly at the turn of the century.
Black opals (first discovered in Australia in the 1860s) used
for cravat pins and lace pins are cut nearly flat to give a
97 Two buckles and a chain with a broad display of fire; these require special care as they are
pendant cross in the Gothic style; easily scratched, and constant repolishing wears away the
made ofBerlin iron, c. 1850. stone.

100
acveqe tee! Irons’ Pinchbeck and
Marquisite
These were all essentially substitute materials, but except
for pinchbeck, acquired their own styles and techniques.
By 180 interest in them had declined, although all were
used until about 1850. Pastes were used throughout the
century.
Paste (or sometimes ‘strass’) was developed in the early
eighteenth century by G. F. Stras (sic), the French court
jeweller. It could be faceted and polished, and enhanced
od
by foil, or in the early nineteenth century mirror, backing. sd
Steel and iron jewellery had become unfashionable by ee
‘
1830, although a large steel chatelaine appeared at the
1851 Great Exhibition (it is now in the Victoria and Albert
i
—es
;EY
8a?
D HY
nes
ES

g8 Silver brooch set with pastes;

English, c. 1850.

99 Marquisite necklace with links

in the shape ofshamrocks and a pen-
dant Irish harp; a bracelet, brooch
and earrings complete the set; made
by Messrs. Goggin ofDublin.

IOI
 Museum, London), and steel jewellery was manufactured
throughout the century. Iron jewellery production in the
early 1800s centred on Berlin—again, an example was shown
in the Great Exhibition, but little was made after the 1840s.
Pinchbeck (known in Germany as similor), an untarnish-
able imitation gold developed by Christopher Pinchbeck
in the eighteenth century, is an alloy of zinc and copper.
It was widely used up to the 1850s, but was displaced with
the development of other substitutes and the permissibility
in England of an alloy with a lower gold content.
100 Bracelet in gold set with agates,
Marquisite jewellery, often confused with cut-steel work,
smoky quartz and jasper found in
Scotland; made by Mackay, Cun-
is made from iron pyrites (often known as ‘fool’s gold’).
ningham, of Edinburgh, 1848. Marquisite was widely used in the eighteenth century as a
There is a dated inscription on the fashionable substitute for diamond; it was again popular
back of the heart-shaped pendant from the mid-nineteenth century for inexpensive fashionable
which 1s made with a compartment trinkets, the most delicate work being traditionally produced
to contain hair. by the Swiss.

Pearl
Pearls are used unaltered in any way—the skill lies in
matching them. They were among the most valuable stones
until cultured pearls were introduced at the end of the
nineteenth century. Like diamonds, pearls were never really
out of favour during the whole of the century; unlike
diamonds they never seem to have attracted a reputation
for being vulgarly ostentatious. A foreign body causing
irritation in the oyster shell is coated with nacreous substance
to produce either a ‘blister’ or a spherical ‘cyst’ or ‘mantle’
pearl. Silvery-white and gunmetal-coloured ‘black’ pearls
are the most valuable. The rare, irregularly-shaped examples
are known as ‘baroque’ pearls; small examples are produced
by mussels in Scottish rivers—known as ‘Scotch’ pearls,

102
ror Three Celtic-revival ring
brooches in silver, parcel gilt,
chased and engraved. The top and
bottom brooches made by Messrs.
Waterhouse of Dublin, and the
middle one by West of Dublin, all
three are versions of the Celtic ring
brooches shown at the 1851 Great
Exhibition in London (see Art
Journal Illustrated Catalogue,
1851).

103
 popular in Scottish celtic revival jewellery, and in com-
mercial Arts and Crafts-style pieces. Tiny pearls are known
as ‘seed’ pearls; a continuous string threaded onto horsehair
was sometimes worked into delicate flower and leaf shapes,
or used to make hairwork pictures for ‘sentimental’ pieces.
France was the manufacturing centre of ‘Roman’ pearls,
glass imitations coated with scales of the bleak, a fish. These
were deceptive, if fragile. ‘Venice’ pearls were a more robust
imitation, made of an igneous substance, not to be confused
with ‘perles de Venise’, the glass beads made at Murano.
In general, however, imitations were either unsatisfactory
or too expensive.
Pearls are long- lasting if looked after; they crack and
lose their lustre if kept in too dry an atmosphere; acid from
human skin and some cosmetics can corrode them—a
slightly barrel shape sometimes results. If often worn they
should generally be cleaned and restrung every six months.
They can also be damaged by some solvents intended for
cleaning gold and silver.

Peridot see Chrysolite

Pinchbeck see Paste etc.

Platinum
Platinum is the most valuable of the precious metals. Unlike
today, it was rarely used in the nineteenth century for
jewellery. The few examples recorded include mourning
jewellery advertised in 1827, a beautiful platinum and dia-
monds tiara in the form ofa spray of blackberries made by
Fontenay, and a number of diamond pieces of the 1890s.

Pottery and Porcelain

These materials were variously used, but fragile; little has
survived, especially as the settings were usually of low value.
Jasper is a porcellanous stoneware coloured by staining,
introduced by Wedgwood in 1774, often used in delicate
blue, lilac, yellow and green as a ground for white cameo-
like applied decoration in the neo-classical taste. Small
plaques were designed to be set in cut-steel mounts as
jewellery. Some existing cameos were mounted or re-
mounted in lightly engraved gold settings or colourless

104
 102 Three parian brooches; it 1s
interesting lo compare these with the
wory brooches [8g]; English, c.
1860.
pastes in the 1840s and 1850s. Later jasper cameos show a
lack of fine detail.
Parian was a hard white porcelain introduced in 1842, and
mainly used for imitations of popular sculptures. Parian
jewellery was mainly small brooches and bracelet clasps,
cheaper (but fragile) imitations of popular ivory forms such
as wreaths and bunches of flowers.
Belleek is a pearly porcelain with an irridescent glaze,
capable of fine, detailed working. Wares were first shown
at Dublin in 1865; the jewellery, like parian, was mainly in
imitation of ivory forms.
103 Brooch and earrings in gold set
with porcelain enamel plaques ; Eng-
lish, c. 1862.

105
104 opposite: Necklace, bracelets Enamelled porcelain plaques, in the Limoges style (see
and earrings set with topaz; Eng- p. 154), were produced in England by the Worcester factory;
lish, c. 1840. The brooch is made of other plaques used in brooches, earrings and pendants were
chased gold set with topaz and decorated with ‘Etruscan’ or ‘Watteau’ enamels. These
pearl ; French, c. 1850.
were fashionable in the 1850s and 1860s.
Ruskin pottery (produced in West Smethwick, England),
was primarily small circular or oval plaques with mottled
or speckled glazes. It was set in silver or silver-gilt as brooches
or buttons. It was produced from 1898 to 1933, bearing the
impressed mark ‘Ruskin’ or ‘Ruskin Pottery’.

105 Gold necklace in the form of a

snake with ruby eyes; the body is set
with turquoises.

107
 Quartz
Quartz is commonly divided into ‘crystalline’ and ‘crypto-
crystalline’ types, the latter known as ‘chalcedony’. It is
very widely distributed, and has since earliest times ap-
peared almost throughout Europe in local and traditional
jewellery. The types of crystalline quartz most widely used
for nineteenth-century jewellery are amethyst, citrine, rose-
quartz, rock-crystal, cat’s eye and tiger’s-eye, cairngorm
and aventurine. The most commonly used chalcedony types
are banded agates and onyx, sardonyx, cornelian, chryso-
phrase, and moss agate.
Amethyst is the most prized quartz, ranging in colour from
a faint mauve to the most valuable deep purple charac-
terising the ‘Siberian’ amethyst, named after its early
source, and used en cabochon in ecclesiastical and neo-Gothic
jewellery. Large faceted stones are found set with a border

106 Gold cannetille cross set with

yellow agates ;English, c. 18 40.

108
of diamonds or pearls, or, in mid-Victorian rococo style
brooches and pendants, lavishly engraved gold. Late in the
century sources were found in Brazil and Uruguay, and
the value of amethyst dropped. Pale amethysts were widely
used by English craft jewellers in silver and _silver-gilt
jewellery.
Citrine ranges from a light golden to a rich brownish
yellow. It is usually used in the form of round or oval faceted
stones, in the mid-Victorian period in carved or engraved
gold settings; in the 1880s in delicately enamelled brooches
and bracelets; up to 1goo and later in elaborate festoon
necklaces in the much-imitated Giuliano style [194].
True citrine is rare. A type of yellow-brown quartz is often
sold as topaz, but is actually heat-treated amethyst.
Rose-quartz is rare and ranges in colour from strong rose-
pink to nearly white. It is rarely very clear. Cloudy pink
stones were polished for the heads of canes and parasols.
Drop-shaped stones were mounted as pendants. Rose-quartz
is prized for its beautiful colour.
Rock-crystal is colourless quartz, widely distributed in
pieces of all sizes. In the eighteenth century particularly,
but also in the period covered by this book, it was used, like
glass pastes, in designs calling ideally for diamonds. Local
deposits acquired names such as ‘Bristol’ or ‘Bristow dia-
monds’, ‘Rhine diamonds’ etc. They were rose-cut, and
‘mproved’ by foil-backed closed settings until these became
unfashionable. Cabochon-cut stones, carved and coloured
from the back with realistic scenes, are known erroneously
as ‘Essex crystals’—the miniaturist William Essex seems to
have had nothing to do with them. These reverse crystal
intaglios became very popular in England and in the United 107 Mourning watch, originally
States. Although first imported by American firms, it seems the property of President Lincoln’s
that this intaglio work was done in America fairly early, widow. It is set in black onyx and
possibly by English migrants. With the fashion for colourless suspended from a black onyx fob.
jewellery in the 1870s and 1880s, crystal beads became
fashionable and they were also used to lighten the effect of
necklaces of coloured stone beads.
Cat’s-eye quartz is honey-yellow, brownish, or grey-green;
tiger’s-eye quartz is golden yellow. They were best cut en
cabochon, usually for rings, larger stones sometimes being set
in a plain gold collet in the form of an oval. Tiger’s-eye 1s
also, more rarelv, cut flat and polished. As their names
imply, they are both chatoyant forms of quartz.
Cairngorm is a reddish-brown, smoky quartz found in
Scotland in the Cairngorm Mountains. It was often used
in the traditional gold and silver Scottish jewellery popular
from 1850 to the 1880s and 1890s, a fashion originating
109
 partly from the Queen’s passion for Balmoral Castle, her
Scottish retreat.
108 Shell cameos set as jewellery; Aventurine quartz has plates of mica enclosed, which add a
French, top brooch 1840-50, ear- gold-spangled effect to its reddish-brown, yellow, or green
rings and lower brooch dated 1867. colour. It was cut flat and polished, and used in brooches
and bracelets, or to frame tiny mosaic pictures. It was
often imitated with ‘aventurine’ glass.
Agate and onyx are banded stones and were popular for
their geological interest. Heat-treated agates were used for
cameos and intaglios, and were artificially stained and
coloured for the brightly coloured jewellery popular in the
mid-Victorian period [95]. Idar-Oberstein, Germany, was
the main source, later Brazil, Uruguay and Paraguay. Some
were also found in Scotland, and used for popular Scottish
jewellery.
Sardis the yellowish or brownish-red variety of chalcedony.
When the material is banded in layers of reddish-brown and
white it is known as ‘sardonyx’. These stones were used for
cameos and for seals.
Cornelian (or carnelian) is a deep, clear red in colour,
mainly used for beads. It was used plain or faceted, or
carved to imitate ancient scarabs in ‘archaeological’
jewellery. Egypt was a chief source. Heat will impart the
same colour to colourless chalcedony. Cornelian was also
used for intaglios, seals, and signet rings.
Chrysophrase ranges from a clear apple-green to a dingy
yellow-green; it is most frequently found in the deep-green
slightly tinged with blue. It is used cut in a steep cabochon,
and was much used for silver Arts and Crafts jewellery
between 1900 and 1918, and as beads, simply polished or
fluted.
Moss agate is agate with black, green, or red moss- or
tree-like (dendritic) inclusions, sometimes resembling a
distant rocky landscape—hence ‘landscape’ or ‘scenic’
agates. They were popular with the Victorians, but less so
than with their predecessors.

Rock-crystal see Quartz

Rose-quartz see Quartz
Ruby see Corundum
Sapphire see Corundum
Sard see Quartz
I1O
 109 Gold necklace set with scarlet
coral cameos from Naples or Genoa,
c. 1850.

Shell
Many forms of shell were used in jewellery, mother-of-pearl
from many sources being the most common. Palais Royale
wares, the French mother-of-pearl ornaments made since
the seventeenth century, were still being produced in the
nineteenth. Craft jewellery. together with the jewellery of
firms like Liberty’s and Murrle, Bennett in England,
Theodor Fahrner in Germany, and Gorham in the United
States, brought a revival in the popularity ofshell at the turn
of the century.
The greeny-blue abalone shell which is found in Mexican
traditional jewellery was popular with Arts and Crafts
 jewellers; the helmet and giant (queen) conch were used
mainly for cameo-cutting, especially in Italy and France.
110 Silver buckle set with pink shell Shell cameos were generally gold-set; otherwise shell
surrounded by diamonds and trans- jewellery was generally silver-set, and popular in England in
lucent enamel; made by Peter Carl the second half of the nineteenth century, when coloured
Fabergé, c. 1900. jewellery was out of favour.

Silver
Silver jewellery violently fluctuated in popularity. It was
often a cheaper substitute for gold, and used on a large scale.
In the 1830s it was popular for all kinds of fashionable pieces,
less so in the 1850s, but from the 1860s until the 18gos it
remained in demand. Sometimes its colour and texture were
particularly suitable to a design, for example the very
sculptural designs of French Gothic-style jewellery, or the
hand-wrought shapes of the craft revival, for which it was
much used at the turn of the century. Mexico and Peru were
and are the principal sources, followed by Sweden and
Russia. The great Comstock Lode in Nevada, U.S.A., was
discovered in 1860.

111 Silver buckle by Liberty, 1900.

1)
 Usually found in association with other metals, silver is
used in its pure state (fine, or solid silver) alloyed with
copper (sterling silver), or, more rarely in jewellery, plated
onto a base metal. Silver tarnishes very quickly on atmos-
pheric contact; cleaning is easiest by dipping in solvent, but
the surface quality ofold silver is produced by rubbing clean.
In this period artificial ‘antique’ finishes were tried:
‘oxidising’? (a misnomer) by immersion in a near-boiling
potassium sulphide solution; or patination, the artificial sur-
face texture and colour imitating the patina of time. The
neo-Gothic ‘antique’ finish was achieved by brushing
potassium sulphide solution into the corners and round the
edges of the design. Some silver pieces are partly or com-
pletely gilded which produces the characteristic silver-gilt
colour which is much more subtle than pure gold [101]. The
fashion for Japanese styles in the 1870s boosted the popu-
larity of silver, which was inlaid with other metals. In
France and the United States, unlike Britain, assay laws per-
mitted the making of gold Japanese-style jewellery with
applied or damascened silver and copper; in England only
coloured-gold decoration could be used.
Silver’s popularity with the craft revival was partly
economic, but partly ideological. True handcraftsmanship
was to be combined with inexpensive materials to produce
worthwhile replacements for mass-produced, shoddy trinkets.
But the working classes were not induced to buy, and the
Birmingham manufacturers undercut the craft-revival 112 Traditional silver bridal
jewellers with machine-made copies of their work, produced crown; by Desingthun, Norwegian,
at lower prices. Cc. 1630.

Spinel see Chrysoberyl

Steel see Paste etc.

Sunstone see Feldspar

Topaz
The topaz in its natural state ranges in colour from a sherry-
brown to a pale clear yellow; it can be pale blue, and, most
common of all, colourless ‘white’. Yellow stones can be heat-
treated to produce the clear, pale pink rarely occurring
naturally. Almost all yellow stones found in jewellery tend to
be called ‘topaz’, but many of these are probably yellow
quartz. Topaz crystals form easily into pendeloque (or drop-
 shaped) stones, and were often cut in this way. In spite of
their hardness, they break easily and should be treated with
great care.

‘Tortoiseshell .
The semi-transparent, mottled-brown sea-turtle shell was
specially popular in the first half of the nineteenth century,
after which the quality of the gold- and silverwork used to
decorate it declined. However, tortoiseshell was widely used,
especially in the United States, until almost 1900. Delicate
heat makes the material malleable, ready to receive the gold-
and silverwork known as piqué. Small rods or stars are used to
make piqué point; plain or scalloped strips are used to make
piqué posé. By the 1840s much pzqué was being enriched with
materials like mother-of-pearl and other shells. Much late
American work bore formal designs in gold, steel, or gilt-
metal ‘nail-heads’, which stand up slightly from the surface.
The best American work is in the form of pendants or crosses,
or fine-link chains, all worked from the shell without any
metal decoration. In the United States in the 1860s a
fashionable evening head-dress was a large tortoiseshell
comb decorated with a network of gold filigree and tortoise-

113 Group of tortorseshell brooches

and earrings decorated with gold and
silver piqué posé; English, late
nineteenth century.

114. A comb made of finely carved

Spanish, nineteenth
tortoiseshell ;
century.

114
shell beads, terminating in gold amphora-shaped drops
falling from the head of the comb in a ‘waterfall’. Tortoise-
shell combs were widely used—for example the Spanish
mantilla comb, briefly fashionable in the 1870s. By 1875,
tortoiseshell ornaments other than the comb were unfashion-
able, and the introduction of mass-produced piqué posé work
in 1875 (in Birmingham, England) led to the gradual
disappearance of true piqué.

‘Tourmaline
Tourmalines are striped or parti-coloured shading from pink
to green, or chatoyant, cut en cabochon as ‘tourmaline cat’s-
eyes’. Heat treatment tends to lighten the colour. The stones
were normally cut with a brilliant upper part, and trap-cut
or step-cut below the girdle. Large flawed stones were used
for small carvings, a Chinese speciality, and these became
fashionabie as pendants after 1900.

Turquoise
Turquoise is opaque. The value hes in the colour, which
ranges from intense, clear, sky-blue to a greyish green, the
most common and least desirable. Ammonia immersion or
heat treatment are used to ‘improve’ the colour, but these
methods are easily detected, and impermanent. There are
large Mexican deposits; the Navajo Indians’ traditional
jewellery is of silver set with turquoises, but the main source
is the East, particularly Persia. Eastern influences are
apparent in Victorian turquoise jewellery, especially when
Indian jewellery was fashionable in the 1870s. Naturalistic,
‘Romantic’ jewellery of the 1840s in the form of flowers and
insects, was often gold pavé-set with turquoises, as were the
round, gold ‘Etruscan’ brooches of the 1850s and 1860s.

Zircon
Zircon ranges in colour from red and reddish-brown (these
stones were respectively known in the nineteenth century as
hyacinths and jacynths), to pale yellow and _ colourless
(sometimes known asjargoons). Brown stones can be heated
to produce blue—indeed, almost all zircons used in jewellery
are thus treated, including the colourless variety which is
one of the most common diamond substitutes. Zircon was
usually cut into a modified brilliant.
WU
‘lechniques

Cameos and Intaglios

The ancient art of gem-cutting—of which the great Gemma
Augustea, from the first century B.c. (now in the Kunsthis-
torisches Museum in Vienna) is a remarkable example—
fascinated both collectors and artists in the nineteenth
century. Twice since the classical age, a revival of interest
has produced a modern school of gem engraving. In the late
mediaeval and Renaissance period, due to the patronage of
collectors like Lorenzo de’ Medici and Francois I, some fine
cameos and intaglios were produced. Almost completely
neglected during the seventeenth and early eighteenth
centuries, the art of cameo-cutting was again revived during
the age of neo-classicism (as the period from the late 1760s up
to about 1820 has been termed). It was a fashionable comple-
ment to the classical motifs decorating every item of furniture
and the high-waisted Grecian-inspired dresses of the Empire
and Regency period. The popularity ofthis archaeologically
orientated neo-classicism lessened towards the end of the
1830s, giving way to Romantic Gothic style, but the
popularity of the cameo as a piece of jewellery remained
undiminished for nearly half a century longer. During the
Gothic revival period some ‘romantic’ subject matter found
its way into the design of the cameo. The large sardonyx
cameo by Saulini [117] is after a painting by the German
‘Nazarene painter, K.A.H. Micke, entitled Angels Bearing the
Body of St. Catherine to Mt. Sinai, and a large mid-nineteenth-
century English shell cameo now in the City Museum and
Art Gallery in Plymouth is obviously inspired by mediaeval
sculpture. From 1800, until about 1880 the demand for
cameos was so great that every material remotely suitable 115 A reconstruction of Bernard
for the purpose was used to make them, ranging from the Cuzner’s workshop at the Museum
laboriously carved and engraved precious stones, which ofScience and Industry in Burming-
were both scarce and expensive, to mass-produced cast or ham, England.
moulded imitation stones in glass or pottery.
Many coloured precious stones, often flawed, were carved
as cameos or intaglios, but they are not very effective as they
lack the definition produced by the colour contrast in
stratified stones. The majority of precious cameos—both
antique and modern—were made from onyx (i.e. the black-
and-white variety of chalcedony) or agate, both of which
i Sy
4
have colours against a contrasting background. The colours 116 opposite: Brooch, necklace and
found naturally in these stones are pale grey or brown, tiara sel with cameos cut iB) aL,
banded with white. The white layer is impermeable, Saulini; the goldsmith was Castel-
whereas the coloured layer is porous; the grey or brown can lan. The goldwork and the cameo of
be darkened or coloured. It is possible, by boiling the stone the tiara were designed by Sir Fohn
Gibson R.A., a neighbour of the
in honey or a solution of sugar and water, and then steeping
Saulinis, father and son, in the Via
it in sulphuric acid, to cause carbon to be deposited in the Babuino, Rome ; c. 1860.
porous layer, making it very dark or even black. Other
colours can be produced by using different solutions for
soaking the stone (see p. 110) and some cameos and intaglios
were Cut in these artificially produced red, green or blue
stones, to simulate antique gems, as well as from the much
more popular black or brown and white.
The tools used to carve the design in relief above the
surface for the cameo, or to engrave the incised design of the
intaglio, are burrs of various sizes very similar to a dentist’s
drill. The heads are made of carborundum or hardened
steel and charged with diamond dust and olive oil. The
carving of a large and complex hardstone cameo could take
several years, which explains the popularity ofsubstitutes.
Shell cameos are perhaps the most successful substitute.
They were made in the same way as hardstone cameos,
utilising the strata found in two varieties of shell—the large
helmet shell (Cassis madagascariensis) which has white and
brown layers, and the giant or queen conch (S/rombus
gigas) which is white and rose-pink. Shell is very easy to
work; shell-cameo cutting is said to have been practised
since the fifteenth or early sixteenth century and a few
117 Cameo cut by L. Saulini de-
picting angels bearing the body of
St. Catherine to Mt. Sinai; c. 1650.

119
 examples said to date from the late eighteenth century
appear on the market from time to time. The Italian trade
in shell cameos, which assumed great importance in the
nineteenth century, originated in about 1805 in Sicily; but
the vast majority of antique shell cameos date from the mid-
nineteenth century. Asnumber of the most elaborate were
produced in France in the 1860s |108]. Many other materials
were used to produce small cameo-like reliefs to be set as
jewellery: coral, ivory, jet, rock-crystal, lava and
meerschaum. Fake cameos are made of a cameo-doublet,
consisting of a base of coloured stone with the relief in a
contrasting colour, cemented on to it. Wedgwood’s jasper-
ware cameos were made in this way, and were still fashion-
able during the early years of the Victorian period; indeed a
type of jasper cameo of appallingly low quality is still made
today.
In the 1830s cameo-set jewellery differed very little in
118 Onyx cameo by Georges Bis-
style from that of the Empire period, the cameos in low
singer depicting George Washing-
ton after the bust by Houdon. relief set in simple filigree, gold ropework or pearl mounts.
Towards the middle of the century the cameos were cut in
much higher relief and set in much heavier gold mounts,
often enriched with diamonds or coloured precious stones
and elaborate enamel decoration. This later work was some-
times set with precious stones to form a cameo habillé. In 1855
Hancocks and Co. were commissioned to remount as a
large set of wearable jewellery part of the famous collection

119 ‘Filled gold’ bracelet set with a

meerschaum cameo, of American
manufacture.

120
of antique cameos made during the first half of the eigh-
teenth century by the third Duke of Devonshire. At the 1867
Paris exhibition John Brogden showed a necklace and ear-
rings in elaborately worked gold decorated with enamel and
set with chalcedony and onyx cameos (now in the Victoria
and Albert Museum) and the cameos cut by Saulini and de-
signed by Gibson, the English neo-classical sculptor [116]
date from about the same period. Cameo-set jewellery re-
mained reasonably popular, though no longer in the height
of fashion, for some years longer. The neo-Renaissance style
jewellery of the 1870s was sometimes set with high-quality
cameos or intaglios, but increasingly these came to be re-
placed by miniatures or medals and by the eighties they had
become completely passé.

Enamelling Techniques
Although fashionable previously, enamelling was neglected
by jewellers in the eighteenth century, but it was widely used
for watches and boxes. Enamelling on jewellery was not
common again until near the mid-nineteenth century, al-
though some attempt to revive enamel enrichment ofsettings
had been made, without popular success, in the early 1800s.
There are a number of different enamelling techniques,
all of which were used during the period covered by this
book. A variety are often combined in one piece; but once
the processes used are understood it is not difficult to recog-
nise the different types.
Basically the process is concerned with fusing vitreous
substances 1n various colours, translucent or opaque, onto a
surface—in jewellery almost always of metal or very much
more rarely, porcelain—by heating in a kiln. The enamel
colour, in the form ofa paste of powdered glass mixed with
metallic oxides to provide the different colours and bound
with oil, is spread on the metal in the required patterns, and
then baked for a carefully calculated amount oftime. All the
different techniques described below are really variants of 120 Design for a comb by Henry
this process. Wilson, incorporating three enamel
The two chief difficulties are the changes in the colours discs ; C. 1900.
resulting from the heat of the kiln, and the tendency of
metals to distort with the successive firings usually necessary
for any but the simplest decoration. Silver distorts badly, and
this can cause cracking in the finished enamel. Despite the
many problems, successful examples of almost every
imaginable enamelling technique were produced during
this period.
 Painted enamel miniatures : Throughout the nineteenth cen-
tury, these were very fashionable. They were sometimes
portraits—imaginary or-real, copies of famous pictures, or
landscapes or views of well-known picturesque locations.
Imitation cameos (usually in grisaille, a complex technique
in which the image appears in monochrome, usually tones
of grey on a white ground, which could be used for imitating
cameos, or engravings) or neo-rococo designs of flowers,
fruit and insects in the Battersea and Bilston style were other
variations. There was also a revival of a type of ‘Limoges’
enamelling, very unlike the fourteenth-century work from
which it takes its name, as it used far too great a range of
121 Design for an enamel brooch colours.
by Alfred Gilbert ;c. 1890. The sophisticated and delicate type of enamel painting
used in eighteenth-century France was still used for jewellery
during the nineteenth century. It is carried out on a smooth
undercoat of white enamel fired onto a slightly convex thin
metal ground, either of copper or gold, which was usually
also counter-enamelled to reduce the tendency of the metal
to warp in the kiln. The colours, mixed with a little oil or
water, were then painted onto the white surface in succes-
sive layers, each layer in turn necessarily being fired at a
lower temperature so as not to disturb the work that had
already been carried out. Some of these miniatures were
carried out in delicate colours, like water-colours, or a form
of grisaille lightly touched with pale colours, called ‘tinted
grisaille, and some of the nineteenth-century portrait
miniatures were done in deep jewel-like colours, often in a
mixture of opaque and translucent colours enriched with
gold paint and with paillons (little mica-like flecks of gold foil
included in the enamel or laid on to the ground which flash
from the depths of the coloured layers).
Portrait miniatures were fashionable throughout the
122 Badge, in painted enamel on nineteenth century. The early nineteenth-century examples
gold, of the President of the Royal are characterised by a certain doll-like appearance, and the
Society ofPainters in Water-colours,
turn-of-the-century work by experimental enamellists like
by Hubert von Herkomer.
Alexander Fisher by a stylised appearance which had much
more the quality of a painting, achieved through a greatly
increased number of firings. To attain a delicate brush-
stroke effect called for great skill and the quality of nine-
teenth-century enamel work is extremely variable. Enamel
painting had been a speciality of the Swiss since the seven-
teenth century, and much of the great demand _ for
enamelled jewellery at this time was supplied by them. This
Swiss work has a highly professional finish, often absent
from English work; but much of it was designed to supply
the tourist trade. As a result, it is rather lacking in both

122
charm and originality. However, the enamel work offered
by Bautte of Geneva, who sold jewellery of this kind known
as ‘Geneva ornaments, was greatly admired by John Ruskin
(see Praeterita, pt. Il, chap. V). Many sets survive, as
evidence oftheir popularity.
Cloisonné and champlevé enamels: Cloisonné and champlevé look
rather similar since both use a thin ridge or wall of metal to
separate the colours. In the cloisonné technique the walls are
made by applying thin strip metal or wire in the required
design to the surface of the area to be enamelled. The
interstices are then filled with the powdered enamel colour
and the piece is fired. The form of clowsonné enamelling
traditionally used in Russia, Hungary and Norway—some-
times called skan—is made in this way, with delicate
filigree patterns applied to the surface of the piece, the inter-
stices then being filled with a mixture of opaque and trans-
; toa Biecoe 123 Fitted box used to demonstrate
the stages of cloisonné enamelling,
from the blank copper plaque to the
finished enamel.
 lucent enamels. In some cases, part of the gold surface 1s left
uncovered and then burnished giving a very rich effect.
This technique was revived in Russia and Norway at the
end of the nineteenth century and became very popular.
Cloisonné was revived fer use in jewellery in the mid-nine-
teenth century when Japanese decoration and craftwork
became fashionable [42].
In the champlevé method the walls of metal are obtained
by hollowing out the areas to receive the colour. The
hollows are filled with colour as in cloisonné and the piece is
then fired. The champlevé technique was used to give an
antique-looking effect, for example for neo-Byzantine work
or Gothic-revival ecclesiastical ornaments; it was much less
popular for jewellery than clozsonne.
Basse-taille enamelling : In basse-taille, the surface is worked
in low relief, the design being engraved in varying depths,
parts of which are then filled with translucent enamel
colour and fired. The different thicknesses of the enamel
produce colours of greater and lesser intensity, and the
engraved design can be seen through the thin parts of the
enamel. The uncovered metal surfaces are usually worked
as well, either engraved or with a pattern of alternating
burnished and ‘bloomed’, or dead, gold.
Taille dépargne enamelling: A similar form of enamelling
over an engraved design using much the same method, but
with opaque colours, is taille dépargne. Here the enamel
usually simply fills a deeper line in the engraved decoration,
without the subtle variations of depth used in basse-taille.
Taille @épargne was widely used to decorate the settings of
mourning jewellery with foliate designs in black or blue and
white enamel. Mourning rings were made in this way with
the lettering (usually ‘In Memory’ with a name or initials
and a date) above the surface in gold and the rest of the
surface enamelled, or vice versa. From about 1830 this
technique was used to decorate the surfaces of the fashion-
able wide, hinged bangles; this type of decoration remained
popular through the mid-century, being produced in a
modified form in large quantities by the more expensive
Birmingham firms.
124 Two gold Art Nouveau-style
pendants: the upper prece is
This Birmingham jewellery was almost certainly exported
decorated in translucent enamels, the to the United States and was enthusiastically copied there
lower in plique-a-jour enamel; by a firm of New York jewellers from the 1860s onwards.
American, Cc. 1900. The American work is almost always carried out in black
enamel combined with bloomed and burnished gold some-
times enriched with engraving on the burnished surfaces.
Bracelets of this type were very popular and are usually
decorated with a continuous strip of pattern in either a
faintly rococo floral design or a modified version of popular
neo-classical motifs. Brooches and earrings were either
made simply of gold with similar enamel decoration, or set
with pearls following the lines of the enamelling and with
drop-shaped onyx pendants. American commercial firms
fully understood the need to be smart and this black and gold
colour scheme was used for other types of fashionable but
not valuable middle-class jewellery, such as the widely
popular tortoiseshell and goldwork (see p. 45), and the jet
and gold jewellery (p. 59).
The use of basse-taille and taille d’épargne was more or less
abandoned in the 1870s when settings became much
lighter, but the use of translucent enamel over an engine-
turned pattern, called ‘tour a guillocher’, was popularised by
Fabergé, who used it for his miniature jewelled eggs, and for
the elegant little round or oblong brooches with asymmetri-
cally-set precious stones which were considered the height
of chic at the turn of the century.
Plique a jour enamelling : Pliqueajouris sometimes graphically
called window enamel (Fensterémail). In essence the tech-
nique is similar to cloisonné, but the spaces are open-backed,
allowing the light through the translucent enamel. The
metal cloisons, made either of strips of gold or of saw-pierced
sheet gold, are laid onto a surface to which the enamel will
not adhere once fired, and the interstices are filled with
powdered colour. Experiments were made with this tech-
nique at the turn of the century in building up the enamel
in layers with repeated firings to produce an effect like
cabochon-cut stones, but it was unsatisfactory and not
widely used. The great popularity of this technique, par-
ticularly with the French Art Nouveau designers, is not easy
to understand since it is uniquely unsuited to any piece of
jewellery except the tiara, as the effect of the light passing
through the coloured enamel is lost when the piece is worn.
These French pieces are, nonetheless, fascinating objets
d@art—miracles of accomplished technique—and this may
well have been their main purpose. Plique a jour was hardly
ever used by the craft revival jewellers in England and the
United States, nor by the Jugendstil designers in Germany
and Austria.

