Photo of the Prince Albert (Queen’s husband), gutta-percha brooch, hair mourning brooch, cross jewel by Shelley Cooper, archaeological revival bangle by Carlo Giuliano and mourning ring “not lost” (Dahlium). The Grand Period or the grand mourning (1861 to 1880) began … Continue reading →
PAIR OF EARRINGS, 1860–70 Hair, gold. Gift of Mrs. Gustav E. Kissel. 1928-5-58-a,b. Cooper-Hewitt Collection
A SET OF ANTIQUE CAMEO AND DIAMOND JEWELRY Comprising a necklace, the front suspending three agate cameos depicting various cherubs ...
Antique gold hair comb 'Victoria's romance' by Midnight Vision Jewelry Antique gold ornate hair comb featuring a cameo embedded into lovely ornate frame in the middle. It is accompanied by victorian influenced ornaments around it. This hair comb is ideal for everydaywear and also for special occassions. You can choose the color you like the most. • Nickel and lead free • Complimentary gift wrapped Dimensions: • 2.91" x 1.73" (7,4 x 4,4 cm) • cameo: 25 x 18 mm See more of my cameo designs here: https://www.etsy.com/shop/MidnightVision/search?search_query=cameo&order=date_desc&view_type=gallery&ref=shop_search Please visit my shop home: https://www.etsy.com/shop/midnightvision Also follow me on FB: https://www.facebook.com/MidnightVisionJewelry
Photo of the Prince Albert (Queen’s husband), gutta-percha brooch, hair mourning brooch, cross jewel by Shelley Cooper, archaeological revival bangle by Carlo Giuliano and mourning ring “not lost” (Dahlium). The Grand Period or the grand mourning (1861 to 1880) began … Continue reading →
Material : Ivory, 15 kt gold tested. Size: 3" by 2 2/8". Date and Origin: Circa 1860/1870 France probably Dieppe. Has a pendant ...
Brooch (a) and earrings (b,c) of aluminum set in elaborate gold mounts and covered with fine bright-cut engraving; brooch with six sem...
Design for Jewellery, by the firm of John Brogden, about 1860
Brooch owned by Augusta, Queen of Prussia, 1860.
Demi-parure, comprising a necklace with seventeen pendants, brooch, and pair of earrings. All set in gold in the Etruscan style, with a double rim of gold around the amber; the inner rim fits into the outer so that the amber can be taken out.
omgthatdress: Necklace 1860s Christie’s (via )
The Romantic Period marked the start of the Victorian Era. Learn about the typical qualities and motifs of Romantic Period jewelry.
About llustrated in our book: Beatriz Chadour-Sampson & Sonya Newell-Smith, Tadema Gallery London Jewellery from the 1860s to 1960s, Arnoldsche Art Publishers, Stuttgart 2021, cat. no. 333 Provenance: Family descent. This necklace was a gift to Lady Llewellyn-Smith and was commissioned by Sir Hubert Llewellyn-Smith from Henry Wilson, predating another commission by Sir Hubert, an enamelled Tiara 1909 now in the collection of the Goldsmiths' Company, London. This superb necklace is well-documented, in: Volume of Henry Wilson's Designs for Jewellery & Silverwork, Victoria & Albert Museum, Department of Prints and Drawings E.669 *120*-1955 and the necklace is published in: Jewellery History Today, The newsletter of The Society of Jewellery Historians, Issue 13 - Winter 2012, where it is described as 'A personal commission by Henry Wilson' illustrated p.15. Henry Wilson was a prolific architect, jeweller and designer. His work and influence is described on his website and in an extensive monograph by Cyndy Manton, Henry Wilson, The Practical Idealist, Lutterworth Press 2009. He turned to jewellery and metalwork in 1895 and became a major representative of the Arts and Crafts Movement. His jewellery is original and of the highest quality. Some excellent examples of his jewellery are on display in the Victoria and Albert Museum, London. To be exhibited at the forthcoming exhibition: “Jewellery. materials craft art” at the National Museum Zurich from 19.05.2017 – 22.10.2017
Locket 1860 Lang Antiques
