Mastery of Design: A Gold, Jade and Ruby Necklace, 1825

Necklace
Gold, Jade, Rubies, Chrysoprase
1825
The Victoria & Albert Museum

Made just four years after the coronation of King George IV, this necklace of gold filigree with cannetille (fine gold work of thin or flattened wires in rosette patterns) and grainti (spirals and volutes of gold wire) decoration, is set with jade, chrysoprases and rubies and shows emerging resurgence of Gothic style which dominated the era for awhile.

The work of an unknown artist, this necklace most likely comes from France. It is curious to note that the earrings were not made at the same time as the necklace and, in fact, were not purposely made to match. These were purchased at a much later date and just coincidentally matched the necklace.

Mastery of Design: The Dame Joan Evans Filigree Necklace, 1825-30

Click Image to Enlarge
Necklace of Gold Mesh, chrysoprase, rubies and diamonds.
France, c. 1825
From the Collection of Dame Joan Evans
The Victoria & Albert Museum

In the 1820s, gold was put to good use in a variety of new ways--mesh necklaces and bracelets, gold chain and wire work became the fashion. Colored golds also became quite popular.  Goldsmith experimented with colors.  For example:  in gold alloy more copper gives a redder gold, while extra zinc or zinc and silver will result in a pale yellow gold.

The technique of filigree with spirals and granules (cannetille and grainti) was revived in France then copied in England. While consumers appreciated the intricacy of the style, jewelers liked the economical nature of the designs which appeared to be weighty, but actually used less gold.  

From the important jewelry collection of Dame Joan Evans, we have this necklace with pendant of gold mesh and filigree with cannetille and grainti decoration.  Made in France between 1825 and 1830, it is set with chrysoprases, brilliant-cut diamonds and rubies.

Sunday Sparkle: The Cooper Christmas Pendant, 1906

The Victoria & Albert Museum

The Cooper Christmas Pendant consists of a Madonna and Child within a jeweled niche, suspended within a circular wire frame which has been adorned with stars. The pendant is hung with an additional circular pendant and drop below, while above, a dove descends between the two chains that connect the suspension loop. The piece flickers with the colors and lights of hand-worked silver and gold with rubies, aquamarines, sapphires, opals and chrysoprases.


This is the work of John Paul Cooper whose artistry as a jeweler was celebrated at the 1906 Arts and Crafts Exhibition. Studio Magazine praised Cooper’s work for its sculptural qualities and for its originality during a period when other exhibitors' work appeared rather formulaic and staid.

The shimmer, rich colors, rounded cabochon-cut stones, plain bezels and the hand-worked silver seen here are typical of Arts and Crafts jewelry. Cooper favored figural subjects and he often worked with spiritual and symbolic themes.

Mastery of Design: The Chrysoprase Tiara, 1835

Tiara
Gold, Chrysoprase
England, 1825-1835
Given by Dame Joan Evans
The Victoria & Albert Museum

By the 1830’s, technology in a variety of areas was advancing quickly. The use of machines changed the way items were produced and allowed previously out-of-reach objects to be available to the middle classes. Those in the steadily-growing middle class looked to nobility and royalty as their barometers of style. In order to be truly fashionable, one yearned to duplicate the fashions of aristocrats without trying to ape them. Most important of all fashion was jewelry. Of course, Royalty and nobility had entire wardrobes of priceless jewelry at their disposal, but new technologies meant that the middle class could have similarly-styled (though more cheaply made) pieces at hand. Take this tiara for example.
This tiara would have been the envy of any middleclass lady who had spotted The Duchess of Cambridge or Princess Mary Adelaide at the theatre sporting a similar-looking model. What was the difference between this tiara and the one belonging to Her Serene Highness? Quality and time and materials. This tiara has been quickly manufactured by pressing the gold into shape using a steel die stamping machine, this by-passing the need for thick gold that required chasing and casting from an expert jeweler.

Reverse

Such pieces were made swiftly and with little fuss. First, flattened gold was rolled through machinery to create a very thin sheet which was then stamped to make multiple standard components. Even the prong settings for the gemstones could be stamped on, allowing for the “finish-work” to be completed in short order.

After the stamped sections of gold were polished, they were assembled and the piece was fitted with its gemstones. In this example, we see chrysoprase (a form of chalcedony) which, when viewed from a distance, mimicked the look of more impressive stones.

This desire for jewelry in the style of the nobility added additional business to the gem trade in Britain, and also changed the law forever. Because cheaper pieces were being produced for mass consumption, legislation was passed to ensure that jewelers were being honest about the quality of the gold they were selling. In 1854, three lower standards of gold alloys were legalized with the condition that the items being sold were advertised truthfully.

