Gifts of Grandeur: The Louis Wièse Bracelet, c. 1890

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Carnelian Intalgio Bracelet
The Victoria & Albert Museum

In 1880, Louis Wièse (1852-1923) took control of the family firm from his father, Jules Wièse, an award-winning jeweller and goldsmith. Louis, unlike his father, was a historicist and modeled his jewelry in the Renaissance, Gothic Revival and Neoclassical styles.

This gold bracelet with carnelian intaglios is an prime example of Louis’ work. Wièse has cleverly included a length of chain which allows the bracelet to be extended to a length suitable for most to also wear it as a choker. The bracelet dates to about 1890. 

Mastery of Design: A Swiss Garnet Necklace, 1800-1870

Choker of Garnet Beads
Swiss, 1800-1870
The Victoria & Albert Museum

Choker or collar necklaces like the one pictured above were originally worn both in Austria and Switzerland for the practical purpose of hiding a goiter--a disfiguring disease caused by lack of iodine, a condition which was endemic in the high Alps.

Though the designs vary from valley to valley, usually, these chokers were constructed of loose chains of silver links, or beads of garnet or coral, sometimes, even, punctuated with plaques of delicate silver filigree. Traditionally, and for comfort, these necklaces were worn over a thin scarf of black silk. Such chokers were generally termed “Halsbätti” which literally means a rosary worn on the neck. This was because the beads resembled rosary beads, but I want to emphasize that these pieces never were assigned any religious meaning.

This example consists of six rows (originally seven) of faceted garnet beads (actually, they may be garnet-colored glass) with four rectangular plaques, each covered with filigree tracery. The two-part clasp is made of matching filigree, with rosette over the central hook. It was made in Schwyz, Switzerland between 1800 and 1870.

Gifts of Grandeur: The Louis Wièse Bracelet, c. 1890

Click on image to see larger size.
Carnelian Intalgio Bracelet
The Victoria & Albert Museum

In 1880, Louis Wièse (1852-1923) took control of the family firm from his father, Jules Wièse, an award-winning jeweller and goldsmith. Louis, unlike his father, was a historicist and modeled his jewelry in the Renaissance, Gothic Revival and Neoclassical styles.

This gold bracelet with carnelian intaglios is an prime example of Louis’ work. Wièse has cleverly included a length of chain which allows the bracelet to be extended to a length suitable for most to also wear it as a choker. The bracelet dates to about 1890. 

Mastery of Design: A Swiss Garnet Necklace, 1800-1870

Choker of Garnet Beads
Swiss, 1800-1870
The Victoria & Albert Museum

Choker necklaces like the one pictured above were originally worn both in Austria and Switzerland for the practical purpose of hiding a goiter--a disfiguring disease caused by lack of iodine, a condition which was endemic in the high Alps.

Though the designs vary from valley to valley, usually, these chokers were constructed of loose chains of silver links, or beads of garnet or coral, sometimes, even, punctuated with plaques of delicate silver filigree. Traditionally, and for comfort, these necklaces were worn over a thin scarf of black silk. Such chokers were generally termed “Halsbätti” which literally means a rosary worn on the neck. This was because the beads resembled rosary beads, but I want to emphasize that these pieces never were assigned any religious meaning.

This example consists of six rows (originally seven) of faceted garnet beads (actually, they may be garnet-colored glass) with four rectangular plaques, each covered with filigree tracery. The two-part clasp is made of matching filigree, with rosette over the central hook. It was made in Schwyz, Switzerland between 1800 and 1870.