Niello
The use of the ancient technique of niello for decorating
silver was revived in the early 1800s by the German jeweller,
Wagner, working in Paris. He was a friend of Fauconnier
ey
 who is usually credited with starting the taste for neo-
Renaissance silverwork, and master of F.-D. Froment-
Meurice, who used this technique for a number of pieces
[125]. The design is engraved and then filled with a deep
black, metal alloy compound consisting of one part silver,
two parts copper and three parts lead, mixed with sulphur
to a grainy consistency. The piece is then heated in the
furnace until the compound has melted; when it is cool the
surface is filed smooth and burnished. This technique was
used by a London firm, S.H. and D. Gass of 166 Regent
Street, for two very elaborate bracelets on show at the Great
Exhibition in 1851. This type of decoration was usually
carried out in black—or black with white enamel heighten-
ing—on silver, though some French pieces dating from the
1860s are enriched with gold inlay. Once the technique had
proved popular for the decoration of silver jewellery it was
used sporadically, usually for pieces in a quasi-mediaeval or
Renaissance style, from the late 1840s until the end of the
century.
125 Nello bracelet by Emile
Froment-Meurice working in the
lechnique revived by his Sather,
Frangois-Désiré.

Roman Mosaic and Florentine

Imtarsia
In both Roman mosaic and Florentine intarsia or pietra dura
work the design or image is formed by fitting together very
small fragments of coloured hardstone or glass. The so-
called Roman mosaic is formed from rods or tesserae of

126
coloured glass, arranged in masses to form a picture and
cemented upright into a recess or frame of marble or some
other hardstone, glass, gold or gilt metal. The images
produced by this method range from whole floors, through
table tops, medium-sized decorative plaques and boxlids,
down to delicately wrought miniature pictures. The frames
for these little images when used for jewellery are often of
lapis-lazuh, malachite, aventurine quartz or glass, or
black glass. Sometimes the mosaics are set directly into the
gold setting without a frame. They vary greatly in quality,
from the most delicate, which look almost like enamels, to
the very crude, made with coarse, large tesserae, roughly set.
The best work seems to date mainly from before the middle
of the nineteenth century, but small souvenir brooches or
earrings can still be bought today, usually of a rather
indifferent quality.
The subject matter of these little pictures shows little
variecty—mainly views of the ruins of ancient Rome, or
subjects taken from the wall-paintings at Herculaneum and
Pompeii. King Charles’s spaniels feature frequently for ;26 Necklace composed of oval
some reason, as does Dante, more predictably, since the — mosaic views of Rome set in gold;
repertoire of subject matter is, at least during the first halfof — /talian, c. 1840.

127
the century, consciously Italianate in inspiration. The
Roman firm of Castellani specialised in this work, mounting
incredibly fine mosaic work in gold frames decorated with
Etruscan-style filigree and granulation. Castellani liked to
include Latin inscripttons in the mosaic plaques, the letters
in bold Roman capitals with formal geometric decoration
surrounding them. With the great revival of interest in
Egypt in the late 1860s, mosaics began to appear decorated
with Egyptian motifs [47], but this period already shows a
decline in quality and the popularity of mosaic jewellery
waned along with the ‘archaeological’ style at the end of the
century.
‘Florentine’ intarsia is inlaid work of a rather different
kind. Here the specially shaped fragments of hardstone and
coloured gems are cemented into shallow depressions cut
into a base of black marble to form a picture on the same
principle as marquetry in coloured woods. The choice of
stones is very important since the markings on the stone will
provide gradations of tone necessary to make the image
more realistic. In the most delicate work flowers and butter-
flies or other insects are depicted with the greatest realism,
petals and wings being achieved with lightly veined stones.
Fine-quality work was produced in Italy throughout the
nineteenth century, and this Italian pietra dura was imitated
in Derbyshire, under the direction of the sixth Duke of
Devonshire, in black Derbyshire marble inlaid with feldspar
from the mines rediscovered at the end of the eighteenth
century. In local cottages small ornaments were made in the
form of crosses or oval brooches and pendants decorated
with insects and flowers, and were sold to sightseers, among
them the young Princess Victoria, who visited the area in
1826.
By the 1860s, the quality declined, the stones were
chosen with less attention to their particular qualities, and a
number of other materials were used to achieve an im-
mediately striking but less demanding effect. Coral, tur-
quoise, mother-of-pearl and even coloured glass were all
used, in some cases combined with passages of painted
decoration, and the resulting pieces lack all the delicate
realism and subtlety of the best of the earlier work.
Both mosaic and intarsia jewellery were often made in
large sets or parures [20]. Although this type of jewellery
was very fashionable in the period from 1820 to about
1840-50, and popular for a long period after that, it is rarely
discussed or even mentioned in contemporary reports on
jewellery design, and it was clearly not regarded as ‘artistic’
in the way of ‘archaeological’ or Japanese-style pieces.
The Cutting of Gemstones
In order best to display the beautiful optical properties of
precious stones they are cut or polished according to their
character. Transparent stones are usually faceted, while
translucent or opaque stones are cut en cabochon, or polished
to make beads.

127 Model ofthe Cullinan diamond

before vt was cut.

There are four main styles of cutting in which the arrange-

ment of the facets varies with the shape of the stone. The
most widely used cut for the diamond is the brilliant. The
brilliant cut consists of fifty-eight facets, of which thirty-
three, including the flat ‘table’ at the top, are on the ‘crown’
of the'stone, and twenty-five, including the ‘culet’ (or small
cut off the point of the base), are below the girdle (1.e. the

The brilliant : left, the upper part, or crown ; centre, a view of the side ; right,
the lower part, or pavilion.
128 A serves of models showing the widest circumference of the stone and the point which
nine stages in cutting a brilliant. separates the ‘crown’ from the ‘pavilion’ or lower surface).
The thirty-three cuts on the crown are made up of one
table, eight star-facets, four templets or bezels, four quoins
or lozenges, eight cross-facets and eight skill-facets. The
twenty-five cuts on the pavilion consist of one culet, four
pavilion facets, four quoins, eight cross-facets and eight
skill-facets.

The step cut: left, the upper part; centre, a view of the side; right, the
lower part.

130
 The cut most frequently used for large coloured stones as
well as for very large diamonds is the trap or step cut, which
has a large oblong table with cut corners surrounded by
square-cut facets sloping down to the girdle on the upper
surface, and a larger number of rows of similar facets
sloping in towards the culet on the base. The number of
rows of facets on both surfaces varies with the size of the
stone. This cut is frequently used for emeralds and is some-
times known as the emerald cut. The emerald cut was
evolved in the nineteenth century but rarely used until the
early years of the twentieth, and it is now associated with the
style of jewellery developed by firms like Cartier and Van
Cleef and Arpels in the 1920s.
The mixed cut is, as the name suggests, a combination of
the brilliant cut on the crown and the step cut on the lower
surface, and is used for certain coloured stones when either a
deeper or shallower ‘base than that allowed by the true
The rose cul: above, the upper part ;
brilliant will show the colour to greater advantage.
below, a view of the side.
The rose cut, a development of the earliest form of facet-
cutting, consists of a flat base, and twenty-four facets on the
upper surface, divided into six star-facets and eighteen cross-
facets. Where this same arrangement is repeated on the
base in place of the flat face the stone is known as a double
rose. The earliest record of facet-cutting dates from about
1640, in the form of a modified rose with only sixteen facets. 129 Models of the nine principal
The twenty-four-faceted stone, or Dutch rose, followed, and stones into which the Cullinan dia-
later the thirty-six-facet rose recoupée was evolved. The rose mond was cul.
 cut remained in constant use for all but the most expensive
diamond jewellery until the early nineteenth century; it was
revived at the end of the century for the then fashionable
small pins and pendants in the eighteenth-century taste.
This cut involves the least wastage of stone and can be used
on much smaller stones than the brilliant.
Oval or drop-shaped stones are cut in a modified version
of the rose or brilliant cut. The most common shapes are
those known as the briolette, the marquise, and the pendeloque.

The briolette. The marquise. . The pendeloque.

The cabochon cut which is used for most translucent and all
Opaque stones is a round or oval dome shape which may
have a flat base, when it is known as a simple cabochon, or a
hollow base; the latter is used with the few transparent
stones cut in this way to increase the flow oflight through the
stone. When the base is dome-shaped like the upper surface,
The simple cabochon. it is called a double cabochon.
Calibré cut stones are small oblong or bateau-shaped stones
cut specially for jewellery in which the main stones are sur-
rounded by a mass of small stones in an elaborate ribbon
design. Calibre can be roughly translated as ‘cut to fit’.
Cartier and Chaumet excelled at this style, which was
fashionable from the turn of the century until the outbreak
of the Second World War.
The cutting of gemstones is the most highly skilled work
in the manufacture of jewellery, and even the most dedi-
cated advocate of handcraftsmanship did not envisage it as
part of the equipment of the craft jeweller. The two great
centres of diamond cutting are Amsterdam and Antwerp,
and great diamond dealing firms all over the world travel to
these cities and to Tel Aviv and Johannesburg. As sometimes

132
eighty per cent of a stone’s value can lie in the way it is cut,
it is hardly surprising that this process is only carried out by
the most expert and highly trained craftsmen.

Gold- and Silverworking Techniques

Both gold and silver are used in various degrees of purity
from a very high precious metal content with only a small
amount ofalloying metal added to give strength, to a heavily
alloyed mixture which may not legally be called ‘gold’ or
‘silver’. The standard proportions used in Europe and
America for these alloys are given on p. 140. It is usual
nowadays and was standard practice in most commercial
workshops throughout the greater part of the nineteenth
century for the raw material needed to make up a piece of
jewellery to be bought already partly worked into the
various standard components, in the form of gold and silver
sheet, fine wire in various grades, ready-formed tube, and
some ready made chain, though this was one of the most
revealing short-cuts which the commercial firms on the
way to mass-production could take. Most jewellers would
also supply themselves with a variety of ready made pins and
catches, and a number of suppliers in the mid-nineteenth
century found it worth their while to patent any particularly
ingenious type of catch or safety-pin.
The basic shape of a piece is first formed in one of a
number of ways. One is by hand-cutting with a jeweller’s
saw and then shaping up with a hammer and punch in a
specially shaped depression, like a mould. Another way is to
cast the main shapes in carved moulds by the cire-perdu or
lost-wax process as described by Cellini in his notebooks.
The cheapest and quickest method of shaping a number of
identical pieces is by stamping, either by hand or by
machine, but the loss of definition which results from this
method makes the final result very disappointing when
compared to the hand finished cast or hand-cut work.
Once the basic shape has been achieved, the surface
decoration is carried out with the traditional tools which
have remained virtually unaltered since the classical period.
Raised or three-dimensional designs are either punched or
hammered up from the back of the piece in the method
known as repoussé, or tooled up from the upper surface of the
piece in the method known as chased-work, or ciselure. These
two methods produce very similar results, but ciselure has a
somewhat more sharply defined and tooled appearance.
Two-dimensional decoration can be achieved by engraving
 either with a graver or with a multi-pointed tool which pro-
duces the regular linear designs of machine-engraving or
engine-turning. The faceted decoration known as diamond
engraving is a form of deeply cut engraving. Much of the
faceted decoration of ‘settings in cheap gold and silver
jewellery was, in fact produced by stamping or moulding,
and the loss of definition is particularly noticeable in this
type of geometric design.

130 Enlarged detail of a gold The surface of the piece could also be decorated with
bracelet decorated with elaborate applied filigree of granulated work carried out in fine wire
granulation by Castellani; c. 1860. and minute grains of metal. The enlarged detail [130] of
the bracelet in the Etruscan taste made by Castellani in the
1860s shows this type of work at its most elaborate. Surface
texture was achieved by either hammering the metal to
produce a hand-crafted appearance, or by ‘blooming’ (i.e.
lightly pitting the surface of the metal by immersion in
acid), which was used mostly in contrast with areas of highly
burnished metal to provide interest on otherwise un-
131 opposite: Two silver Arts and
Crafts necklaces, both incorporating
decorated parts of the surface.
mother-of-pearl; the upper necklace Openwork designs were produced either by saw-piercing
with the fashionable hammered the basic shape of the piece, or by building up the design
Jinish was made by Murrle, Bennett with wire in a form of heavy filigree known as cannetille work
in the early years of this century. [106].

ee
 y.

ae
6

e
 BY ARTISTS OF THE
MODERN SCHOOL
BROOCH Gem Set
Elegantly modelled im 15 carat Gold

NECK CHAIN AND

PENDANT sev witn
Matrix OPAL oR
TURQUOISE,
smartly modelled BROOCH
in solid 15 carat carved in arat Gold
Gold WEM-S:

BROOCH AND SLIDE

clever arrangement
at Back for keeping
Long Watch Guards
and Muffchains in
position while worn.
The contrivance
not being visible
from the front, the
article serves a double
purpose.
Mounted in 15 carat Gold and Gem-se

Obtainable
These Designs are the
:
through rae
with a slab of
Property of and made up by Matrix Turquoise
MURRLE, BENNETT & Co. in centre

poe high-class
Mounted in 15 carat Gold

Jewellers
Marks

Too little attention has been paid in the past to the meaning
of the various marks which appear on some pieces of
jewellery. These extend to hallmarks on gold and silver,
patent marks, design registry marks and trademarks.
The assay laws of the various European countries are very
complicated and, for one reason or another, it was often
possible for jewellers to avoid having their wares marked;
they sometimes did so since there was, and still is, a real
danger ofa delicate piece being damaged or distorted in the
punching process. Therefore, many makers’ marks, often
the only mark on a small piece of jewellery, are engraved
rather than stamped. The jewellery designed for the Wiener
Werkstatte and carried out by trained craftsmen in the
workshop is a welcome exception to the general rule of.
inadequate or non-existent marking. For example, the
buckle illustrated [193] bears the mark of the workshop
(the “*\WW’ monogram), that of the designer
Josef Hoffmann,

(Bo
that of Karl Ponocny, the goldsmith employed by the work-
shop, and the Vienna silver mark. The present day collector
can only regret the many evasions of the assay laws and
consequent examples of inadequate marking.
The precise dating of nineteenth-century jewellery is very
difficult owing to the long period of years during which any Maker’s mark of Murrle, Bennett.
particular style might remain in fashion. The only way to
approach the problem is by having a large body of docu-
mentary and other evidence among which similar pieces may
be found, and it is for the purpose of building up this body
of reference material that marked pieces are so valuable.
A certain amount of British silver jewellery, particularly
the pieces produced in the large provincial firms towards the
end of the nineteenth century, was fully hallmarked. This
entailed, depending on the date, four or five marks, which 132 opposite: An advertisement for
were: (7) The sovereign’s head in profile which served to Murrle, Bennett from Modern
show thatthe duty payable on the silver had been paid. Design in Jewellery and Fans,
published in 1902.
This was used from the time when the duty was first imposed
in 1784 until the repeal of the duty in 18go. (i) The mark
used by the office at which the piece was assayed. (17) The
date letter for the year in which the piece was made. It is
best to use a reference book for the deciphering ofdate letters
since hardly any of the assay offices use the whole alphabet
when marking the date letter, and they are not even con-

137
133 Assay marks on a silver buckle sistent in choosing which letters to leave out. (2v) The
by Edgar Simpson. quality, or standard mark, which indicates that the piece is
entirely made of silver of the required standard of purity;
this is a lion standing with one paw raised, the lion passant
guardant of heraldry.. The Scottish offices use their own
standard marks, Edinburgh has the thistle and Glasgow a
lion rampant. (v) Last but not least the makers’ own mark
in the form ofinitials, which was the type of makers’ mark
used since 1720 and which is still used today.
Two silver standards are permitted in England: Sterling,
which is 925 parts of silver to 1000, and Britannia, which
must be at least 95.84% pure. These standards are indicated
by either the lion guardant or the Britannia mark. Foreign
gold and silver wares imported into England have to be
assayed and marked before they are put on sale, in order to
comply with a Customs Act dating from 1842. From 1883
until 1904, the letter ‘F’, for foreign, in an oval was added to
the standard mark; from 1904, following the passing of the
Foreign Plate Act, the various offices used their own town
mark instead. In 1908 Peter Carl Fabergé brought an un-
successful test case against the Goldsmiths’ Company in an
attempt to get his delicate, enamelled gold and silver boxes,
which were to be imported for sale in England, exempted
from the assaying law, as it was quite certain that they would
be damaged by the application of the import marks. The
Goldsmiths’ Company pointed out to Fabergé that the
Holmstrom’s initials. practice in England was to assay enamelled goods ‘in the
rough’, in other words before the enamel decoration was
applied, and he was advised to send his boxes from Russia in
an undecorated state and return them to his workshops
for enamelling after they had been assayed! The standard
marks applied to imported wares differ from the standard
marks used in Britain, being in the form of figures, the
form of marking used in most other European countries and
in the United States.
In the United States at the beginning of the nineteenth
century it was customary for the silversmith to sign his work
with his initials, or with the first letter of his given name and
the full surname, and with the name of the city where he
worked or some other form of address as well. A variety of
PABEPKE standard marks were used to indicate the grade of silver
used, such as ‘COIN’, ‘PURE COIN’, ‘STANDARD’, ‘DOLLAR’,
etc., but in 1852 Tiffany’s introduced the English Sterling
Fabergé’s signaturein Cyrillic script.
standard (925 parts silver to 1000) to America, marking
their goods accordingly with the words ‘English Sterling,
925-1000’ in addition to the firm’s usual marks. The English
Sterling standard was adopted a few years later by the U.S.

138
Federal Government who passed a law determining that
this should be the minimum silver content in any goods
marked with the ‘Sterling’ mark.
‘Pseudo-hallmarks’ in imitation of the English marks (see
above) had been used by some American silversmiths in the
bY)
mid- and late eighteenth century, but American nineteenth-
century silver is generally very difficult to date since no
system of date latters in the English style was adopted, and The Moscow town mark, showing
sometimes the only indications which can help with some 1894, the date when ut was last used.
idea of dating are alterations in marks which occurred with
the formation of new partnerships, or changes of address,
where these are given. Accurate dating from changing
marks or different addresses is not possible, as the same
mark was often retained for some time after the location of a
firm had changed, even in some cases after the ownership
had changed, the manufacturers being reluctant to drop a
134 Design for the grande
trademark that might, after some years in use, be becoming
chatelaine Bianca Capello by
quite well-known.
Alphonse Fouquet.
The Gorham Company adopted a system of marking
some pieces of their silverware with date letters in the
English manner in 1868. The letters A-O were used in the
years 1878-1884, but after this symbols were used instead,
changing every year from 1885 until they were discon-
tinued in 1933. The symbol for 1900, for instance, was a bell,
for 1905 a horseshoe, for 1912 a fish, and so on. The trade-
mark ‘Martelé’ was used on some of their silverware and
silver jewellery produced by the design group under the
direction of William Codman from about 1go0o until 1910
(see p. 188).
Tiffany’s address changed at fairly frequent intervals
from the time when they first opened in New York up until
1902, giving a rough indication of the date of any piece
which is fully marked; in addition to this, from 1858 on-
wards the first letter of the surname of the current President
of the company was used. During a number of years in the
period covered by this book this was the black letter ‘M’ for
their chief designer, Edward C. Moore. Tiffany’s also used
special marks for the pieces exhibited in Chicago in 1893, in
Paris in 1900 and at the Pan-American Exhibition in Buffalo
IoOLs
It is simply not possible to carry the mass of information
needed to place and date American silver around in one’s
head, and a valuable record of the marks and hallmarks of
manufacturing silversmiths and jewellers working in Ameri-
ca during the nineteenth century, along with records of the
various changes of address and brief histories of each firm,
will be found in American Silver Manufacturers, their Marks,

139
 Trademarks and History, by Dorothy T. Rainwater, published
in Hanover, Pennsylvania, in 1966.
Gold jewellery is quite often marked only with a standard
mark. This provides no help in the matter of dating, but may
be helpful in determining the country of origin of any
particular piece, often surprisingly difficult in a period when
the progressive Europeanisation of taste had more or less
wiped out any regional difference in style which in an
earlier period would have been a means of telling the
nationality. Various different standards are permitted in
Europe and America, and the ways of indicating the
standard quality of metal used differed from one country to
another. In England before 1854 the only standards per-
mitted were 22 carat (that is twenty-two parts of gold to
twenty-four) and 18 carat. After 1854 with the enormous
135 Drawing submitted to the increase in demand for gold wares three new standards were
Design Registry for the buckle permitted, 15, 12 and g, and these were later reduced to two
illustrated below. when 14 carat replaced 15 and 12, in 1932.
Hallmarking systems in France, Germany, Holland and
Italy were all as complicated and confusing as those used in
England and the United States. A rough-and-ready system
of identifying the country oforigin of antique or second-hand
pieces has, of necessity, been evolved by any dealer seriously
interested in helping those among his customers who are
collectors. For instance, the eagle’s head is a French quality
mark for gold, the gold standards permitted in France being
go00/1000, 840/1000, and 750/1000. All goldwares imported
from other countries bear the mark of an owl in an oval
(in use since 1893) and those intended for export bear the
stamp of the head of Mercury and a number indicating the
quality. The French standards for silver are 950/1000
(equivalent to the Britannia standard) indicated by the head
of Minerva in an octagonal shield, and 800/1000 indicated
136 Silver buckle by William
by a crab-mark. In addition to the quality and export/
Comyns ; the Design Registry num- import marks, all the French assay offices have their
ber is on, the reverse. own mark. Facsimiles of a number of French marks and
the quality marks of other European countries are given in
The Retail Jewellers Guide, second edition, by Kenneth
Blakemore, published in 1973, which also explains in
considerable detail the English hallmarking system. The
French marks are recorded in far greater detail in the books
edited by Tardy, Les Poingons d’Or, and Les Poingons d’ Argent.
In Russia the quality marks used are quite different and
can be confusing to convert into more comprehensible terms.
At some time during the first half of the nineteenth century
laws were passed by the Tsarist regime requiring all gold
and silver articles to comply with certain minimum stan-

140
dards and to be marked accordingly. The standards for
gold are given in figures accompanying the town mark (see
below) ; they are 56, 72 and 92, which indicate that there are
either 56 of zlotniks of gold to 96 of alloy, or 72 zlotniks
of gold to 96 alloy, 96 zlotniks being the equivalent of a
Russian pound. To convert this into English carats, which
are numbered in 24ths (see above) it is necessary to divide
the Russian figures by four, thus arriving at: 56 equals
14 cts., 72 equals 18 cts., and 92 equals 23 cts. Silver standards
are represented by the numerals 84, 88 and 91, which when
converted into parts of silver per thousand will be 875,
916-6 and 947-9. Thus it can be seen that the 88 standard is
slightly below Sterling, and the g1 rather above Sterling and
very slightly below the Britannia standard. Castellani monogram.
The Russian town marks used in conjunction with these
standard marks were abandoned at the end of the nineteenth
century in favour of the ‘kokoshnik’ mark, the female profile
head being shown wearing the Russian national head-dress.
The St. Petersburg town mark used from the mid-eighteenth
century until 1896 was two crossed swords intersected by a
sceptre; the Moscow town mark used until c. 1894 was a
St. George and the Dragon. Many of the pieces made in
the Fabergé workshops are very fully marked and can be
accurately dated when both the peculiarities of the Russian
system are mastered and the history of the workshops is
known. For instance, only the pieces made in the Moscow
workshops were marked with the Imperial eagle which
Fabergé was entitled to use after he had received the Royal
Warrant from Alexander III in 1884. The marks used by
Fabergé, as well as facsimiles of the kokoshnik mark and the
Moscow and St. Petersburg town marks, are all given in
Peter Carl Faberge, His Life and Work, by H. C. Bainbridge.
published in 1949.
Apart from these official! marks a number of manufacturing
jewellers and craftsmen with their own workshop had more
fanciful trade or makers’ marks which were often put on to
pieces of jewellery which are not fully hallmarked. In
the section of biographical notes, this mark, where it is
known, is recorded. They range from the extremely simple,
like Arthur-Gaskin’s plain capital ‘G’, to the more elaborate FROMENT MEURICE
decorated monograms of Carlo Doria and the Kensington
firm of Child and Child. A number of French /fin-de-siecle Engraved signature used by Fran-
pieces are marked with facsimile signatures; for instance cois-Desiré Froment-Meurice and
Lalique used one or two different versions of his signature his son Emile.

and so did Georges Fouquet. Facsimiles of marks found on

some of the pieces exhibited at Duke University Museum
of Art in 1971 are given in a hallmarks supplement to Dora
 Jane Janson’s catalogue, From Slave to Siren.
The large-scale manufacture of jewellery and silverware
only began in America ‘in the early 1840s. Previously all
business had been transacted directly between the customer
and the craftsman, each customer specifying what he wanted
CG C&AG. and having it specially ‘made, and it is only from the middle
of the nineteenth century that trademarks become common
Carlo Giuliano’s initials. in jewellery; even at this period a great mass of material,
as in England and on the continent, is entirely unmarked.
At the very end of the century a first attempt was made to
collect and record all the trademarks used by American
jewellers and silversmiths, and in 1896 the Jewelers’ Circular
published Trademarks of the Jewelry and Kindred Trades. A
number of further editions appeared recording additional
marks and removing the names of those firms which had
gone out of business between the appearance of one edition
and the next, thus providing a valuable record of the demise
of various nineteenth-century manufacturers.
Although hallmarks have been faked all too frequently
by the most ingenious methods this is not very easy to do,
and it is fairly safe to say that where a piece of jewellery is
fully marked it can be taken to be perfectly genuine. This
is certainly not true of signatures, particularly the plain
stamped lettering or engraving used by many designers
of the Art Nouveau period (cf. particularly Lalique and
Fouquet) and not too much reliance should be placed on
the genuineness of a piece marked with a signature alone
Engraved or pricked initials of if the quality of the work, or some peculiarity of style or in
Arthur Gaskin. the use of material, make it in any way suspect.
The full hallmark theoretically demanded by the English
assay laws on jewellery of any precious metal gives the
exact date, to the year, by means ofa date letter which can
be looked up in any list of English hallmarks. The patent
date is less useful since a patent was valid for fourteen years,
but the design registry marks narrow the field down to three
years, which was the period after which the registration of
the design had to be renewed. A number of pieces of English
nineteenth-century jewellery, mostly those made by firms
in fairly large-scale commercial production, are marked

R. LALIQUE with a patent mark or a design registration mark. Patents

are concerned with actual inventions which can usually

LALIQUE be taken to involve a new mechanical or chemical process.

As far as jewellery was concerned this would be something
RL. in the nature of a new kind of chain made with patented
machinery, a new gilding or enamelling process, or the
Signatures and initials of René invention ofa special spring catch or safety device. A number
Lalique. of pieces were advertised as having a ‘patent’ safety-chain,

142
or as being made ofa recently patented type offlexible chain.
Although designs were often also said to be ‘patented’, in
fact the patent office was not concerned with the external
appearance of an object, this being catered for from the
time it was opened in 1839 by the Index of Registered Impressed mark of Tiffany and Co.
Designs. There was no legislation to prevent the use of the
words ‘patented design’ until 1875 and a number of these
claims on earlier pieces must be regarded with some
scepticism. The design registry marks provide very full
information on the date of registration and all registered
designs are kept in the Public Records Office. Explanations
of the numbering system and significance of the symbols
used by the design registry during the nineteenth century
are given in a number of books on collecting, among them
Victorian Porcelain, by Geoffrey Godden, published in 1961,
Appendix I, pp. 212-3, and in an article, ‘Patents, Regi-
stered Designs and Trademarks’, which appeared in the
magazine Antique Finder, vol. 12, no. 11, November 1973.
Some of the pieces illustrated in this book bear marks
whose significance is explained in this chapter; for instance
the silver buckle made by William Comyns [136] has, in
addition to the maker’s initials, the leopard’s-head mark
for London, the date letter ‘g’ for 1902,and the design
registry number, 352623. Illustration 135 shows the form
in which the design would have been presented to the
Design Registry Office for registration. The diamond and
ivory rose brooch in illustration 137 is marked with the
maker’s initials in monogram, ‘T.F.’, and the St. Peters-
burg town mark of crossed swords and a sceptre, dating it,
rather surprisingly in view ofits very post-1910 Cartier-like
appearance, before 1896. The drawing illustrated [134],
a design by Alphonse Fouquet for a chatelaine has the
‘marque déposé stamp of the French patent office, showing
that Fouquet made some attempt to keep this very striking
design exclusive to his own firm. Unger Brothers of Newark
patented a number of the Art Nouveau designs for silver 137 Brooch in the form ofa rose in
which were developed by the firm’s chief designer. P. O. enamel and diamonds; Russian, c.
Dickinson, under the influence of work seen at the Centen- 1890.
nial Exposition in Paris in 1900.
Small pieces of information, even when they are not
particularly useful, are very interesting, often indicating
trends and showing popularity of designs that one might now
think either too bizarre or too trivial to need the protection
of a patent or registration mark. 138 overleaf: An advertisement for
Liberty from Modern Design in
Jewellery and Fans published in
1902.

eo)
'LIBERTY & CO LC
“CYMRIC” GOLD AND SILVER WORK
INVENTORS AND DESIGNERS OF

Messrs. LIBERTY have recently introduced, under the name of “ Cymric,’an originaland important
departure in Gold and Silver Work. In this development there is a complete breaking away from
convention in the matter of design and treatment, which ts calculated to commend itself to all who
appreciate the note dis-
linguishing artistic produc-
tions in which individuality
of idea and execution is the
essence of the work

ILLUSTRATED CATALOGUE
POST FREE.
SILVER & ENAME! BROOCH. SILVER BROOCH.
Price 6s. Gd Price 5s. 6d

SILVER & ENAMEL BROOCH. XN ‘

Price Gs. 6d
SILVER BROOCH,
Set with Turquoise
SILVER & ENAMEL Price 10s. 6d
BROOCH.
Price 7s. 6d

p>,
GOLD & ENAMEL BROOCH.
Price £1 6s Y SILVER BROOCH,
With Turquoise centre
Price 15s. 6d

wr.
GOLD & ENAMEL BROOCH SILVERI[& ENAMEL
Price £1 5s BROOCH
Price 6s Gd

GOLD & ENAMEL BROOCH.