How is it that we got so enamored of jewelry? Where did it start; and where does it take us? I can only suppose we began, even before we clothed ourselves, with adornments of leaves, bark, teeth, bones, shells, feathers, rocks any other materials we could find that we thought were pretty, or gave us some sympathetic connection to the rest of the world. -prehistoric stone and bone jewelry- To my mind what this sort of adornment does, beyond what our other attire can give us, is an immediate elevation above and outside of ourselves. When we put on some kind of jewelry, we become more than our personal reality. We claim a greater power, sexuality, status and influence over the world than we may truly possess. Its really far more than a simple magpie love of shiny things, though to an extent that plays its role. It is clearly something very deeply held, since every culture, everywhere, has its slice of the adornment pie. -Egyptian gold necklace- Looking at how jewelry has changed over time is an ascending curve of complexification. From simply winding sinew around a rock or some feathers and tying it around our neck or arm, we learned to carve, cut and otherwise shape these first items of glamor. When we learned how to manipulate metals we added them into the mix and transformed jewelery forever by using metal's combination of workability and durability to create the matrix into which these rare and wonderful things were placed. -Renaissance pendant necklace and pendant of gold pearl, sapphire, opal and diamonds- That skill with metals became greater and greater, allowing staggering things to be done with the display of the hard won stones we grew to admire so greatly. By the Renaissance the art of the jeweler had reached amazing heights. Enamels and pearls mounted with polished gem stones in settings of extraordinary inventiveness and beauty came rushing out of the workshops of jewelers all over. And that skill set continued to improve and gain more expressive range as time went on. -18th century enameled cameo set in platinum with rose cut diamonds- -1860 amethyst brooch set in gold- Considered by many to be the apotheosis of the jewelers art, the work of House Faberge added the considerable influence of technology to the already voluminous extent of what was possible. Their work with precious metals and gems that included mechanics are routinely displayed as the best of the best, regardless of whatever sometime taste issues might appear. -Stag Beetle Brooch by Faberge with movable wings- And now, with lasers, computers and other technological advancements laying in the jeweler's tool box, things are being done that are blowing the lid off of what was in some ways a hidebound traditionalist craft. -necklace by Arthur Smith- -bracelet by Helen Druitt- But, back to the questions I asked at the start. I think we got our taste for jewels the minute we saw a pretty rock gleaming in a shallow stream, or watched as a brilliant feather fell from a bird's wing. We wanted then, as now to possess them, in every sense of that word. We wanted to be able to bring them into ourselves and in so doing make ourselves over into something more. Where does this take us? It allows us into a fantastic realm in our heads, where all things become more possible. A young girl getting her first piece of real jewelry is suddenly more than a young girl. A boy getting his first pair of real cuff links, or his first really good watch is transformed in some subtle way, and will never revert to what he was. It is amazing, is it not, that such tiny things, exert such power, but they do. As technology makes industrial gems of greater and greater quality more readily available, the day will inevitably come when natural stones will cease to have their cachet, and the glitter of faceted jewels will become more commonplace. I doubt very much if we will suddenly not care anymore about them though. We love the shiny too much for that. -contemporary Faberge ring-
Early Victorian rose cut diamond drop earrings. A matching pair, each set with forty mixed rose cut diamonds in open back cutdown settings, the pair with an approximate combined weight of 1.80 carats, to an elegant openwork drop shape pendant issuing from an articulated foliate element and suspended from a drop shape cluster surmount, with finely pierced fancy backholing and fitted to reverse with a secure hinged back closure, approximately 2.2" in length, with removable lower section to allow earring to be worn as a single diamond cluster. Tested yellow gold and silver, English, circa 1850. Please note shipping to the United States of America requires the purchaser to fill out a CBP 5106 customs form before the item is shipped. This form is a legal requirement for any item over $2,000 which is being imported into the United States. One of the details the form requests is the purchaser’s social security number or importer’s number.