Mastery of Design: A Gold, Jade and Ruby Necklace, 1825

Necklace
Gold, Jade, Rubies, Chrysoprase
1825
The Victoria & Albert Museum

Made just four years after the coronation of King George IV, this necklace of gold filigree withcannetille (fine gold work of thin or flattened wires in rosette patterns) andgrainti (spirals and volutes of gold wire) decoration, is set with jade, chrysoprases and rubies and shows emerging resurgence of Gothic style which dominated the era for awhile.

The work of an unknown artist, this necklace most likely comes from France. It is curious to note that the earrings were not made at the same time as the necklace and, in fact, were not purposely made to match. These were purchased at a much later date and just coincidentally matched the necklace.

Mastery of Design: The Cory Jade and Ruby Necklace, c. 1825

Click image for detail.

The Cory Jade Necklace
France, 1820-1830
The Victoria & Albert Museum

Gold filigree, cannetille and grainti decoration give this handsome necklace the unmistakable style of the late 1820s to early 1830s. While we don’t know the maker, it’s a safe assumption that it was made in France because of the fineness of the gold work. The necklace is set with jade, chrysoprases, and rubies. It is part of the collection of Lady Cory which now lives in the V&A. 

Mastery of Design: The Dame Joan Evans Filigree Necklace, 1825-30

Click Image to Enlarge
Necklace of Gold Mesh, chrysoprase, rubies and diamonds.
France, c. 1825
From the Collection of Dame Joan Evans
The Victoria & Albert Museum

In the 1820s, gold was put to good use in a variety of new ways--mesh necklaces and bracelets, gold chain and wire work became the fashion. Colored golds also became quite popular.  Goldsmith experimented with colors.  For example:  in gold alloy more copper gives a redder gold, while extra zinc or zinc and silver will result in a pale yellow gold.

The technique of filigree with spirals and granules (cannetille and grainti) was revived in France then copied in England. While consumers appreciated the intricacy of the style, jewelers liked the economical nature of the designs which appeared to be weighty, but actually used less gold. 

From the important jewelry collection of Dame Joan Evans, we have this necklace with pendant of gold mesh and filigree with cannetille and grainti decoration.  Made in France between 1825 and 1830, it is set with chrysoprases, brilliant-cut diamonds and rubies.

Mastery of Design: The John Paul Cooper Pendant, 1906

Pendant
John Paul Cooper
1906
The Victoria & Albert Museum

Jeweler John Paul Cooper (1869-1933) was awarded high honors at the 1906 Arts and Crafts Exhibition, when the Studio magazine singled out his jewelry for its “sculptural qualities” and for its originality during an exhibition in which other exhibitors' work appeared rather formulaic.

Bold colors and cabochon-cut stones are typical features of Arts and Crafts jewelry, and Cooper uses these brilliantly along with the favored bezels and silver settings. Cooper's work relied on spiritual and symbolic subjects as the jeweler was long-fascinated by the magical and spiritual associations of precious metals and stones.

This is one of the pieces which Cooper displayed in 1906.  The pendant consists of a Madonna and Child within a jeweled niche which hangs within a rounded wire frame which is decorated with stars. A further small circular pendant and drop hang below this central portion,  as above a dove descends between the two chains that connect the suspension loop.  The hand-worked silver and gold is set with rubies, aquamarines, sapphires, opals and chrysoprases.

Cooper made this in his Birmingham, England workshop for the 1906 Exhibition.

Mastery of Design: The Cooper Christmas Pendant, 1906

The Victoria & Albert Museum

The Cooper Christmas Pendant consists of a Madonna and Child within a jeweled niche, suspended within a circular wire frame which has been adorned with stars. The pendant is hung with an additional circular pendant and drop below, while above, a dove descends between the two chains that connect the suspension loop. The piece flickers with the colors and lights of hand-worked silver and gold with rubies, aquamarines, sapphires, opals and chrysoprases.


This is the work of John Paul Cooper whose artistry as a jeweler was celebrated at the 1906 Arts and Crafts Exhibition. Studio Magazine praised Cooper’s work for its sculptural qualities and for its originality during a period when other exhibitors' work appeared rather formulaic and staid.

The shimmer, rich colors, rounded cabochon-cut stones, plain bezels and the hand-worked silver seen here are typical of Arts and Crafts jewelry. Cooper favored figural subjects and he often worked with spiritual and symbolic themes.

Mastery of Design: A Gold, Jade and Ruby Necklace, 1825

Necklace
Gold, Jade, Rubies, Chrysoprase
1825
The Victoria & Albert Museum

Made just four years after the coronation of King George IV, this necklace of gold filigree with cannetille (fine gold work of thin or flattened wires in rosette patterns) and grainti (spirals and volutes of gold wire) decoration, is set with jade, chrysoprases and rubies and shows emerging resurgence of Gothic style which dominated the era for awhile.

The work of an unknown artist, this necklace most likely comes from France. It is curious to note that the earrings were not made at the same time as the necklace and, in fact, were not purposely made to match. These were purchased at a much later date and just coincidentally matched the necklace.