Price £2 7s. Gd
he
ee

SILVER & ENAMEL

GOLD BROOCH
BROOCH ‘ t
PriceD4 4

LIBERTY
&0 | DESIGNERS AND , PEGE? pase
work ers v | REG ENT STR EET
[i
PRECIOUS METAL LONDON, W.
 PART 3

Jewellers and Designers

 é
helen ~ Ohartaces HAr
;

LA f
ee
it|§ CA
‘ ‘es{o

=
S
7

we Mis Pe

42le 000 ‘ss

Vi g O e ae
peed [se Ibel ) Call , .

if jee.
. [4 pets do be tan nt
—

139 Design in pen and water-

colour for a necklace and pendant ;
by Nelson Dawson, c. 1900. There
are detailed technical instructions to
enable much of the work to be car-
ried out by assistants.
Albert of Saxe-Coburg (1819-1861)
married Victoria, Queen of England in 1840 to become Prince
Consort
Prince Albert was chief inspiration and, with Sir Henry
Cole, one of the chief planners of the Great Exhibition in
1851. Collector, patron of the arts, amateur architect and
composer, he also designed jewellery for his wife, as well as
the turquoise eagle brooch, which was given to the brides-
maids at their wedding. He also designed the Florence
Nightingale jewel made by Garrard’s and the collar and
badge of the Order of the Star of India shown in the Inter-
national Exhibition of 1862.

Artificers’ Guild
jum of craft metalworkers, London
This firm was founded in rgo1 by Nelson Dawson, who
bound himselfto work exclusively for the Guild for five years,
but by 1903 the Guild was in dire financial difficulties. It
was acquired by Montague Fordham, who had been a
director of the Birmingham Guild of Handicraft, and its
activities were transferred to the Montague Fordham
Gallery in Maddox Street. Montague Fordham had bought
the premises at g Maddox Street in 1900, and until 1906
the gallery was known as ‘Montague Fordham, House
furnisher, Jeweller and Metalworker’. From 1903 the
address of the Artificers’ Guild was given as ‘g Maddox
Street’ as well. In 1906 the gallery was renamed, and until
1911 the business was known as “The Artificers’ Guild
(late Montague Fordham) Art Metalworkers’. The firm
continued to operate until the First World War at this
address, re-opening later at 4 Conduit Street. J. Paul
Cocper did a certain amount of work for the Guild, but
the chief designer from the time when Montague Fordham
acquired the Guild was Edward Spencer, a former assistant
of Dawson.
Mark: as. Gv. Lo. (device enclosed in a shield)

Ashbee, Charles Robert (1863-1942)

English architect, designer, and writer
On leaving Cambridge, Ashbee was articled to G. F. Bodley.
He lived at Toynbee Hall, the settlement in the East End
of London, and he founded the School and Guild of Handi-
craft there in 1887-8. The Guildsmen who worked with
Ashbee, making up the designs which he provided, were
almost all amateurs who learnt their craft by a process of
147
 trial and error. Ashbee’s own knowledge of metalworking
seems to have come largely from Cellini’s Treatises which
he translated, and which were published in 1898. In 1890
the Guild moved. to Essex House, and in 1895 the school
was closed. In 1898 the Guild of Handicraft became a
limited liability company and the Guild mark (see below)
was registered with the assay office. In 1902 the workshops
of the Guild were moved down to Chipping Camden in
Gloucestershire, but the two retail premises which had been
acquired in London, 16A Brook Street (1890) and 67A
Bond Street (1902), were retained, imposing an impossible
financial strain on the resources of the Guild. In 1907 a
catalogue was issued, announcing the disposal at very cheap
prices of a number of pieces of silverwork and jewellery,
and in 1908 the Guild went into voluntary liquidation,
though some of the craftsmen continued to work indepen-
dently, sometimes using the old designs made by Ashbee in
the past.
Ashbee provided most of the Guild’s designs though a
number of the Guild pieces illustrated by Margaret Flower
(see bibl.) were designed by Hugh Seebohm. Ashbee had
set his face against what he described as ‘the unspeakable
rubbish of fancy goods’, but he was to echo Morris’s dis-
illusioned remarks about the wealthy patrons who made
up the bulk of his customers, a source of disappointment
to both men, who had hoped to cater for, and reform, the
taste of the working classes. Ashbee was a key figure in
the Arts and Crafts movement, a formative influence on
the design of Liberty’s jewellery and silverwork, and an
inspiration to the Secessionists in Vienna whose own
Wiener Werkstatte were based on the Guild of Handicraft.
140 Design for an enamelled pen-
dant, by Ashbee.
His success in interesting the general public in the work of
the Arts and Crafts movement was to be of great benefit to
his contemporaries, among them the Gaskins, the Dawsons
and Edgar Simpson, whose designs are so close to Ashbee’s
as to amount almost to blatant plagiarism. He exhibited
with the Arts and Crafts Society from 1888, and in the
Vienna’Secession Exhibitions, nos. VIII, XV, XVII and
XXL.
Marks: GRA (scratched or pricked, in use from 1896);
Gc oH ltd. (registered in 1898)

Attenborough, Richard
jum ofgoldsmiths and jewellers, London
Founded in 1796, the firm was listed in 1846 at 68 Oxford
Street and from that address sent jewellery to the Great
Exhibition in 1851. By 1852 there was a branch at 19
Piccadilly. The firm also exhibited at the International
Exhibition in London in 1862.

Aucoc, André
firm of goldsmiths, silversmiths and jewellers, Paris
The firm was founded by Casimir Aucoc in 1821 at 154
rue St Honoré and moved to 6 rue de la Paix in 1835,
specialising at that date in silversmithing. Casimir was
succeeded in 1854 by his son Louis who was soon to add
the manufacture and sale of jewellery to the silversmithing
business. In 1876 René Lalique joined the firm as an
apprentice. The firm continued to make jewellery until
after 1900, but this branch of the business was always
regarded as a sideline. When André Aucoc took over the
firm, he concentrated on the silversmithing and his main
production was the recreation of the work of famous silver-
smiths of the eighteenth and early nineteenth centuries.

Bailey, Banks and Biddle Co.

jum of jewellers and silversmiths, Philadelphia, Pennsylvania
The firm was founded in 1832 by Joseph T. Bailey. From
1878, it was under the management of Joseph T. Bailey Jnr.,
with his partners George Banks and Samuel Biddle. The
firm is still in business in Philadelphia, though most of the
old records have been lost with the passage of time.

Bapst, Maison
firm of court goldsmiths and jewellers, Paris
Georges-Michel Bapst (1718-1770) became Orfevre-joaillier
du Roi in 1752, succeeding his father-in-law, Georges-
Frédéric Stras (the inventor of ‘strass’—the colourless glass
paste used extensively for jewellery throughout the eighteenth
and nineteenth centuries) who retired that year. Bapst
was in turn succeeded by his own son, Georges-Michel fis,
who had been apprenticed to another royal jeweller,
141 A diamond flower spray in the
Pierre-André Jacquemin from 1761 to 1770.
revived eighleenth-century style, made
In 1797, Jacques Bapst (son of Georges-Michel jis) by Bapst for the Empress Eugéme.
married the daughter of Paul Nicholas Meniére, a member The prece was photographed in 1887
of the great family of eighteenth century silversmiths. At at the time of the sale of the French
the end of 1788 Meniére had acquired the business of crown jewels. All Eugénie’s jewels
Boehmer and Bassange, who had been jewellers to Marie- were dispersed at the fall of the
Antoinette but were ruined by the notorious affaire du Empire and u is not known how
collier. many, ufany, survive.

149
 Jacques Bapst’s two sons, Constant and Charles-Frédéric,
succeeded to the business. One of their first tasks was the
remaking of some of the Napoleonic regalia for Louis XVIII.
The firm, now knownas Bapst freres, also made the coronation
regalia for Charles X. Gharles-Frédéric, who was joined in
the firm by his nephew Alfred, remained the director of
the workshops for fifty years. During this time the magnifi-
cent diamond parures, many of them designed by Alfred,
which were shown at the Exposition in 1867, were made
from the reassembled dzamantes de la Couronne for the Empress
Eugénie. After the death of Charles-Frédéric, in 1871, he
was succeeded by his nephew Alfred, and his two sons
Jules and Paul. At the time of his father’s death in 1880,
Alfred’s son Germain left the firm to go into partnership
with Lucien Falize leaving the family business to his uncles,
who renamed the firm ‘Jules et Paul Bapst et fils’.

Bapst et Falize
firm of goldsmiths and jewellers, Paris
This was a partnership between Germain Bapst, son of
Alfred Bapst (director of Bapst freres from 1871 until 1880),
and Lucien Falize from 1880, which was dissolved in 1892
when Germain Bapst withdrew from the firm.

Bautte et Moynier
firm of watchmakers, jewellers and enamellists, Geneva
The firm was established in the late eighteenth century by
Jean-Francois Bautte (1772-1832), a watchmaker special-
ising in very thin watches. It concentrated on enamelling
and fine goldwork rather than on jewellery made of valuable
precious stones, and was well known in the nineteenth
century for the fine quality ‘Geneva’ ornaments which it
sold.
The stock carried by the firm in the 1840s is lovingly
described by John Ruskin in Praeterita, published 1885-9
(Vol. XX XV of the Library edition of Ruskin’s complete
142 Bracelet in gold, decorated on Works, ed. Cook and Wedderburn, p. 325). Ruskin writes
both sides with cloisonné enamels ‘Virtually there was no other jeweller in the great times.
in the fapanese taste, made by
There were some respectable, uncompetitive shops, not
Bapst et Falize nm 1883 (marked
dazzling in the main street; and smaller ones, with an
with makers monogram and dale).
It was owned by Mrs. H. F. average supply of miniature watches, that would go well
Makins, daughter of John Hunt of for ten years; and uncostly, but honest, trinketry. But one
Hunt and Roskell, and was worn went to Mr. Bautte’s with awe, and of necessity as one did
with the set of enamelled jewellery to one’s bankers.’ He paid Bautte’s the supreme compliment,
made by Alexis Falize. very rarely extended to the more famous Paris and London

150
jewellery firms of ‘whom he often spoke scathingely, of
buying some pieces of enamelled jewellery for his wife.
Murray’s Handbook for 1846 states that in Geneva ‘The
largest and most celebrated establishment for jewellery
and watches was that of Bautte and Company.’ Their name
is not included in the next edition which appeared in 1852.

Benson, J. W.
firm of retail jewellers, London
Founded in 1874, the firm was located at 25 Old Bond
Street, and merged in about 1897 with Alfred Benson and
Henry Webb who had acquired Hunt and Roskell (of 156
New Bond Street—see below), the well-known royal
jewellers and goldsmiths. The firm still exists at the same
address.

Bindesboll, Thorvald (1846-1908)

Danish architect and designer
Son of a prominent Danish neo-classical architect, Bindes-
b@éll himself became an architect in 1876. However, his
most outstanding work was in decorative art. He developed
an individual style which owed little to fashionable Art
Nouveau ideas but anticipated to a remarkable extent the
experimental work of twenty years later. His work shows
the combined influence of William Morris and eastern art;
the jewellery designs, which are not dissimilar to the work
of Mogens Ballin (founder of the Copenhagen silver work-
shops where Jensen worked as a young man), use a range
of imagery quite outside the current fashionable vocabu- 143 A silver buckle designed by
lary, often appearing almost grotesque, and without any Thorvald Bindesbdll and executed
of the richness of the contemporary French Art Nouveau by P. Hertz early in the twentieth
cenlury.
pieces.

Birks, Henry, and Sons

firm of goldsmiths and jewellers, Montreal
The firm was founded by Henry Birks (1840-1928), son of
a Sheffield=born pharmacist, in Montreal in 1879. Members
of the Birks family had been connected with the cutlery
trade in Sheffield, and Henry Birks claimed that the names
of forty-seven of his ancestors were inscribed in the Court
Rolls of the Ancient Company of Cutlers in Sheffield. His
trademark, a churchwarden’s pipe, which is used on his
best silver, was once that ofa Birks ancestor, William, who
made silver for Charles II. Henry Birks was apprenticed
 to the Montreal Jewellery firm of Savage and Lyman. In
1868 he married Harriet Phillips and eleven years later
opened his own business, after the failure of Savage and
Lyman in the seventies, with three thousand dollars and a
staff consisting of two men and a boy. By 1goo the number
of employees had risen to over two hundred, and by a
number of extensions and profitable amalgamations with
rival businesses, the firm had become (and still is) one of
the largest jewellers in Canada. Henry Birks’ three sons,
Gerald W., John Henry and William Massey, were all
admitted into equal partnership with their father during
the last years of the nineteenth century, and William
became president of the whole concern at the time of his
father’s death in 1928. After the deaths of the three sons of
Henry Birks, which all took place within a few months in
1949-50, Henry Gifford Birks, son of William, succeeded
to the presidency. A fuller account of the firm and its
present-day operation is given in ‘The House that Henry
Birks built’, by Mackenzie Porter, published in Maclean’s
Magazine, 15 December 1954.
Marks: Churchwarden’s pipe; lion rampant with twin
letters B

Birmingham Guild of Handicraft

jum of craft jewellers, Birmingham
The Guild was founded in 1890 with Montague Fordham,
a solicitor and later owner of the Montague Fordham
Gallery and The Artificers’ Guild, as one ofthe first directors.
He was joined by a number of other directors in 1895 when
the Guild became a limited company. C. Napier Clavering
and Arthur Dixon were the chief designers. In 1910 the Guild
amalgamated with the Birmingham firm of Gittins Crafts-

144 Birmingham Guild chased

sulver buckle; c. 1910.

152
men Ltd., who specialised in the production of good quality
hand-made jewellery and other metalwork. E. R. Gittin’s
chief jewellery designer was H. R. Fowler. There is evidence
to suggest that the production of jewellery by the Guild
dates from after the amalgamation with Gittins.
Mark: 8G OH8 (ina square)

Blackband, William Thomas (1885-1949)

English goldsmith and jeweller
Blackband was apprenticed to a Birmingham goldsmith in
the late 1890s and at the same time attended evening
classes at the Vittoria Street school. After a scholarship course
at the Central School ofArt he returned, in 1909, to Vittoria
Street to teach part-time, joining the full-time staff two
years later. He worked in close collaboration with Arthur
Gaskin, the head of the school at this time. Blackband did
some of the work on the elaborate commissions received by
Gaskin from public bodies, notably the filigree work which
Blackband made his particular speciality. He succeeded
Gaskin as Head of the Vittoria Street School in 1924 and
remained there until retiring in 1946.

Black, Starr and Frost

firm of goldsmiths and jewellers, New York
The firm of Marquand and Paulding was founded in 1801
by Isaac Marquand in Savannah, Georgia. From the time
of its establishment in New York in 1810, the firm was called
‘Marquand and Co.’; then in 1839, ‘Ball, Thomkins and
Black’; in 1851, ‘Ball, Black and Co.’, and in 1876, ‘Black,
Starr and Frost’. From the time oftheir arrival in New York
in 1810 they occupied premises which became known as
the ‘Diamond Palace of Broadway’.
The Prince of Wales visited the firm in 1861 and bought
some pearls. Around the same date, various issues of Mme
Demorest’s Quarterly Mirror of Fashion illustrate fashionable
pieces from the stock of Ball, Black and Co. Much of their
stock was made up of imported jewellery and the bulk
of the business was always in more substantial and useful LADIES’ LOCKETT,

goods than the ‘Gold, enamelied and Etruscan Jewellery;

Tus locket has the face of a Skye terrier, cut
“Intaglio” back of the erystal, and colored, They

Stone, Cameo, Coral, Jewelry, Jet and tortoise-shell Goods’ are fashionably worn suspended
necklets. From Ball, Black & Co,
from velvet

which they advertised in 1864; their merchandise even

included a ‘camp chest and Ball’s American Camp Cooking
Range and Boiler’. In 1929, Black, Starr and Frost merged 145 Illustration from Mme.
with the Gorham Corporation, an arrangement which Demorest’s Quarterly Mirror of
lasted until 1966. Fashions, May 1867.

no
 Bolin, W. A.
firm of court jewellers, Stockholm
In the eighteenth century, the Bolins were shipowners near
Gothenburg but the shipping business was sold in 1836
by the widow of John Bolin who was drowned with his
eldest son. Another of\ John Bolin’s sons, Charles, settled
146 Clasp made by K. S. Bolin,
in St. Petersburg where he married the daughter of a
Moscow, stamped ‘Bolin 1903’,
from a published design by Paul prominent jeweller of the period and thus entered the
Lienard (1849-1900). jewellery business.
His firm was founded in St. Petersburg in 1845, with his
brother Henrik as a partner. Later, a branch was opened in
Moscow. The firm exhibited jewellery valued at £40,000
at the Great Exhibition of 1851 in London; some was illus-
trated in the Official Catalogue. The Bolins became gold-
smiths and jewellers to the Russian Imperial Court although
no member of the family ever took out Russian citizenship.
At the beginning of the First World War, William Bolin took
the stock from the German branch which had been opened
in Bad Homburg an der Hohe and went to Sweden to set
up a branch in Stockholm, requested to do so by King
Gustav V. The king opened the new showrooms in 1916
and later the firm moved to their present premises in
Sturegatan. The whole stock and all the documents belong-
ing to the Russian organisation were lost in the Revolution
mon 7.

Bott, Thomas (1829-1870)

English ceramic artist
Employed by the Worcester Porcelain Company, Bott
pioneered the use of the Limoges technique for enamelling
on porcelain, based on the French enamelwork of the
sixteenth century, usually in the form of brilliant white
figures and ornament on a dark blue or black ground.
Bott painted a series of small cameo-like ceramic plaques
for Robert Phillips and incorporated them into a gold
neo-classical style necklace which he showed at the Inter-
national Exhibition held in London in 1862.

Boucheron
firm of court jewellers, Paris
The firm was founded in 1858 by Frédéric Boucheron
(1830-1902) who had been apprenticed at the age of
fourteen to the famous ciseleur Jules Chaise (1807-1870)
in the Palais Royale, at one time the jewellers’ quarter of
Paris. By the mid-1860s, his reputation as a jeweller was
sufficiently well established to justify the move to more
lavish quarters in the Place Vendéme; he was particularly
noted for his elegant and lavish diamond jewellery. He
won a gold medal for his exhibit at the Exposition Universelle
in Paris in 1867.
The Maison Boucheron employed, among others, Octave
Loeuillard (chef @atelier 1865-1875), whose delicate botani-
cal jewellery in the form of ferns and single long-stemmed
flowers seems strikingly original in comparison with the
Louis XVI-style bouquets which were so fashionable
throughout the nineteenth century. Louis Rault (1847-1903)
sculptor-engraver, silversmith and jeweller, worked in the
Boucheron workshop from 1868 to 1875. He set up on his
own at the end of the nineteenth century making designs
for silverwork and jewellery in the Art Nouveau style. A
number of small maqueltes, in wax on plaquettes of slate, of
his designs are preserved in the museum at the Hotel
Lambinet in Versailles. (Rault’s mark is an elaborate and
stylised monogram of his initials, L. R.) Jules Brateau (0.
1844) and Lucien Hirtz (noted for his easily recognisable,
highly chased gold jewellery), also worked for the Maison
Boucheron, and Jules Debait (1838-1900) designed most
of the jewellery shown by the firm in 1878 and some ofthat
made for Sarah Bernhardt. Debtit remained with the firm
until 1879. The Musée du Luxembourg bought some of
the most spectacular Art Nouveau pieces made by Boucheron
for the Exposition in Paris in 1goo. The name of Boucheron 147 Diamond, gold and enamel
is still as well known today as it was in the nineteenth bracelet by Boucheron ;it is thought
century. lo have been made for the 1878
Mark : BOUCHERON Exposition Universelle.

Boutet de Monvel, Charles (4. 1855)

French painter, engraver, medallist, jeweller and enamellist
Born in Paris, Boutet de Monvel studied at the Ecole des
Beaux Arts from 1874 under Gérdme and Ponscarmé. He
studied medal engraving at the school but did not start
LoD
 making jewellery until about 1898. He worked in Paris, from
1898 to about 1910, apparently at his private address, using
the yearly exhibitions at the Paris Salon as his shop window.
In the Studio Yearbook.of Decorative Design for 1909, Boutet
de Monvel’s address is.given as 8 rue Tronchet, Paris. He
appears to have been exhibiting his remarkably original
jewellery, usually made of silver, textured and oxidized
and in designs based on unusual natural forms, since the
turn of the century; much of his work is illustrated in the
early volumes of Der moderne Stil, and in various other
publications from 1901 onwards.
Like that of many of the younger designers working in
Paris at this period—Charles Rivaud and Paul E. Mangeant
for instance—his work has a greater affinity with the Arts
and Crafts jewellery being made in England, or the work
of the Jugendstil designers, than with the more elaborate
and expensive pieces produced by the great Art Nouveau
designers like Lalique and Georges Fouquet.
Mark : CH DE MONVEL

Brace, Ian) |:
firm of goldsmiths and jewellers, Birmingham, England
The firm of T. and J. Bragg was founded by Thomas Perry
Bragg in the early nineteenth century, and was taken over
by his two sons, Thomas and John, in 1844. They exhibited
work at the International Exhibitions in 1862, 1867, and
148 Jewellery shown by Messrs. 1872. Examples of typical brooches and bracelets in engraved
Le and f. Brags ai the 1872 gold decorated in enamel, which were shown in 1862,
International Exhibition. are now in the Victoria and Albert Museum. This type of
work was widely copied in the United States in the mid-
nineteenth century, probably originally from one of the
great number of pieces imported from Birmingham. Most
of the American work is carried out in black enamel on
gold, whereas the English work, except in the case of
mourning jewellery, is often in blue, or blue and white,
enamel. Pieces of ‘Egyptian’ jewellery were shown by the
firm in 1872. The work of this firm is typical of the better-
quality Birmingham work of the, period.

Brogden, John (working 1842-1885)

English goldsmith and jeweller
From 1842 to 1864 Brogden was a partner in the firm of
Watherston and Brogden of 16 Henrietta Street, Covent
Garden (the firm is listed in 1826 as Brogden and Garland,
but from 1835 to 1841 the firm’s name had been Garland
and Watherston: both at the same address, 16 Bridgewater
Square, Barbican). In 1864 Brogden took over the premises
in Henrietta Street and continued to operate here as a
wholesale jeweller under his own name until 1880. From
1881 until 1885 he is listed as an ‘art goldsmith’ at Grand
Hotel Buildings, Charing Cross.
He showed jewellery at the exhibitions in London and
Paris in 1851, 1862, 1867 (when he won a gold medal), and
1878. Two of his most remarkable ‘archaeological’ pieces
are in the Victoria and Albert Museum; one is a bracelet 149 Enamelled gold necklace and
made in about 1860 and decorated with a scene depicting earrings sel with chalcedony cameos,
Ashur-bani-pal, King of Assyria, making a sacrifice on his made by John Brogden and shown
return from a lion hunt (after one of the recently discovered at the Paris Exposition of 1867.
sculptures from Nineveh); the other is a set of necklace
and earrings in gold decorated with coloured enamels and 150 Gold pendant cross designed by
hung with cameos of chalcedony and onyx in a range of Brogden after the cross in a picture
pale colours. His gold work shows outstanding technical in the National Gallery, London,
ability, particularly in the delicacy of the granulation and attributed to Quintin Metsys ; made
6. 7070:
the filigree used in both his ‘archaeological’ and his Gothic-
style jewellery. His work in the Italian archaeological style
was particularly commended by Alessandro Castellani in
his report on the British jewellery shown at the Paris
Exposition in 1878.
Marks: JB; BROGDEN (both in rectangular shield with
chamfered corners)

Bromsgrove Guild of Applied Art

guild of craft jewellers, Bromsgrove, nr. Birmingham, England
The Guild was founded in c. 1890 by Walter Gilbert, the
sculptor, metalworker and designer, whose work was
strongly influenced by that of his more celebrated cousin,
Alfred Gilbert. A number ofthe designers connected with the
Arts and Crafts movement worked for the Guild, among
them Mr. and Mrs. Arthur Gaskin and Professor Joseph A.
Hodel, instructor in metalwork at the Liverpool School of
Art and a distinguished jewellery designer. The Bromsgrove
Guild was, by some administrative oversight, one of the
only organisations showing English Arts and Crafts work at
the centennial exhibition in Paris in 1goo. A fuller account of
the Guild will be found in Saga of the Guild of Decorative Art, by
Barbara J. Morrison, privately printed in 1969.
Marks: BG;BGAA

A /
 Bulgari, Gioielleria
firm of goldsmiths, silversmiths and jewellers, Rome
The firm was founded in 1881 by Sotirio Bulgari (1857—
1932), descendant of an ancient Greek family of goldsmiths
from Kallartris; he left.his country of origin as a young man
and went to Naples. After some years of hard struggle and
having failed to establish himself successfully there, he left
for Rome in 1881 and set up as a goldsmith, opening first a
shop in Trinita dei Monti, which was shortly followed by a
number ofother branches including one in the via Condotti,
which is still open, having been considerably enlarged in
1934. He had begun to specialise in jewellery, before coming
to Rome, in 1880, and he was joined in his now successful
business by his two sons, Constantine in 1889, and Giorgio
in 1890. In the present century the firm has become re-
nowned for the large and exotic jewels in strange or savage
forms, often of animals, made of a mixture of precious and
semi-precious stones and gold enamelled in vivid colours.

Burges, William (1827-1881)

English architect, antiquary and designer
Burges was the son of a marine engineer who provided him
with sufficient means to create a mediaeval fantasy without
the need to build up a flourishing architectural practice.
His wide interests—in Gothic and French Renaissance
architecture, antique metalwork andjewellery, archaeology
and Indian and Japanese art—combined to produce the
151 Design in pencil and water- eclectic decorative style used in the house he designed for
colour for a Gothic-style brooch by himselfin Melbury Road, in the design for St. Finn Barre’s
William Burges. Cathedral in Cork, and in his two great schemes for Lord
Bute—the restoration of Cardiff Castle and the building of
152 Brooch made by Hardman,
Castell Koch. He also designed for Lord Bute a set of neo-
possibly based on the design by
Gothic marriage jewellery.
Burges, illustrated above.
His jewellery designs are almost all Gothic in inspiration,
with the exception ofa necklace and earrings in the Etruscan
style which was presumably influenced by the work of
Castellani. That Burges was greatly interested in Castellani’s
work is evident from his article ‘Antique Jewellery and its
Revival’, a long account of Fortunato Pio Castellani’s
research into antique methods which appeared in the
Gentleman’s Magazine in 1862. From a later period there
exist a number of watercolour drawings for less elaborate
Gothic-style pieces, several of which were designed as
marriage jewels like the Bute brooch; these designs bear
indications in the form of names and code numbers of having
been commercial commissions, possibly for Hardman and
Co., for whom he made other metalwork designs. These are
now in the drawings collection at the Victoria and Albert
Museum.
The badge and chain designed by Burges for the Exeter
Corporation is illustrated in the Building News of 5September
1885. Early and roughly sketched ideas for the jewellery for
Lord Bute, as well as an album of ecclesiastical metalwork
designs (much less elaborate than the Bute pieces) are all in
the drawings collection of the library of the Royal Institute
of British Architects.

Burne-Jones, Sir Edward (1833-1808)

English artist and designer
Close friend and associate of William Morris and the pre-
Raphaelite painters, Burne-Jones was commissioned by
John Ruskin in 1883 to make designs for the ‘Whitelands’
cross (the prize offered annually by Ruskin to the most
popular girl, to be chosen by her fellow pupils, at Whitelands
College in Chelsea). Three sketch-books begun by Burne-
Jones in 1882 contain further designs for jewellery. One,
entitled Thoughts of Designs for a Flower Book (in the Victoria
and Albert Museum) and another, called Secret Book of
Designs (British Museum), both contain a number ofdelicate
finished designs, many with birds and leaves, which are in
the same style as the brooch made after his design for his wife
Georgiana, and described by her in the Memorials (pub.
153 Design for a chained-heart
1904); this is one of the few surviving pieces designed by pendant necklace by Burne-fones ;
him. The third sketchbook in the collection at Wightwick c. 1885.
Manor, Wolverhampton, contains a number ofjewellery
designs which are bolder and more antiquarian in inspira-
tion., The designs for the ‘Whitelands’ cross (or rather, the
few designs which survive out ofthe fifty which Burne-Jones
claimed to have made) are in the Sharp Collection in the
library of Queen’s College in New York with a number of
other jewellery designs which appear to be rough ideas for
pieces in the Wightwick Manor sketchbook.
The pieces designed by Burne-Jones and made for his wife
and daughter (which seem to have disappeared—with the
exception of the brooch described in the Memorials, a pen-
dant, a pair of cuff-links, and two rings) were made either
by the Kensington jewellers Child and Child, whose enamel-
work at the turn of the century betrays a strongly pre-
Raphaelite influence which might be supposed to come from
their contact with Burne-Jones, or by Giuliano.

HS)
 Caetani, Michelangelo — Duke of Sermoneta
(1804-1883)
Italian antiquarian and painter
The Duke was patron, friend and collaborator of the
Castellanis—father and sons—from 1828 until his death. He
gained access for Fortunato Pio Castellani to the archaeo-
logical excavations being carried out for the State and he
continued to help the Castellani firm with encouragement,
money and ideas for experimental work with jewellery
design and techniques throughout their long association. He
was awarded a medal for his share in the presentation of the
Castellani exhibit at the 1873 Vienna Exhibition. The
Duke’s antiquarian interests led him to design in antique
styles other than the strictly classical, and the neo-Gothic
and Italian mediaeval jewellery produced by the Castellanis
was probably designed, or at least inspired, by him.
Mark : as Castellani

Caldwell, J. E. and Co.

firm of jewellers, silversmiths and antiquarians, Philadelphia,
Pennsylvania
James E. Caldwell, who was born in New York in 1805, was
trained as a watchmaker and jeweller. He is said to have
started his business in Philadelphia in 1835, but there is no
documentary evidence to support this; the first advertise-
ment issued by the firm appeared in 1839 in the June 20th
issue of the United States Gazette.
From 1840 to 1859, the business operated from 140
Chestnut Street and gradually moved westward during the
following years—to 822 Chestnut Street in 1859 and to go2
in 1868, where it remained until 1916. In 1843, Caldwell
took a partner, and for a time the firm was known as Bennett
and Caldwell, but in 1848 a notice appeared in the United
States Gazette to the effect that James M. Bennett was leaving
the business. From that time, the firm operated under the
name of J. E. Caldwell and Co. and is still known by that
name.
The range and type ofjewellery stocked by Caldwell’s in
the mid-nineteenth century can be guessed from the fact that
they were used by the fashion editor of Godey’s Ladies’ Book to
fulfil customers’ commissions. The goods stocked by the
firm were described at some length in the April 1869 issue of
Godey’s and some idea ofthe style and quality of the jewellery
can be obtained from the illustrations in Mme Demorest’s
Quarterly Mirror. Unfortunately two serious fires, in 1869

160
and 1914, destroyed most of the records of the work of the
early years.
James Caldwell died in 1881 and was succeeded by his
son, J. Albert Caldwell, who ran the business until his death
in 1914. The founder’s grandson, J. Emott Caldwell, then
ran the business until his own death in 1919. A fuller account
of the firm’s history can be found in Joseph Hugh Green’s
Jewelers to Philadelphia and the World, 125 Years on Chestnut
Street, a pamphlet published by the Newcomer Society of
North America in 1965.

