
Victorian - 1837 to 1901
The Victorian age describes the long period of 63 years of Queen Victoria’s government. During this epoch the British Empire experienced an exorbitant propagation and became one of the four biggest powers of the world. In all corners of the earth the British civilization was pushed and till then unknown industrial and technical innovations changed the everyday life of the people and increased their quality of life. The evident and sound documents about the steep rise of the Empire and the stubborn tradition of supposed oppression, old-fashioned thinking and actions as well as prudishness of the people seem to be unfortunately questionable, but seem to have been reality.
It was the death of the Prince Albert in 1861, which casted a long shadow on the glory of that era. All of a sudden mourning jewellery was widespread. Works from the black material jet were omnipresent as if from nowhere. Whitbyjet claimed the highest quality level itself. Exceptionally and luxuriously carved by hand, faceted and polished, jet jewellery was worn as chains, bracelets and earrings. Motives like flora and fauna came into decorative implementation, as it was typical for Victorian jewellery. Precisely worked out nuances and complicated hand engravings testify to the highest technical skill of the jewellers of that epoch. We make a distinction of 3 style epochs within the Victorian age, which allows understanding the living conditions perfectly.
Early Victorian (1837-1860)
Queen Victoria ascended the throne in the height of the romantic movement. The interest in the Middle Ages and the court life of the knights found its climax in the stories of Sir Walter Scotts (e. g.” Ivanhoe‘) and Victor Hugo’s ‚The Hunchback of Notre Dame‘. In 1834 the so-called Tudor Gothic was chosen as a style inspiration of the new Houses of Parliament. What took place in literature and architecture also had its inspiration in the jewellery creation. The goldsmiths took their motives from the Renaissance, the Middle Ages and nature. They adapted these subjects without copying them precisely. A mood should be created, not a copy. Besides architectural influences nature was also a big subject supplier. Sheets, blossoms and branches are often to be found in the jewellery design. The natural motive, however, which is to be found most often in the Early-Victorian epoch, is the snake. As a symbol of wisdom and infinity it was used in a more positive way those days than it is today. Some materials define this epoch most appropriately. The hair ornament counts to it: the finest threads, twisted and bobbin lace from hair, presents as love and friendship proofs. In addition, glass seedbeads, which were sewed onto the mother-of-pearl and which produced extremely astonishing ornaments. And last but not least jet, that noble fossil material which celebrated its premiere in 1851 at the London world exhibition and wrote jewellery history afterwards. To date, antique jet jewellery works because of its strong and confident statement as a companion to the contemporary fashion. All in all, the jewellery of this epoch reflects the early Victorian society: enthusiastic, optimistic and curious.
Mid Victorian (1860-1885)
If we think in general of the Victorian pieces of jewellery, then these are those extensive, imposing and confident pieces of the mid period. It was not only the growing wealth of the population, which is reflects this style, but also the position of the women who penetrated bit by bit into male domains. For example, it was revolutionary that they were allowed keep their own earned money to themselves! Since 1870 they did not have to deliver their wage any more to the husband. In the pieces of this time motives of antique finds are found which were brought to light in Niniveh, Troy and Etruscan areas of Italy. High-carat examples from the workshops of Giuliano, Castellani Froment-Meurice, Phillips and Brogden emerged there. Pieces of jewellery in the classical style had a rich trimming of big coloured stones and gold showed the typical surface of a peach skin. This was done by a procedure which bestowed a matted, almost velvety structure to the gold. In the middle of the 1870s the taste changed and the trend went to colourless stones, primarily, diamonds. This was probably because of the huge diamond finds in South Africa. These mines which spitted out only large amounts of the popular stones since1867 made them simply inexpensive and accessible for bigger social classes. Also the technical development removed the supremacy of coloured jewellery for a while. In the new and quickly spreading electric light diamonds sparkled unusually strong and inspiring.
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It was the death of the Prince Albert in 1861, which casted a long shadow on the glory of that era. All of a sudden mourning jewellery was widespread. Works from the black material jet were omnipresent as if from nowhere. Whitbyjet claimed the highest quality level itself. Exceptionally and luxuriously carved by hand, faceted and polished, jet jewellery was worn as chains, bracelets and earrings. Motives like flora and fauna came into decorative implementation, as it was typical for Victorian jewellery. Precisely worked out nuances and complicated hand engravings testify to the highest technical skill of the jewellers of that epoch. We make a distinction of 3 style epochs within the Victorian age, which allows understanding the living conditions perfectly.
