Amethyst

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Amethyst Jewelry

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Amethyst is a variety of Quartz that is transparent and crystalline, usually deep purple to pale bluish-violet; the hues are sometimes mingled in the same stone, owing to irregular colour zoning, and some show patches of yellow. Other colours are reddish-mauve (Siberian stones), reddish-violet (Uruguayan stones) or grey-mauve (Mexican stones).

When natural amethysts (not the variety from Madagascar) are heated, the colour changes to pale yellow (sometimes then mistaken for Citrine, but distinguishable by its dichroism); when the heat is increased, it changes to dark yellow or reddish-brown and, when increased further, to milky white. Some Brazilian amethysts when heated change colour to green.

Specimens containing inclusions of goethite or other fibrous minerals are polished as cats eye’s. Amethysts have been set in globular or pear-shaped pendants and as pierced beads for necklaces and ear-drops. Some large stones have been embellished by having set into them a design of small diamonds.

Art Nouveau Jewelry

Pearls Beads Necklace Opal Old Mine Diamonds

See our: Art Nouveau jewelry.

Art Nouveau: the style of decoration current in the 1890s and early 1900s, the name being derived from a gallery for interior decoration opened by Samuel Bing in Paris in 1896, called the “Maison de l’Art Nouveau”. It was introduced in England circa 1890, mainly as a product of the movement started by William Morris and the pre-Raphaelites, which spread to the Continent and America. It came to an end with the outbreak of World War I.

The same style in Germany was called Jugendstil, after a magazine called Die Jugend(The Youth), in Holland Slaoliestijl (salad oil style) after an advertising for salad oil and in Italy Floreale or Stile Liberty (after the London store that featured it).

Applicable to all the decorative arts, it was adapted to jewelry in England and the Continent. The style resulted from a revolt against the rigid styles of the previously mass-produced wares and a philosophy that sought to revive the craft movement and aestheticism in art. It featured free-flowing, curving lines with asymmetrical natural motifs, such as human, female faces, greatly influenced by Japanese art. It used gemstones to emphasize their beauty, preferring pearls and cabochon opals and moonstones rather than faceted stones, and employed colourful enamelling.The pieces include pendants, necklaces and elaborate hair ornaments. Eventually its own extravagances led to its demise in circa 1910-1914.

Among its leading exponents in France were Rene Lalique, Maison Vever, George Fouquet and Lucien Gaillard; in Belgium Philippe Wolfers and in Vienna Josef Hoffman. In England the leaders were Charles R.Ashbee and Henry Wilson and in Scotland Charles Rennie Mackintosh.

Aquamarine

aquamarine jewelry

See our: jewelry with aquamarine.

Aquamarine is a variety of Beryl that is transparent and of various shades of blue and blue-green; almost all of the specimens of the preferable sky-blue colour are (since 1920) the result of heat treatment applied to greenish or yellow-brown beryls. The stones are dichroic, and are usually cut as a brilliant or step cut. They resemble the Emerald (the chemical composition is identical, as is the hexagonal crystal form) but the stones are paler and, being less rare, are much less valuable. They also resemble euclase and blue Topaz, from all of which (as well as from glass imitations and synthetic gemstones) they can readily be distinguished.

There are many sources, but Brazil has produced the finest and some very large specimens, e.g. one found in 1919 weighing 110.2 kg. (243 Lb). Some ancient aquamarines were engraved with portraits, e.g. one with a portrait of Julia, daughter of the Roman Emperor Titus. The synthetic stone resembling aquamarine is the blue Synthetic Spinel.

Alexandrite

See our: alexandrite jewelry.

Alexandrite is a variety of chrysoberyl. Due to the presence of oxide of chromium, it appears dull grass-green by daylight (which is rich in blue rays), but by electric light it appears yellowish or reddish-yellow, and by soft candle-light (which is rich in red rays) it appears reddish. It is highly dichroic. Its original source was near Ekaterinburg, in the Ural Mountains of Russia.

The stone was discovered there in 1830, the year Alexander II came of age; hence it was named after him. The variety now found in Sri Lanka (formerly Ceylon) changes from dark olive-green to brownish-red; it is larger than that of Russia (which is bluer) but less valuable. The stone is imitated by synthetic spinel and in great quantities by synthetic corundum (both incorrectly marketed as synthetic alexandrite); these are produced so as to show the changing colors.

The alexandrite variety displays a color change (alexandrite effect) dependent upon light, along with strong pleochroism. Alexandrite results from small scale replacement of aluminium by chromium oxide, which is responsible for alexandrite’s characteristic green to red color change. Alexandrite from the Ural Mountains in Russia is green by daylight and red by incandescent light. Other varieties of alexandrite may be yellowish or pink in daylight and a columbine or raspberry red by incandescent light. The optimum or “ideal” color change would be fine emerald green to fine purplish red, but this is exceedingly rare. Because of their rarity and the color change capability, “ideal” alexandrite gems are some of the most expensive in the world.