These are the earrings that match this brooch Gold, pearl & onyx earrings French, ca. 1860 Dimensions overall: 4.2 x 1.6 x 1 cm ...
Snakes or serpents have been a popular motif for thousands of years, from the ancient Egyptians to popular culture today. In terms of the 19th century, it became a symbol of eternal love and devotion. I came across the mention of a serpent from Godey's, and my fascination has led to a research distraction...my favorite! I'm looking to add a snake to my impression with plenty of documentation. Thus began another descent into research madness... Research Terms/Word Origins I started by changing up my research terms. According to the OED (Oxford English Dictionary), The word "snake" derives from Middle English snaca, close to the Middle Low German snake. The use of the word dates back before the year 1000, but it did not really become popular until the 20th century. The word "serpent" comes from the Latin serpere, a much older word and a better search term when searching through 19th century documentation. The following charts are from Google Word Origin, and clearly show why I found less when looking up "snake." Use over time for: "serpent" Use over time for: "snake" I also needed to know the word in other languages, as I wanted both French and German: "serpent" and "schlange." The most difficult part of this entire process was figuring out the right terms to use for my search! At this point my background in English from the University of Michigan started to kick in, and I spent nearly an hour playing on the OED. I took several linguistics classes in Spanish and English while in school; one in particular was taught by William Kretzschmar, a famous linguist and tough grader! I skated by with a B+ (one of the highest grades in the class) but that attention to word detail definitely worked in my favor... Symbolism The serpent motif became quite popular during 19th century, and it was used earlier during the Georgian period for jewelry and mourning purposes. Then came that great trendsetter; Queen Victoria rocked the serpent in the form of an engagement ring from her beloved Prince Albert in 1840. Suddenly, the slithering serpent became a symbol of a sacred love, a fashion statement for the ages. If Queen Vicki does it, it has to be cool! Pictured: Fashion Week 1840 The serpent continued in its popularity, according to Jeanenne Bell author of Collecting Victorian Jewelry: Identification and Price Guide (2004): "The snake motif was used throughout the Victorian period. On a stroll through London, ladies could be seen wearing serpent rings, serpents entwined around their arms, and serpents coiled on their brooches" (23). While my impression cannot totally mimic an English lady, I doubt American women would have ignored such a trend. In fact, I've not seen a single serpent anywhere during my reenacting career, a void I am glad to fill! After Prince Albert's death the serpent remained, with adaptations for more fashionable materials, such as wood or onyx. Remember that mourning style became de rigour in the 1860's, so black became vogue. Hairwork easily translated into the serpent shape as well, adding another dimension to its popularity. The material depended on the wealth of its owner; eyes or skin of rubies, diamonds, and emeralds could be replaced by a simple glass bead. This was perhaps the easiest part of the research process. It's simple to google search "victorian serpent jewelry" to find a jeweler's assessment of the trend. I know they were popular, but other documentation is necessary before I add it to my impression. If you are interested in knowing more about the representation of the serpent, I found an excellent blog post here. Photographic Documentation Do you have any idea how difficult it is to find a snake in a 19th century photograph? It is nearly impossible to do this, so any evidence I find is certainly the mark of my good eye. My eyeballs were practically bleeding while staring closely at my computer screen. After sifting through dozens of snake charmers and circus performers, I did find a few photographs, mostly later in the century. Please enjoy the sweet fruit of my labor. Date Unknown Library of Congress, Belt Buckle Princess Alexandra, Bracelet Brooch? Belt Buckle Snake Head Cane I know that I am missing photographic evidence, though as with the arrows it may take time. Snakes could be so small and dainty, a fine little detail that the camera