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Tiara Pair of Earrings in Chinoiserie Style
1 1. Italy or France Tiara Gold and coral, about 1817 Purchased with funds given by Rita Barbour Kern, 1996.27 French Neoclassicism revived the fashion for wearing a tiara, a head ornament based on an ancient Greek diadem. Tiaras of varying degrees of intrinsic value were worn by every woman from the middle classes to royalty. Coral, which was believed to posses protective powers, was often used in jewelry for children and young adults. A portrait painted by Luigi Bernero in 1817 of Maria Teresa of Savoy (1803– 1879) shows the 14-year-old Italian princess wearing a hair ornament almost exactly like this tiara. Most coral in Europe came from the sea around Naples and nearby Torre del Greco. In the 19th century coral jewelry became a fashionable souvenir. This was partly because people could travel more once the Napoleonic wars had ended in 1815, but also due to the growing popularity of Luigi Bernero (Italy, 1775–1848), Maria Teresa di Savoia. Oil on canvas, naturalistic jewelry in the 1850s. about 1817. Palazzo Reale, Turin, Italy 2. and pagoda-shaped elements of these earrings reflect the England period’s romantic taste for the Far East, known as chinoiserie Pair of Earrings in (sheen-WAH-zer-ee). Chinoiserie Style Pierced earrings were a sign of maturity. The first pair of earrings was usually given to a young girl in England at Silver, gold, diamonds, pearls and rubies, age 16, when simple ‘top-and-drop’ pearl earrings were considered to be more appropriate for a young, unmarried about 1820 girl. -
Queen Victoria's Personal Jewellery
Victoria Albert &Art & Love Victoria Albert &Art & Love Love and art: Queen Victoria’s personal jewellery Charlotte Gere Essays from a study day held at the National Gallery, London on 5 and 6 June 2010 Edited by Susanna Avery-Quash Design by Tom Keates at Mick Keates Design Published by Royal Collection Trust / © HM Queen Elizabeth II 2012. Royal Collection Enterprises Limited St James’s Palace, London SW1A 1JR www.royalcollection.org ISBN 978 1905686 75 9 First published online 23/04/2012 This publication may be downloaded and printed either in its entirety or as individual chapters. It may be reproduced, and copies distributed, for non-commercial, educational purposes only. Please properly attribute the material to its respective authors. For any other uses please contact Royal Collection Enterprises Limited. www.royalcollection.org.uk Victoria Albert &Art & Love Love and art: Queen Victoria’s personal jewellery Charlotte Gere For many people, their default view of Queen Victoria is as a figure in perpetual mourning, wearing black, her pearls and diamonds appropriately colourless, with her costume only slightly enlivened by jet embroidery and lace. Her love of colour and festive trimmings, largely forgotten, was subsumed in her own presentation of her tragic condition after Prince Albert’s death. The exhibition in 2010 at The Queen’s Gallery, Buckingham Palace, on Victoria and Albert as collectors, showed by contrast the happy days of her marriage, when her jewels, rather than commemorating death, reflected her relationship with her husband and family.1 This essay looks at the story of Victoria and Albert through the jewellery they commissioned, gave to each other and wore on every kind of occasion. -
Diamonds Fact Sheet