Carr, Alwyn (1872-1940)

English silversmith and enamellist
In 1898 Carr became a partner of the designer and silver-
smith Omar Ramsden, with whom he had studied at the
Sheffield School of Art. He had won a Sheffield Corporation
Scholarship to the School of Art (tenable for four years) in
1893, one year before Ramsden won a similar award.
They went to London in 1898 to set up their workshop. 154 fade and baroque pearl pen-
Their mark (see below) was registered in February of that dant set with diamonds and hung on
year, and from then until 1918, they continued in a partner- a pearl and platinum chain ; made by
ship which was in the early years mainly financed by Carr. Cartier between 1902 and 1904.
At the beginning of the war in 1914, Carr enlisted in the
Artists’ Rifles; he was invalided out in 1918 and after his
recovery from some months ofillness, returned to take up his
work with Ramsden again. However, the intervening years
had changed the character of the workshop and the partner-
ship proved to be unworkable: it was formally dissolved in
1g1g. Carr continued throughout the 1920s as a silversmith
and designer of wrought ironwork.
Mark: RN & Rr. (in a rectangular shield with chamfered
corners)

Cartier
firm of court jewellers, Parts
The business was founded in 1859 by Louis Francois Cartier
who had started making jewellery in a garret workshop in te:
NNCIRIn
AAA
OECREE
ERLE:
NARI
ARBRE

about 1847: He had the great good fortune to attract the

favourable notice of the Princesse Mathilde Bonaparte,
cousin of Napoléou I11, who was a valuable and influential
patron, and was able to open a modest retail shop in the
boulevard des Italiens by 1859.
In 1874 he was succeeded by his son, Alfred, who had been
working in the business since 1864. At the turn ofthe century,
the shop, under the management of L. F. Cartier’s three
161
 grandsons, Louis, Pierre and Jacques, moved to 13 rue de la
Paix, joining the other most fashionable and _ successful
jewellery shops in Paris at that time. In 1902 the London
branch was opened in New Burlington Street (moving in
1904 to its present location at 175 New Bond Street) and the
branch in New York was opened in 1g12. The name of the
firm has become identified with stylish jewellery in original
combinations of precious and semi-precious stones made
during the 1920s in the Art Deco style.
Marks: urc (in a diamond-shaped shield); ac (with a
hatchet)

Castellani, Alessandro (1824-1883) and

Augusto (1829-1914)
Italian goldsmiths, silversmiths, and antiquarians
Sons of the Roman goldsmith and jeweller, Fortunato Pio
Castellani, they jointly managed the family firm after their
father’s retirement in 1851. They were experts in the field of
antique and classical jewellery and were instrumental in
popularising the archaeological style which their father had
pioneered in the first half of the nineteenth century. Augusto
Castellani formed the famous collezione Castellani of antique
jewellery, part of which forms the basis of the collection at
the Villa Giulia in Rome.
The activities of the firm of Castellani span a period of over
sixty years: a great deal of the work survives, perhaps mainly
because expensive precious stones were rarely used. The
technical quality of the surviving marked pieces—though
generally high—is somewhat variable, the artistic quality
even more so. Presumably, the ‘Etruscan’-style gold brooches
and the mosaic-work set in gold—of fine but not outstanding
quality—formed the stock of the shop, whereas the more
spectacular pieces were special commissions.
Very tew pieces can be dated by external evidence, though
drawings exist by Augusto Castellani in the Cooper-Hewitt
Museum in New York, dating from about 1870. The set of
155 Necklace, pendant and brooch ; jewellery designed for the Countess of Crawford by Michel-
the necklace is in silver and gold set angelo Caetani dates from about 1875 (though the diadem
with mother-of-pearl and chryso- seems to be nearly identical with one shown by the firm in
phrases, the pendant 1s enamelled Paris in 1867) and the drawings made by Caetani for the
and set with turquoises, and the
brooch 1s made of silver set with a Castellani firm appear to date from the period 1860-70. The
pale olivine; designed by C. R. gold mounts for a set of cameos by Saulini were made by the
Ashbee for the Guild of Handi- Castellanis in the 1860s [116]. A few indications can be
craft, C. 1900. gleaned from these documents: for instance, it seems most
likely that the pieces of jewellery in antique styles other than

162
classical were inspired by the designs of Caetani, and the
period from the reopening ofthe firm in 1858 until well into
the 1860s and 1870s appears to have been the most prolific
for jewellery of exceptionally high quality.
No work was done in the Rome workshop between 1848
and 1858, and both Alessandro and Augusto seem to have
been virtually in exile during that period. Vever claims that
Alessandro was in Paris, and there is also some evidence to
suggest that one or both of the brothers spent some time in
London. The growth of their reputation in England dates
from 1861, when jewellery in the archaeological style made
by the firm was shown in Jermyn Street, and Augusto Castel-
laniread a paper on the revival of classical style and technique
156 Gold and amber necklace by
Castellan, and gold earrings set
with carnelian scarabs in the style of
Castellani; all c. 1870.

163
 to the Archaeological Association. This was extensively
reported by Burges in The Gentleman’s Magazine and Historical
Review. They also showed their work at the 1862 International
Exhibition in London, where the gold jewellery decorated
with granulation in the Etruscan style created a sensation;
for that reason, it must be assumed that the rather dull and
uninspiring brooches illustrated by the Art Journal in the
catalogue of the exhibition give absolutely no idea of the
quality of the work shown by the firm. Their jewellery in the
archaeological style was widely imitated in France, America
and England, as well as in Italy, and it is probably safer to
assume that work which is not marked with the firm’s
157 Gold and enamel tiara in the crossed capital Cs was done by someone else.
Greek style by Castellani ; 1867 (?). Mark: cc (in monogram)

Castellani, Fortunato Pio (1793-1865)

Ltalian goldsmith and silversmith
Son of a jeweller, Castellani entered his father’s Rome work-
shop in 1814, at a time when the firm was concentrating on
making fashionable jewellery in imitation of contemporary
French work. It was in about 1826 that he began making
jewellery in gold and filigree, copied from the early Roman
jewellery unearthed in the extensive archaeological excava-
tions then being undertaken. In 1836, through his friend and
patron Michelangelo Caetani, Duke of Sermoneta, he was
present in an advisory capacity at the excavation of the great
Regulini Galassi tomb which yielded the most sophisticated
and perfect collection of Etruscan metalwork ever found.
Castellani determined to learn the technical secrets of the
ancient goldsmiths, in order to copy their jewellery with its
granulated decoration. After much research, he succeeded
in finding craftsmen —in the small town ofStAngelo in Vado
in the Marches—who were working with techniques similar
to those used by the Etruscans; he took both men and women
from the town to work for him in Rome.
In 1848, the political situation in Italy forced the work-
shop to close, and no business was done in Rome for ten years.
Fortunato Pio Castellani retired in 1851, leaving the business
to his two sons, Alessandro and Augusto, who opened the
workshop again in 1858.
Mark: cc (in monogram)

Chaumet, J.
firm of retail jewellers, Paris and London
Chaumet were successors to the firm of Etienne Nitot,
jeweller and silversmith to Napoléon I. The Nitot firm,
which was run by Etienne and his son Francois Regnault,
was handed over to Fossin fere, their chef datelier, when
Napoléon fell from power in 1815. Fossin established him-
self first at 75 rue de Richelieu, later moving to 62 where the
firm remained until 1905. Jean-Baptiste Fossin (1786-1848)
was a fashionable jeweller throughout the restoration period,
he was given the Brevet du Roi in 1830, and was joined by his
158 A cardboard maquette for a
tiara designed by the firm of Chau-
mel in Paris ; late nineteenth century.
 son Jules in the same year. Jules Fossin (1808-1869) carried
on the business until 1862. In that year, the firm was handed
over to Prosper Morel, the son of the celebrated silversmith,
J. V. Morel, who had worked as chef d’atelier for Fossin pére in
the past. He remained. as the director of the firm until 18809.
Joseph Chaumet (1854-1928), partner and son-in-law of
Prosper Morel, who joined the firm in 1874, opened the
London branch in 1875, becoming the official director of
the whole firm in 1889. He was succeeded by Marcel
Chaumet, and the firm is still in business in London and
Paris.
The firm is renowned for the delicate form and outstanding
craftsmanship of immensely valuable jewellery made with
large, beautifully matched stones in a framework of smaller,
specially shaped (or calibré) pavé-set stones in nearly
invisible settings. For a fuller account, see Une pléiiade de
maitres-joaulliers, 1780-1930, privately printed in Paris for
the Maison Chaumet in 1930.

Child and Child

firm of silversmiths and jewellers, London
Established in 1880 at Seville Street, Child and Child moved
in 1891 to 35 Alfred Place West (now Thurloe Street),
Kensington. In this year they became manufacturing
jewellers, and began to produce the easily recognisable
enamelwork of high quality for which they are best known,
as well as more conventional pieces in the revived eighteenth-
century style. Soon after the move to Kensington, they
became jewellers by appointment to the Princess of Wales
(later Queen Alexandra) and Princess Christian. They made
up some of the jewellery designs of the painter, Edward
Burne-Jones, and their enamelwork seems to have been
159 Cloak clasp im silver with
plique a jour enamels in the form
of fantasti insects ;made by Child
and Child, c. 1900.

166
strongly influenced by contact with him, both in colour and
in form. The firm continued at the Kensington address until
1915-16 when it closed down, presumably a victim of the
wartime depression in the jewellery trade.
Mark : a stylised sunflower, the stalk flanked by the initials
Oe

Collingwood Limited
jirm of court jewellers, London
The firm was established in 1817 by Joseph Kitching, who
enjoyed the valuable patronage of Princess Charlotte, the
Duke and Duchess of York, and the Duke of Gloucester. He
moved to 46 Conduit Street in 1834 and in 1837, the year of
Queen Victoria’s accession, his firm was awarded the
warrant of appointment asjewellers to the Queen. Kitching
retired in 1853 and was succeeded by Henry Collingwood,
who was followed in turn by his son, Robert Nelson Colling-
wood. The firm held the Royal Warrant continuously for
126 years.

Colonna, Edward (db. 1862)

German-born decorative designer
Born in Cologne, Germany, Colonna went to Brussels to
train as an architect. In 1882, however, he left for America,
where he worked as an interior designer with Associated
Artists, the firm founded by L.C. Tiffany in 1879. He then
went to live in Dayton, Ohio, where he produced his revo-
lutionary booklet of Art Nouveau designs, entitled Essay on
Broom Corn. Strongly reminiscent of the work of Louis
Sullivan, the Chicago architect, the booklet pre-dates very
similar experimental work in design by Belgian artists such
as Horta and Van de Velde. The designs in Colonna’s book
are inspired by the wavy, interlaced lines of the stalks of corn
which were used to make a corn-broom (ihe besom or rustic
broom).
Tn 1898, Colonna returned to Europe to work for Samuel
Bing; he produced jewellery and furniture designs for the
Maison de‘l’Art Nouveau which were a great success at the
Exposition in Paris in 1900, and his jewellery was widely 160 Two pendants enamelled and
commended for being more wearable and commercial than set with semi-precious stones, de-
that of most other Art Nouveau designers. signed and made by John Paul
Colonna went back to America in 1905, after Bing’s shop Cooper.
had closed, and there continued designing in the style he
had developed from the Essay. His designs were to prove
highly influential in America where traces of his ideas can
 be found in the work of many designers connected with the
craft revival [67]. In the 1920s he developed a modified
geometric manner not unlike the currently fashionable
French Art Deco work, but these later designs lack the
striking originality of His work at the turn of the century.
Marks: COLONNA (stamped); s.A.N.B. (in a diamond, the
mark of the Maison de l’Art Nouveau)
161 Designs for jewellery in water-
colours, by Colonna.

PATORO WE

Cooper,J. Paul (1869-1933)

English architect, silversmith and jeweller
In 1887, Cooper was articled to the architect, J.D. Sedding.
On Sedding’s death in 1891, he went to complete his articles
under Henry Wilson. Wilson aroused his interest in metal-
working, which Cooper took up in 1897, specialising in the
use of unusual materials, notably shagreen which he began

168
using in 1903, long before it became so fashionable in the
1920s and 1930s. His work is frequently illustrated in the
Studio and the Art Journal from the turn of the century,
mainly in the long critical reports of the Arts and Crafts
Society's exhibitions.
Cooper taught at the Birmingham School of Art, where he
was head of the metalwork department from 1904 to 1907.
He was always strongly influenced by Wilson, particularly in
the Gothic-style work [60] and to a lesser extent, by his
contacts with Birmingham artists like Gaskin and Cuzner.
He moved to Kent and finally set up his workshop in his house
(which he designed himself) at Westerham. From 1906 he
used a Japanese meta! vorking technique, combining silver
and copper, called ‘“Mokumé’, probably after having dis-
cussed the additions (relating to Japanese techniques) to
Silverwork and Jewellery with his friend and teacher, Henry
Wilson.
Mark: } pc (in a rectangular shield with chamfered corners
or in a circular monogram)

Cranach, Wilhelm Lucas von (1861-1918)

German painter, jeweller, interior decorator
and creator of objets dart
W.L. von Cranach claimed descent from the painter Lucas
Cranach. He: studied in Weimar and Paris, and in 1893
settled in Berlin working as a landscape and portrait painter.
His jewellery designs include many elements typical of the
continental Art Nouveau style, closer to French and Belgian
taste than to German, but they have an air of real decadence
162 Medusa-head brooch designed
by W. L. von Cranach in 1902.

169
 which is absent (pace contemporary commentators) from the
work of Lalique, Fouquet or Philippe Wolfers. He exhibited
in Paris in 1900 where he won a gold medal, and at the Berlin
Exhibition in 1906. For a fuller account (including illustra-
tions) of his work, see Werke moderner Goldschmeidekunst von
W. Lucas von Cranach, ed. W. Bode, published in Leipzig in
1905.
Mark: wc (in monogram)

163 Silver waist clasp by Nelson

Dawson set with an enamelled
plaque of a pansy m a frame of
leaves by Edith Dawson; c. 1900.

Cuzner, Bernard (1877-1956)

English silversmith and jeweller
Cuzner was born in Warwickshire, the son of awatchmaker
to whom he was apprenticed on leaving school. During his
apprenticeship he attended evening classes at Redditch
School of Art where he early showed an exceptional aptitude

164 Silver necklace set with ame-

thysts, designed by Bernard Cuzner ;
C. 1905.

170
for silversmithing. He abandoned watchmaking after two
years and went to work for a Birmingham silver firm attend-
ing evening classes at the recently opened Vittoria Street
School for Jewellers and Silversmiths under Robert Catter-
son Smith, who with Arthur Gaskin influenced his work
during the early years. He began designing for Liberty’s in
about 1900, and various Liberty designs are attributed to him,
but without sufficient documentary evidence to substantiate
these claims. He may also have been employed at some time
by the Birmingham Guild of Handicrafts; indeed the silver-
smith’s work made by the Guild is closer to the designs used
by Cuzner to illustrate his book, A Stlversmith’s Manual (1935),
than any of the Liberty pieces usually assigned to him. A
collection of drawings by Cuzner for silver work andjewellery
is now in the Birmingham Museum of Science and Industry
with his workshop [115]. In the year 1910 he was appointed
head of the Metalwork Department at the Birmingham
School of Art in Margaret Street; he retired from this
position in 1942, but continued to work at silversmithing
until his death in 1956.
Mark: Bc

165 Group of painted and

cloisonné enamels for setting im
jewellery and silverwork, made by
Edith Dawson ; c. 1900.
166 Gold and opal brooch de- (Czeschka, Carl Otto (1878-1960)
signed by Czeschka and made by the
Austrian painter, graphic designer and artist-crafisman
Wiener Werkstatte in 1905.
A member of the Vienna Secession Movement (formed in
1897-8) Czeschka joined Hoffmann in the Wiener Werkstatte
soon after they were founded in 1903. In 1907, he went to
Hamburg to teach at the Kunstgewerbeschule there, but
continued to provide designs which were made in the
Werkstatte.
Marks: ww (monogram in a square shield, for Wiener
Werkstatte) ; coc (monogram in a square)

Dawson, Nelson (1859-1942) and Edith (née

Robinson, married Nelson 1893)
English designers, metalworkers, and enamellists
Nelson Dawson studied architecture in the office of his uncle
and painting at the South Kensington Schools. He met his
wife while working in an art shop in Scarborough, where she
exhibited watercolours for sale. In 1891, he came to London
where he took up metalworking and attended a series of
lectures on enamelling given by Alexander Fisher. He taught
his wife enamelling and she carried out the enamelling work
for his jewellery and silver, eventually ruining her health as
a result of inhaling the noxious fumes from the enamelling
kiln.
In 1900, the Dawsons had an exhibition at the Fine Art
Society in Bond Street where they showed 125 pieces of
jewellery, many of them decorated with enamel. The follow-
ing year, Nelson Dawson founded the Artificers’ Guild,
binding himself to work exclusively for the Guild for five
years. However, he left in 1903 when the Guild was taken
over by Montague Fordham. ‘The Dawsons’ works, which
they exhibited in London and on the Continent, are fre-
quently illustrated in contemporary journals like the Studio
and the Art Journal. Their style of rather architectural
silverwork decorated with delicate enamels, often of flowers
or birds, was developed early and retained—more or less
unaltered—throughout the early years of the twentieth
century. Quantities of jewellery and silverwork were
produced in the workshop where up to twenty craftsmen
might be employed at one time, preparing work for exhibi-
tions and fulfilling commissions. The strain of organising
the finances of the business was very great and it was with
some relief that the metalworking was entirely abandoned
in 1914.
Marks: ND (in an ivy leaf); the enamels sometimes signed
with p

nN
~I
Doria, Carlo (working c. 1860-1880)
Italian-born goldsmith and jeweller
Doria came to England from Italy in about 1860 and worked
for the firm owned by Robert Phillips, who was renowned
in the 1860s and 1870s for his ‘archaeological’ jewellery in the
Itahan manner. Doria’s work in gold, lightly decorated with
enamel and set with stones chosen more for their colour than
their value, is of a quality equal to that of Castellani or
Giuliano, but it seems to be much more rare.
Mark: cp (monogram with a stylised fleur-de-lis)

Emanuel, Harry, F.R.G.S.

English goldsmith and jeweller; jeweller by appointment to the 167 Gold and enamel pendant set
Prince of Wales (later Edward VII) with coral, made by Carlo Doria; c.
In 1860, Emanuel was operating from the address at 5 1870.
Hanover Square which had been occupied since 1846 by
Emanuel Bros., who were previously (from about 1826) at 7
Bevis Marks. He moved in about 1880 to 27 Old Bond Street
and in 1890 to 40 Albemarle Street.
It seems possible that Carlo Giuliano worked for this firm
when he first came to England: the gold and enamel pendant
shown by Harry Emanuel at the Paris exhibition in 1867,
and illustrated in the Art Journal catalogue, is nearly identical
with one made by Giuliano and now in thejewellery collec-
tion at the Victoria and Albert Museum, London.

168 Page from the Art Journal

Illustrated Catalogue of the 1867
exhibition in London showing the
pendant exhibited by Harry
Emanuel.

169 Enamelled pendant exhibited

by Harry Emanuel in 1867, de-
signed and made by Carlo Giuliano.
Fabergé, Gustav (1814-1881)
Russian goldsmith and jeweller
The Fabergé family was said, traditionally, to be of Huguenot
origin; Gustav was born at Pernay on the gulf of Riga. After
serving his apprenticeship with a St. Petersburg jeweller,
he opened his own business in the fashionable Morskaya
Bolshaya Street. He retired in 1860, leaving the family
business in the care of his chief silversmith Zaiontchkovsky,
until his son, Peter Carl, was old enough to take over.

Fabergé, Peter Carl (1846-1920)

Russian goldsmith and jeweller
The eldest son of Gustav Fabergé, Peter Carl took over the
running of the family firm in 1870, once his education was
complete. He had trained in the jewellery business in Frank-
furt and had also learned the trade in St. Petersburg from
Peter Heskias Pendin, goldsmith and chief assistant to his
father.
Between 1870 and 1881, the firm specialised in making
fashionable jewellery. In 1881, the younger Fabergé received
the Imperial warrant from Czar Alexander III and in the
following year, he made the first of the jewelled Easter eggs
which both Czar Alexander and his son, Nicholas II, would
give each year thereafter as gifts to their wives.
In 1883, Peter Carl Fabergé’s younger brother, Agathon,
joined the firm and from then on, they concentrated on
production of the srnall, jewelled objets de fantaisie and hard- 170 Pendant and chain in silver, set
stone sculptures, for which they were later to be renowned with fire opals, amethysts, and
in both Europe and America. In 1887, a branch was opened green pastes designed and made by
in Moscow to specialise in jewellery —a trade by then some- Mr. and Mrs. Arthur Gaskin; c.
what neglected by the firm in St. Petersburg—and par- 1905.
ticularly in the fashionable ‘Old Russian’ style, which used a
form of cloisonné enamel technique called skan to decorate
small pieces of metalwork and jewellery in traditional
Russian shapes. In 1890 the St. Petersburg branch of the
firm moved to larger premises; in the following years
branches were opened in Odessa, Kiev, and finally, London
in 1906; in 1898 an even larger building was completed in
St. Petersburg.
The pieces for sale in St. Petersburg were made by
Fabergé’s work-masters who operated separate workshops 171 opposite: Necklace consisting
which he supplied to them rent-free; he also supplied the of forty miniature jewelled and
designs and the materials and supervised the production of enamelled Easter eggs; many of the
each piece. The workmasters themselves were responsible eggs were made in the Fabergé
for the recruitment and the wages of their assistants. workshop in the late nineteenth
Fabergé’s two chief jewellers were the workmasters A.W. century.

TS
 Holmstr6m and A. Thielemann. After the completion of
the larger Fabergé building in 1898, most of the workshops
were situated there. The Moscow workshops did not operate
on this system and were managed by the jeweller, Oskar
Piehl.
Fabergé first exhibited his work at the Pan-Russian
Exhibition in Moscow in 1882, winning a gold medal. This
success was repeated in 1885 at the International Gold-
smiths’ Exhibition in Nuremburg, where he exhibited copies
in gold of the fourth-century B.c. ornaments that had been
found in the Crimea, and added to the collection of the Her-
mitage in St. Petersburg. These copies were made at the
suggestion of Count Stroganoff and with the Czar’s per-
mission, by the goldsmith Edward Kollin, one of the
Fabergé workmasters who had been with the firm since the
1860s. In 1896, Fabergé received another gold medal at the
172 Art Nouveau pendant, set with Pan-Russian Exhibition in Nyny Novgorod, but his greatest
an amethyst by Peter Carl Faberge ; triumph came five years later, when he exhibited (hors de
c. 1900. concours, as he was a member of the jury) at the Exposition
Universelle in Paris and was awarded the Légion d’ Honneur.
173 Red topaz, diamond and seed- In 1906, a branch was opened in London for the sale of
pearl necklace by Peter Carl
Fabergé objects; it existed until just after the outbreak of the
Fabergé; c. 1910.
First World War. In 1918, the firm was ‘nationalised’ by the
Bolsheviks who seized as much as possible of the remaining
stock of precious stones and metals and completed pieces.
Fabergé escaped to Switzerland and died in Lausanne in
1920.
Marks: FABERGE; also Fabergé in Cyrillic, or the initials in
Cyrillic

Fahrner, Theodor (1868-1928)

jewellery manufacturer, Pforzheim, Germany
Fahrner made very inexpensive jewellery using cheap mass
production methods and low-carat gold or silver set with
semi-precious stones, opaque hardstones or perles de cog in the
Jugendstil style. He often used designers from the artists’
colony in Darmstadt, much like the Liberty venture in
London, among them Patriz Huber and J.M. Olbrich. Some
pieces designed by Henri van de Velde were made by the
firm in about 1900; the firm exhibited in Paris in the same
year.
Mark: v¥

Falize, Alexis (1811-1898)

French goldsmith and jeweller
Alexis Falize was apprenticed to the Maison Mellerio in
176
1833; he left to become manager of the workshops of the
Maison Janisset, well known Parisian jewellery firm of the
Restauration period, from 1835 to 1838. He set up on his own
in the Galerie des Valois, Palais Royale, in 1838, but con-
tinued to supply his old employers. He worked for a period
at the Maison Carré, 167 Palais Royale, and appears to
have taken over the business in about 1850.
Falize was chiefly notable for his work on the revival of the
cloisonné enamel technique for use in jewellery in the mid-
sixties. He exhibited jewellery decorated with cloisonné
enamels in the Japanese taste at the Paris Exposition in 1867
[42]. He also produced ambitious neo-Renaissance pieces
in the manner of Alphonse Fouquet. He retired in 1876
handing over the firm to his son, Lucien, who was to
exhibit under his own name in 1878, thus ending the long
period of anonymity which the firm had maintained under
his father’s management.
Mark: a.¥. (ina lozenge with a flail)

Falize, André (1872-1936)

French goldsmith and jeweller
Eldest son of Lucien Falize he succeeded his father, with
whom he had been working since 1894, at his death in 1897,
working in the Art Nouveau style fashionable at the time.
He ran the firm with the help of his two brothers. Jean and
Pierre, under the name of Falize /freres.

Falize, Lucien (1838-1897)

French goldsmith and jeweller
Trained by his father, Alexis, he took over the running of the
firm at the time of the elder Falize’s retirement in 1876.
174 Design for watch chatelaine by
Lucien expanded the firm, exhibiting at the 1878 Exposition
Alexis Falize; c. 1875.
and, in 1880, going into partnership with Germain Bapst.
Bapst withdrew from the firm in 1892, and Lucien’s son,
André, took over at the time of his father’s death in 1897.
Lucien continued to experiment with enamels, reviving the
neglected technique of basse-taille (i.e. painting in trans-
lucent enamels over engraved decoration); he used this as
well as the cloisonné techniques revived by his father for the
very distinctive jewellery of fine goldwork decorated with
enamels in a mannered Japonaiserie style that the firm of
Bapst et Falize produced from about 1880 until the turn of
the century. He exhibited neo-Renaissance jewellery in the
manner of Hans Collaert in 1889. Lucien Hirtz, who worked
for Boucheron, became an associate of Falize in the 1890s.
Mark : as Alexis Falize
77
 Feuillatre, Eugéne (1870-1916)
French sculptor, enamellist, silversmith and jeweller
An enamellist of remarkable ability, Feuillatre worked for
Lalique at the end of the nineteenth century. He made
numerous experiments with the complex technique of
enamelling on silver; he also perfected a technique for
enamelling on platinum.
He set up on his own in 1899, specialising in objects
decorated with plique-d-jour enamel—pieces which are some
of the technically most sophisticated examples of Art
Nouveau metalwork. He exhibited in the Paris Salon in
1899, at the exhibition in 1go00, and at Turin in 1902. The
elegant quality of his work in jewellery can be seen in a piece
illustrated in Studio, in the form of two dragonflies settling
upon a branch of umbels, made of enamel, platinum and
diamonds.
Mark: Feuillatre (in italic script, engraved)

Fisher, Alexander (1864-1936)

English metalworker, painter and sculptor
From 1884 to 1886, Fisher was a pupil at the South Kensing-
ton Schools and there, his interest in enamelling—which was
175 Iris brooch designed by André
to be his predominant artistic interest— was roused when he
Falize and made in Paris in 1900.
attended a series of lectures given by L. Dalpeyrat of Sévres.
Fisher was awarded a scholarship to study enamelling in
Paris where he experimented with the layered effects in
translucent enamels, sometimes with metal or foil inclusions
like the eighteenth century pazllons, which were to be
widely influential when they were exhibited in England.
Soon after his return from Paris, he set up his own work-
shop and he taught from 1896 to 1898 at the Central School
of Arts and Crafts. In 1904, he set up his own school in
Kensington. From 1893 until 1898 he lived at 139 Oxford
Street; he moved to 4 Warwick Studios in Kensington and
remained there until 1901; from that date until rgr1 he
lived in 17 Warwick Gardens. He wrote a number of
articles on the history and technique of enamelling (see, for
instance, “The Art of Enamelling on Metals’ which appeared
in the Studio in several parts in vols. XXII, XXIII, XXV,
XXVIII, 1901-1905) and exhibited regularly with the
Arts and Crafts Exhibition Society.
Many of the illustrated pieces in the Studio and elsewhere
are large caskets or framed enamels in silver or bronze; the
jewellery is more rare. One of his most ambitious pieces of
jewellery (if it can be so called) was the famous girdle of
painted enamel plaques with a buckle over four inches high;
each plaque was decorated with a scene from a Wagner 176 Gold and translucent enamel
opera and they were made between 1893 and 1896. The morse sel with emeralds, designed
girdle was exhibited, still unfinished, at the Royal Academy and made by Alexander Fisher; c.
in 1895, and at the Arts and Crafts exhibition in the following 1905.
year; it is now in the Victoria and Albert Museum.
Marks: A¥ (painted on the enamels); Alex. Fisher fecit
(inscribed)

Fontana et Cie
firm of goldsmiths and jewellers, Paris
The firm was founded in 1840 by Thomas Fontana as a
modest business located in the Palais Royale in the Galerie
Beaujolais—still a fashionable jewellery quarter at that
date. At the time of his death in 1861, his son Charles was
still too young to succeed to the management of the business
and so it was carried on by two of his nephews, Joseph
Fontana and Auguste Templier. Charles Fontana took over
the direction of the firm in 1871 and Joseph Fontana left ten
years later to found another Mazson with his brother Gia-
como, who had already been established for some time in the
Galerie des Valois.
In 1893, the firm moved from the Palais Royale to 6 rue
de la Paix. Pierre Fontana, son of Joseph, took over the
business after the deaths of his father and uncle in 1897 and
189g respectively.

Fontenay, Eugéne (1823-1887)

French goldsmith, jeweller and antiquarian
Son and grandson of jewellers, Fontenay was chiefly re-
nowned for his fantastic and delicate bijoux étrusques,
decorated in the ancient Etruscan technique with minute
grains of gold. Fontenay was apprenticed to the fashionable
jeweller Edouard Marchand and worked for a time with the
French goldsmith and jeweller, Dutreih, whose work he
praised in almost hysterically lavish terms in his book on
antique and modern jewellery. He set up his own workshop
at 2 rue Favart in 1847. In 1858 he made a diadem of
diamonds, emeralds and pearls for the Empress Eugénie. In
1867 he exhibited jewellery made from jade taken from the
Summer Palace in Pekin, as well as the biyoux élrusques,
inspired by the antique jewellery in the collection formed by
the Cavaliere Campana which was acquired by Napoléon
III for the Louvre in 1860. He wrote his book, Les bijoux
anciens et modernes (pub. 1887), after he retired in 1882.

