Masterpiece of the Day: The Falize Cloisonné Necklace, 1867

Enamel Necklace
In the Japanese Style
Alexis Falize
France, 1867
The Victoria & Albert Museum

In the 1860’s, Parisian jewelers became enamored of the Japanese style and tried to replicate Asian enamels. Prior to the 1850s, and since the 1820’s, Japanese style was barely recognized in Paris. However, the Japanese Court at the London Exhibition of 1862 and similar displays at the Paris Universal Exhibition of 1867 caused quite a stir amongst the artistic community. Designers of all types were inspired by what they had seen.

This is a great example of the intricate technique of costly cloisonné enamel wherein the precise outlines of the design are the result of the tiny 'cloisons' or cells that hold the enamel and which have to be individually shaped from thin gold strips. The flower and bird motifs that we see in this 1867 example by Alexis Falize (1811-1898) are taken from Japanese prints, although the vibrant shades show the influence of Chinese work. The necklace of cloisonné enamel and gold shows Alexis Falize’s expert eye as well as the skill of Falize’s chief enameller, Antoine Tard. The circlet is made up of ten long panels of enameled gold which are punctuated with gold rosettes. Five circular pendants hang from the lower edge of the piece. 

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.

Unusual Artifacts: The Castellani Etruscan Scarab Necklace, 500 B.C. to 1925 A.D.

Necklace
Ancient Granulated Gold Beads and Etruscan
Carnelian Scarabs set in Gold.
Artifacts: 500 - 300 B.C.
Setting: 1920-1025
Castellani, Rome
This and all related images:
The Victoria & Albert Museum

This beautiful necklace is the result of over two thousand years of artistry. In the Nineteenth Century, jewelers began to experiment with resurrecting ancient jewelry styles which they based on then-recent archeological finds. The trend reached new heights of popularity in the early Twentieth Century.

The Italian jewelry firm, Castellani, was among the leaders in this movement. This necklace is an adaptation of archeological-style jewelry which is rooted both in Nineteenth Century ideals and ancient styles as well as incorporates actual Etruscan artifacts into the piece.

The jeweler based the design on earlier Nineteenth Century prototypes, chiefly, the Campana Collection necklace which is housed in the Louvre. This design features authentic Etruscan carnelian scarabs strung with truly ancient, granulated gold beads. Using these ancient elements to produce a necklace in a new, popular style was both a novelty and a way of rescuing broken and discarded artifacts. 

Mastery of Design: The Piedmont Stomacher Pendant, 1800-1850

Pendant
Piedmont, Italy
The Victoria & Albert Museum

While this piece looks like a traditional stomacher, it’s actually meant to act as a pendant. Made in Piedmont Italy, the piece shows the ingenuity of the early Nineteenth Century Italian jeweler.

Since most Italian women loved the beauty of heavy gold jewelry, Italian jewelers found ways to make their wares look substantial while keeping the cost relatively modest. This piece looks quite heavy, but it’s actually made from a thin sheet of hold. The stones are a bit of trickery as well. While they look like whole gems, they are, in reality a very thin sliver of garnet which has been set into a piece of transparent glass which serves to spread the color and add sparkle. This sort of stone is called a “doublet.”

By this point in fashion history, the stomacher favored by the European aristocracy during the eighteenth century, had fallen out of use except in the royal courts. Softer fabric stomachers with embroidery were adorning that triangle-shaped section (below the bust and pointing over the stomach) on the bodices of ladies’ gowns. However, the shape of a stomacher was still considered quite fashionable and the silhouette found its way into pendants like this one. These were traditionally worn, suspended from velvet or silk ribbons.

This jewel was purchased by the Italian jewelry firm of Castellani to add to their collection of Italian Peasant Jewelry which was displayed at the 1867 International Exhibition in Paris. The pendant is made up of five sections and ends in a stylized cross.

Mastery of Design: A Hellenistic Gold, Emerald and Garnet Necklace, 200 B.C.-100 B.C.