ROYAL COLLECTION TRUST The diamonds and their history Queen Victoria’s Small Diamond Crown Just 10cm in diameter and weighing 140 grams, this crown became the most recognisable jewel of Queen Victoria’s old age. She was regularly depicted wearing it, notably in her official Diamond Jubilee Portrait. It was supplied by R & S Garrard & Co. in March 1870 and consists of a silver openwork frame, laminated with gold and set with 1,187 brilliant-, rose- and mixed-cut diamonds and some diamond chips. The stones were probably taken from a fringe-pattern chaîne de corsage . Queen Victoria does not appear to have worn the chaîne de corsage after Prince Albert’s death in 1861, and when she ordered her Small Diamond Crown in 1870, the fringe elements of the chaîne were probably used to provide the stones (see Queen Victoria’s Fringe Brooch below). Queen Victoria spent the rest of her life in mourning clothes and the Small Diamond Crown satisfied the need for a formal head ornament of colourless stones, suitable for mourning. The crown was subsequently worn by Queen Alexandra, who relinquished it to Queen Mary. In 1937, King George VI added it to the display at the Tower of London, where it has remained. Queen Victoria’s Fringe Brooch On display for the first time, this brooch appears to have formed the centrepiece of the fringe-pattern chaîne de corsag e broken up to provide stones for the Small Diamond Crown (see above). The larger stones in the brooch are thought to have come from one of the two impressive jewels presented to Queen Victoria by the Sultan of Turkey. -
35968 G&J Summer 2010.Indd
Gems&Jeweller y 3UMMERæææ6OLUMEæææ.Oæ The art of gem carving Scottish Gem Conference New pearl challenges The Gemmological Association of Great Britain 40012_MMcC A4 Ad 4/12/05 5:21 PM Page 1 MARCUS MCCALLUM FGA PRECIOUS STONES, BEADS & PEARLS A wide range of precious and semi-precious stones, beads and freshwater pearls, personally selected from around the world. Unusual stones a speciality. ROOM 42-44, NEW HOUSE, 67-68 HATTON GARDEN, LONDON EC1N 8JY TELEPHONE: 020 7405 2169 FACSIMILE: 020 7405 9385 40012_MMcC A4 Ad 4/12/05 5:21 PM Page 1 Gems&Jewelleryææ3UMMERæææ6OLUMEæææ.Oæ Gem-A CalendarEditorial Gems&Jewellery Summer On the bright side Optimism is perhaps the backbone of the gem industry. Recently a gentleman from what we can simply refer to as a gem-producing country arrived at Gem-A’s offices holding a large specimen. 10 The stone had been given to him by a gem miner and his mission was to seek its value and, presumably, sale. It was massive (5 kilos) and of a superb emerald-green colour. The bad news was that it was glass — a 25,000 carat lump of green glass. It looked as if it may have been a Contents by-product of old glass production and may well have quite genuinely been thought to be a gem material by the man who dug it up. By-products of glass making do crop up from time to time, mistaken for gem materials — a far cry from the coloured glass embedded in all manner of glued- 3 on detritus being passed off as rough gems to gullible members of the public. -
A HISTORY of EUROPEAN ROYAL JEWEL SALES, INCLUDING SOTHEBY’S 2018 AUCTION of MARIE ANTOINETTE’S JEWELS Russell Shor
FEATURE ARTICLES A HISTORY OF EUROPEAN ROYAL JEWEL SALES, INCLUDING SOTHEBY’S 2018 AUCTION OF MARIE ANTOINETTE’S JEWELS Russell Shor On November 14, 2018, Sotheby’s Geneva sold 100 lots from the House of Bourbon-Parma, including 10 items from Queen Marie Antoinette. The venerable auction house claimed it was one of the largest sales of jewels with royal provenance in modern history. The key word from Sotheby’s statement is “modern,” because there have been other major sales of jewels from both crown jewels (owned by the state) and the personal property of royalty since 1795. The first section of this article describes how the most prominent European royal houses—particularly the Habsburgs, the Bourbons, and their predecessors—acquired their jewels and then details the most significant auc- tions of these items, starting with the collection of Madame du Barry in 1795 and the French crown jewels in 1887. The second part chronicles the historic Bourbon-Parma auction in 2018. The Sotheby’s sale was extraordinary in its scope because a vast majority of the jewels collected by European royals, mainly in the eighteenth and nineteenth centuries, had been widely scattered over the past two centuries by sale, confiscation, theft, residence in museums, and reworking. With 10 of the lots traced back to France’s most famous royal, Marie Antoinette, the auction attracted worldwide attention and exceptional prices—her signature drop-shaped natural pearl pendant alone sold for US$36 million. The 100 lots sold for a total of US$53 million. In recent years, jewels with royal provenance have fetched high premiums at auction, and this was no exception. -