179
 Fouquet, Alphonse (1828-1911)
French goldsmith and jeweller
Alphonse Fouquet worked from the age of eleven with
various manufacturers of cheap jewellery in Paris. In his
Histoire de ma vie industrielle, he recounts that in 1854 he went
to work as a designer with Jules Chaise (see p. 65) and a
year later to Carre et Christofle to work with Léon Rouvenat.
The Fouquet firm was founded in about 1860 at 176 rue du
Temple. Its early production consisted mostly of the ela-
borate and heavy jewellery fashionable at the time: in fact,
177 Design for ‘Diane’ bracelet in it is indistinguishable from the work of other contemporary
engraved gold and enamel by AlI- Parisian firms of similar standing, like Mellerio, Morel,
phonse Fouquet; 1878. Fossin and Vever. In the 1870s, Fouquet started to produce
 178 The finished bracelet the de-
sign for which is shown opposite
[177]. The sculpture was done by
Carrer Belleuse, the engraving by
Honoré, and the enamel by Grand-
homme.

the complex neo-Renaissance pieces for which he was

famous, made in heavily worked and chiselled gold,
decorated with painted enamels. The designs for many of
these pieces are in the library of the Musée des Arts Décora-
tifs, part of a collection of over ten thousand drawings,
which cover the whole of the firm’s activities from the first
period in 1858 until well into the twentieth century; these
were given to the museum by M. Georges Fouquet. Alphonse
Fouquet moved the firm twice between 1860 and 1879,
moving in that year to 35 Avenue de Opéra. He was
awarded the Légion d’Honneur in 1888, and retired in 1895,
leaving the business to his son, Georges Fouquet, who had
joined the firm with his brother-in-law in 1891.
Mark : FOUQUET

Fouquet, Georges (1862-1957)

French goldsmith and jeweller
Eldest son of Alphonse Fouquet, he joined his father in 1891,
and took over the running of the family firm in 1895. He
immediately set about modernising production, calling on
designers like Tourrette and Desrosiers: Tourrette, like
Feuillatre, was an enamellist who worked for Lalique and
179 Flower and bee pin designed by
Desrosiers for Georges Fouquet; c.
1900.

181
 their work is remarkably similar; Desrosiers designed for
Fouquet some of his best-known and most reproduced
pieces, like the Chataigne (chestnut) pendant and_ the
Murier (mulberry) necklace, both in the Musée des Arts
Décoratifs.
Fouquet is probably best known as the maker of Alphonse
Mucha’s celebrated jewels designed for Sarah Bernhardt
(see p. 209) and both the exterior and the interior of his
shop in the rue Royale were designed for him by Mucha in
1901. Fouquet was joined in 1919 by his son Jean, the well-
known modern designer.
Marks: G. Fouquet; Gages Fouquet (facsimile signatures,
inscribed)

180 One of a pai of brooches in Froment-Meurice, Emile (1837-1913)

gold set with high-relref coral cameos French goldsmith and jeweller
and pearls, part of one of the last sets The son of Francois-Désiré Froment-Meurice, he succeeded
of jewellery made by F.-D. Fro-
his father in the family business a number of years after
ment-Meurice and similar to one of
his father’s early death, since when the workshop had been
his exhibits in the Paris Exposition
under the management of his mother. He exhibited jewellery
of 1855.
in the Exposition Universelle in Paris in 1867 and continued
to work in the traditional style of the firm, established by his
father. His work remained resolutely neo-Renaissance and
181 Fewelled pendant in the Re-
Romantic in taste until the turn of the century, at which
naissance style by Froment-Meurice,
as illustrated in the Art Journal point he made some experimental designs in a very modified
catalogue of the Paris Exposition Art Nouveau manner; though even these bear the traces of
Uniwwerselle of 1867. Romantic inspiration in the details of the settings (see
particularly the pendant, now in the Victoria and Albert
Museum, London).
Mark : FROMENT MEURICE

Froment-Meurice, Francois-Désiré (1802-1855)

French goldsmith, silversmith and jeweller
Son of the goldsmith Francois Froment, who founded the
family business in 1774, Francois-Désiré took the name of
his stepfather, Pierre Meurice, whom his widowed mother
had married. Meurice was also a goldsmith, and his stepson
entered his workshop as a boy, leaving in 1818 to complete
his training with a ciseleur, at which time he 1s also said to
have studied sculpture and drawing.
Froment-Meurice worked with the silversmith Jacques-
Henri Fauconnier, one of the first to work in the neo-
Renaissance style (apparently at the instigation of the
Duchesse de Berri) and the German, Karl Wagner, notable
for his work on the reviving of the mediaeval technique of

182
niello for jewellery, which became very popular in the mid-
nineteenth century. In 1839, Froment-Meurice exhibited
for the first time under his own name, showing his first pieces
in the Gothic taste, which had been made that same year.
His work was an immediate success and from then until his
early death, his reputation grew rapidly: he was frequently
referred to as the Cellini of the nineteenth century. His
enamelled jewels in the Renaissance style were much ad-
mired in England and had a great influence on English
taste in the 1850s and 1860s; a group of his jewellery in this
style and technique which was exhibited in London in 1851
is illustrated in Matthew Digby Wyatt’s Metalwork and its
Artistic Design. He died in 1855, at the height of his success.
Mark : FROMENT MEURICE

Gaillard, Lucien (d. 1861)

French silversmith and jeweller
Son and grandson of well-known Parisian jewellers, Amedée
(who founded the family firm in 1840) and Ernest (who was
born in 1836 and succeeded his father in 1860), Lucien
Gaillard was apprenticed as a silversmith in his father’s
workshop in 1878 and he also studied in a number of other
workshops. Ernest Gaillard retired in 1892 and was suc-
ceeded in his turn by Lucien. Lucien was interested in
Japanese mixed-metal techniques and he made a series of
experiments with colouring and patinating silver. His work
as a silversmith was greeted with acclaim at the Paris
Exposition in 1889 but his contemporary and friend René
Lalique persuaded him to turn to jewellery design which he
took up seriously in about 1900, when he moved from the
rue dy Temple to a spacious workshop at 107 rue de la
Boétie. He worked in enamels and unusual materials such as
ivory and horn, presumably under the influence of Lalique, 182 Diamond-set floral gold panel
who had been working with horn and ivory mixed with bracelet, with plique a jour
precious and semi-precious stones since the 1890s. He won enamels in the Art Nouveau style ; by
the first prize for jewellery at the Paris Salon in 1904 and Lucien Gaillard ; c. 1900.

183
 from this date, his work was very favourably reviewed, it
even being suggested that his designs surpassed those of
Lalique. From 1900 onwards, he employed Japanese crafts-
men in his workshop, realising his long held ambition to
perfect the Japanese techniques which he had studied for so
many years. :
Mark: L GAILLARD (engraved)

Garrard, R. and S.
firm of goldsmiths and jewellers, London, 1802-1952; afterwards
amalgamated with the Goldsmiths’ and Silversmiths’ Company
The firm succeeded that founded by the jeweller and silver-
smith, George Wickes, who received his first Royal Appoint-
ment (to Frederick, Prince of Wales) in 1735. Wickes was
joined by a partner, Edward Wakelin, in 1747. The firm
founded by Wickes became Wakelin and Tayler, and
Robert Garrard the elder was taken into partnership by
Edward Wakelin’s son, John, in 1792; he took control of
the firm in 1802. Robert Garrard the elder died in 1818 and
the business was inherited by his three sons, Robert, James
and Sebastian. Robert Garrard the younger, who was born
in 1793, controlled the firm throughout almost all of the
Victorian period until his death in 1881, and the business
continued to be run by his father’s descendants until its
amalgamation with another firm, the Goldsmiths’ and
Silversmiths’ Company in 1952.
Garrard’s succeeded Rundell and Bridge as Crown
Jewellers in 1843 and thereafter carried out a number of
commissions for the Queen and Prince Albert. A scrapbook
kept by G. Whitford, an employee of the firm from 1857 to
1899, contains details of a number of these royal orders,
including carefully preserved letters from the Queen,
designs for various pieces of jewellery with pencilled altera-
tions by Princess Alice, and even an envelope containing a
lock of Princess Alexandra’s hair; this scrapbook is in the
collection of the Royal Library at Windsor Castle.
The firm showed jewellery at the Great Exhibition in
1851, including a ‘bracelet in polished gold with ruby and
brilliant circular centre—from the Nineveh sculptures’, and
at the International Exhibition in 1862, where the technical
quality of the work was much admired. The son of J.B.C.
Odiot, jeweller to Napoléon I, was sent to study English
workmanship at Garrard’s, and Vever points out in his
history of nineteenth-century French jewellery that English
work was considered ‘trés soigné’ by the French (English
artistic taste was less admired, both on the Continent and by

184
the English themselves, who regarded Parisian as the most
refined taste in the world).
Garrard’s continued throughout the century to execute
expensive and valuable commissions for members of the
royal families of Europe, and are best known for work in fine
precious stones. For a fuller account of the firm’s history, see
Garrards, 1721-1911, privately printed for the firm in LOU,
ee
ae
553

Gaskin, Arthur (1862-1928)

painter, illustrator, silversmith and jeweller ;
and Georgina (1868-1934) AP
ASAD
OE

illustrator, silversmith, jeweller and enamellist

Arthur Gaskin studied and later taught at the Birmingham
School of Art, where he became involved with the group of
staff and students at the school who were known as the
Birmingham Group of Painters and Craftsmen. It was at the Op
school that he met his future wife, Georgina, who was an
accomplished illustrator and silversmith. They were mar-
ried in 1894 and their joint metalworking enterprise was
begun in 1899. In that same year, they showed several Fe.
presi
td
EOE
iSie
simple pieces of jewellery in gold and silver at the Arts and BE
oon
on

Crafts Exhibition Society’s show in London. At the Inter- Ge2

national Studio exhibition in 1901, they showed twenty-six

pieces and they continued to exhibit at Arts and Crafts
shows and with the Birmingham Group for the next fifteen or
sixteen years.
Gaskin soon established his characteristic style: from the
earliest years, the designs are based on curling tendrils of
gold or silver wire, embellished with leaves and flowers set
with small coloured stones [63] and (from about 1910)
often with the addition of minute chased silver birds. A neck-
lace commissioned by the City of Birmingham to be pre-
sented to Queen Alexandra, which was designed and made
by Mr. and Mrs. Gaskin, shows this style at its most complex
and successful. This same style was used by Gaskin, in a very
simplified form, in the designs he made for the Liberty
‘Cymric’ range of jewellery; however, these designs did not
adapt well to commercial production and are not particu-
larly successful when made up. He only rarely departed
from his own characteristic and highly successful formula to
make excursions into more experimental work, often done in
collaboration with W.T. Blackband using filigree wire 183 Silver necklace set with ame-
decoration in the spiral forms inspired by early British Iron thysts, designed by Gaskin and
Age jewellery. These pieces, including a casket, again executed by Blackband, c. 1912.
commissioned by the City of Birmingham appear to date
from the period after 1912.
 Gaskin succeeded R. Catterson-Smith as head of the
Vittoria Street School of Jewellers and Silversmiths in
Birmingham in 1902, and remained there until 1924. His
influence on his students was considerable, with the result
that a large number ofvery ‘Gaskinesque’ pieces were made
in the period between 1902 and about 1918.
Marks: G (engraved) ; Aj G (engraved or pricked)

Germer, George E. (1868-1936)

American silversmith and jeweller
Son ofa Berlin jeweller, Germer was taught by Otto Gericke
of Berlin. He emigrated to the United States in 1893 and
worked for various firms in New York City, Providence,
Rhode Island and Boston. In 1912, he set up business
independently in Boston, specialising in ecclesiastical silver.
Toward the end of his life, he moved to Mason, New
Hampshire, where he continued to produce silver for
churches. The Cooper-Hewitt Museum in New York owns
designs for his jewellery.

Gilbert, Sir Alfred (1854-1934)

English sculptor and metalworker
One of the most famous English sculptors at the turn of the
century, Gilbert also designed two important official pieces
of jewellery which represent the high point of the English
involvement with continental Art Nouveau, a movement
from which Gilbert, perversely enough, was at pains to dis-
sociate himself as one who deeply despised all its manifesta-
tions. These pieces were the badge and chain for the Mayor
and Corporation of Preston (made in 1888 and exhibited at
the Royal Academy in 1892) and the presidential badge for
the Royal Institute of Painters in Water-colour (made
between 1891 and 1896).
He made a number of drawings for other pieces of
jewellery which reinterpret the neo-Renaissance style in
terms of the fin-de-siécle idiom: a number of these are col-
lected in an album in a private collection [184], and a few
184 A design for jewellery by
Alfred Gilbert, c. 1890. more are in the National Museum of Wales in Cardiff. In
addition, there are some experimental pieces made in silver
and iron wire with glass and beads which he bequeathed to
the Victoria and Albert Museum; and he is supposed to
have designed the jewellery worn by Mrs. Samuel Wilson in
the portrait occupying the ornamental space over the Wilson
mantelpiece, now in the Leeds Art Gallery. All the jewellery
designs use ideas already incorporated by Gilbert into his

186
 sculpture which emphasises the similarity between his work
and that of such continental artists as Lalique and Wolfers.

Giuliano, Carlo (d. 1895)

Italian-born goldsmith and jeweller
Born in Naples, Giuliano went to London in about 1860,
where he was sponsored by Robert Phillips and also worked
for Harry Emanuel [169]. He is also known to have col-
laborated with Castellani on one piece. An accomplished
‘archaeological’ jeweller and outstanding enamellist, he
usually avoided making exact copies of antique jewellery
and evolved an easily recognizable style of his own which
was widely imitated in the 1880s and 1890s, though without
his particular success. Though his Italian-born assistant,
Pasquale Novissimo, was technically and artistically his
equal, the incredible delicacy of the enamel decoration
made Giuliano’s Renaissance-style pieces extremely diffi-
cult to copy, and the work by other firms in his style is
usually technically inferior. Giuliano established his own
business in 1861 at 13 Frith Street, where he traded as a
manufacturing goldsmith and jeweller. In 1875 he acquired
the retail premises at 115 Piccadilly, where he passed the
rest of his working life. The Frith Street premises were
retained as a workshop until 1877. Federico and Ferdinando
Giuliano, generally said to be his sons but more likely his 185 Gem-sel enamelled gold Re-
naissance-style pendant by Carlo
brothers, opened their own workshop as manufacturing
Giuliano ; c. 1880.
jewellers at 24 Howland Street in 1882, moving in 1886—7 to
47 Howland Street. From 1896 the business at 115 Picca-
dilly, which had been bequeathed to his actual sons, was
known as ‘Carlo and Arthur Giuliano’. In 1903 Federico and
Ferdinando gave up the Howland Street premises, the
family retaining only the retail business at 115 Piccadilly. In
1g11~12 the business, still called Carlo and Arthur Giuliano,
moved to 48 Knightsbridge as manufacturing jewellers and
by 1914~-15 they had closed down.
Marks: cc; c&acG (for Carlo and Arthur Giuliano 1896—
1914)

Gorham Corporation, Inc.

firm ofsilversmiths and jewellers, Providence, Rhode Island, U.S.A.
The firm was founded in Providence c. 1815-18 by Jabez
Gorham, who was born in 1792. It made jewellery, and was
especially notable for the ‘Gorham chain’ which was said to
be unequalled for its quality, until 1831. Jabez Gorham
went into partnership with his son, renaming the firm the
187
186 Silver and copper buckle set
with mother-of-pearl made by the
Gorham Corporation, marked ‘Mar-
telé’ ; c. 1900.

Gorham Manufacturing Co. in 1842 and he retired in 1847.

The Gorham firm was one ofthe first to introduce factory
methods into silver manufacture and this early experience
of mass-production was to be very advantageous in the pro-
duction of fashionable jewellery which was resumed in the
later years of the nineteenth century. At the end of the
nineteenth century, Edward Holbrook, a director, insti-
tuted a small specialist group of silversmiths who showed
particular promise of unusual technical skill, and these were
set to make up the designs of a group of artists under the
leadership of Wiliam C. Codman, an Englishman who had
worked for the silversmiths, Cox and Son, in London before
going to Providence in 1891. The silverwork and jewellery
produced by this group was marketed under the trade name
‘Martelée’, appropriate to the hand-hammered finish on most
of the pieces from about 1900. They also began experiment-
ing with jewellery made in mixed metals set with either very
few or no stones; the few stones used were mostly opaque
quartz in unusual colours, or freshwater pearls, inspired in
part by the then influential American craft revival move-
ment and also by French Art Nouveau in the same style—
though somewhat watered down—as the work of Lalique or
medallists like Oscar Roty and L. Béttee. The best of these
pieces (usually made in a mixture of silver, silver-gilt and
copper) though derivative, have a distinct and recognisable
personality of their own; despite having no great intrinsic
value, they are highly effective ornaments which the
187 Pendant by Grasset set with a American jewellery trade at the time was most suited by
medal by Louis Bottée; the medal experience to produce.
was made in 1892, the pendant in Mark: Lion, anchor and capital G surmounted by a spread
1898. eagle with Martelé above

188
Grasset, Eugéne (1841-1917)
Swiss-born painter, illustrator and decorative artist
Born in Switzerland, Grasset worked with an architect in
Lausanne, later going to Paris where he studied with
Viollet-le-duc. He travelled in Egypt and was an early
admirer of Japanese art, particularly the prints and paint-
ings. The first work completed by him which brought him
general recognition was the illustration of ‘Les Quatre Fils
Aymon’ begun in 1881. He designed a series of highly
original pieces of jewellery for Vever and a number of his
drawings for these are now in the Cooper-Hewitt Museum
in New York.
Mark : as Vever
188 Grasset’s design for a brooch
incorporating a woman’s head; c.
1g00.

Hahn, Karl Karlovitch

firm of goldsmiths and jewellers, St. Petersburg
Holder of the Royal Warrant, Hahn made the diadem worn
by the last Czarina, Alexandra (Princess Alix of Hesse-
Darmstadt) wife of Nicholas II, at her coronation in 1896.
The mark ‘A.T.’, used by one of his chief jewellers, A.
Tillander, who specialised in objets de fantaisve carried out in
gold, silver and enamel, is similar to that of one of Fabergé’s
workmasters and principal jewellers, A. Thielemann. After
the Revolution Tillander left Russia and set up business in
Helsinki.
Mark: K. Hahn (in Cyrillic)

Hancocks and Co.

firm of manufacturing and retail jewellers, London
The firm was established at 29 Burton Street (on the corner
 of Bruton Street and New Bond Street—the address 1s often
given in contemporary periodicals as New Bond Street) in
1848, by Charles Frederick Hancock (d. 1891). C.F.
Hancock had been trained by Paul Storr and had worked
for Storr and Mortimer; his bill headings describe Han-
cocks as ‘a successor to Storr and Mortimer’. The firm
received the Royal Warrant from Queen Victoria in 1849
when it had only been open a few months, and the Record
Book, still preserved by the firm today, testifies to regular
commissions by the Queen and other members of the
Royal Family to supply valuable orders for plate and
jewellery. The firm exhibited at the Great Exhibition in
1851, and subsequently at the other international exhibi-
tions, including the Paris Exposition in 1867, where it
attracted the attention of Napoléon III, who bought ‘a gold
collar, bracelet, rings etc.’. In 1855 Hancocks were com-
missioned by the Duke of Devonshire to mount part of a
collection of antique cameos as a number of wearable pieces
of jewellery (see p. 120). The mounts were made by the
firm in enamelled gold in imitation of the Tudor setting of
one of the cameos, a portrait of Elizabeth I attributed to
Nicholas Hilliard. In 1857 Hancocks were chosen by Lord
Panmure, the Secretary for War, to make the Victoria
Cross, the newly instituted award for conspicuous bravery;
the crosses have been made by the firm ever since.
In 1866 C.F. Hancock’s eldest son Charles (d. 1909) was
taken into partnership with his father and in 1869, the year
of his marriage, Mortimer (d. 1901) joined his father and
brother. C.F. Hancock retired in the same year, and in 1870
a new partnership deed was signed and the name of the firm
was changed from ‘C.F. Hancock’ to ‘Hancocks and Co.’.
In 1899 Hancocks supplied a number ofthe presents given
to Princess Louise on her marriage to the Duke of Fife, and
also made the eight bridesmaids’ bracelets in gold and
diamonds designed by the Princess herself.
Apart from valuable plate and precious jewellery Han-
cocks also made a speciality of the reverse crystal intaglios
which first became popular in the 1860s (they are still made
in Germany and Hancocks still stock them). From 1864
many of these intaglios were supplied by Thomas Bean, one
of the most skilful of the craftsmen employed in this work.
Thomas was succeeded by his son Edgar; Edgar by his son
Edmund (d. 1959), who supplhed Hancocks with intaglios
well into the present century.
Hancocks remained at the Bruton Street premises until
1917, when they moved to Vigo Street. They have moved
only once since then, to the premises they still occupy.

190
Hardman, John and Co. 169 A gold Gothi-style brooch
firm of ecclestastical metalworkers, Birmingham, England with an enamelled centre by Hard-
man, 1870-80.
Originally a Birmingham button-making firm called Hard-
man and Iliffe, Hardman’s was taken into partnership by
the great Birmingham manufacturing and electroplating
firm, Elkington and Co.
When John Hardman (1811-1867) ventured into the
manufacture of church furnishings in the Gothic manner in
1838, A.W.N. Pugin became his chief designer. This branch
of the business was known as the ‘Mediaeval Metalworkers’
and they were later to carry out much of the metalwork
designed by Pugin for the Houses of Parliament as well as
his ecclesiastical designs and his famous marriage jewellery.
The mark of John Hardman and his brother-in-law and
partner in the mediaeval metalworking venture, William
Powell, was registered in 1845; prior to that date, the mark
of the family button-making business had been used. After
Pugin’s death in 1852, Hardman’s continued to make
jewellery in the same style as the marriage jewellery,
possibly adapted from Pugin’s own designs which were taken
to Birmingham by his son, Edward, at the end of his father’s
life, or from designs by William Burges. The jewellery
shown by Hardman’s at the International Exhibition in
London in 1862 is very Puginesque in manner, and pieces of
this same character, one at least of which is recorded in the
firm’s day-books, have come to light marked with the
initials ‘A P’ in Gothic letters—possibly in imitation of
Pugin’s own monogram, ‘A.W.P.’, with which some of his
metalwork (but not the jewellery) is marked.
Mark: j.4.&co. (in a rectangular shield with chamfered
corners )

190 Drawings in pencil and water-

colour of medieval-style crosses from
the stockbooks of J. Hardman and
Co. ; 1860-70.

AGG
fre Vo 2C Je me

191
 Hennell Limited
jum of goldsmiths, stlversmiths and jewellers
This firm was established in 1735 by David Hennell (1712—
1785). In 1766, he. was joined by his fifth son, Robert
(1741-1811) as a partner, and later, by another son,
Samuel (his mark was entered, with that of his brother,
Robert, at Goldsmiths’ Hall in 1802). Samuel died in 1837
and two years later, his son, Robert George (1800-1884) —a
jeweller—was established in his own business by wealthy
patrons.
It was R.G. Hennell who introduced the manufacture of
jewellery into the business, which he carried on with his two
sons, Edward and Montague, under the name R.G. Hennell
and Sons. The surviving stock books, dating from 1887,
contain coloured drawings of jewellery executed by the
firm—elegant fashionabie pieces of the type made by firms
like Chaumet and Garrard. The firm is still in existence and
an exhibition of jewellery and silver made by them was held
at the Victoria and Albert Museum in 1973. A fuller
191 A page from the nineteenth- account of the firm is given in an article, “The Hennells, a
century design books of Hennell Continuity of Craftsmanship’, in The Connoisseur of February
Limited, now Hennell, Frazer and O73:
Haws. Mark: RGH (ina rectangular shield, from 1844)

res ee it, a SRS aie

Pe RPS 8]
LE e eA aN LN
@ SH" @ “apr”@ °cger” G P<agr*gS 3
COE SE ES EGOEVASOS 2 BS OG WE BECPKALEAR DSH ODIO B O6 & eG e SGUSe @ OOH 2658 Foe
Hirzel, Hermann Robert Catumby (b. 1864 in
Buenos Aires)
painter, graphic and commercial artist and jewellery designer
Hirzel went to the Berlin Academy School in 1893. He
designed jewellery from about 1897 for Louis Werner, the
Berlin jewellery manufacturer, and for Liberty’s ‘Cymric’
range ofjewellery and silverwork (one of his designs origi-
nally appeared in the Cymric catalogue for 1902). He spent
two periods in Italy and after returning from the second
trip he began designing jewellery in mosaic and dull gold in
an attempt to revive a declining technique; the designs are 192 Gold brooch with enamel
simple stylised insects and flowers in light settings. He decoration by Hirzel; c. 1905.
worked with the Vereinigten Werkstatte in Munich.

Hoffmann, Josef (1870-1956)

German architect, interior designer and decorative artist
Hoffmann studied painting in Munich before becoming a
pupil of Otto Wagner, the Austrian architect, at the
Academy in Vienna. He was a founder member of the
breakaway Secession Movement in 1897, and of the Wiener
Werkstatte-Productiv-Gemeinschaft von Kunsthandwerkern
in Wien in 1903, with Koloman Moser and Fritz Warndor-
fer, described as ‘a man of culture’ and a ‘capitalist’, who was
a banker. They were later joined by C.O. Czeschka. The
movement had the sympathy and support of such artistic-
establishment figures as Wagner and Klimt. ‘The workshop
was founded on the same lines as Ashbee’s Guild of Handi-
craft which Hoffman much admired. But whereas many of
the members of the English guilds were without any formal
training at all, the employees of the Wiener Werkstatte were
required to show their Befahnigungsnachweis which proved
that they had served their apprenticeship and journeyman-
ship and had acquired their master’s certificate.
Hoffmann designed a number of pieces of jewellery made
by the Wiener Werkstatte, mostly of linear geometric forms
in enamelled metal set with semi-precious stones in unusual
colours. He taught at the Imperial! Arts and Crafts School in
Vienna. In.1912, he founded the Osterreichische Werkbund.
The Wiener Werkstatte continued to function until the
1930s when the demand for their specially designed and 193 Silver and gilt buckle set with
made ornamental objects was killed by the slump. semi-precious stones, designed by
Marks: ww (monogram ina square, for Wiener Werkstatte) ; Josef Hoffmann and made by the
J H (monogram) Wiener Werkstalle in 1905.

193
194 opposite: Festoon necklace in Holmstrom, August Wilhelm (1829-1903)
gold, decorated with translucent
enamels and set with red zircons,
Russian goldsmith and jeweller
diamonds and pearls, made by Born in Helsinki in Finland, Holmstrém bought a workshop
Giuliano ; c. 1890. in St. Petersburg in 1857. He became principal jeweller for
Fabergé’s St. Petersburg firm. After his death, he was suc-
ceeded by his adopted son, Albert, who continued to use the
same maker’s mark as his father.
Mark :a.H.

@
ar gig@
“vepoae®

195 Group of the reversed crystal

intaglios carved with naturalistic
insects, animals and birds, set as
jewellery, which were a speciality of
Hancocks ; the brooch with a hum-
ming bird set in a mount in three-
coloured gold was made by Tiffany
& Co., c. 1880; otherwise the
preces are English, made im the
second half of the nineteenth century.

Huber, Patriz (1878-1902)

German architect and crafisman
Huber studied in Munich and went to join the artists’ colony
established by the Grand Duke of Hesse in Darmstadt in

#99
 1900. He made several jewellery designs for Theodor
Fahrner. At the early age of twenty-four, he committed
suicide in Berlin.

Hunt and Roskell

firm ofgoldsmiths and jewellers, London
Formerly Storr and Mortimer, the firm became Hunt and
Roskell in 1846. Their exhibit of jewellery at the Great
Exhibition in London in 1851 was one of the most lavish,
196 Silver brooch with blue paste reputedly being worth £100,000, and their name one of the
stone designed by Huber and made best known in London throughout the nineteenth century.
by Fahrner ;c. 1900. They employed several French craftsmen and were capable
of doing work which equalled that of the French both
technically and artistically. The firm was acquired by
Alfred Benson and Henry Webb, who merged in 1897 with
J.W. Benson.

197 Bracelet in gold, decorated on Jensen, George (1866-1935)

both sides with cloisonné enamels Danish goldsmith, silversmith, ceramic artist and sculptor
in the Japanese taste, made by Trained as a goldsmith and silversmith, Jensen served his
Hunt and Roskell in 1867. This apprenticeship in Copenhagen, partly under Holm, and be-
bracelet was made to go with the set came a journeyman in 1884. He also studied sculpture at the
of cloisonné enamelled jewellery by Royal Academy in Copenhagen. In the late 1890s, he met
Falize bought in Paris in 1867 by
the painter and designer, Mogens Ballin, one of the most
John Hunt’s son-in-law, H. F.
interesting artists working in the Danish capital at that
Makins
period. He spent some time in Ballin’s workshop, where
experimental work in silver and pewter was being done from
1899, and he started making jewellery of silver and semi-
precious stones in collaboration with Ballin in rgor. In 1904,
Jensen opened his own shop, where he sold jewellery and
silverware which he had started to design and make in the
same year. The distinctive style he established has been
developed over the years and is still apparent in the work of
the firm today.
Marks : JENSEN; GJ
Kerr, William B. and Co.
furm of goldsmiths, silversmiths and jewellers, Newark, New Jersey
The firm was established by William B. Kerr in 1855, and
made silver tableware, gold toilet articles, and gold and
silver jewellery. Much of the silver jewellery was produced
by a stamping process to, make imitation repoussé-work. The
few motifs employed were combined in a number of ways to
produce the different pieces and the hollow back of each
piece was usually covered by a thin flat plate ofsilver giving
an appearance of substance to this very flimsy work. The
designs appear to have been lifted almost unaltered from
continental periodicals, widely used in the United States in
the same way as the pattern books published in the seven- 198 An example of American Art
teenth and eighteenth centuries were used in Europe. The Nouveau by Kerr: a silver brooch in
firm produced jewellery in the neo-Renaissance style and in the form ofagirl’s head.
a modified Art Nouveau manner, very much influenced by
contemporary French work at the turn of the century. To
judge from the large number of pieces that survive, this
silver jewellery was mass-produced on a large scale by
Kerr’s, whose pieces can be recognised by their marks (see
below), as well as by other firms, like Unger Bros., who were
meeting the demand created at the end of the nineteenth
century by the prosperity of the American urban middle
class. In 1906 the firm was purchased by the Gorham Cor-
poration and moved to Rhode Island.
Marks: Hatchet bound with crossed ribbons (usually very
indistinct) ; fleur-de-lis (from 1892)

Keswick School of Industrial Art

Keswick, England
This: institution was founded under the direction of Canon
and Mrs. Rawnsley in 1884 as an evening institute, and
expanded to include daytime classes in 1898. Harold
Stabler and Herbert J. Maryon, the metalworker and
jeweller, were both full-time directors and designers con-
nected with the school. Keswick School jewellery was very
simple and unsophisticated in design and technique, con-
sisting mainly of clasps and buckles in silver set with tur-
quolses.
Mark : KSA (ina square)

King, Jessie M. (1876-1949)

Scottish designer and illustrator
Trained at the Glasgow School ofArt where she later taught,
Jessie M. King became a prominent and respected member
197
 of the ‘Glasgow School’ ofartists and designers. She designed
199 Two pendants and a brooch in several pieces for the Liberty range of ‘Cymric’ jewellery and
enamelled gold, designed and made silverwork.
by Madeleine Martineau; c. 1910. Mark: as Liberty

Knox, Archibald (1864-1933)

painter and designer ofjewellery and metalwork
Born in the Isle of Man, Knox remained faithful to the Celtic
inspiration of his Scottish heritage in all his designs, and his
complex interlaced motifs were widely copied by artists of
the craft revival movement in England. He came to London
in 1897, where he designed silverwork and jewellery for
Liberty’s ‘Cymric’ range, and pewter tableware for the
‘Tudric’ range, reputedly providing over 400 different
designs for them. He taught at the Kingston School of Art
for a period before the First World War, but left after being
reprimanded for his ‘advanced’ ideas in the teaching of
design. His pupils at the school founded the Knox Guild of
Craft and Design; one of the members managed to salvage a
large number of designs which were discarded by Knox
when he left the school, and some of these designs —among
them a number for pieces of jewellery—were exhibited at
the Victoria and Albert Museum. Also in the exhibition

198
were actual pieces of jewellery, silver and pewter made after
Knox's designs, including the necklace made for Liberty’s 55, Design in pencil and water-
and now in the Victoria and Albert Museum. colour for a tiara, by Least
Mark : as Liberty Knox: c. 1905.