Necklace
Gold, Emeralds, Garnets, Glass
Greek, 200-100 B.C.
The Victoria & Albert Museum

In Greece, during the Hellenistic period (323-27 BC), all of the arts thrived and artists of every conceivable medium began to examine the relationships between different colors. Even Hellenistic jewelers had become fascinated with the concept of color and began to play with different combinations of gold and gemstones. 

During this period, garnets were the most popular gemstone—prized for their deep, wine color. Garnets were often combined with emeralds, carnelian, rock crystal, agates, onyxes or lapis-lazuli to great effect. While the gems were not faceted in the manner of more modern gem cuts, they were often elaborately carved, pierced, and polished. Jewelers even began to toy with the idea of using colored glass to simulate the look of costlier stones. In this necklace, for example, glass was used to imitate onyx and pearl.

Reverse

The fashion of the day dictated that necklaces should be worn tight around the neck like a modern-day choker. This magnificent necklace of gold, polished garnets and emeralds, originally featured a ribbon at the back to allow the wearer to fasten it snugly against her throat. Necklaces such as this were meant to be worn with others, rising high upon the neck. Usually, the central piece was ornate, as is the case of this one, augmented by tight strings of beads in matching colors.

Gifts of Grandeur: The ‘Queen Anne’ and ‘Queen Caroline’ Pearl Necklaces

Pair of Pearl Necklaces
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty
Queen Elizabeth II

These two necklaces are part of the private collection of Her Majesty, Queen Elizabeth II. The first, a string of forty-six pearls once belonged to Queen Anne and, the next, a necklace of fifty pearls was owned by Queen Caroline.

They are always worn together and were given by King George VI and Queen Elizabeth (the Queen Mother) to Princess Elizabeth as a wedding present in 1947. Prior to the wedding, they were cleaned and serviced by Garrards who has looked after the pearls since 1896.

Gifts of Grandeur: A Swiss Enameled Gold Necklace, 1860

Enamelled Gold Necklace
Switzerland, 1860
The Victoria & Albert Museum

When visiting Switzerland in the late Nineteenth Century, fashionable people often returned to their homes with examples of the enameled gold jewelry for which the Swiss had become celebrated.


This enameled gold necklace was a gift purchased in Switzerland and comes from the collection of an anonymous donor to the V&A. Showing the fine enamel-work of the Swiss, the necklace features multiple portraits of ladies of fashion, linked by heavy gold chain.

Such a souvenir would have been highly coveted. This style of necklace was especially in vogue during the London Season of 1861.

Mastery of Design: The Castellani Peace Necklace, 1870

Micromosaic and gold necklace
Castellani, 1870
The Victoria & Albert Museum

The Roman jewelry company of Castellani is considered as one of the first and finest makers of jewelry based on various ancient styles which had been uncovered through then-recent archaeological findings.

Alessandro Castellani remarked upon the firm’s introduction of micromosaic jewelry based on archaeological finds:  "At the time when we took up the subject the greater number of those who followed the occupation of working in mosaic at Rome were almost unemployed; […] We therefore applied mosaics to classical jewellery, imitating at first the antique scenic masks, and many Greek and Latin inscriptions, and our designs were very soon copied elsewhere."

This necklace of gold, made in 1870, shows Castellani’s fine micromosaic work with its woven chain of diverse-shaped pendants matching on each side. The medallions are arranged symmetrically on the chain and depict various symbols of peace, starting at hook clasp: a cherub, doves of peace, two crosses, another cherub and the Christian chi-rho motif; the central pendant with Cupid. The large pendants are hung with smaller pendants which show: roses, christian symbols, flowers, bunches of grapes and the moon and sun.

This necklace is part of an import parure which was once owned by Rosalinde Gilbert who, along with her husband, Sir Arthur, donated this suite along with their impressive collection of gems, gold, snuffboxes, enamels, portrait miniatures and other assorted treasures to the V&A.  

Gifts of Grandeur: A German Cast-Iron Necklace, c. 1820

Cast-Iron Necklace
Germany, c. 1820
The Victoria & Albert Museum

In both Europe and America in the early to mid Nineteenth Century, Cast-iron jewelry was an inexpensive but fashionable accessory for people from the middle to upper classes.