Early Victorian (1837-1860)
Romantic period
Queen Victoria ascended the throne in the height of the romantic movement. The interest in the Middle Ages and the court life of the knights found its climax in the stories of Sir Walter Scotts (e. g.” Ivanhoe‘) and Victor Hugo’s ‚The Hunchback of Notre Dame‘. In 1834 the so-called Tudor Gothic was chosen as a style inspiration of the new Houses of Parliament. What took place in literature and architecture also had its inspiration in the jewellery creation. The goldsmiths took their motives from the Renaissance, the Middle Ages and nature. They adapted these subjects without copying them precisely. A mood should be created, not a copy. Besides architectural influences nature was also a big subject supplier. Sheets, blossoms and branches are often to be found in the jewellery design. The natural motive, however, which is to be found most often in the Early-Victorian epoch, is the snake. As a symbol of wisdom and infinity it was used in a more positive way those days than it is today. Some materials define this epoch most appropriately. The hair ornament counts to it: the finest threads, twisted and bobbin lace from hair, presents as love and friendship proofs. In addition, glass seedbeads, which were sewed onto the mother-of-pearl and which produced extremely astonishing ornaments. And last but not least jet, that noble fossil material which celebrated its premiere in 1851 at the London world exhibition and wrote jewellery history afterwards. To date, antique jet jewellery works because of its strong and confident statement as a companion to the contemporary fashion. All in all, the jewellery of this epoch reflects the early Victorian society: enthusiastic, optimistic and curious.
Mid Victorian (1860-1885)
The Grand period
If we think in general of the Victorian pieces of jewellery, then these are those extensive, imposing and confident pieces of the mid period. It was not only the growing wealth of the population, which is reflects this style, but also the position of the women who penetrated bit by bit into male domains. For example, it was revolutionary that they were allowed keep their own earned money to themselves! Since 1870 they did not have to deliver their wage any more to the husband. In the pieces of this time motives of antique finds are found which were brought to light in Niniveh, Troy and Etruscan areas of Italy. High-carat examples from the workshops of Giuliano, Castellani Froment-Meurice, Phillips and Brogden emerged there. Pieces of jewellery in the classical style had a rich trimming of big coloured stones and gold showed the typical surface of a peach skin. This was done by a procedure which bestowed a matted, almost velvety structure to the gold. In the middle of the 1870s the taste changed and the trend went to colourless stones, primarily, diamonds. This was probably because of the huge diamond finds in South Africa. These mines which spitted out only large amounts of the popular stones since1867 made them simply inexpensive and accessible for bigger social classes. Also the technical development removed the supremacy of coloured jewellery for a while. In the new and quickly spreading electric light diamonds sparkled unusually strong and inspiring.
Late Victorian (1885-1901) Aesthetic Period
The late Victorians looked with disgust at the complacency of their parents and their taste. They aimed at a complete break with the tradition and in their zeal to lever out every convention, they became romantic in a new way. The Art Worker’s Guild which brought manual artistic creativity close to the public with their exhibition ‚Arts and Crafts Exhibition‘ in 1886 arose from the pre-Raffael painter’s movement. They propagated easier materials and simpler forms. A revolution of the popular taste. The jewellery taste became simpler as well. Less jewellery was worn in general. To wear diamonds during the day was finally the top of bad taste. Anyway little jewellery was worn between 1887 and 1890, so that the „Jewellers Association‘ appealed desperately to Alexandra, the princess of Wales. She was so kind to buy some pieces of the guild and wore them at public appearances. Thereafter the jewellery trade gained motion again. Watches hung on long chains as well as small earrings near the ear were worn. At evening events, like a ball or an opera visit, diamonds in filigree settings were worn as a necklace. Popular was also hair ornament, like combs or delicate Tiaras, mainly set with diamonds and pearls. Almost not a single colour stone was to be seen! In general the colours of the clothes became brighter, softer and more pastel. The jewellery design evolved accordingly. The stone, which characterizes this epoch besides the diamond most appropriately is the opal. Furthermore the society favoured moonstones and natural pearls. Small insects like flies, butterflies or dragonflies were worn as brooches. Also diamond-studded owls, frogs, salamanders and other creatures were typical representatives of this epoch. The appearance of the jewellery in the late Victorian can be hardly called Victorian. It melted with the aesthetics of the French Art nouveau and the German Art nouveau. This presents the beginning of a new international taste and the beginning of the Edwardian era. However, one thing stayed the same: the wish to own the ultimately best what could be achieved with money. An attitude, as it prevailed since the world exhibition in 1851. So the break with traditions was not so drastic as it appeared.Click to fold