would not capture. Guessing the popularity and widespread nature of the snake motif is difficult to imagine with this evidence. Yet the continuity of its presence in jewelry and accessories remains obvious, as these photographs show several decades of the 19th century. Luckily, I have other forms of documentation! Textual Documentation Throughout my search, the word "snake" or "serpent" appeared in so many different contexts. In many stories, the snake appeared often as a slithering evil creature, wreaking some sort of biblical havoc. The fashion column shows a different side of the animal, as it is depicted as a beautiful accessory, practically dripping off the wrists of ladies. Are these creepy or stylish? Louise of Belgium, 1841 Serpent Bracelet, Godeys Lady's Book, December 1855 Materials .— For the body five skeins of fine gold twist, and one skein of dark green cord; or one skein of shaded violet and green silk, and a skein of coarse gold twist, which is used instead of the cord. If worked in imitation of hair, one skein of coarse netting silk, one skein of brown union cord. For the head, one skein of fine gold twist silk, same as the body; and for the eyes four steel beads, No. 6, and two large black ones; and one skein of German wool to stuff the body. Needle, No. 17, bell gauge. WITH the gold twist work twenty chain, and make it round, keeping the wrong side of the stitches outside; take the green cord, and with the gold work twenty-two stitches plain, working the cord under the stitches, still keeping the work on the wrong side; then work in spiral crochet; thus, it will be perceived on examining the wrong side of the plain stitches, that two threads of the gold lie perpendicularly across the cord of the lower part of the stitch; insert the needle in the left hand thread of the two perpendicular threads, and work a plain stitch in it. Repeat this stitch for ninety-six rounds, working the cord under the stitches, which should be worked rather loose1y. Then decrease one, by taking two stitches together, thirty-seven plain, decrease one, thirty-five plain, decrease one, thirty-three plain, decrease one. Repeat twelve times more, working two stitches less between the decrease each time; fasten off. Double the skein of wool, and with a large rug-needle draw it through the body to the end. Fashions, Arthur's Lady's Home Magazine, 1856 Novelties for February, Godey's Lady's Book, February 1857 Fig. 1 The serpent brooch is of wrought gold, the coils being entwined around a cross band, or bar, handsomely enamelled. In this design, which gives the costliest form, a pendant is suspended from the mouth of the serpent . This may be dispensed with if desired, or, if added, may be ordered of any precious stone, carbuncles, pearls, &c. The one we give is of diamonds, and has of course a superb effect in evening-dress. A Marriage in the Rothschild Family, Godey's Lady's Book, 1857 To this princely gift succeeded a long row of candlesticks, gold and silver filagree, and enamel ivory work-boxes, lace, fans, jewelled buttons, prayer-books bound in gold, and jewelled escritoires of buhl and marqueterie, more breakfast services, and a lace parasol. The latter was in a kind of jewel-case; the handle was covered with serpents of rubies and diamonds, and the tip of each rib was formed of an oval-shaped emerald and large pearl. Der Bazar, November 1861 La Mode Illustree, December 1861 The What-not or Ladies' handy-book, 1861 "A serpent of fine scaly gold, the neck and back striped and variegated with minute gems, was wreathed about the mass of braids on one side of her head, and formed a knot of slender coils where it clasped the coronet...A serpent, similar to the one on her head, but glowing with still more costly jewels, coiled around the graceful swell of her right arm, a little below the elbow, but its brilliancy was concealed by the drapery of the sleeve..." "Her crimson robe floated out on the wind, and the jewelled serpent about her brow gleamed like a living thing in the red light which lay full upon her." "The words were yet on her lips when a bullet whistled from the shore, and cut away the ruby crest of the serpent which lay upon her temple." Les Modes Parisiennes, 1862 "L'autre est une chatelaine pour relever la robe de mauvais temps; elle deviendra indispensable pour retenir les habits de chavel, car la longueur des jupes d'amazone les rend tresincommodes des qu'on met pied a terre. Due