 The technique was developed in Germany in 1806–7, originally to be worn during periods mourning.  Later, this kind of jewelry became the symbol of Prussian patriotism and resistance to Napoleon I in the Prussian War of Liberation fought from 1813-15.  During this period, women donated gold jewelry to their nation in exchange for iron inscribed ‘"I gave gold for iron."

Iron pieces, like this one, were often characterized by Gothic motifs.  This necklace of iron with polished steel mounts consists of sixteen links of alternating foliage and rosettes surrounded by tracery. The rosettes are set on burnished steel and a quatrefoil of tracery completes the design of each foliage link.  It was made in Germany around 1820.

Mastery of Design: Mary of Teck’s Silver Jubilee Necklace and Earrings

Necklace and Earrings
Sixteenth to Nineteenth Century
English
Gold, Enamel, Pearls, Rubies, Emeralds
The Royal Collection

This necklace and earrings (part of a parure which also includes a brooch) is actually a culmination of over three hundred years of workmanship. A masterpiece of gold, delicately-colored enamel, pearls, rubies and emeralds in a pattern of scrolls and snakes, the original links of the necklace date to the Sixteenth Century.


The necklace’s original owner was Mary, Queen of Scots who passed it to her attendant, Mary Seton. Over the centuries, the necklace was passed from family to family and altered considerably, though always with careful consideration in keeping the style of the necklace cohesive. The necklace was extended and the brooch was added in the Eighteenth Century. In the Nineteenth Century, the matching earrings were created.

Bu the 1930’s the parure was in possession of the Countess Bathurst where it was noticed by Queen Mary who admired it greatly. In 1935 for the Silver Jubilee of George V and Mary of Teck, the parure was presented as a gift to the Queen.

Crown Copyright
The Royal Collection
Image courtesy of Her Majesty Queen Elizabeth II
Click image to enlarge.

Mastery of Design: The Hull-Grundy Garnet and Pearl Necklace

Garnet and Seed-Pearl Necklace
Circa 1830
The Hull-Grundy Bequest
This and all related images from:
The British Museum

A delicate necklace, designed in the form of leafy entwined flowers, this work of seed-pearls and gold-set diamonds was made in England in the 1830s in the Naturalistic style which was rising in fashion at the time.


Given to The British Museum as part of the Hull-Grundy bequest, the necklace is displayed in its original presentation case though the satin lining of the lid was replaced in the 1970s. 

Mastery of Design: An Italian Shell Cameo Necklace, 1810-20

Necklace of Carved Shell Cameos
Italy, 1810-1820
The Victoria & Albert Museum

This necklace comprised of carved shell cameos was made in Italy between 1810 and 1820 and depicts subjects such as cupids, pairs of doves and the altar of love.

Sentimental jewelry was reached an apex in the 1820s and was used to declare affection and devotion for family and friends (living and dead), as well as romantic love for a spouse, and loyalty to a monarch or a cause.

The necklace originally was hung with a large pendant—now missing.

Mastery of Design: The Nichols Paste Necklace, 1810

Paste Necklace set in Gold-Backed Silver
England, 1810
The Victoria & Albert Museum

With a design of leaves and stylized flower heads, this shimmering necklace is the height of 1810 style. As far as anyone can tell, this is one of those magnificent naturalistic jewels composed of densely-set diamonds.

But, it’s not exactly what it seems. It’s a clever early Nineteenth Century costume piece. While it’s possible that this was made as a copy of a necklace of real diamonds, chances are, this work of paste stones set in silver (backed in gold) was made for and worn by a lady whose situation didn’t allow for the expense of real diamonds, but whose tastes and social obligations required the look. 

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 Davies Indian Necklace, 19th C.

Necklace of gold, silver, white sapphires, emeralds, pearls, rubies, rock crystal and enamel.
Northern India, Nineteenth Century
The Victoria & Albert Museum

Made in the Nineteenth Century, This North-Indian necklace consists of a double string of pearls and emeralds which support a circular pendant of gold and silver, set with rubies, emeralds, natural white sapphires and rock crystal.  The gorgeous pendant is enameled on the reverse.  The necklace closes with ties of silk covered with gilt silver metal, and is bound with strings of silk threaded with seed pearls.

