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拍品专文
Antique jewels in their original form have become increasingly rare, with pieces made in the 18th and 19th centuries virtually extinct from the auction block. Throughout the centuries, these jewels have been reworked, restructured and reassembled to maintain relevance with changing fashions and trends, and it is uncommon for antique pieces with such prominent materials to remain intact.
Jewels as Art features 9 lots that span from circa 1770 to 1910. The earliest examples include old-cut diamonds with small tables and large culets, backed in silver, not to tarnish the skin or delicate fabrics worn by their original owners. As the collection moves toward the early 20th century, the jewels reflect the evolution of diamond cutting and jewelry design, displaying lighter mountings that begin to include silver topped with gold and later, settings made entirely of platinum.
This capsule of lots (Lots 43 to 51) reveals these changes ever so poignantly with some of the best examples of jewels that have survived throughout the ages. The antique rivière necklace circa 1850 (Lot 48) is a beautiful relic. The rose-cut diamonds define the period, and the silver and gold mounting is emblematic of the time. When compared to the proceeding diamond necklace, circa 1910 (Lot 49), there is a distinct shift in the cut and shape of the diamonds, due to newly developed technology, and the presence of metal is more subtle with platinum used more delicately. The turn of the century and the shift of design is clearly marked, like chapters in a jewelry history book.
Notably, the Assyrian revival bracelet (Lot 50), is also highly unique and a rare survivor. Much like Egyptian revival was inspired by new findings in the early 1900s, Sir Austen Henry Layard’s 1848 publication, Nineveh and its Remains, may have been a catalyst for new interest in motifs inspired by ancient Assyria. This movement was embraced by architecture, jewelry and art and may have been a precursor for archaeological jewels in the later part of the 19th century.
Jewels as Art features 9 lots that span from circa 1770 to 1910. The earliest examples include old-cut diamonds with small tables and large culets, backed in silver, not to tarnish the skin or delicate fabrics worn by their original owners. As the collection moves toward the early 20th century, the jewels reflect the evolution of diamond cutting and jewelry design, displaying lighter mountings that begin to include silver topped with gold and later, settings made entirely of platinum.
This capsule of lots (Lots 43 to 51) reveals these changes ever so poignantly with some of the best examples of jewels that have survived throughout the ages. The antique rivière necklace circa 1850 (Lot 48) is a beautiful relic. The rose-cut diamonds define the period, and the silver and gold mounting is emblematic of the time. When compared to the proceeding diamond necklace, circa 1910 (Lot 49), there is a distinct shift in the cut and shape of the diamonds, due to newly developed technology, and the presence of metal is more subtle with platinum used more delicately. The turn of the century and the shift of design is clearly marked, like chapters in a jewelry history book.
Notably, the Assyrian revival bracelet (Lot 50), is also highly unique and a rare survivor. Much like Egyptian revival was inspired by new findings in the early 1900s, Sir Austen Henry Layard’s 1848 publication, Nineveh and its Remains, may have been a catalyst for new interest in motifs inspired by ancient Assyria. This movement was embraced by architecture, jewelry and art and may have been a precursor for archaeological jewels in the later part of the 19th century.