Boston-Jewelry-Onlin
Lot # 1 Lot # 2 Lot #3 Lot # 4 Rare Large Early 1920's Beautiful 1950's Parure Set, Jadite Rare Frances Hirsch Original Tag Tear Drop Rhinestone Glass Center Stones, Set in Two Signed Vintage 1940's Necklace Brooch and Other 10K 1940's Carved Tone Metal Floral Design with Tiny and Earring Set Sea Glass Green Rhinestones - Includes Necklace, Cut Austrian Crystals & Beautifully Vintage Rhinestone Pins Scarab Tiger Eye Gold Bracelet and Earrings Matched Set Multicolored Millefiore Nuggets and Bracelet Ring Lot # 5 Lot # 6 Lot # 7 Lot # 8 Sterling Signed Stuart Lucky Brand Signed New Nye Pansy Pin and With Tags Large Bib Earrings, and 3 Other Necklace & Silverplate & Vintage Sterling and Signed Vintage Eisenberg Signed Stuart Nye Pins Turquoise Navajo Style Gold Filled Pins and Necklaces & Weiss Handmade Necklace Earrings: Opal, etc. Rhinestone Pins Lot # 9 Lot # 10 Lot # 11 Lot # 12 Lucky Brand Signed Bib Sterling Navajo Signed L. Carved Jade Floral 14K Sterling Silver 2 Piece Set Necklace and Silverplate Chee Native American Gold and Mother of Carved Rock Crystal With and Turquoise Navajo Cuff with Large Oval Pearl Earrings Amethyst Floral Design Style Necklace Stone Lot # 13 Lot # 14 Lot # 15 Lot # 16 10K White Gold Lucky Brand Signed New Joan Rivers Signed Diamond and Black Sterling Silver 2 Piece Set With Tags Egyptian Style Crystal Brooches and Diamond Art Deco Style Carved Rock Crystal With Multi Colored Bracelet and Bee Pin Ring Amethyst Floral Design Necklace Lot # 17 Lot # 18 Lot # 19 Lot # 20 Danish Sterling Silver 1940's Signed Pins - John L. -
Vira Bublyk Master 2014 Red
J C Master’s Thesis e r e w a t e i n l g r y j e i w n e s l r p y i r w e i t d h a b m y o Vira Bublyk f d l o e r w n e f l o r s w e r i m Jewelry inspired by flowers a g e Creating jewelry with a modern flower image Faculty of Art, Folk Culture and Teacher Education V i r a B u b l y k 2014 2014 www.hit.no Faculty of Art, Folk Culture and Teacher Education Master’s Thesis in Traditional Arts 2014 Vira Bublyk Jewelry inspired by flowers Creating jewelry with a modern flower image Telemark University College Faculty of Art, Folk Culture and Teacher Education Telemark University College Faculty of Art, Folk Culture and Teacher Education Department of Folk Culture 3864 Rauland http://www.hit.no © 2014 Vira Bublyk 2 Abstract Recently, the popularity of floral motives in jewelry is rapidly emerging. The vast quantity of contemporary floral jewelries depicts a natural flower and repeats compositions from the preceding centuries. Certainly, there are artists whose jewelries are outstanding and original. In this work, I attempt to make one-step further advancing flowery jewelries with a modern design and innovative ideas. Thus, I analyze the flowery design in jewelries from the past centuries. This gives me the overview of produced jewelries and help to find a better design and technical solutions for the practical part of this work. -
Volume 36/ No. 5/ 2019