Koehler, Florence (1861-1944)

American artist-craftswoman, designer and jeweller
Florence Koehler was one of the leaders of the craft revival
movement in America. She lived and worked in Chicago,
the city which contained the work of the architect Louis
Sullivan, some of the earliest and most exciting architec-
tural work in the Art Nouveau style which predated much
201 A tortorseshell comb with an
enamelled gold mount set with
pearls, part of a set by Mrs.
Florence Koehler ; c. 1905.
202 Brooch in gold set with a very
fine mosaic panel depicting a revolu-
tionary tricoteuse (Mme. De-
farge?), made by Mrs, Philip
Newman ; c. 1890.

| — Oe

Dooce
==
Bey
4
BYE
{ee
‘o
4
1iSt)

199
 of the European work in the same vein. The Chicago Arts
and Crafts Society was founded in 1897 and after the turn of
the century, craft jewellery of the type designed and made by
Florence Koehler was fashionable in ‘aesthetic’ and intel-
lectual circles. Most of the American craft jewellery owes its
inspiration to the work of Colonna and L.C. Tiffany and is
thus more French in style than English, though Gustav
Stickley, the first editor of The Crafisman, a magazine
devoted to discussing the work of the American craft revival
artists, was an admirer and disciple of Morris and Ruskin.

LaCloche
jiurm of manufacturing and retail jewellers, Parts
Established in 1897 by the brothers Fernand, Jules, Leopold
and Jacques LaCloche, the firm specialised in elegant
precious jewellery enriched with enamelling using oriental
styles derived from Indian jewellery. ‘The name 1s better
203 Design in pencil and water- known in connection with striking Art Deco-style jewellery
colour for a decorated comb, by René produced in the 1920s.
Lalique ;c. 1900.

Lalique, René Jules (1860-1945)

French jeweller, enamellist, and decorative designer
Lalique was arguably the best, certainly the best known,
jeweller of the turn of the century; his work is reproduced,
with good reason, in every study of Art Nouveau design.
Lalique was the son of a trader dealing in the attractive, but
inexpensive, trifles known as articles de Paris. His father died
when he was sixteen and he was apprenticed to the Parisian
jeweller, Louis Aucoc who made some of Lalique’s own
designs. His early work, very conventional in style and some-
what unsophisticated in technique, is illustrated in Vever (see
bibl.). He spent two years in England, 1878-1880; exactly
where or how he was occupied during this period is still a
matter of speculation. On his return to Paris he worked for
various manufacturers of jewellery and provided designs for
the monthly magazine of jewellery trade, Le Byou. In 1884
he was introduced to Jules Destape, the proprietor of a
small but successful jewellery atelier, which he offered to
Lalique for a reasonable price, an offer which Lalique wisely
accepted. For some time after this he continued to produce
work for a number of Parisian jewellers, among them his old
master Aucoc, Cartier, Boucheron and others. He moved the
atelier first in 1887, to larger premises, and again in 1890 to
20 rue Thérése. In the following years he began to develop
his own artistic personality. From 1891 to 1894 he made

200
much of Sarah Bernhardt’s stage jewellery, and the large
‘Egyptian’ tiara in aluminium and glass for Mme Barthet,
which is illustrated in Vever, and is now in the Musée
Lambinet in Versailles. In 1894 he exhibited for the first
time under his own name. In 1896 he began to assemble the
spectacular series of 100 pieces which he exhibited at the
centennial exhibition in Parisin 1900. He became a Chevalier
de la Légion d’Honneur in 1897. From 1895 to 1912 he was
occupied with designing the great series of 145 pieces, the
most fantastic and original in his entire oeuvre, for Calouste
Gulbenkian, which are now in the Foundacion Gulbenkian
in Lisbon. In 1902 he exhibited in Turin; and in London at
the Grafton Galleries in 1903 and at Agnew’s in 1905. He
continued to make jewellery for a few more years, but his
interest in glasswork, which started at the time ofhis earliest
experiments with enamelling in the 1890s, began to claim
more and more of his attention from about 1910 onwards.
Many of the late pieces of jewellery are simply small glass
plaquettes mounted as pendants or brooches, with shallow
intaglio designs worked in the back.
Marks: LALIQUE (in various scripts both engraved and
stamped); R.L. (stamped)

Lettré, Emil (1876-1954)

German artist-crafisman, silversmith and jeweller
Lettré was born in Hanau, Germany and worked in Vienna,
Budapest and Paris before moving to Berlin. H.G. Murphy
went to work with him in Berlin for a time in 1912. Lettré’s
jewellery was of very simple geometric design, mostly in
silver. In 1933, he became the director of the Staatliche
Akademie in Hanau.
Mark: EL .

Liberty and Co.

firm of drapers, oriental warehousemen, retail jewellers and silver-
smiths, London
The firm was founded in 1875 by Arthur Lasenby Liberty
(1843-1917) to sell oriental art and artefacts. From 1862
until 1875 he had been oriental manager at Farmer and
Rodgers’ Great Cloak and Shawl Emporium, where some of
the Japanese exhibits were auctioned off after the closing of
the International Exhibition held in 1862. He numbered
among his customers such enthusiasts for oriental art as
E.W. Godwin, William Burges, Rossetti, Burne-Jones and
Whistler. The success of his well-timed venture was thus
 assured and after only twelve months, he was able to expand.
Among the oriental goods imported by Liberty’s were
examples of Japanese metalwork and Indian enamels which
were mounted in Britain.
Arthur Liberty foresaw early on the popularity of craft
metalwork and he turned from dealing entirely in imported
goods to commissioning work from English designers and
craftsmen. The Liberty ‘Cymric’ jewellery venture dates
from 1899, and the talents of a number of the artists con-
nected with the Arts and Crafts movement were employed
in providing the designs which were manufactured especially
for the shop. Among those now known to have designed for
Liberty are Oliver Baker, Arthur Gaskin, Bernard Cuzner,
Archibald Knox, Jessie M. King and Rex Silver (1879-
1954).
The jewellery and silverwork was made for Liberty’s in
Birmingham by W.H. Haseler* and bears either the mark
of this firm or one of the Liberty marks (see below), and
identical pieces were also made by a number of other firms
including Murrle, Bennett and the unidentified Birmingham
firm whose mark is L.C. & Co. The extent of Liberty’s in-
fluence on the decorative art of the turn of the century both
in England and on the Continent is indicated by the fact that
in Italy one of the names by which the Art Nouveau was
known was Stile Liberty.
Marks: Ly & Co (ina triple diamond, registered in 1894) ; L
204 Pendant, depicting ‘Psyche & Co (in a triple diamond); cymric (trademark registered
descending into Hell’, in enamelled with the Board of Trade in 1901); w.H.H. (for W.H. Haseler*)
gold set with pearls and semi-
precious and heavily flawed stones,
designed by Charles Ricketts; c.
1900.

205 Gold necklace set with tur-

quoises by Liberty, wlustrated in a
catalogue
for 1902.
*The greater part of the silverwork and jewellery was manufactured by
W.H. Haseler and Son, a Birmingham firm in which Liberty had a large
shareholding from about 1go0o0 until the mid-1920s. From 1894 to 1900
William Hair Haseler, manufacturing jeweller, had premises at 34
206 opposite: Necklace in gold Hatton Garden. It is possible that the early Liberty jewellery and silver-
work which bears a London mark was made here. Haseler must have
decorated with translucent enamels, moved to the Hylton Street premises in Birmingham in 1900. From 1go1
set with opals, designed by L. C. to 1904 a firm known as ‘Haseler Bros. silversmiths’ occupied 89 Hatton
Tiffany; c. 1914. Gardens.

202
 Macdonald, Frances (1874-1921)
Scottish designer and metalworker
Frances Macdonald studied at the Glasgow School of Art at
the same time as C.R,, Mackintosh andJ.Herbert MacNair;
she married the latter in 1899. She exhibited at the Arts and
Crafts Exhibition in: 1896, and at the VIIIth Secession
Exhibition in Vienna in 1900. She taught enamelling and
gold- and silversmithing at the Glasgow School. In 1901, she
exhibited some pieces of jewellery at the Education Exhibi-
tion held at St. George’s Hall, Liverpool, along with other
pieces by her husband. In 1902, she exhibited jewellery and
two repoussé silver panels at the Turin Exhibition. Her designs
for leaded glass and for plaster and wire wall-decorations
were as influential in the world of /fin-de-svécle jewellery
design as her few pieces of jewellery, as the work ofone ofthe
Glasgow pupils, Agnes B. Harvey, shows.

Macdonald, Margaret (1865-1933)

Scottish designer, metalworker and embroideress
Margaret Macdonald studied at the Glasgow School of Art,
where she met C.R. Mackintosh; they married in 1900. She
made a small number of pieces of jewellery, mostly in
collaboration with her sister, Frances, including the neck-
lace and pendant designed by her husband. She exhibited
with the rest of “The Four’ at the Arts and Crafts Exhibition
in London in 1896, at the Vienna Secession Exhibition in
1900, and at Turin in 1902. Her influence can be clearly seen
in the work of her husband from the time of their marriage.

Mackintosh, Charles Rennie (1868-1929)

Scottish architect and designer
Born in Glasgow, Mackintosh was apprenticed to the
architect, John Hutchison, in 1884. In 1889, he went to the
firm of Honeyman and Keppie where he met and became
friendly with J. Herbert MacNair; both of them attended
evening classes at the Glasgow School of Art and two oftheir
fellow students were the sisters Margaret and Frances
Macdonald.
The work of ‘The Four’, as they came to be known, in
design, book illustration, leaded glass, furniture, metalwork
and jewellery, developed a recognisable and distinctive
style which came, after initial incomprehension, to be re-
garded as typical of the “Glasgow School’.
Mackintosh designed only two pieces of jewellery, a neck-
lace and pendant in the form of a flight of birds going

204
through storm clouds with raindrops below (made by
Margaret Macdonald) which, as a key piece offin-de-siécle
jewellery design, has been much exhibited and reproduced,
and a ring; he also made a small number ofboxes, but it was
his influence on other designers that was so widespread and
important. His work was greatly admired abroad—
particularly in Vienna. He became a great friend and
mentor of the gifted Viennese architect and founding
Josef Hoffmann,
member of the Vienna Secession movement ,
exhibiting at the VIIIth Secession Exhibition in Vienna in
1900, along with Margaret Macdonald, whom he married
in the same year, and J. Herbert and Frances (Macdonald)
MacNair, who had married the year before.
All of Mackintosh’s major architectural works contain
decorative elements which were, like the architectural work
of Louis Sullivan in Chicago, the basis for much experi-
mental work carried out in jewellery design at this period.

MacNair, J. Herbert (1868-1955)

Scottish architect and designer
MacNair was the most obscure of the group known as ‘The
Four’ which included C.R. Mackintoch and the Mac-
donald sisters. Not particularly happy as an architect, he
transferred his attentions to decorative art.
His work is influenced by the same Celtic forms and
mysticism which inspired the Macdonald sisters, and from
the time of his marriage in 1899 to Frances Macdonald,
his work becomes almost indistinguishable from hers, much
of it probably being done in collaboration. Jewellery de-
signed and made by MacNair (or possibly made by his wife
who taught enamelling and metalworking at the Glasgow
School of Art) was shown at the Arts and Crafts Exhibition
in London in 1896. At Turin, he and his wife exhibited
two show tables with glass tops, one containing jewellery
designed and made by themselves, the other with enamel
work by Miss Lily Day, enamellist and jeweller who taught
at Liverpool University in the department of architecture
and applied art. Sadly, it seems that none of these pieces—
and there must have been a number of them—have survived.

Martineau, Sarah Madeleine (6. 1872, working

1908-1919)
English goldsmith, silversmith and jeweller
Of Huguenot descent, Madeleine Martineau came of a
family of artists. She studied at the Liverpool School of
205
 Art and subsequently exhibited there and in Cambridge.
She won first prize in the Studio prize competition in 1911,
and her work is quite often illustrated in volumes of Studzo
of this period, but she seems to have made only a very small
amount of either jewellery or silverwork, and was clearly
not working on a commercial basis at any time.

207 Tiara in gold and rock-crystal

set with pearls and semi-precious
stones and decorated with enamels; Masriera, Luis (1872-1958)
designed and made by Henry Wilson. goldsmith, jeweller and designer, Barcelona, Spain
The roundel at the back, which ts Son of a painter and goldsmith, Luis, with his brother,
detachable, is designed to hold the inherited the family firm of jewellers and goldsmiths, a
three ostrich feathers worn at Court. firm which specialised in making traditional Spanish
ornaments and had been founded by their grandfather in
1839. The firm was called ‘Masriera y Hios’ in 1872, but
the name was changed to ‘Masriera Hermanos’ in 1886.
Luis studied at the School of Art in Geneva under the
famous enamellist, Lossier, and is reputed to have melted
down the entire stock of the family firm when he returned
home after visiting the Centennial Exhibition in Paris in
1900. The shop remained closed for six months thereafter,
re-opening with an entirely new stock of Art Nouveau designs
by Luis Masriera. These new jewels were an instant success
and the first collection was sold out within a week. He won

206
the Grand Prize for jewellery at the Saragossa Exhibition
in 1908 and a further prize in Ghent in 1913. The firm
continued to use Luis Masriera’s Art Nouveau designs for
many years, but with a noticeable decline in the high stan-
dard of technical quality that had been set by the early
works.
Mark : MASRIERA Hs

Mellerio (or Meller), Maison

jum of goldsmiths and jewellers, Paris
Jewellers or jewellery salesmen of this family had been
established in France since the time of Francois I. In 1815,
Francois Mellerio moved from the rue du Coq St Honoré
to 22 rue de la Paix. In 1836, Francois and his brother,
Jean Jacques, bought 5 rue de la Paix and the firm remained
there until 1914, passing during that time down five
208 Pendant and chain, ‘Freesia’ ;
generations of the family.
enamelled gold with a topaz, emer-
In 1914, the firm moved to 16 rue de la Paix, next to alds, diamonds, and pearls, de-
Vever. The account of the family which appears in Henri signed and made by Philippe
Vever’s book (see bibl.) mentions a number of other Wolfers.
members, nephews and cousins and remote relations
concerned with the business, and the exact sequence of
employment is very hard to work out. The author of the
albums of drawings in the Metropolitan Museum [209]
which date from 1850-60, is given as Antoine, who com-
mitted suicide at his country property in Normandy in
1870.
The firm’s most prosperous period was immediately after
the restoration of the monarchy in France, and during the
reign of Louis Philippe. They received Royal Warrants
in 1830 and 1840. A good account of the firm’s history is
given in Joseph Mellerio’s Les Mellerio, leur origine et leur
histoire, published in Paris in 1895.

209 Design for a_ bracelet by

Mellerio, from a stockbook ; 1860-
70.

207
 Morel, Jean Valentin (1794-1860)
French goldsmith. silversmith and jeweller
Morel was the son of a lapidary from Piedmont. He came
to Paris at an early age and was apprenticed to Vachette,
a goldsmith and box-maker well known at the time of
Napoléon I. He was chosen by Jean-Baptiste Fossin (see
under Chaumet) as his chef d’atelier, but he left the firm in
1833 to set up his own business. In 1842 Morel et Cie. moved
to 39 rue St Augustine. His affairs were in considerable
financial confusion by 1848 when he went to London at
the time of the revolution in Paris. He set up shop at 7
New Burlington Street, and exhibited a large bouquet
made of diamonds and rubies at the 1851 Great Exhibition
which was awarded a medal and excited much admiring
comment. He returned to Paris in 1852. In 1855 he exhibited
his technical tour de force. the famous green jasper neo-
Renaissance ‘Hope’ vase. His business affairs continued in
total confusion and at his death the firm disappeared, his
son Prosper being provided for by his succession to the
business of the childless Jules Fossin (see Chaumet).

Morris, May (1862-1938)

English designer, embroideress and craft-jeweller
May Morris received her artistic training from her father,
William Morris (see p. 67). She designed and made a
number of pieces of jewellery, many of them bead necklaces
strung in interesting combinations of colour and texture.
One piece designed and made by her came to the Victoria
and Albert Museum, London, in a small collection of jewel-
lery which had belonged to her mother. A number of other
210 Two necklaces designed and pieces were left to the National Museum of Wales, Cardiff
made by May Morris. [210]. She was one of the founders of the Women’s Guild

208
of Arts in 1907, and lectured in rgro in the United States
on embroidery, jewellery, costume and pattern-designing.

Morris, Talwyn (1865-1911)

Scottish designer and metalworker, Glasgow
Trained as an architect, Talwyn Morris became a member
of the group of artists known as the ‘Glasgow School’ with
Mackintosh, MacNair, the Macdonald sisters and Jessie
M. King. He made jewellery in beaten copper, aluminium
(one ofthe very rare craftsmen to use this metal for jewellery
though it was quite in favour at this period for use in making
small pieces of sculpture), and silver decorated with enamel
and coloured glass. A buckle made at the turn of the century
is in the Victoria and Albert Museum.

Moser, Koloman (1868-1918)

Austrian artist and decorative designer
Founder member with Hoffmann of the Wiener Werkstatte,
Moser designed a number of pieces of jewellery for the
workshop. His style is the most strictly geometric of all;
these linear forms remained a central preoccupation with
the workshop artists until Moser’s withdrawal in 1906, and
continued to be a hallmark of the Wiener Werkstatte style
until at least 1912-14. He designed jewellery for the Viennese
jewellers, Rozet and Fischmeister.
Marks: KM (in a square monogram); ww (for Wiener
Werkstatte)

Mucha, Alphonse Maria (1860-1939)

Czech-born painter, iulustrator and decorative designer
Mucha was born in Czechoslovakia where he also received
part of his early artistic training. He went to Munich in
1885 and then to Paris in 1887. His first poster for Sarah
Bernhardt, which was to make his name famous overnight,
was made in 1894. He designed a number of pieces of
jewellery for Bernhardt which were made by Georges
Fouquet, for whom he also produced a number of other
designs, as well as the interior of Fouquet’s shop in the rue
Royale. He visited the United States in 1904 and he is said
to have collaborated with L. C. Tiffany over some designs
for jewellery of which one piece remains. His work was
highly influential both through his famous posters and
through the designs in Documents décorati/s, the pattern book
of designs (including several sheets of jewellery designs)
which he published in 1902.
209
211 A page from Documents
décoratifs by Mucha, published in
1902.

Murphy, H. G. (1884-1939)
English artist-crafisman, jeweller and teacher
Murphy was apprenticed to Henry Wilson in 1898 and
later worked with him, assisting with ecclesiastical com-
missions. From 1909, he taught at the Royal College of
Art and then at the L.C.C. Central School of Arts and
Crafts. In 1912, he went to work with Emil Lettré in Berlin
returning in 1913 to work in London again. He became the
principal of the Central School in 1937. During the years
after the First War, he moved away from the Arts and
Crafts style which, strongly influenced by Henry Wilson,
he had used and evolved, and began designing in the Art
Deco style fashionable in France although less so in England.

210
Murrle, Bennett and Co.
jiurm of manufacturing jewellers, London
This was one of the many firms producing jewellery in the
‘modern style’ which sprang up at the turn of the century—
possibly inspired by the success of the Liberty ‘Cymric’
venture. Murrle, Bennett produced an extensive range of
designs and an unusually large number were carried out in
gold; these were of uniformly good quality workmanship
but less reliable artistic quality than the Liberty work,
much of which was designed by leading artists in the Arts
and Crafts Movement. The designs seem to be divided into
two groups: plagiarisms of Liberty designs, which are so
like Liberty pieces that they might be mistaken for them,
and versions of the Darmstadt and Munich Jugendstil
212 Group of preces made by
Murrle, Bennett between 1900 and
1914.

OPAL
 designs, which are in some cases identical to the pieces
sold by the Pforzheim jewellery firm of Theodor Fahrner.
In their advertisement [132] Murrle, Bennett, whose
premises were at 13 Charterhouse St., claim that the
designs are their property and that the jewellery is made
by them, and this is certainly the implication in the short
note on the firm which appeared in the Studio (vol. XXXVI
p. 160-1) where the names of their designers are given as
F. Rico and R. Win. They may have imported some pieces
from Pforzheim and used their own mark on them, though
all the pieces bearing their mark appear to be English-made;
or they may have been manufacturing the Jugendstzl-style
jewels for Theodor Fahrner and exporting them.
Mark: MB Co (ina circular monogram)

Newman, Mrs. Philip (working 1870-1910)

English goldsmith, jeweller, and designer
Pupil of and assistant to John Brogden, Mrs. Newman
specialised in the styles of jewellery for which her master
was known and admired: ‘archaeological’ jewellery, and
neo-Renaissance and Holbeinesque work mainly in gold
and enamel. She exhibited with him and at the time of
the Paris Exposition of 1867, and in 1878, when Brogden
was awarded the Légion d’Honneur, she obtained a unique
distinction in being given a médaille @honneur as a collaboratrice.
After Brogden’s death (c. 1885) she continued to work
mainly in the same styles retaining several of his skilled
workmen, the models and designs from his workshops, and
a number of recipes for metalworking and enamelling
techniques evolved by Brogden during his long working life.
She set up her own business (as ‘Mrs. Newman, Goldsmith
and Court Jeweller’) at 10 Savile Row, London, where she
employed a number of apprentices, making mainly com-
213 Gold brooch designed by Niev- missioned pieces from her own designs. Few replicas were
haus C. 1910. made of any of her designs, and it is rare to find two alike.
Mark : Mrs N (ina rectangle)

Nienhaus, Lambert (1873-1960)

Dutch ceramic artist, enamellist and jewellery designer
From 1905 Nienhaus taught enamelling in Haarlem. He
later taught in The Hague and at the School of Applied
Arts in Amsterdam. He designed a number of pieces of
jewellery for the Amsterdam silversmithing firm of W.
Hoeker, very much in the Jugendstil, in the period between
1905 and 1918, as well as some silverwork.
Olbrich, Joseph Maria (1867—1908)
Austrian architect and designer
Olbrich studied architecture at the Vienna Academy under
Otto Wagner, and joined Hoffmann in the Secession move-
ment in 1897. In 1899 he joined the artist’s colony at
Darmstadt, which had been established by the Grand Duke
of Hesse, a great admirer and patron of the modern craft
revival movement. Olbrich designed buildings and furniture
for the colony, and a number ofpieces of jewellery for D. and
M. Loewenthal and Theodor Fahrner which were often set
with mother-of-pearl and opaque stones.

Partridge, Fred. T. (working c. 1g00-c. 1908)

English metalworker and jeweller
Partridge was a chemist’s son from Barnstable in Devon,
who went with Ashbee to Chipping Campden when the
Guild of Handicraft moved there from Essex House in 1902.
He exhibited with Ashbee and the Guild of Handicraft in
1903 at the Arts and Crafts Society—see Der moderne Stil,
vol. V, plate 41. He appears to have already been a member
of the Barnstable Guild of Metalworkers (established by
G. Lloyd Morris in 1900), and to have remained with the
Barnstable, Guild while working with Ashbee. He was
married to May Hart Partridge who did some of the
enamelling for Ashbee’s jewellery and silverwork.
Partridge was one of the few English craft jewellers to
be strongly influenced by French Art Nouveau, particularly
by the work of Lalique and C. Desrosiers (see p. 181);
combs made by him in horn might easily be mistaken for
French work of the same period, but he fortunately took
214 Gold and enamel brooch by
the precaution of signing them. Robert Phillips, 1860-70.
Mark ; PARTRIDGE

Phillips, Robert (d. 1881)

English goldsmith and jeweller
Robert Phillips’s was one of the first English jewellery
firms to make ‘archaeological’ jewellery in the Italian style.
He exhibited a necklace in the ‘Greco-Etruscan’ style in
the International Exhibition in London in 1862, probably
made by one of the Italian craftsmen employed by the firm.
Both Carlo Giuliano and Carlo Doria worked for Phillips,
and it is possible that other Italians were working for him
as well. Hisshop and the type of stock he carried are described
by Mrs. Haweis in The Art of Beauty (published in 1878).
213
 Pistrucci, Benedetto (1784-1855)
Italian-born gem engraver and medallist
Born in Rome where he managed to build up a considerable
reputation for himself as a cameo portraitist, Pistrucci came
to England after he had been finally disillusioned by the
fiasco of his arrangements with the dealer Bonelli, who was
selling his cameos of antique subjects at vastly inflated
prices as genuine antiquities. He became chief engraver at
the Royal Mint, an unusual appointment for a foreigner
which caused considerable adverse comment. He received
several valuable portrait commissions through the good
offices of his sponsor and patron, Sir Joseph Banks. He
designed the Waterloo medal of 1819, the coronation medal
and cameo portrait of George IV in 1821, the medal for
the coronation of Queen Victoria in 1838, and the marriage
medal of 1840, which was shown at the Royal Academy in
that year. The coronation medals for George IV and Queen
Victoria were made by the Royal jewellers, Rundell, Bridge
and Co. Pistrucci’s own, incomplete, account of his life
is included in The Science of Gems, by A. W. Billing, published
in 1867.
Marks: Greek letter A; pistRuccI (engraved or scratched on
the stone)

Pistrucci, Elena (1822-1886) and Eliza Maria

(1824-1881)
Italian gem engravers and shell-cameo cutters
Daughters of Benedetto Pistrucci, both returned to Italy
with their mother as young girls. They became accomplished
gem engravers and also made a certain number of the
shell-cameos which were immensely fashionable everywhere
in the mid-nineteenth century.

Powell, John Hardman (1827—1895)

English jewellery and metalwork designer
The son of John Hardman’s partner, William Powell,
John Hardman Powell was apprentice and assistant to
A. W. N. Pugin from 1844. In 1850, he married Pugin’s
daughter, Anne. He succeeded his father-in-law as chief
designer to John Hardman and Co. at the time of Pugin’s
death in 1852, and continued to produce designs very much
215 Three onyx cameos: top, by
in the Pugin manner. Hardman first registered separately
Benedetto, centre by Elena, and the mark of Hardman Powell in 1883.
bottom, by Eliza Maria Pistrucct. Marks: as Hardman (1852-1883); HP &c (from 1883)

214
Prutscher, Otto (1880-1961)
pupil of Josef Hoffmann
Prutscher exhibited in Turin in 1902. Hejoined the Wiener
Werkstatte for a period soon after they were founded in 1903.
He also designed jewellery for the firm of Viennese jewellers,
Rozet and Fischmeister. His designs were usually decorated
with enamel.
Mark: op (in a square monogram)

Pugin, Augustus Welby Northmore (1812—

1852)
English architect, designer, writer and antiquarian
Son ofthe architectural historian and draughtsman, Auguste
Charles Pugin, A.W.N. Pugin was trained as an architectural
illustrator by his French-born father. At the age offifteen, he
was already designing silverware for the royal goldsmiths,
Rundell and Bridge and furniture for Wyattville, who was
employed on the restoration of Windsor Castle. He also 216 Pendant cross in the medieval
worked for two years as a scenery designer at Covent Garden. style by F. Hardman Powell, ex-
In 1835, when he had already been married twice and hibited at Bingley Hall in 1886.
widowed once, he was converted to Catholicism and had
begun work on his most controversial and influential book,
Contrasts—published in 1836 at his own expense.
During part of 1835 and 1836, he was working with
217 Pugin’s design for the dress to
Charles Barry on the designs for the new Houses of Parlia- be worn with the jewellery [218]
ment; this collaboration was resumed in 1844 and continued illustrated on the next page.
sporadically until the end of his life. In 1836, he also pub-
lished his Designs for Gold and Silversmiths. The True Principles
of Pointed or Christian Architecture appeared in 1841, followed
by The Glossary of Ecclesiastical Ornament and Costume in 1844
and Floriated Ornament in 184g. In these works (only a small
proportion of his whole oeuvre) one can find the sources of
inspiration for Pugin’s jewellery and metalwork designs, as
well as for the greater part of English Victorian Gothic
ornament and decoration.
The decorative motifs in Pugin’s jewellery are taken al-
most unaltered from his ecclesiastical metalwork (see
particularly the Westminster Cathedral Mitre, designed and
made in 1848) and the flattened decorated knops on the
stem of the chalice exhibited by Pugin in the Great Ex-
hibition of 1851 are very similar to the links of the necklace
which formed part of the famous set of marriage jewellery
designed by Pugin in 1846-7. This set of jewellery, made,
like the other. metalwork pieces mentioned above, by John
Hardman and Co., was worn by Pugin’s third wife, Jane
Knill, at their marriage in 1848, and subsequently shown in
 the Mediaeval Court at the 1851 Exhibition. In his published
work, Pugin repeatedly stressed his distaste for mechanical
manufacturing processes and commercial compromise; but
he can hardly have been unaware of the many unmediaeval
technical processes used to carry out the huge volume of
work produced each year by Hardmans. He was certainly
aware of the firm’s defects in respect of making fine-quality
precious jewellery—an area in which they were very in-
218 Illustration of the wedding
jewellery designed by Pugin for his
intended third wife, Miss Lumsden,
with other Gothic-style jewellery ;
these preces were all exhibited in
1851.

216
experienced. His correspondence with them, dealing with
problems arising over the execution of the marriage jewel-
lery designs, shows that various compromises were made
with some of the more complex details of the original con-
ception. After the 1851 Exhibition, Pugin’s Gothic jewellery
was widely copied and plagiarised by firms whose workshop
practice was far from mediaeval. It is a measure of the
excellence of his designs that they survived this without
serious deterioration ofquality.
In 1851, despite his many achievements, he wrote: ‘I have
passed my life in thinking of fine things, studying fine things,
designing fine things and realising very poor ones.’
Mark: Aw p (monogram in Gothic letters)

Ramsden, Omar (1873-1939)

English designer, goldsmith and silversmith
Born in Sheffield, the son of a manufacturer of silver and
electroplate ware, Ramsden was apprenticed as a youth toa
Sheffield firm of silversmiths. He started attending evening
classes at the Sheffield School of Art in 1890, where he met
his future partner Alwyn Carr, and in 1894 he won a
Corporation Scholarship to the school. In 1897 he won
First Prize in the open competition for the design of a mace
for the City of Sheffield, and then turned to his friend Alwyn
Carr for help with the execution of this important commis- 219 Clasp in silver set with ame-
sion. They went to London and established themselves in thysts marked on the back ‘Omar
Stamford Bridge Studios, on the borders of Chelsea and Ramsden me fecit’ ; c. 1910.
Fulham, where the work on the mace was carried out and
completed in 1899.
In the early years of the partnership, the two men were
joined, by three assistants, Walter Andrews, Leonard Burt
and A.E. Ulyett. During the First World War, a period of
considerable prosperity for the business, the number of
assistants increased still further and during the 1930s,
Ramsden appears to have had nearly twenty assistants
working for him. Very little of the designing and none of the
actual execution of the very large number of pieces which
bear his signature (the misleading words ‘Omar Ramsden
Me Fecit’) or the firm’s mark, was undertaken by Ramsden
himself, but he was an accomplished salesman and entre-
preneur, and can claim the commercial success of the
business as his own.
Marks: rn & cr (in a rectangular shield with chamfered
corners) ; OMAR-RAMSDEN ME FECIT

O17
 Ricketts, Charles de Sousy (1866—1931)
English painter, sculptor and decorative artist
Founder with Charles Shannon of the Vale Press, his chief
interest from about 1906 was theatrical design. He designed
and had made a small number of pieces of jewellery for his
friends. The drawings for a number of pieces which still
exist are collected in a tiny sketchbook dated 1899 now in the
British Museum. Ricketts was almost always disappointed
with the completed jewels which failed to interpret his
elaborate designs with sufficient delicacy in spite of the fact
that they were made by Carlo Giuliano.