reste, cette chatelaine est de forme tres-elegante, elle se prend dans la ceinture et une petite chaine soutient une espece de petit bracelet qui s'ouvre pour prendre le plis de la jupe, puis vous relevez ou abaissez vette chaine en passant un petit crochet dans un de ses anneaux. Ce bracelet en argent figure une branche d'arbre sur laquelle s'enroule un serpent en or." "The other is a chatelaine to meet the dress of bad weather; it becomes essential to retain clothes Chavel, because the length of skirts amazon makes tresincommodes of you put foot on land. Moreover, this chatelaine is very elegant-form it takes in the waist and a small chain supports a kind of small bracelet that opens to make the folds of the skirt, then you raise or lower vette chain through a small hook in one of his rings. This silver bracelet branch of a tree on which a snake wrapped in gold." -Google translate Arthur's Lady's Home Magazine, 1863 Novelties for April, Godey's Lady's Book, April 1864 Fig. 1 A headdress of lilac velvet petunias, with groups of palm leaves; a double chain of gutta percha is carried round the head; in front, among the palm leaves, is an enamelled blue and green golden serpent. This evidence is perhaps the most compelling. American, English, French, and German magazines all mention the snake as an adornment. Here I will lay my shortcomings at the reader; translating German is a terrifically messy mess when one only reads Spanish/English/slight French, so I may be missing more documentation. Actually seeing the repeated snake from Der Bazar to La Mode Illustree the next month reminded me that the serpent could cross cultural boundaries. Oh you sly little thing you! I will add more to this section later if necessary, though I feel I've collected enough evidence to prove that the snake motif was alive during the Civil War period. Surviving Originals Dating jewelry can be especially difficult, since not every piece is stamped. Women could also pass down items through generations. Considering the continuity of the motif, it is quite possible that a young lady from 1860 might inherit a jeweled bracelet or brooch from her mother or grandmother. Just as I will lovingly wear my own grandmother's wedding ring, these ladies treasured family heirlooms. Late 19th Century French, Brooch, mid 19th century French 1878 (I just had to include it) Circa 1860 Circa 1860 Circa 1860 Circa 1850 Circa 1860 1840-50 Gold, or silver, jet, plain or extravagant, the original jewelry illustrates the serpent trend with stylish fashion. They are found on everything, from necklaces, bracelets, rings, brooches, and belts. I saw pearls, turquoise, agate, ruby, garnet, diamond, and even emeralds. Viewing the surviving originals proves the popularity of the trend, as well as reinforces the textual documentation. In Conclusion... At this point I'm really excited to see a few slithering friends riding along with my less slithering friends at upcoming events. I do have a few concerns, as this particular motif may not be appropriate for every impression. Before adding a snake accessory, think about the following questions: How would the snake function within your impression? Why would your person have one? When would it be worn? How will you explain its importance? I would love to see more variety at events, as such research can only improve our experience of the 19th century. However, the symbol of the snake may be too much for a few of my readers, as I've had more than one person say "ewww" when looking at my post. If you do decide to sink your fangs into this motif, realize that documentation supports your choice in the appropriate context. By the way, I totally did not intend this publish this just before Halloween? Or did I? Where's your documentation?!!! Seriously though, everyone have a safe and festive Halloween! ~Kristen
Necklace 1850-1860 United States Philadelphia Museum of Art
By Erika Winters The second day of Elizabeth Taylor’s jewelry auction added an additional $21.3 million to the first session’s total of $115.9 million for a whopping total of $137,235,675. […]
It’s that time again, my darlings! Time to peep the goodies in Leslie Hindman’s September sale, that is. If you remember the spectacular and diverse treasures of Leslie Hindman’s past auctions, you’ll know that this is an excellent reason for excitement. Lot 27: A Victorian Silver Topped Gold, Turquoise, Garnet and Diamond Serpent Necklace, Circa 1840. […]
