Necklace

Jewellery provided one of the great expressions of the Art Nouveau style. Here ATG reports on four exceptional items made in four different countries in the early years of the 20th century

Archaeological discoveries were a continuous source of inspiration for jewellery in the 19th century. Ancient goldsmithing techniques were studied and relearned. Jewels found during excavations of Roman, Egyptian, Hellenistic and particularly Etruscan sites were copied or reinterpreted.

Among the many successful online-only jewellery auctions that took place during the lockdown was that held by Bromley-based saleroom Catherine Southon (18% buyer’s premium), writes John Benjamin.

Topaz in its natural state is a golden brown to yellow, a characteristic which means it is sometimes confused with the less valuable gemstone citrine.

This Arts & Crafts-style necklace, alternating moonstone and chalcedony cabochons set in scrolling silver mounts, is the unmistakable work of the London jeweller Sybil Dunlop (1889-1968).

A sale at Gildings in Market Harborough this month included 10 lots from the family of Albert and Nora McGill – influential industrialists credited with a key role in the founding of Russia’s cotton mill industry in the mid-19th century.

A late Victorian diamond cluster necklet with an estimated total weight of 14.4cts sold in its original fitted case for £10,500 at Richard Winterton (20% buyer’s premium), Lichfield.

Among the best known of Castellani’s essays in the archaeological revival style is this ‘Etruscan’ gold and glass grapevine pattern necklace.

A collection of diamond jewellery attracted international competition at Greenslade Taylor Hunt’s (19.5% buyer’s premium) June sale in Taunton. The cache of pre-war jewels was consigned following a house call by gemmologist and valuer Richard Slater. “It was a wonderful selection of jewellery. The owner had great taste,” he said.

A Victorian hardstone and gold necklace and similar brooch sold for an unexpected £7500 (estimate £600-800) at Lawrences (25% buyer’s premium) of Crewkerne on April 11.

The rivière – one of the most popular and enduring styles of necklace to come out of the Georgian period – features an endless line of matched or subtly graduated gems set within inconspicuous collets.

A c.1900 gold and enamel Archibald Knox (1864-1933) necklace is among the items lent by Anthony Bernbaum of The Peartree Collection for an exhibition at the Manx Museum.

Far more fluent in the language of jewellery and stones, the Georgians and Victorians would have immediately made the link between snakes and eternal love. The ouroboros – a serpent swallowing its own tail – was commonly understood as a symbol of eternity.

This red coral necklace had formed part of The International Fisheries Exhibition staged at the Royal Horticultural Society grounds in South Kensington in 1883.

This Egyptian revival gold, enamel and gem-set collar necklace below established a new record for the jewellery of Marie Zimmermann (1879-1972) at Rago in Lambertville, New Jersey (25% buyer’s premium) on June 10.

René Lalique’s jewellery showing his characteristic but highly distinctive interpretation of Art Nouveau finds plenty of keen fans.

This late 19th century necklace offered by Peter Wilson's latest sale in Nantwich is a spectacular example of Grand Tour jewellery. Most Georgian or Victorian gentlemen keen to display an appreciation of classical art were satisfied to purchase just one or two hardstone intaglios as a souvenir.