According to a widely popular but controversial story, alexandrite was discovered by the Finnish mineralogist Nils Gustaf Nordenskiöld, (1792 -1866) on the tsarevitch Alexander’s sixteenth birthday on April 17, 1834 and named alexandrite in honor of the future Tsar Alexander II of Russia. Sometimes, Nils Gustaf Nordenskiöld is confused with his son, Adolf Erik Nordenskjöld (1832–1901), also a famous Finnish geologist, mineralogist and arctic explorer who accompanied his father to the Ural Mountains to study the iron and copper mines at Tagilsk in 1853. However, Adolf Erik Nordenskjöld was only two years old when Alexandrite was discovered and only ten years old when a description of the stone was published under the name of Alexandrite for the first time.

Although it was Nordenskjold who discovered alexandrite, he could not possibly have discovered and named it on Alexander’s birthday. Nordensljold’s initial discovery occurred as a result of an examination of a newly found mineral sample he had received from Perovskii, which he identified as emerald at first. After the discovery of emeralds in the roots of an upturned tree, the first emerald mine had been opened in 1831, not long before Nordensjold had received this particular sample.

Confused with the high hardness however, he decided to continue his examinations. Later that evening, while looking at the specimen under candlelight, he was surprised to see that the color of the stone had changed to raspberry-red instead of green. Later, he confirmed the discovery of a new variety of chrysoberyl, and suggested the name “diaphanite” (from the Greek “di-”, twi- and “aphanès”, inapparent.

The name of the first person to actually find this stone has been lost in the mists of time. However, the first person to bring it to public attention, and ensure that it would be forever associated with the Imperial family was Count Lev Alekseevich Perovskii (1792-1856.)

The finest alexandrites were found in the Ural Mountains, the largest cut stones being in the 30 carat (6 g) range, though many fine examples have been discovered in Sri Lanka (up to 65 cts.), India (Andhra Pradesh), Brazil, Myanmar, and especially Zimbabwe (small stones usually under 1 carat (200 mg) but with intense color change). Overall, stones from any locale over 5 carats (1 g) would be considered extremely rare, especially gems with fine color change. Alexandrite is both hard and tough, making it very well suited to wear in jewelry.

The gem has given rise to the adjective “alexandritic”, meaning any transparent gem or material which shows a noted change in color between natural and incandescent light. Some other gem varieties of which alexandritic specimens have been found include sapphire, garnet, and spinel.

Some gemstones described as lab-grown (synthetic) alexandrite are actually corundum laced with trace elements (e.g., vanadium) or color-change spinel and are not actually chrysoberyl. As a result, they would be more accurately described as simulated alexandrite rather than synthetic but are often called Czochralski Alexandrite after the process that grows the crystals.

Synthetic alexandrite is used as an active laser medium. Alexandrite laser crystals tend to be round, with a pale brown tint.

Art Deco Jewelry

See our: Art Deco jewelry.

Platinum Art Deco Brooch Old Mine Diamonds 11 Carats

The Art Deco style is a very famous and popular art movement that had a lot influence in the world of jewelry. Art Deco was introduced in the 1920s as protest against the Art Nouveau style. Art Deco ended in the 1930s. The style emphasized a very abstract design with geometric patterns and as most favorite colors: black (onyx), blue (sapphire), green (emerald), white (diamond) and red (coral). The baguette and emerald-cuts, which had been developed in the nineteenth century, where very popular in the 1920s because they blended so much with the geometrical lines of the Art Deco style.

Most of the Art Deco jewelry has a very luxury design. This is because of the large amount of money that was made in the war of 1914. All this money gave the opportunity to buy the best fashionable materials like: diamonds, platinum, red gold and yellow gold for the design of the jewels. Of course there are a lot of beautiful but less priced jewels in the Art Deco movement. Years later in the 1960s and 1970s Art Deco came back as a very popular decorative art. Even nowadays you can see that Art Deco style has great influence on our designing in all kind of branches.

History of Art Deco

After the Universal Exposition of 1900, various French artists formed a formal collective known as, La Société des artistes décorateurs (the society of the decorator artists). Founders included Hector Guimard, Eugène Grasset, Raoul Lachenal, Paul Follot, Maurice Dufrene, and Emile Decour. These artists heavily influenced the principles of Art Deco as a whole. This society’s purpose was to demonstrate French decorative art’s leading position and evolution internationally. They organized the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exposition of Modern Industrial and Decorative Art), which would feature French art and business interests. Russian artist Vadim Meller was awarded a gold medal for his scenic design there.