Volume 36 / No. 5 / 2019 Inclusions in Burmese Spinel Peridot from China and N. Korea Connemara Marble Gem Faceting in Sri Lanka Examination of ‘Coconut Pearls’ Volume 36 / No. 5 / 2019 Cover photo: Burmese spinel is available as attractive crystals and colourful gemstones, and a detailed study of the inclusions in this material appears on pp. COLUMNS 418–435 of this issue. The Burmese spinels shown here include the 6.30 ct centre stone in a gold and carbon-fiber ring that was designed and manufactured by What’s New 393 Marc Höllmüller for Carley Jewels (Chattanooga, Tennessee, USA), as well as GemPen | J-Certain Synthetic three larger and nine smaller crystals (courtesy of Federico Barlocher, Como, Diamond Detector | Sherlock Italy, and Kathryn Bonanno, New York, New York, USA, respectively) and numerous cut gemstones that weigh up to 10.48 ct (courtesy of RareSource, Holmes 2.0 Synthetic Diamond Chattanooga Tennessee, USA). Photo by Jeff Scovil. Detector | ABN-AMRO Diamond Reports | AGTA GemFair Tucson Seminars | Gem Abstracts from ARTICLES the 16th Swiss Geoscience Meeting | Gem Abstracts from Spinel from Mogok, Myanmar—A Detailed Inclusion Study by 418 the 2018 GSA Annual Meeting | Raman Microspectroscopy and Scanning Electron Microscopy Gem Identification Pamphlet By Myint Myat Phyo, Eva Bieler, Leander Franz, and Poster | GIT Reports on Colour-Change Grossular and Walter Balmer and Michael S. Krzemnicki Musgravite | Global Diamond Industry 2018 | Gold Demand Characterisation of Peridot from China’s Jilin Province 436 Trends 2018 -
Dreicer & Company Forgotten Jewelers of the Gilded
Dreicer & Company Forgotten Jewelers of the Gilded Age Anna W. Rasche Submitted in partial fulfillment of the requirements for the degree Master of Arts in the History of Design & Curatorial Studies Cooper Hewitt, Smithsonian Design Museum; and Parsons School of Design 2018 ©2018 Anna W. Rasche All Rights Reserved Table of Contents i Illustration Credits 1 Introduction 4 Chapter I Growth of a Business 24 Chapter II Jewelry in Reconstruction New York City 39 Chapter III Creating the Dreicer Look 70 Liquidation & Conclusion 75 Bibliography 82 Appendices a)Timeline b)Dreicer-Owned Properties 86 Illustrations i ILLUSTRATIONS p.VII The Dreicer Building, 560 5th Avenue from a Dreicer & Company advertising pamphlet c. 1910 - 1920. Image courtesy Hagley Library & Archives. Chapter 1 1-1. Photograph of Michael Dreicer. Jeweler’s Circular August 3rd, 1921, p. 97.Public Domain. 1-2. Diamond, Pearl & Platinum Necklace. Dreicer & Co, c. 1905. Metropolitan Museum of Art, New York. Public Domain. 1-3. Photograph of Jacob Dreicer as a Young Man. Appeared in “Business: Tears for Love” in Time Magazine, October, 1927. Image © Time, Inc. 1-4. “A Pearl & Diamond Bracelet by Jacob Dreicer,” Lot 205, Bonhams, London, Knightsbridge. December 10th, 2014. Image © Bonhams. http://www.bonhams.com/auctions/21548/lot/205/ 1-5. “Jacob Dreicer & Son. A diamond & pearl pendant set with numerous natural pearls, rose cut diamonds, mounted in 14k gold & platinum, Circa 1900.” Lot 1608/1139, Bruun Rasmussen, February 24, 2016. Image © Bruun Rasmussen. https://bruun-rasmussen.dk/m/lots/B286297D794E 1-6. 1128 Broadway shortly after the Dreicer’s tenure there, shown in “Broadway, East Side. -
The Crown Jewels a Wikipedia Compilation by Michael A
The Crown Jewels A Wikipedia Compilation by Michael A. Linton Contents 1 Crown Jewels of the United Kingdom 1 1.1 History ................................................. 1 1.1.1 Early history ......................................... 1 1.1.2 Middle Ages ......................................... 1 1.1.3 Early modern period ..................................... 7 1.1.4 Interregnum .......................................... 8 1.1.5 Restoration to present day ................................... 8 1.2 Crowns ................................................ 8 1.3 Mary of Modena’s crowns ....................................... 13 1.4 The orbs and sceptres ......................................... 13 1.5 Swords ................................................. 14 1.6 Other items .............................................. 14 1.7 The Tower of London ......................................... 15 1.8 Crown Jeweller ............................................ 15 1.9 See also ................................................ 15 1.10 References ............................................... 15 1.11 External links ............................................. 18 2 Black Prince’s Ruby 19 2.1 Spinel ................................................. 19 2.2 History ................................................. 19 2.2.1 Don Pedro of Seville ..................................... 19 2.2.2 Origin ............................................. 19 2.2.3 A wartime adornment ..................................... 20 2.2.4 Crown jewel ......................................... -