Rouchomowsky, Israel (working c. 1870-1906)

Russian goldsmith
Rouchomowsky is notorious as the maker of the famous
“Tiara of Saitapharnes’ bought as an antique work of art by
the Louvre in 1896. Vested interests and political manoeuv-
ring long prevented its public recognition as a forgery though
it had been doubted by experts and antiquarians even when
it first appeared on the market in 1895. Rouchomowsky
denied that he had made the tiara as a deliberate fake, but
the record of the Odessa workshops seems to indicate that
this was not true. He was summoned to Paris at the expense
220 A gold pendant set with a of the French Government to demonstrate his authorship of
green turquoise designed by Charles the tiara and other articles of spurious antique jewellery
Ricketts ; c. 1900. made by him and acquired by the Louvre. He settled in
Paris with his family and exhibited in the Paris Salon from
221 The miniature gold replica of 1904 to 1906. He continued to make elaborately wrought
the tiara of Sattapharnes made by gold objects in the antique manner; one of these, a minute
Rouchomowsky ; c. 1904. gold skeleton in a coffin, was shown at the Salon in 1904 next
to the most eclectic Art Nouveau pieces by Lalique whose
workmanship he greatly admired; it appeared completely
incongruous.

Rickert, Feodor
Russian goldsmith and jeweller
From the end of the nineteenth century until the revolution,
Riickert’s was the most important workshop for the produc-
tion of objects in the ‘Old Russian’ style: these included
pieces decorated with painted enamels in seventeenth-
century fashion, and pieces decorated with filigree wire
patterns using the traditional Russian skan technique. Part
of Riickert’s production was sold through the Fabergé
branch in Moscow, which opened in 1887, and these pieces
bear the Moscow State mark, a head in profile to the left
wearing a kokoshnik (the traditional Russian head-dress), as
well as Riickert’s own mark.
Marks : RUCKERT; FR (in Cyrillic)

Rundell, Bridge and Co.

firm of court jewellers and goldsmiths, London
The firm was established by Philip Rundell, who was born
in Bath in 1747 and came to London in around 1769. In
1781, he became a partner in the business of Theed and
Pickett, goldsmiths and jewellers of Ludgate Hill, where he
had at first been employed as a shopman in 1772. He
gained sole control of the firm in 1786, and two years later,
was joined by a partner, John Bridge (born 1754) the
brother of a successful West Country farmer. Bridge had
attracted the notice of King George III and through him,
the King’s attention was drawn to the firm of Rundell and
Bridge, whom he made Jewellers, Goldsmiths and Silver-
smiths to the Crown.
The firm reached the height of its popularity in about
1800, having profited greatly from the impecunious state of
a number of emigrés fleeing from the Revolution in France,
whose jewellery and precious stones could be bought at
highly advantageous prices. In 1811, the silversmith Paul
Storr, who had apparently been working for Rundell and
Bridge since 1808, was taken into formal partnership with
Philip Rundell, John Bridge, Edmund Waller Rundell and
William Theed.
Theed died in 1817 and Storr left in 181g, neither having
profited greatly by their association with the firm, although
the business itself was by then exceedingly prosperous with
agencies in Paris, Vienna, St. Petersburg, Constantinople,
Calcutta, Bombay, Baghdad and in South America. Their
many valuable Royal Commissions included the executing
of large orders of plate and jewellery for George IV, the
making of presentation bracelets for various favoured guests
at the coronation of William IV and of the crown and ring
for the coronation of Queen Victoria.
In 1827, John Bridge discovered the young Augustus
Welby Pugin working in the Print Room at the British
Museum, and later commissioned him to design some
church plate for the firm; in the same year, Philip Rundell
died, leaving the enormous sum of £1,500,000. The firm
continued in business until 1843, when they were succeeded
as Royal Goldsmiths by R. and S. Garrard. Further informa-
tion may be found in An Account of Rundell, Bridge G Co., an
unpublished memoir by G. Fox in the Library of the
Victoria and Albert Museum, London.
219
 Sedding, George Elton (1882-1915)
English art metalworker and jeweller
Son of J.D. Sedding, the architect in whose office Henry
Wilson was chief assistant, George Sedding was himself
apprenticed to Wilson, working with him first at 447
Oxford Street, London, and then moving with him down to
St. Mary Platt in Kent, where he shared rooms in a local
farmhouse with his sister, who also worked in Wilson’s
studio. In 1907, after spending nearly two years in Kent,
Sedding moved back to London and opened his own small
workshop at 11 Noel Street, near Oxford Circus, where he
concentrated on the production of simple decorative
objects and jewellery in silver and copper set with semi-
precious stones in a style strongly influenced by his master.
Later as the demand for his work increased he took on first
one and then a second assistant, and began to make more
ambitious and elaborate pieces, mainly ecclesiastical com-
missions still very much in the manner of Wilson.
Mark: GES

Spencer, Edward (1872-1938)

English architectural metalworker, silversmith and jeweller
Simpson designed jewellery in a style very much influenced
by C.R. Ashbee; he was admired by contemporary critics
who may have found that his emasculated version of the
oe
ee
work of his more adventurous contemporaries was easier to
digest. His work is illustrated in Modern Design in Jewellery
and Fans, and in Der moderne Stil, alongside that of Ashbee
and the Guild of Handicraft; it is possible to compare the
ho
work of both together. An album of his designs in pencil and
water colour which is now in the Metropolitan Museum in
i ie
af ; 5 “ptmetaheow
New York confirms still more strongly the extent to which
i Keng we he plagiarised Ashbee’s work. Simpson designed jewellery
isNe
i. Serie a for various commercial silversmithing firms, among them
b i ee a 4 Charles Horner of Chester, a firm specialising in jewellery of
f pe te 0 &
em hs
ae Pe ‘ ein. pre
rok
y joc ee
a }i
a ee
& Soaninaaee
he

&7

222 Drawing from an album of

designs for jewellery by Edgar
Simpson, c. 1900.

223 Cloak clasp in silver by Edgar

Simpson ; 1901.

220
silver with mother-of-pearl or enamel very much in the
manner of Liberty’s ‘Cymric’ range.

Simpson, Edgar (working c. 1896-1910)

English designer and metalworker
Spencer was a junior designer at the Artificers’ Guild when
it was founded in 1901 by Nelson Dawson. He appears to
have quarrelled with Dawson at the time when the Guild
was taken over by Montague Fordham, one-time director
of the Birmingham Guild of Handicrafts and owner of a
Gallery in Maddox Street in London. Spencer became the
chief designer to the Artificers’ Guild after Dawson’s
departure.
In 1905, he founded the Guild of St. Michael which lasted
for only a short time; he was still working for the Artificers’
Guild at this time and unless he left for a short period, must
have been violating the rule that guildsmen must work only
for the Guild.
Spencer made a number of pieces of jewellery which are
illustrated in reports of Arts and Crafts Society shows, at
which he exhibited regularly, and in reports of Artificers’
Guild exhibitions in Maddox Street.
Mark: as Artificers’ Guild with EDWARD SPENCER DEL in a
circle

Stabler, Harold (1872-1945)

English artist, craftsman, silversmith and jeweller
Born in Westmoreland, Stabler served his apprenticeship as a
cabinet-maker. He turned his attention to designing metal-
work,and jewellery, and to working in precious metals,
brass and copper. He showed a great aptitude for this work
and was put in charge of the metalwork section of the
Keswick School of Industrial Art by Canon Rawnsley.
After he left the Keswick School in 1902, he went to work in
Liverpool with R.L.B. Rathbone who also designed
jewellery as a sideline. He later succeeded Henry Wilson as
a teacher at the Royal College of Art in London.
He exhibited in London with the Arts and Crafts Ex-
hibition Society, at the New Gallery and at the Albert Hall,
as well as in Germany and Austria. Like H.G. Murphy’s his
style in the years after the First World War moved away
from the Arts and Crafts manner and his designs from this
period are some of the most successful of the English Art
Deco movement.
Mark: us

PIAA
Storr and Mortimer
firm of goldsmiths and silversmiths, London
The firm was established in 1823 by Paul Storr and John
Mortimer. Paul Storr had left Rundell and Bridge in 1819,
having been a partner since 1811, and set up on his own in
Harrison Street, off the Gray’s Inn Road. The 26 Harrison
Street premises were apparently retained as a workshop
when he formed his partnership with Mortimer, who had
been a salesman and chief assistant in the goldsmith’s shop
in New Bond Street which they took over. The new business
was nearly ruined by over-stocking, but was saved by a
substantial loan from John Hunt, a nephew of Storr’s wife,
who invested £5,000; he was taken into the partnership and
the business was known from 1826 to 1838 as Storr, Mortimer
and Hunt. In that year, Storr retired from the business after
a quarrel with Mortimer over the terms of the partnership,
and went to live in Tooting, where he died in 1844. In
1839, the firm’s name was altered again to Mortimer and
Hunt, and in 1846, became Hunt and Roskell.

Thielemann, A.
Russian goldsmith and silversmith
With Holmstrém, Thielemann was one of Fabergé’s chief
jewellers in the St. Petersburg workshops. He specialised in
diamond and enamel jewellery, the highly characteristic
small round brooches with a single coloured stone asym-
metrically set, which used to be sold for between £7 and £40,
and the miniature Easter eggs made of Siberian and other
hardstones which were bought as souvenirs by visitors to
Russia; these were designed to be worn hanging from a gold
chain either as a pendant or a bracelet.
Mark: a.t. (with a Fabergé mark)

Tiffany, Charles Lewis (1812-1902)

founder of Tiffany and Co., firm of manufacturing and retail gold-
smiths, silversmiths and jewellers, New York
Born in Connecticut, Tiffany went to New York City in 1837
where, in partnership with an old school friend, John B.
Young, he opened a fancy goods and stationery shop at 259
Broadway. In 1841, the premises were enlarged to include
the house next door; Parisian jewellery as well as Bohemian
glass, French and Dresden porcelain, clocks and cutlery
were added to the original stock of bric-a-brac and station-
ery. In this same year, Tiffany and Young were ‘oined by a
new partner, J.L. Ellis, and from then on, Young was able
to travel to Europe on buying trips to find out at first hand
what was available. The original stock of cheap jewellery
from Hanau and Paris was replaced with better-quality
English stock, Florentine and Roman mosaic jewellery which
was very fashionable at this period, and high-class Parisian
pieces.
Shrewd investment at the time of the political unrest in
Paris in 1848, when the price of diamonds fell by half,
probably enabled the firm to start manufacturing jewellery
on its own account and, by 1850, a branch was established
in the rue de Richelieu in Paris. Soon after being joined by
J.L. Ellis, the firm had moved to 271 Broadway as Tiffany,
Young and Ellis, but in 1853, Tiffany took over the whole
firm and from that date it was known as Tiffany and Co.
In 1850, Gideon F.T. Reed (formerly of Lincoln Reed
and Co., a leading Boston jewellery firm) was taken into
partnership by Tiffany to run the Paris branch, which was
known as Tiffany, Reed and Co. From 1848 onwards, they
continued to make enormously valuable purchases of
diamonds and diamond jewellery in Paris. In 1850, they
bought diamonds reputed to have belonged to Marie
Antoinette, spent $100,000 at the Esterhazy sale, and at the
sale of the French Crown Jewels in 1887 they bought
twenty-four lots at a cost of $500,000.
In 1854, the firm moved to a new building in New York at
550 Broadway, and in 1870 moved again to the junction of
Union Street and 15th Street; in 1868, the London branch
was opened. Tiffany’s exhibited at the Exposition Universelle
in Paris in 1867, where the firm received an award of merit,
at the Philadelphia Centennial Exposition in 1876, and
again in Paris in 1878 (winning a gold medal) ; in 1889, they
won another gold medal in Paris for their exhibit of the
precious stones of North America. This pattern of success
continued at the Chicago Columban Fair and the Paris
exhibition in 1900.
Tiffany’s were among the earliest in the field with the
commercial exploitation of the Japanese mania which was
to sweep through Europe and America in the second half
of the nineteenth century. This was probably because
Edward C. Moore, who had been working for Tiffany since
1851, and who had become his chief designer and director of
the silver department in 1868, was a passionate and know-
ledgeable amateur and collector of Japanese art objects. Un-
like English metaiworkers, the American jewellers and
silversmiths were not prevented by law from combining
lesser value, and they exploited
gold and silver with metals of
their ability to use oriental damascening and inlaying
techniques to great advantage for small Japonaiserie orna-
ments and jewels. Like many other American and Euro-
223
pean firms at this period, Tiffany’s employed Japanese
craftsmen to do some of this work.
Towards the end of his life, C.L. Tiffany took his son into
the firm: Louis C. Tiffany took over the direction of the
jewellery workshops at the time of his father’s death in rgo2.
Mark: TIFFANY & CO. (with current address, e.g. 550 Broad-
way from 1854 to 1870)

Tiffany, Louis Comfort (1848-1933)

American glassmaker, designer, jeweller, painter, and interior
decorator
The accomplishments of L.C. Tiffany, eldest son of Charles
Lewis Tiffany, were compared (in a publication ordered
and paid for by himself) to those of aFlorentine Renaissance
artist. He spent the period 1868-1869 in Paris and Spain,
painting, and he continued to paint in both oil and water-
colour throughout the rest of his career; however, he was
aware of his own deficiencies as a painter and in 1879,
finally decided to devote himself to decorative work. In that
year, he founded the interior-decorating firm, Associated
Artists, with Samuel Colman, the painter and first President
of the American Watercolour Society, Mrs. Candace
Wheeler, founder of the Society of Decorative Art in New
York, and Lockwood de Forest, another painter.
Tiffany was certainly familiar with the decorative work
of his compatriot,J.McNeill Whistler—the famous Peacock
Room which is now 1n the Freer Gallery in Washington was
completed in 1877, and the Primrose Room was exhibited
in Paris in 1878—and his own decorative work reflects the
influence of Japanese art, almost to the same extent as
Whistler’s. Early contact with his father’s chief designer,
Edward C. Moore, who collected all kinds of Japanese art
objects, turned the young Tiffany’s attention towards
oriental art and he made a collection of (subas (Japanese
sword guards) which he later incorporated into some of his
elaborate and exotic decorative schemes.
In 1889, he began his association with Samuel Bing and
the Maison de-l’Art Nouveau; the ‘Favrile’ trademark for
his famous glass was registered in 1894, and in 1goo, Tiffany
Studios started making metalwork and jewellery. At the
time of his father’s death in 1go02, L.C. Tiffany took over the
management of the firm’s jewellery workshops. He was
responsible for convincing rich American society people,
who heretofore had shopped almost exclusively in Europe,
that objets d'art (jewellery, for instance), schemes for interior
decoration, and fantastic art glass could be produced per-
fectly satisfactorily in America.
Marks: Lows C. Tiffany (in italics); Lat; Tiffany and Co.
Unger Bros.
firm of silversmiths and jewellers, Newark, New Jersey
The firm was founded in 1878 as H. Unger and Co. by three
brothers, Herman, Eugene and Frederick. The following
year Frederick died and the business was reorganised by the
surviving brothers and opened in 1881 as Unger Bros., at 18
Crawford Street. They eventually moved to large premises
at 412 Halsey Street, and also maintained an office in New
York at 192 Broadway. In rgo1 the family of Eugene Unger
visited the Exposition Universelle in Paris, and soon after
their return (in 1903) a series of patents were taken out in the
name of Philomen Dickinson, Eugene Unger’s chief designer
and brother-in-law, for a series of Art Nouveau designs to be
used for the decoration of various silver articles, including
pendants, brooches, buckles and clasps. From rgo04 the
firm produced a considerable quantity ofthis silver jewellery
in imitation repoussée, in a technique similar to that used by
Wiliam Kerr and Co. The naturalistic flower and leaf
forms and the Art Nouveau designs, based mainly on an
ideal female head with flowing hair, exploited the current
fashion for jewellery in the French style at a very low cost.
Most of the jewellery was made of plain undecorated silver,
with a small amount of work partly gilt and set with semi-
precious stones. Eugene Unger died in 1909, and the pro-
duction of Art Nouveau silver ceased in 1910. The firm
continued to make silverware in severe rectilinear forms
until 1914, when this side of the business was finally aban-
doned in favour of the manufacture of aeroplane parts and
components.
Mark: uz (in a cruciform monogram )
224 An American Art Nouveau
silver buckle by Unger Brothers of
Newark, New Jersey ; C. 1905.

No No
(5)
 Van de Velde, Henri Clemens (1863-1957)
Belgian architect, painter.and designer
Van de Velde studied architecture and painting in Paris and
Antwerp but was forced to turn his attention to decorative
design owing to ill-health. He made a name for himself as a
daring avant-garde designer with Victor Horta in Belgium
before going, in 1899, to Germany, where he stayed until
1917. After spending a period of years first in Switzerland
and then in Holland he returned to Germany in 1925 where
he founded the Ecole des Beaux-Arts de la Cambre, of
which he remained director until 1938. He designed a
number of pieces of jewellery, some for Theodor Fahrner;
some of these were made by the Weimar firm, Miller. His
work was widely influential, particularly in Germany where
the deceptively simple linear compositions of his work were
frequently imitated.

Vever, Maison
firm of goldsmiths and jewellers, Paris
The firm was founded in 1821 by Paul Vever in his native
town of Metz. He was joined in the atelier in Metz by his
eldest son, Ernest, in 1848. After the annexation of Alsace-
Lorraine by Germany in 1871, Ernest Vever went to Paris
where he was able to acquire Maison Marrett et Baugrand,
1g rue de la Paix. This business was founded in 1850 and
formerly owned by Paul Marrett, who died in 1853, and
Gustave Baugrand, the famous Second Empire jeweller who
had died during the siege of Paris in 1870.
Ten years later, Vever handed over the business to his
two sons, Paul (1851-1915) and Henri (1854-1942) who
had been working for the firm since 1874; the latter was the
author of the standard work on nineteenth-century French
jewellery (see bibl.). The designs used by the firm in this
later period were a complete contrast to the conventional
work of the 1870s and their originality and daring modern-
ism were to give the firm a reputation almost comparable
with that of Lalique and Fouquet. Tourrette, the enamellist,
and L. Gautrait, the chief engraver for the Parisian firm Leon
225 Design for jewelled pendant by Gariod, both appear to have worked for Vever, and the
Gustave Baugrand, 1867. This workshop also executed a remarkable series of jewels
firm was acquired by Vever in 1871. designed by Eugéne Gross t.
In 1904, the business was moved to a building specially
designed and built at 14 rue de la Paix. After the death of
Paul Vever in 1913 and the retirement of Henri soon after,
André and Pierre Vever (Paul’s sons) ran the business.
Mark : VEVER PARIS
Wainwright, C. J. (1867-1948)
English silversmith and jeweller
Colbran Joseph Wainwright joined the firm of jewellers
owned by his father Joseph (1832~1902), in the early 1899s.
He specialised in the production of fine quality enamelled
jewellery in the manner of Giuliano, though his sympathies
lay with the Arts and Crafts movement and the ideas of
William Morris. He became a shareholder in the Birming-
ham Guild of Handicrafts in 1896, selling his shares in 1917
to R. Hugh Roberts, the secretary of E.R. Gittins, the
jewellery firm which had amalgamated with the Guild in
1910. C.J. Wainwright married Ellen Dora Bragg, a member
of the family who owned the Birmingham jewellery firm of
T. and J. Bragg, and her brother, Wilfred Bragg joined the
Wainwright firm later. The firm remained in existence
until 1943.

Wiese, Jules (1818-1890)

German-born goldsmith and jeweller
Principal artist to the firm of F.-D. Froment-Meurice until
about 1860 when he set up his own business, Wiése exhibited 226 ‘Sylvia’ pendant by Vever made
under his own name at the 1862 exhibition in London. He m Paris in 1900; enamelled gold
worked in the sculptural style developed by Froment- set with brilliants, rubtes and agates.
Meurice, in a modified ‘archaeological’ manner without the
elaborate fantasy of Fontenay, and in the Japanese taste in
the years immediately preceding his retirement in 1880.
Mark: Jw (with a star above and below in a lozenge)

Wilson, Henry (1864-1934)

English architect, sculptor, metalworker and jeweller
Wilson was a pupil at the Kidderminster School of Art and
then articled to an architect in Maidenhead. After com-
pleting his articles and working in the offices of John
Oldrid Scott and John Belcher, R.A., he went to work for
the architect J.D. Sedding as his chief assistant, succeeding
to the practice at the time of Sedding’s death in 1891. He
completed work left unfinished by Sedding at his death.
Wilson’s interest in metalworking dates from about 1890
and it led him to set up a workshop at about that date,
which was to absorb more and more of his time. He joined
the Art Workers’ Guild in 1892 and taught metalworking
under W.R. Lethaby at the Central School of Arts and
Crafts from 1896; he followed Lethaby to the Royal College
of Art in about 1901. He was examining students at the
Vittoria Street School of Jewellers and Silversmiths in
227 Gold enamelled necklace deco-
rated with opals, pearls, and cabo-
chon emeralds with openwork pen-
dant with, as ils centre, an angel
with red enamelled wings ; designed
by Henry Wilson, c. 1905.

Birmingham from about 1902. Wilson exhibited regularly

with the Arts and Crafts Exhibition Society from 1880,
becoming the President of the Society in succession to
Walter Crane in 1915. He became the Master of the Art
Workers’ Guild in 1917.J. Paul Cooper worked with Wilson

228
before setting up his own workshop and H.G. Murphy was 228 Drawing for a necklace and
apprenticed to him in 1898 and became his assistant. pendani by Henry Wilson; c. 1905.
Wilson published Silverwork and Jewellery in 1903; this was a
handbook on design and techniques. The second edition
(1912) contained a new chapter on Japanese metalworking
techniques based on a series of lectures and demonstrations
given by Professor Unno Bisei of the Tokyo Fine Art College
and Professor T. Kobayashi.
Mark : H.w. (in a monogram)

Wimmer, Eduard Josef (1882-1961)

Austrian designer and crafisman
Wimmer studied from 1gor to 1907 at the Kunstgewer-
beschule in Vienna. He became a member of Hoffmann’s
Wiener Werkstatte in 1907, and designed a number of
pieces of jewellery for them. He remained with the workshops
until they closed down in 1932. From 1918 until 1956 he
taught at the Vienna Arts and Crafts School.
Marks: EJ] w (monogram in a square or a rectangle)

Wolfers, Philippe (1858-1929)

Belgian sculptor, goldsmith and jeweller
Wolfers studied at the Académie Royale des Beaux Arts in
Brussels and with the sculptor, Isidor de Rudder, before
entering his father’s jewellery and silversmithing workshop
to learn the family business. He designed a number ofpieces
of silver for the firm, and from 1893 onwards worked in
ivory from the Congo. At about this ttme Wolfers set up his
own workshop in the Square Marie-Louise in Brussels.
Between 1897 and 1908 he designed a series of fantastic
jewels in gold enamel and precious stones; only 109 of these
are recorded and they were marked ‘PW _ exemplaire
unique’ to distinguish them from the pieces he designed for
the family firm. After 1908 he turned his attention almost
exclusively to sculpture.
Mark: pw (ina shield, with the words ‘exemplaire unique’)

Wolfers Freres
firm of court jewellers, Brussels
Founded in 1812, from rg1o the firm occupied a vast
building containing both shop and studios in the rue
d’Arenenburg, Brussels, specially designed by Victor Horta.
Marks: w (surmounting the cross of the Légion d’Honneur
from 1812; with a boar’s head from c. 1850)
Glossary
AIGRETTE a French term, literally a tuft, of feathers, COLLET SETTING an open-backed setting where the
used to describe a small upstanding hair ornament stone is held in place by a plain band of metal round
in the form of a spray of plumes or flowers. the girdle.
A JOUR SETTING a French term for an open-backed COMMESSO the rarely used technique in which coloured
setting which allows light to pass through the stone. semi-precious stones are carved and assembled on a
Hence the term plique a jour for open-backed enamel. hardstone background to form an elaborate cameo.
ALLOY a mixture of precious metal with a base metal DOG-COLLAR a many-stranded choker necklace some-
to give greater strength or malleability. times incorporating a central pierced and decorated
ARCHAEOLOGICAL STYLE a style of jewellery made plaque-de-cou. These necklaces were made fashion-
mainly from gold, copied from or based on the de- able by Queen Alexandra.
signs of Greek, Roman, Assyrian etc. metalwork and DOUBLET a stone made up of two layers, one of preci-
sculpture. ous stone such as emerald, the other of colourless
BANDEAU a worked gold or gem-set head ornament in quartz (see soudé stone, below).
the form of a flat band worn straight across the fore- ETERNITY RING a plain circle ring set all round with
head, fashionable during the period of the Gothic precious stones, given as an anniversary present or at
revival. the birth of the first child.
BANGLE an inflexible bracelet, either in the form ofa ETRUSCAN STYLE an archeological style of gold jewel-
solid circlet or hinged to open with a catch. lery decorated with granulation or filigree.
BENOITON CHAIN a chain designed to hang from the FEDE RING a betrothal ring with a central motif of
bonnet in place of the more usual ribbons; it was clasped hands. The name comes from the Italian
adapted to hang from hair ornaments worn in the “mane in fede’.
evening, and was named after the nouveau riche FERRONIERE a French term for a head ornament in
family in Sardon’s play La famille Benoiton—the the form of a chain with a central pendant stone,
family were renowned for their eccentric fashions. called after the similar ornament worn by the black-
BERTHE NECKLACE a French term for a large collar- smith’s wife in Leonardo da Vinci’s portrait La
shaped necklace made of a network of stones decor- Ferroniere.
ated with other drop-shaped stones or pearls. FILIGREE gold or silver wire-work in complex patterns,
BEZEL Strictly the setting of the central stone of a ring, used both for jewellery and small ornaments, par-
now used to describe both the stone and the setting. ticularly posy-holders (see below). Filigree is found
The points where the shank ofthe ring joins the bezel in almost all local and traditional jewellery and was
are called the shoulders. revived in the nineteenth century to meet the demand
BIJOUTERIE a French term used to describe work of created by interest in primitive and folk art.
gold and enamels, as distinct from joaillerie (see FOILED STONES precious stones or pastes whose colour
below). and brilliance have been improved by backing with
BRACELET CLASP a round or oval, gem-set or enam- highly burnished metallic foil.
elled clasp with slots at the back through which a GIRANDOLE a type of brooch or earring with three
ribbon could be threaded, often found in pairs. drop-shaped stones hanging from a central stone.
Portrait miniatures were often set as bracelet clasps. GRAIN the unit of weight used for pearls. One grain =
CAMEO HABILLE cameo (usually a portrait cameo) 4 carat.
set with precious stones as part of hair ornaments or GRANULATION the characteristic decoration of Etrus-
necklaces, briefly fashionable in the 1860s and 1870s can gold-work with patterns carried out on the sur-
when cabochon stones set with diamond or pearl face in minute grains of gold.
stars'were aiso popular. HARLEQUIN RING a ring set with stones whose initial
CARAT (or KARAT) the unit of weight used for preci- letters spell a word or name; the ‘Regard’ rings are
ous stones. One carat = + gram. Also a measure- an example (see below).
ment of fineness in gold. Pure gold is expressed as JOAILLERIE a French term used for work in precious
24 carats. stones, as distinct from bzjouterie (see above).
GARBUNCLE the cabochon form of garnet. KARAT See Carat.
CHATELAINE originally a decorative hook suspended LAGE PIN a small bar brooch decorated with a small
from the belt or waistband, designed to hold a num- gem-set motif used to pin the lace collar or /ichu,
ber of small, useful household objects; the term was fashionable at the turn of the century.
also used in the nineteenth century to describe a LAVA CAMEO cameo carved, usually in high relief,
heavy brooch from which a watch or vinaigrette from solidified volcanic ash. Lava has a character-
could be hung. istic matt surface and a range of colours from a very
CHOKER a necklace designed to be worn closely up to pale fawn to a dark brownish grey.
the neck. MALTESE GROss a cross with four broad arms of
CLAW Or CORONET SETTING an open-backed setting equal length, usually with decorated trefoil or leaf-
in which the stone is secured in a ring of claws which shaped finials.
are rubbed over the girdle. MANCHETTE BRACELET broad bracelet in the form of
CLOAK CLASP a heavy clasp in two parts which hook a cuff.
together with small loops at the back by which it MORSE large gem-set cope clasp (ecclesiastical) some-
could be sewn to the outdoor cloak fashionable at times made in two or three sections, the central sec-
the turn of the century. tion decorated in heavy relief.

O31
PAVE SETTING the method ofsetting in which a whole SIGNET RING a type of ring, usually worn by men, of
area of metal is covered or paved with small closely engraved gold or set with an intaglio, bearing the
set stones secured by grains of gold. The stones crest or personal cipher of the owner and used for
should be set in clusters of seven. sealing letters and documents.
PIETRA DURA hardstone inlay used in ‘Florentine’ in- souDE French adjective used to describe a made-up
tarsia (described earlier in the book). or soldered stone.
POSY-HOLDER a trumpet-shaped filigree or pierced- STOMACHER large ornamental brooch designed to
work decorative container for the bouquet of real or cover the whole central front panel of a dress,
artificial flowers which it was fashionable to carry in fashionable in the eighteenth century and revived
the evening. Posy-holders were sometimes lined with in the late nineteenth century.
a small water-glass to keep the flowers fresh. TREMBLANT SETTING a French term applied to the
“REGARD RING a ring set with stones whose initial spring-mounted settings which cause the jewel to
letters spell the word ‘Regard’ (see Harlequin ring, tremble and move when worn. Such settings were
above). much used from the end of the eighteenth century
RIVIERE necklace of single stones, sometimes all of the onwards for botanical and other naturalistic jewel-
same size, sometimes graded from a large central lery.
stone. TRIPLET a stone made up of three layers, the outer
SAUTOIR a long necklace or chain, sometimes used in layers of valuable precious material such as emerald
the early nineteenth century to suspend a watch or or sapphire, the inner layer of quartz (see soudé
eyeglasses, usually shown in portraits of this period stone, above).
looped up and pinned to the waistband.
SHAWL PIN a large circular brooch with a heavy pin
used to pin the cashmir and paisley shawls worn in
the mid-nineteenth century.