The initial movement was called Style Moderne. The term Art Deco was derived from the Exposition of 1925, though it was not until the late 1960s that this term was coined by art historian Bevis Hillier, and popularized by his 1968 book Art Deco of the 20s and 30s. In the summer of 1969, Hillier conceived organizing an exhibition called Art Deco at the Minneapolis Institute of Arts, which took place from July to September 1971. After this event, interest in Art Deco peaked with the publication of Hillier’s 1971 book The World of Art Deco, a record of the exhibition.

We are most proud of our beautiful collection, which contains a large number of Art Deco jewelry in various price ranges, all of them in a very good condition. Adin invites you to take a trip in the 1920’s Art Deco movement.

French Signed Jewelry

Bunny Brooch Emerald Ruby signed Cartier London

A leading French jewelry firm, founded in 1847 by Louis-Francois Cartier (1819-1904).

Its headquarters are in Paris, with branches in several major centres. The founder was joined in 1872 by his son Alfred (1836-1925), and the latter, with his eldest son, Louis (1875-1942), moved the Paris business in 1898 to its present address, 13 Rue de la Paix.

In 1902 Alfred’s second son, Pierre (1878-1964), opened a branch in London and in 1903 in New York City. In 1909 the London branch was taken over by-the youngest brother Jacques (1885-1942), by which time it had moved to its present address at 175 New Bond St.

A group headed by Robert Hocq (1917-79)acquired from the Cartier family the branches in Paris (1972), London (1974), and New York (1976). Hocq was Managing Director until his death when he was succeeded by his daughter, Nathalie (b. 1951),who since 1974 had headed the high-fashion jewelry department and promoted the boutique collection of jewelry known as Les Musts’.

Originally the firm made jewelry of enameled gold set with gemstones, which attracted a prestigious clientele, including French royalty and the future Edward VII;in recent years it has greatly expanded into new types and styles of jewelry, and is extending its world-wide operations.

Victorian jewelry

Originally the term “Victorian jewelry” was designated for articles of jewelry made in the United Kingdom during the reign of Queen Victoria, but not all of the many varieties produced during her long reign, 1837-1901, are now generally classified as Victorian jewelry. These days in the international antique jewelry trade the pieces now called Victorian jewelry are not necessarily made in the United Kingdom. The term “Victorian Jewelry” became a term used for European jewelry made in the 19th century rather then the description of a certain style-movement in a specific country.

The Victorian era began in 1837 when a young Victoria ascended the throne of England. It ended over sixty years later when Queen Victoria died in 1901. During the early years of Victoria’s reign, some jewelry was made in Gothic and Renaissance styles. The jewels of the period were often accented with seed pearls and coral. The middle period saw the vogue for ostentatious jewels decorated with the greatly increased supply of pearls and South African diamonds.

After the death of Prince Albert, 1861, mourning jewelry came greatly in fashion. Jewelry became darker with more somber tones. Dark onyx and deep red garnets set in gold jewels with black enamel tracery are a typical example of this period.

The 19th century saw a revival of interest in archaeological and historical jewelry, influenced by the excavations at Pompeii and the high-quality reproductions made by the Castellanis, Carlo Guiliano, and Gicinto Melillo, and the work of John Brogden. Much Jewelry was brought back by travellers as souvenirs, especially from India and Japan from c. 1850, and this was imitated in England during the 1860s to the 1880s.

Gradually large pieces of jewelry were supplanted in the 1880-90s by smaller articles, and the production of inexpensive silver jewelry and novelty costume jewelry flourished.

Yes, it’s a Tiara !

tiara-with-rose-cut-diamonds-and-feathers

Some time ago when walking through the Victoria & Albert Museum in London a little show case grabbed my attention. In it were objects from older times (not uncommon in a museum) and an invitation to the visitors to guess what the use was of those objects. Special pliers used to widen the interior of the fingers of gloves, silver handles with a metal hook at the end that were used to pull on boots or to close a corset. It made me realize that mankind invented so many decorative “useful” things, and abandoned them as easily with the change of fashion season.

Will the tiara pictured above be the next thing of beauty in this line of superfluousity? We think not. Designed and skilfully made by our ancestors who thought that a tiara was inextricably bound up with the “robe de soirée” (French for “evening gown”). The tiara is an unexpected, surprising and yet very wearable piece of jewelry. While occasions to wear one are few and far between, the tiara is still considered the figurative and literal crown to the robe de soirée, making the bearer the princess of the night.

Star Blue Sapphire Bracelet Rose Cut Diamonds – Signed Gariod

Absolute Top Notch Bracelet with Star Blue Sapphire and Diamonds - Signed Gariod

What a bracelet! The star sapphire in its center is something we hardly ever see, we couldn’t stop playing with it in the sunlight. This is how one wants to have a Victorian bracelet with a star sapphire and rose cut diamonds to look like. The overall impression of this beauty is impressive, we are not even sure its splendour is caught well on the pictures.