Download This SSEF Facette
INTERNATIONAL ISSUE N0.27, JUNE 2021 SCIENTIFIC GEMMOLOGY / AFGHAN EMERALDS / NEW PEARL SPECIES / AGE DATING / MACHINE LEARNING SSEF AT AUCTION / FREE ONLINE COURSES 1 · FACETTE 2021 EDITORIAL Dear Reader With this new issue of the SSEF Facette, I would like to present you again Please check out our SSEF website to find all relevant information about a summary of our recent activities and research. our options for gemmological education. The past year with the global Corona pandemic has been a worldwide The past months, filled with numerous home office hours, have been very challenge and certainly has had a deep impact in all our personal lives, but productive for SSEF in terms of research. Several projects were launched also in the way we all work in the jewellery trade and at gem laboratories. or successfully completed. As it is our policy to make our research openly I do hope that you managed to protect your family and business in these accessible, our findings were published and announced to the public in difficult times, and would like to express my heartfelt wishes, that the scientific articles and press releases throughout the year. Specifically, ongoing vaccination campaign will allow you soon to get back to a more I would like to mention here the ground-breaking study about the use ‘normal’ life in the near future. of machine learning methods as a versatile tool to analyse gemstones, notably for origin determination. Machine learning, often marketed under From a business point-of-view, the pandemic has definitely accelerated the buzzword artificial intelligence, supports our gemmologists in their the digital transformation of the trade, with the arrival of newly emerging analysis of gemstones. -
Firmament Apollinien Tiara, La Nature De Chaumet Collection, 2016
Firmament Apollinien Tiara, La Nature de Chaumet collection, 2016. www.chaumet.com “Gothic” belt (with detachable antique cameo) belonging to Empress Marie-Louise and by François-Regnault Nitot (1779–1853) 1813; Gold, natural pearls, onyx, L. 83 cm; Chaumet Collection, Paris From July 12 until August 20, it may be a good idea to divert your plane towards Nice’s Côte D’Azur airport and head to The Grimaldi Forum in Monaco. This is where an exceptional exhibi- tion by Chaumet under the High Patronage of His Serene Highness Prince Albert II of Monaco is to be held. The ‘Chaumet in Majesty – Jewels of Sovereigns since 1780’ follows on from the Imperial Splendours: The Art of Jewellery Since the 18th Century exhibition organized by Chaumet in conjunction with the Palace Museum in Beijing’s Forbidden City and the retrospective exhibi- tion held at the Mitsubishi Ichigokan Museum in Tokyo – The Worlds of Chaumet: The Art of Jewellery Since 1780, which both took place in 2017. Needless to say, this is an unmissable opportu- and their evolution through time is inextrica- nity to delve into the rich history of the French bly linked to the house’s own history. Beyond house and view some 250 rare treasures lent by the mere study of their extraordinary designs, prestigious international collections, includ- each tiara and diadem marks a political, his- ing that of His Serene Highness Prince Albert II torical and societal main event. As a result, of Monaco and Her Majesty Queen Margrethe ‘Chaumet in Majesty – Jewels of Sovereigns II of Denmark, as well as those of museums since 1780’ is more than meets the eye; it is a from all over the world.