232
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234
Index
Page numbers in ¢¢alic numerals Bailey, Banks and Biddle Co., 149 Black, Star and Frost, 153
indicate references contained in Bailey, Joseph T., 149 Blackband, William Thomas, 152,
picture captions. Bainbridge, H.C., 141 185, 185
Baker, Olive, 202 Blakemore, Kenneth, 140
Adelaide, Queen, 17, 78 Balas ruby, 86 Blue-John, 92
Agnew’s, 201 Ball, Black and Co., 153 Bodley, G.F., 147
Albert of Saxe-Coburg (Prince Ball, Tomkins and Black, 153 Boehmer and Bassange, 149
Consort), 147, 184 Ballin, Mogens, 151, 196 Bolin, Charles, 154
jewellery given to Queen Bancroft, Mrs. George, 44 Bolin, Henrik, 154
Victoria, 23-5 Banks, George, 149 Bolin, John, 154
Alexander III, Czar, 175 Banks, Sir Joseph, 214 Bolin, K.S., 154
Alexandra, Czarina, coronation Bapst, Alfred, 150 Bolin, W.A., 154
diadem, 189 Bapst, Charles-Frédéric, 149 Bolin, William, 154
Alexandra, Princess (Queen), 64, Bapst, Constant, 149 Bonaparte, Princesse Mathilde,
184, 185 Bapst, Georges-Michel, 149 161-2
Alexandrite, 85 Bapst, Germain, 150, 177 Bonelli, art dealer, 214
Algerian style, 48 Bapst, Jacques, 149 Boston Arts and Crafts Society, 76
Alice, Princess, 184 Bapst, Jules, 150 Botanical forms, 19-20, 20, 155 .
American Water Colour Society, Bapst, Maison, 37, 149, 149 Bott, Thomas, 154
224 Bapst, Paul, 150 Bottée, L., 188, 189
Ancient Company of Cutters, 151 Bapst et Falize, 150, 150 Boucheron, Frédéric, 65, 154, 200
Andrews, Thomas, 60 Barnstaple Guild of Metalworkers, Boucheron, Maison, 154, 155
Andrews, Walter, 217 213 Bourdoncle, Honoré- Séverin, 65
‘Archeological’ style, 25, 39, 43, Baroque pearls, 102 Boutet de Monvel, Charles,
isl, Ovid, WING, wiggin, APG, Ailey, C0, Barry, Charles, 215 155-6
Ay, GIy Barthet, Mme., 201 Bragg, Ellen Dora, 227
Arcot, Nawab of, 22 Basse taille enamelling, 124s 177, Bragg, John, 156
Art-Deco, 162, 168, 200, 210, 221 Baugrand, Gustave, 226, 226 Bragg, Lande 375 1505 750) 227
Art fournal, 75, 77, 164, 169, 172, Bautte, Jean- Francois, 150 Bragg, Thomas, 156
ie Bautte et Moynier, 150 Bragg, Thomas Perry, 156
Art Nouveau, 38, 63, 76, 77, 79, Bean, Edgar, 190 Bragg, Wilfred, 227
95, 100, 124, 151, 153, 155, 156, Bean, Edmund, 190 Brateau, Jules, 65, 155
LOG LOGO. T7701 7G, LO24 003 Bean, Thomas, 190 Bridge, John, 219
186, 188, 197, 197, 199, 200, 202, Belcher, John, 227 Bristol (Bristow) diamonds, 108
206, 207, 213, 218, 224, 225, 225 Belleuse, Carrier, 65, 181 Brogden, John, 66, 121, 156—7,
Art of Beauty, The, 25, 213 Bennett, James M., 160 T57, 212
Art Workers’ Guild, 75, 76, 77, Benson, Alfred, 151, 196 Brogden and Garland, 156
22 Benson, J.W., 151, 196 Bromsgrove Guild of Applied Art,
Artificers’ Guild, 147, 172, 221 Berlin Academy School, 193 197)
Arts and Crafts Exhibition (1896), Bernhardt, Sarah, 155, 181, 201, Building News (1885), 159
204, 295 209 Bulgari, Constantine, 158
Arts and Crafts (Exhibition) Biddle, Samuel, 149 Bulgari, Giorgio, 158
Society, 75, 148; 169, 185, 213, Billing, A.W., 214 Bulgari, Sotirio, 158
221, 228 Bindesb@ll, Thorvald, 151, 757 Burges, William, 39, 58, 148-9,
Arts and Crafts movement, 63-4, Bing, Samuel, 167, 224 158, 191, 201
68, 75-7, 86, 89, 104, 110, 134, Birks, Gerald W., 152 Burne-Jones, Georgiana, 159
148, 157, 202, 211, 227 (see also Birks, Henry, 151, 152 Burne-Jones, Sir Edward, 159-60,
Craft revival) Birks, Henry, and Sons, 151 159, 166, 201
Ashbee, C.R., 77, 147-8, 148, 162. Birks, Henry Gifford, 152 Burt, Leonard, 217
103, 213, 220 Birks, John Henry, 152 Bute, Lady, marriage jewellery, 58
Associated Artists, 76, 167, 224 Birks, William, 151 Bute, Lord, 158, 159
Assyrian sculpture, decorative Birks, William Massey, 152
motifs from, 48 Birmingham Group of Painters Cabochon-cut stones, 108, 109
Asterism, 88 and Craftsmen, 185 Caetani, Michelangelo, 160, 162,
Attenborough, Richard, 149 Birmingham Guild of Handicraft, 163, 164-5
Aucoc, André, 149, 200 147,151, 152, 162 Cairngorm, 24, 109-10
Aucoc, Casimir, 149 Birmingham School of Art, 171, Caldwell,J.Albert, 161
Aucoc, Louis, 14.9, 200 185 Caldwell, J.E. and Co., 160
Austria, arts and crafts movement Birmingham School of Handi- Caldwell,J. Emott, 161
in, 76 CHAMUG, Wap, OPI, Wey Caldwell, James E., 160
Aventurine quartz, 110 Bisei, Professor Unno, 229 Cambridge, Duke of, 60
Awdry, Margaret, 67 Bissinger, Georges, 120° Cameos, 20

Ao
 and intaglios, 117, 119-21 Citrine, 108 Dudley, Earl of, 41
antique, as jewellery, 190 Classical jewellery, 20, 39, 97 Durham, Mr., Sheffield cutler, 26
jasper, 104-5 Clavering, C. Napier, 152 Dutreih, French goldsmith, 179
malachite, 97, 99 Codman, William, 139, 188
opal, 100 Cole, Sir Henry, 147 Easter eggs, 175, 175, 222
shell, 112 Collaert, Hans, 177 Eastlake, Charles, 37, 41, 43, 44,
Campana, Cavaliere, 179 Collingwood, Henry, 167 65
Cardiff Castle, restoration of, 158 Collingwood, Robert Nelson, 167 ‘Eastlake’ style furniture designs,
Carr, Alwyn, 161, 217 Collingwood Limited, 167
Carré, Maison, 177 Colman, Samuel, 224 foe des Beaux-Arts de la
Carré et Christofle, 180 Colonna, Edward, 77, 167-8, 168, Cambre, 155, 226
Cartier, 161-2, 161, 200 200 Eglinton Tournament, 20, 38
Cartier, Alfred,. 162 Combs, mantilla, 115 Egyptian art, effect on Europe
Cartier, Jacques, 162 Comstock Lode, 113 and America, 53
Cartier, Louis, 162 Comyns, William, 71, 140 Egyptian
style, 37, 53, 97, 156,
Cartier, Louis Francois, 161 Connoisseur, The, 192 201
Cartier, Pierre, 162 Contrasts, 215 Elizabeth I, portrait cameo of, 190
Castell Koch, 158 Cooper,J. Paul, 67, 147, 167, Elkington and Co., 191
Castellani, 41, 42, 44, 85, 779, 168-9, 228 Ellis, J.L., 222, 2299
127, 128, 134, 157, 158, 162-4, Cooper-Hewitt Museum, New Emanuel, Harry, 173, 173, 187
163, 164, 165, 187 York, 162, 186, 189 Empire period, France, 15, 19
Castellani, Augusto and Alessandro, Cox and Son, 188 Enamelled pictures, 27
162, 163, 164, 165 Craft revival, 67-8, 71-2, 111, 202 Enamelling, 121-5, 156, 172, 173,
Castellani brothers, Roman Crafisman, The, 200 LO Uo 204227
jewellery of, 35 Cranach, Lucas, 169 basse-taille, 124, 177
Castellani, F.P., 39, 159, 160, Cranach, Wilhelm Lucas von, black, 59
162-4, 164-5 169-70, 169 champlevé, 123-4
Catterson-Smith, R., 171, 185 Crane, Walter, 228 cloisonné, 35, 49, 51, 123-4, 123,
‘Cat’s-eye’, 85 Crawford, Countess of, 162 175, 177s 196
corundum, 88 Crown jewels, 35-6, 223 Delhi, Jaipur and Madras, 55
quartz, 109 Crystal Palace, 38 Japanese techniques, 49, 177
tourmaline, 115 Cullinan diamond, 88 plique-a-jour, 124, 125, 178, 183
Cellini, 65, 148 Cumberland, Ernest, Duke of, 22 porcelain, 107
Celtic style, 24-5, 26, 102 Cuzner, Bernard, 116, 169, 170-1, Renaissance-style, 183
Centennial Exhibition, Paris 170, 202 VCO WD, 17s
(1900), 155, 158, 167, 201, 206 ‘Cymric’, 193, 198, 202 taille @ épargne, 124-5
Centennial Exposition, Phila- Czeschka, Carl Otto, 172, 172, 193 tour-a-guillocher, 18, 115
delphia, 37, 46, 75, 223 English International Exhibition
Central School of Arts and Crafts, Dalpeyrat, L., 178 (1862),35
RG, NGS, QUO}, QOy Dawson, Nelson, 146, 147, 148, Essay on Broom Corn, 167
Chaise, Jules, 65, 154, 180 LCL, OPE Essex, William, 24, 108
Chalcedony, 108 Dawson, Edith, 7717 Essex crystals, 108
Chalk and Chisel Club in Day, Lilly, 205 Etruscan style, 65, 162, 164, 179
Minneapolis, 76 de Berri, Duchesse, 20, 182 Eugénie, Empress, 15, 16, 36, 149,
Champlevé enamels, 123-4 de Forest, Lockwood, 224 EB ETE
Charles II, 151 de Metternich, Princesse, 16 Excelsior diamond, 88
Charles X, of France, 15, 150 de Rudder, Isidor, 229 Exeter Corporation badge and
Charlotte, Queen, dispersal of Debit, Jules, 37, 155 chain, 159
stones, 22 Demorest, Mme., 153, 161 Expositions Universelles, Paris,
Chasing and engraving, 65 Der moderne Stal, 156, 220 35, 37, 150, 155, 173, 176, 177,
Chatoyancy, 85 Designs for Gold and Silversmiths, 215 182, 183, 190, 212, 213
Chaumet,J., 165-6, 165 Desrosiers, C., 787, 181, 182, 213
Chaumet, Marcel, 166 Destape, Jules, 200 Fabergé, 175, 195, 218, 222
Chicago Arts and Crafts Society, Devonshire, Duke of, 190 Fabergé, Agathon, 175
76, 200 Dickinson, Philemon, 225 Fabergé, Gustav, 175
Chicago Columbian Fair (1900), Digby-Wyatt, Matthew, 37 Fabergé, Peter-Carl, 112, 138,
223 Dixon, Arthur, 152 175-6, 176
Child and Child, 160, 166—7, 166 Documents décoratifs, 209, 210 Fahrner, Theodor, 111, 176, 196,
Children’s jewellery, 28 Doria, Carlo, 89, 141, 173, 173, 196, 211, 212, 213, 226
Christie’s, 16 213 Falize, Alexis, 35. 6%, 0770 077
Church furnishings, 191 Dublin International Exhibition Falize, André, 177, 177
Cinnamon-stone, 92 (1853),35 Falize, Jean, 177

236
Falize, Lucien, 37, 150, 177 Gaskin, Georgina (Mrs. A.), 157, 193, 213, 220
Falize, Pierre, 177 175, 185 Guild of St. Michael, 221
Fauconnier, Jacques-Henri, 125, Gass, S.H. and D., 126 Gulbenkian, Calouste, 201
182 Gautrait, L., 226 Gustav V, of Sweden, 154
‘Favrile’ glass scarabs, 92 Gemma Augustea, 117
‘Fede’ ring, 61 Gemstones, cutting of, 129-33 Hahn, Karl Karlovitch, 189
Feldspar, 89 ‘Geneva’ ornaments, 123, 150
Feuillatre, Eugéne, 178 Geneva School of Art, 206
Hair, 17, 57, 58-9
Halford, William, 59
Fife, Duke of, 190 Gentleman’s Magazine, The, 159, Hancock, Charles, 190
Filigree work, 153 164 Hancock, Charles Frederick, 189
Fine Art Society, 172 Geometric forms, 193, 201, 209 Hancock, Mortimer, 190
‘Fire’ opals, 100 George III, 219 Hancocks and Co., 120, 189-90,
First Earring, The, 28, 28 George IV, 22, 219 195
Fisher, Alexander, 122, 172, Gericke, Otto, 186 Hardman, John, 191, 214
178-9, 178 German lapis, 97 Hardman, John, and Co., 30, 58,
Florence Nightingale jewel, 147 German Arts and Crafts 158, 159, 190-1, 191, 215
Florentine intarsia, 128 Movement, 76 Hardman and Iliffe, 190
Floriated Ornament, 215 Germer, George E., 186 Harvey, Agnes B., 204
Flower, Margaret, 148 Gilbert, Sir Alfred, 157, 186, 186 Haseler, William Hair, 202
Fluorspar, 92 Gilbert, Walter, 157 Haweis, Mrs., 25, 213
Fontana, Charles, 179 ‘“Gimmel ring, 61 Hennell, David, 192
Fontana, Giacomo, 179 Gioielleria Bulgari, 158 Hennell, Edward, 192
Fontana, Joseph, 179 Gittins, E.R., 153, 227 Hennell, Montague, 192
Fontana, Pierre, 179 Gittins Craftsmen Ltd., 152 Hennell, Robert, 192
Fontana, Thomas, 179 Giuliano, Carlo, 44, 85, 92, 94, Hennell, Robert George, 102
Fontana et Cie., 179 160, 173, 173, 187, 187, 213, 195, Hennell, Samuel, 192
Fontenay, Eugéne, 37, 104, 179 DUG Dis) Hennell Limited, 32, 192, 192
Fordham, Montague, 147, 152, Giuliano, Ferdinando, 187 Hennell, R.G., and Sons, 192
i Gf, 2B Giuliano, Federico, 187 Hesse, Grand Duke of, 76, 195,
Forrer, Messrs, hairwork of, 59 Glasgow International Exhibition 213
Fossin, Jean-Baptiste, 165, 208
Fossin, Jules, 166
(1901), 75
Glasgow Schcol of Art, 197, 204
Hessonite, 92
Hilliard, Nicholas, 190
Fondagion Gulbenkian, Lisbon, ‘Glasgow School’ of artists, 209 Hints on Household Taste (1868),
201 Glossary of Ecclesiastical Ornament OV
Fouquet, Alphonse, 65, 139, 177, and Costume, The, 215 Hirtz, Lucien, 155, 177
180-1, 180 Godey’s Ladies’ Book, 161 label, lalINAC:., Oey, HOR
Fouquet, Georges, 141, 156, Godwin, E. W., 201 Hispano-Moresque decorative
181-2, 181, 209 Goggin, Dublin, ror patterns, 48
Fouquet, Jean, 182 Gold, 93-4 Hodel, Professor Joseph A., 157
Fowler, H.R., 153 Gold- and silverworking Hoeker, W., 212
Nong (Gras CHWS techniques, 133-4 Hoffmann, Josef, 77, 172, 193, 193,
Francois I, 117 Goldsmith’s art, 64—5, 67-8, 71 205, 200, 2135, 215, 220
French jet, 60 Goldsmith’s and Silversmith’s ‘Holbein’ style, 87, 88, 208, 212
Froment, Frangois, 182 Company, 184 Holbrook, Edward, 187
Froment-Meurice, Emile, 726, 182 Gorham, Jabez, 111, 187 Holmstrom, A.W., 176, 195, 222
Froment-Meurice, Frangois- Gorham Corporation, Inc., 76, Honeyman and Keppie, 204
Désiré, 58, 182, 182, 227 139, 153, 187-8, 188, 197 Honoré, engraver (see also
Gothic style, 38, 58, 85, 88, 92, Bourdoncle), 65, 781
Gaillard, Amedée, 183 157-9, 182, 217 Horner, Charles, 71, 220
Gaillard, Ernest, 183 Grande chatelaine Bianca Capello, 65, Horta, Victor, 226, 229
Gaillard, Lucien, 94, 183, 163 39 : Howell and James, 37
Garbe, Rickard, 96 Grandhomme, enamellist, 65, 181 Huber, Patriz, 176, 195-6, 196
Gariod, Leon, 226 Grasset, Eugéne, 188, 789, 226 Hunt, John, 222
Garnet, 92 Great Exhibition (1851), 26, 33, Hunt and Roskell, 151, 196, 796,
green demantoid, %> 35, 36, 38, 58, 59, 101, 102, 126, 222
Garrard, James, 184 147, 148, 154, 184, 190, 196, 208, Hutchison, John, 204
Garrard, R. and S., 147, 184, 219 215 Hutton, William, 71
Garrard, Robert Jnr., 184 Green, Joseph Hugh, 161
Garrard, Sebastian, 184 Grisaille, 121, 122 Imperial Arts and Crafts School,
Gaskin, Arthur, 68, 77, 141, 148, Guild of Arts and Crafts of New Vienna, 193
153, 157, 169, 171, 175, 185, 185 York, 76 Indian art, effect on Europe and
202 Guild of Handicraft, 75, 77, 148, America, 53-5

237
Inman, Henry, 29 Liberty, Arthur Lasenby, 71, 201 Metalworkers, mediaeval, 191
Intaglio work, 108-9 Liberty and Co., 63, 75, 86, 111, Meurice, Pierre, 182
reverse crystal, 190 112, 143, 148, 171, 185, 193, 198, Metropolitan Museum, New
Intarsia, 20, 128 199, 201-2, 202 York, 220
International Exhibitions, 37, 147, Liénard, Paul, 154 Miniatures, 59
149, 154, 156, 164, 176, 184, 191, Limoges techniques of enamelling painted enamel, 122
213 on porcelain, 154 Minneapolis Arts and Crafts
Lincoln Reed and Co., 223 Society, The, 76
Jacquemin, Pierre-André, 149 Liverpool School of Art, 157, 205 Mitford, Mary Russell, 25
James, Henry, 74 Lock of Hair, The, 59 Mixed metal, 49, 188
Janisset, Maison, 177 Loeuilliard, Octave, 155 Modern Design in Fewellery and Fans,
Janson, Dora Jane, 142 Loewenthal, M., 213 143, 220
Japan Louis I of Bavaria, 16 Montague Fordham Gallery, 147
decorative art and craft Louis X VI-style bouquets, 155 Moonstone, 89
techniques, 48, 224 Louis XVIII, 150 Moore, Edward C., 49, 139, 223,
effect ofinEurope and U.S.A., Louis-Philippe, 15, 19 224
48, 49, 51, 52, 53) 196 Louise, Princess, bracelets Morel, J.V., 166, 208
metalwork, 49, 169 designed by, 190 Morel, Prosper, 166
mixed-metal techniques, 183 Morris, G. Lloyd, 213
prints and ceramics, 35 Macdonald, Margaret, 204, 205, Morris, May, 208, 208
Japonaiserie, inlaid, 49, 52 209 Morris, Talwyn, 209
Jasper, 104 Mace, City of Sheffield, 217 Morris, William, 65, 67, 151, 159,
stained, 97 Mackay, Cunningham, 102 208
Jensen, Georg, 151, 196 Mackintosh, C.R., 204, 209 Morris and Co., 67
Jet, 59-60, 96-7 Maclean’s Magazine, 152 Morrison, Barbara J., 158
Jet industry in England, 35 MacNair, Frances, 205 Mortimer, John, 222
Jones, Owen, 48 MacNair,J. Herbert, 204, 205 Mortimer and Hunt, 222
Jubilee diamond, 88 209 Mosaic, Roman, 126-8
Mangeant, Paul E., 156 Moser, Koloman, 77, 193, 209
Kerr, William B. and Co., 76, Marchand, Edouard, 179 Moss agate, 110
197, 197, 225 : Marcus and Co., 72 Mother-of-pearl, 111
Keswick School of Industrial Art, Marie-Amélie, Queen, 17, 18 Mourning jewellery, 56-61, 57,
197, 221 Marie Antoinette jewellery, 36, 61, 109
Kidderminster School of Art, 227 228 Mucha, Alphonse, 181, 209, 270
King, Jessie M., 197-8, 202, 209 Marks, 137-43 (see also under Min ckese KcAG estan7
Kingston School of Art, 198 biographical notes) Murrle, Bennett, 86, 111, 734,
Kitching, Joseph, 167 Marquand, Isaac, 153 137, 202, 211, 21
Knill, Jane, 215 Marquand and Paulding, 153 Murphy, H.G., 201, 210, 221,
Knox, Archibald, 198, 7199, 202 Marquisite, 102 228
Knox Guild of Craft and Design, Marrett, Paul, 226 Musée des Arts Décoratifs, 180
198 Marrett et Baugrand, Maison, 226 Musée du Luxembourg, 155
Kobayashi, Professor T., 229 Marriage jewellery, 58, 158-9, 215
Koehler, Florence, 199-200, 199 Martineau, Sarah Madeleine, 198, Napoléon I, 17, 165, 184, 208
Kokoshnik headdress, 11, 32 205-6 Napoléon III, 15, 36, 162, 179,
Kollin, Edward, 176 Maryon, Herbert J., 197 190
Masriera Hermanos, 206 National Museum of Wales, 186,
Labradorite, 89, 92 Masriera, Luis, 206—7 208
LaCloche, 200 Masriera y Hiros, 206 Newman, Mrs. Philip, 799, 212
LaCloche, Fernand, 200 Mass-production, 30, 33, 187 Nicholas II, Gzar, 175, 189
LaCloche, Jacques, 200 Mathilde, Princess, black enamel Niello, 125-6
LaCloche, Jules, 200 bangle of, 61 Nienhaus, Lambert, 212, 272
LaCloche, Leopold, 200 Medici, Lorenzo de, 117 Nilot, Etienne, 165
Lalique, René Jules, 77, 77, 79, Mellerio, Antoine, 207 Nilot, Francois Regnault, 165
92; 94; 95, 96, 141, 149, 156, 178, Mellerio, Francois, 207 Novissimo, Pasquale, 187
183, 188, 200-1, 207, 213, 218 Mellerio, Jean Jacques, 207
Lambinet, Hotel, 155, 201 Mellerio, Joseph, 207 Odiot, J.B.C., 184
Langley, Walter, 37 Mellerio, Maison, 37, 177, 207 Olbrich, Joseph Maria, 176, 213
Lapis lazuli, 97 Mellilo, Giacinto, 79 ‘Old Russian’ style, 218
Layard, Sir Austen, 48 Memorials, 159, 160 Olivine, 86
Leeds Art Gallery, 186 Meniére, Paul Nicholas, 149 Onyx, 110, 118
Lethaby, W.R., 227 Metalwork and its Artistic Design, Opal set, Queen Victoria’s, 25
Lettré, Emil, 201, 210 183 Opals, 99-100

238
 Prince Consort and, 24 sentimental significance of, designs, 159
Order of the Star of India collar 60-1 Sheffield School of Art, 161, 217
and badge, 147 Rivaud, Charles, 156 Shell, 111-12
Roberts, R. Hugh, 227 Siberian amethyst, 108
Pan-Russian Exhibition, 176 Rock-crystal, 108 Sicilian amber, 84
Parian, 105 Roman mosaic, 126-8 Silver
Paris exhibitions, see Centennial ‘Roman’ pearls, 104 Stamping process, 197
Exhibition and Expositions ‘Romantic’ period, 17, 19 standards, 138
Universelles Rose-quartz, 108 Silver, Rex, 202
Partridge, Fred T., 213 Rossetti, G.D., 201 Silversmith’s art, 72, 75
Partridge, May Hart, 213 Roty, Oscar, 188 Silversmith’s Manual, A, 171
Peacock Room, 224 Rouchomowsky, Israel, 218, 278 Silverwork and Jewellery, 229
Pearl, 102, 104-5 Rouvenat, Léon, 180 Simpson, Edgar, 57, 148, 220, 220
Pendin, Peter Heskias, 175 Royal College of Art, 210, 221, Society of Decorative Art, New
Peridot, 86 227 York, 224
Perry, Commander, 46 Royal Mint, 214 Spanish jet, 60
Pewter table ware, 198 Royal Institute of British Speight, Alexanna, 59
Philadelphia Centennial Architects, 159 Spencer, Edward, 147, 221
Exposition (1876), 37, 46, 75, 223 Rozet and Fischmeister, 209, 215 Spinel, 86
Phillips, Harriet, 152 Rubies, Wittelsbach collection, 16 Spitalfields Ball, 20, 38
Phillips, Robert, 8&9, 154, 173, 187, Ruby, 88 Stabler, Harold, 197, 221
Pia QS, Rickert, Feodor, 218-19 Stamford Bridge Studios, 217
Piehl, Oskar, 176 Rundell, Edmund Walter, 219 Star of South Africa diamond, 88
Pinchbeck, ror, 102 Rundell, Philip, 15, 219 Staatliche Akademie, Hanau, 201
Pink coral (pelle dangelo), 87 Rundell and Bridge, 15, 184, 214, Stickley, Gustave, 200
Pistrucci, Benedetto, 214 215, 219 Stones, precious and semi-
Pistrucci, Elena, 214 sale of Queen’s diamonds by, 22 precious, 83
Pistrucci, Eliza Marie, 214 Ruskin, John, 13, 65, 123, 150, Storr, Paul, 189, 219, 222
Platinum, 104 way) Storr and Mortimer, 189, 196,
Plique a jour enamelling, 125 Ruskin pottery, 107 222
Porcelain, enamelled, 107 Russian Imperial Court, 154 Stras, Georges-Frédéric, 149
Porter, Mackenzie, 152 Russian revolution of 1917, 154. Stroganoff, Count, 176
Pottery and porcelain, 104-5, 107 Studio, The, 75, 77, 169, 172, 178,
Powell, John Hardman, 214, 215 Saga of ihe Guild of Decorative Art, 206, 212
Powell, William, 191, 214 158 Studio Yearbook of Decorative Design
Primrose Room, 224 Sandford, Mrs. John, 83 (1909), 156
Prutscher, Otto, 215 Sapphire, 88 Style cathédrale, 21
Pugin, Anne, 214 cat’s-eye, 86 Sullivan, Louis, 167, 199, 205
Pugin, August Charles, 215 green, 85 Sunstone, 89
Pugin, Augustus Welby Saragossa Exhibition (1908), 207 Swiss lapis, 97
Northmore, 21, 38, 58, 71, 191, Sard, 110
214, 215-17, 215, 216, 219 Sardonyx, 110, 117 Templier, Auguste, 179
Pugin, Edward, 191 Saulini, 779, 121 Theed, William, 219
cameos, 163 Theed and Pickett, 219
Ramsden, Omar, 161, 217, 277 sardonyx cameo, I17 Theresa of Bavaria, Queen, 16, 76
Rathbone, R.L.B., 221 Savage and Lyman, 152 Thielemann, A., 176, 189, 222
Rault, Louis, 65, 155 School and Guild of Handicraft, Thoughts of Designs
for a Flower
Rawnsley, Canon, 197, 221 I Book, 159
Rawnsley, Mrs., 197 a of Applied Arts, Tiara, Fontenay, 104
Redditch School of Art, 170 Amsterdam, 212 Tiara of Saitapharnes, 218, 278
Reed, Gideon F. f., 223 Science ofGems, The, 214 Tiffany, 44, 45, 46, 92, 139, 195
Regulini Galassi tomb, 164 Scott, John Oldrich, 227 experiments with Japanese
Renaissancé style, 37, 38, 62, 65, Scottish agate- and granite-set techniques, 49
ShyO2. 120) 177, LOO, 082, LO, jewellery, 27 Tiffany, C.L., 30, 222-4
TOV LOH 22 Secret Book of Design, 159 Tiffany, L.C., 76, 167, 200, 202,
Restauration, 15, 19 Sedding, George Elton, 220 209, 224
‘Rhine’ diamonds, 108 Sedding, J.D., 168, 220, 227 Tiffany diamond, 88
Ricketts, Charles de Sousy, 67, Seebohm, Hugh, 148 Tiger’s-eye quartz, 109
202, 218, 218 Seed pearls, 104 Tillander, A., 189
Rico, F., 212 Sentimental jewellery, 58-9 Tokyo Fine Art College, 229
Rielander, Kasper, 16, 16 Shannon, Charles, 218 Topaz, 114
Rings, 160 Sharp collection ofjewellery Tortoiseshell, 114-15

239
Tourmaline, 115 Vever, Henri, 77, 207, 226 Werner, Louis, 193
green, 85 Vever, Maison, 226, 226 West, Dublin, 102
Tourrette, enamellist and Vever, Paul, 163, 226 Westminster Cathedral mitre, 215
designer, 182, 226 Vever, Pierre, 226 Wheeler, Mrs. Candace, 224
Turin Exhibition (1902), 204 Victoria, Queen, 32, 167, 184 Whistler, J.McNeill, 201, 224
Turquoise, 115 accession of, 22 Whitby jet industry, 60
coronation regalia, 20, 219 White coral (bzanco), 87
WilvetteAshecoi jet parure, 60 White gold, 94
Unger, Eugene, 225 taste in jewellery, 23, 24, 25 Whitelands College, 159
Unger, Frederick, 225 Victoria Cross, 190 Whitford, G., 184
Unger, Herman, 225 Victoria diamond, 88 Wickes, George, 184
Unger Bros., 63, 76, 225, 225 Victoria and Albert Museum, 156, Wiener Werkstatte, 76, 77, 137, 172,
United States of America 1575 159, 173, 179, 186, 192, 199, 172, 193, 195, 229
Arts and Crafts Movement in, 208 Wiese, Jules, 227
TH One Vienna Academy, 213 William IV, King, 15, 78, 19
craft revival movement, 199, 200 Vienna Arts and Crafts School, Wilson, Henry, 168, 169, 206, 210 >

emergence of cultural identity 225 PIO), BAL. DY 0), D2, BRE

in,37 Vienna Secession Movement, 76, Wilson, Mrs. Samuel, 186
fashion, effect of Japanese taste 148, 160, 172, 193, 204, 205, 213 Wimmer, Edouard, 219
OnS Vittoria Street School of Jewellers Win, R., 212
jewellery trade in 1830s, 28-9 and Silversmiths, 153, 171, 185, Wittelsbach Treasury ruby
marks, 138-40 227 collection, 16
mourning jewellery, 56, 59-60 Wolfers Fréres, 229
tortoiseshell in, 114 Wagner, Karl, 182 Wolfers, Philippe, 63, 207, 229
United States Gazette, 160 Wagner, Otto, 193, 213 Woman in her Social and Domestic
Ural emerald, 85 Wainwright, C.J., 227 Character, 83
Wainwright, Colbran Joseph, 227 Women’s Guild of Arts, 208
Vachette, goldsmith, 208 Wakelin, Edward, 184 Worcester Porcelain Company,
Vale Press, 218 Wakelin, John, 184 154
Van Buren, Angelica, 29 Wakelin and Tayler, 184 Wortley, Lady Stuart, 44
Van de Velde, Clemens, 226 Warndorfer, Fritz, 193 Wyatt, Matthew Digby, 183
Van de Velde, Henry, 167, 176 Waterhouse, Dublin, 102
Venice pearls, 104 Waterloo medal, 214 Young, Charles, 59
Venetian beads, 92 Watherston and Brogden, 156 Young, John B., 222
Vereinigten Werkstatte, 76 Webb, Henry, 151, 196
Vever, André, 226 Webb, Philip, 67 Ziaontchkovsky, silversmith, 175
Vever, Ernest, 37, 226 Wedgwood,J., 104

240
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