Gifts of Grandeur: The Spider Web Necklace, 1970

Necklace
The Victoria & Albert Museum

This close-fitting necklace by Allen Jane proves is just a little bit spooky, but also quite elegant. The ornate collar has been decorated with a dense lattice of stems, flowers, foliage, bees and spider's webs in silver-gilt with enamel and cultured pearls.

A concealed opening at the front and a hinge at the back make wearing it a little easier.

Mastery of Design: The Castellani Peace Necklace, 1870

Micromosaic and gold necklace
Castellani, 1870
The Victoria & Albert Museum

The Roman jewelry company of Castellani is considered as one of the first and finest makers of jewelry based on various ancient styles which had been uncovered through then-recent archaeological findings.

Alessandro Castellani remarked upon the firm’s introduction of micromosaic jewelry based on archaeological finds:  "At the time when we took up the subject the greater number of those who followed the occupation of working in mosaic at Rome were almost unemployed; […] We therefore applied mosaics to classical jewellery, imitating at first the antique scenic masks, and many Greek and Latin inscriptions, and our designs were very soon copied elsewhere."

This necklace of gold, made in 1870, shows Castellani’s fine micromosaic work with its woven chain of diverse-shaped pendants matching on each side. The medallions are arranged symmetrically on the chain and depict various symbols of peace, starting at hook clasp: a cherub, doves of peace, two crosses, another cherub and the Christian chi-rho motif; the central pendant with Cupid. The large pendants are hung with smaller pendants which show: roses, christian symbols, flowers, bunches of grapes and the moon and sun.


This necklace is part of an import parure which was once owned by Rosalinde Gilbert who, along with her husband, Sir Arthur, donated this suite along with their impressive collection of gems, gold, snuffboxes, enamels, portrait miniatures and other assorted treasures to the V&A.  

Mastery of Design: The Dame Joan Evans Swiss Topaz Necklace, 1835

Mastery of Design: The Dame Joan Evans Swiss Topaz Necklace, 1835

Necklace
Switzerland, c. 1835
The Victoria & Albert Museum

Beginning in the 1830s, the jewelry trade saw a greater consumer demand as more people were able to afford gems and jewels. Traditional techniques such as casting, chasing and engraving were still employed in the most high-end pieces, however, into the 1850s, newer industrial methods were used to make less expensive products for a growing mass market.

Here, we see a piece made for the mass market using machines.  This necklace was created by pressing the gold into the required shape using a die-stamping machine.  The flatted gold was rolled a machine into a very thin sheet which could be stamped to make multiple standard components. Even the collets were stamped on—allowing the setting of gemstones to be completed quicker.

After being assembled from pre-made pieces, the gold was enameled and set with pink-foiled topazes.  This necklace was made in Switzerland between 1835 and 1840.  It was once part of the impressive collection of jewels amassed by Dame Joan Evans.

Mastery of Design: The David Thomas Necklace and Chain, 1967-8

Pendant/Brooch and Chain
David Thomas, 1967-8
The Victoria & Albert Museum

In 1960s London, fashions were changing in dynamic and dramatic new ways. This contemporary style found its way to the world of jewelry as well and launched a visual philosophy amongst modern jewelers which focused on asymmetrical contours, splintered surfaces, textured gold and unusual gemstones often left rough or in crystal form.

One of the most prominent proponents of this new London style was David Thomas (born 1938).  Thomas studied at Twickenham School of Art and the Royal College of Art, and was one of the several innovative young jewelers who were included in the “International Exhibition of Modern Jewellery 1890-1961”held at Goldsmiths' Hall in 1961.

This magnificent necklace was commissioned from him by the celebrated model Ann Mollo, who is pictured wearing this pendant as a brooch in her portrait of 1969 by photographer Michael Seymour in the collection of the National Portrait Gallery.

We can see Thomas’ aesthetic with this pendant with a raised central cluster of irregular topaz crystals.  From these radiate individually-applied gold wires, some with granular decoration, which are scattered among narrow rectangular garnets.

On the back of the pendant is a hook to attach the chain, and, also, a pin allowing the piece to be worn as a brooch. The chain is comprised of long alternating links in two distinct patterns.