Let’s start looking at the master mark in this piece. We see an “L” and a “G” which was the “poiçon de maître” (French for “master mark”) for Léon Gariod. This company was established by Gaucher and Tonnelier in 1859. Gaucher became the sole owner in 1869 and started a partnership with Gariod in 1875 who took over the company in 1884. The company with its address in Rue St. Augustin 29 in Paris became specialized in articulated bracelets and mat gold chains with precious stones.

What’s interesting about this company is that they worked very closely together with L.Gautrait, an illuster jeweller of the Art Nouveau period of who not much, if any, biographical information is known. According to Vever (who wrote the “bible” for antique jewelers around 1900), Gautrait was a “ciseleur-modeleur” and fidèle collaborateur” of the Parisian jewellers Léon Gariod. Vever characterised his collegue as an “excellent perfectionistic jeweller with a delicate taste”.
Vever continues: “These simple yet decorative jewels were meticulously made and extremely popular. With his attractive brooches and his pendants of contemporary or traditional inspiration, Gariod’s work has attracted a great deal of attention. With his faithful collaborator M.(…M and not L ! – Adin) designs and chases these creations, characterized by their great refinement.

Victorian Filigree Necklace Yellow Gold Fontenay

Victorian Filigree Necklace 18K Yellow Gold Fontenay

(click on the picture to see the details)

If you are searching for an unique Victorian necklace, this jewel could be a wonderful gift idea for wedding, anniversary, ladies night, cocktail party, valentine’s day gift or just nice addition to your jewels box.
In our everlasting quest to find fresh antique Victorian jewels we stumbled upon a real treasure.

This jewel features a filigree decoration, which is in fact thin golden wire twisted into refined motifs, in this case elegant little balls. You can also notice the use of granulation on this piece. Granulation is a technique where the goldsmith uses very small balls (granules) of metal, which are not soldered to the piece but welded. Both techniques demand very high skills and precision from the maker.

Made in France in 1870, this Victorian gold archaeological-revival necklace in 18K yellow gold is attributed to Fontenay. The French control mark for 18K gold representing an eagle’s head (that was in use in France from about 1838) and remains of other marks.

The continuous uniform fringe decorated with beads, wirework and florettes of this necklace is typical for the work of Eugène Fontenay. A demi-parure of very similar design is illustrated in French Jewelry of the Nineteenth Century, Henri Vever, translated by Katherine Purcell, p. 643. and a similar necklace plus matching earrings were sold at Sotheby’s for $ 52,000 (Important Jewels auction, New York, February 2008 sale N08410, lot 110).

Eugène Fontenay (1823-87) was one of the foremost goldsmiths in France during the second half of the nineteenth century. He was a great admirer of the ancient techniques of granulation and filigree, and became best known for his outstanding work in the ‘archaeological’ style. Fontenay was no doubt inspired by the Campana collection of ancient jewellery, acquired by Napoleon III in 1860, and his firm produced much work in the antique style based on Greek, Roman and Etruscan examples.

Eugène Fontenay, son of goldsmith Prosper Fontenay, founded his own workshop on the rue Favart, Paris, in 1847. By the 1850s he had achieved considerable success, culminating in the execution of a tiara for the Empress Eugènie in 1858. However, it is his work of the 1860s for which he is most renowned. Called the “archeological style,” Fontenay’s pieces were influenced by ancient Greek, Roman, and Etruscan examples, and were certainly inspired by the 1860 arrival in Paris of the Campana Collection, ancient jewelry purchased by Napoleon III. In addition to exquisite goldwork, Fontenay collaborated with the enamelist Eugène Richet on a series of jewelry containing enameled plaques which employed antique themes and an antique style. He received a gold medal at the 1867 Paris World Exhibition for his work in this style, and counted among his many prominent clients the Viceroy of Egypt, the Shah of Persia and the King of Siam.

Fontenay was a founding member of the Chambre Syndicale de la Bijouterie-Joaillerie-Orfèvrerie in Paris and was awarded the cross of the Légion d’Honneur as a member of the jury at the Vienna exhibition in 1873 as a result of his masterly Report on the goldsmiths’ and silversmiths’ work. In 1882, Fontenay retired and devoted his time to publishing numerous articles on jewelry, as well as working on his masterpiece, Les Bijoux Anciens et Modernes, published posthumously in 1887.

Henri Vever in his extensive work French Jewelry of the 19th Century, described Fontenay as a “man of distinction and rare intelligence, of great discernment and impeccable taste. A true artist and a distinguished writer, he handled a pen as skilfully as a paint brush.” See also the Vever, p. 642.

This authentic Victorian jewel is in very good condition, the length necklace is 14.37 inches (36.50 cm) and weight 84.50 gram.