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Ca. 1900 – Late Victorian Brooch made of 15 ct. Gold “two Owls”, with green Garnets as Eyes
€ 790,00
incl. VAT - differential tax applies collectors items and antiques in accordance with German law §25a UStGplus shipping -
Ca. 1880 – Dutch 18 ct. Gold Earrings, with closed setted Garnets / Almandines
€ 1.690,00
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Dated 1850 – Men’s ring from France made of 18 Carat Yellow-gold, “Belt”
€ 1.590,00
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Ca. 1880 – Sterling Silver & Agate Jewellery Set “Pebbles” Victorian Scotland
€ 690,00
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Dated 1893 – Late Victorian Opal ring with 10 Diamonds, Birmingham
€ 1.190,00
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Ca. 1880 – Gold Pendant with Gold chain, Mosaic of Pietra Dura
€ 1.190,00
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Ca. 1860 – Sterling Silver / Agates Bracelet “Pebbles-jewellery” from Scotland
€ 790,00
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Dated 1899 – Hand-engraved Late Victorian Rose-gold ring
€ 690,00
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Dated 1870 – 22 Carat Gold Wedding band from Birmingham, England
€ 690,00
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Dated 1890 – Victorian English Wedding band made of 22 ct. Yellow-gold
€ 590,00
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Dated 1876 – 15 Carat Goldring with three Diamonds in Gypsy-Setting
€ 890,00
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Dated 1869 – Hand-engraved Goldring / Wedding band from Birmingham
€ 590,00
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Dated 1899 – 9 ct. Gold Tiepin “Fox head” with 2 Rubies as eyes, Victorian England Birmingham
€ 490,00
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Ca. 1900 – Late Victorian English Opalring made of 18 Carat Yellow-gold
€ 1.490,00
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Ca. 1870 – Etruscan Revival Goldbangle from France “Ram head”
€ 3.700,00
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Ca. 1890 – 18 Carat Gold Brooch with Enamel & Diamonds, from France
€ 1.590,00
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Ca. 1890 – Late Victorian Citrines Necklace with 27 Citrines, made of 9 ct. Gold
€ 2.900,00
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Ca. 1900 – Late Victorian English Sapphire Earrings with 10 Diamonds each side
€ 3.500,00
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Dated 1893 – Victorian English Wedding band made of hand-engraved Rosé-gold
€ 690,00
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Ca. 1870 – Whitby-Jet Earrings from Victorian England
€ 690,00
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Ca. 1900 – Late Victorian English Opal ring with 17 Diamonds, 18 Carat Yellow-gold
€ 2.900,00
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Ca. 1900 – French Sterling Silver Bracelet with Gold applications
€ 490,00
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Ca. 1860 – Victorian English Gold Earrings with Granulations, Enamel & Pearl
€ 1.190,00
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Ca. 1870 – French 18 Carat Gold Pendant with Turquoises & Natural pearls
€ 2.900,00
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Ca. 1850 – Wegwood-Ceramics Pendant with 15 ct. Gold frame & Pearls
€ 1.990,00
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Ca. 1880 – Pietra Dura Brooch with 9 ct. Gold frame, Florence / England
€ 290,00
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Ca. 1900 – Victorian English Bracelet made of 18 Carat Gold, Emeralds & Diamonds
€ 2.900,00
incl. VAT - differential tax applies collectors items and antiques in accordance with German law §25a UStGplus shipping -
Ca. 1890 – Victorian English Engagement ring / Rubies ring with Diamond, 18 ct. Gold
€ 3.200,00
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Ca. 1870 – Victorian English Gold ring with Almandines, Emerald & Diamonds
€ 890,00
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Ca. 1870 – Victorian English Earrings “Amphoras” with Gold and Silber Inlays
€ 1.990,00
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Dated 1895 – Late Victorian English Wedding band / Men’s ring made of 9 ct. Roségold
€ 690,00
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Ca. 1900 – French Diamonds-Cluster Earrings with nine Diamonds each side
€ 2.900,00
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Ca. 1880 – “Lovers Knot” Ring / Mans ring made of 18 Carat Gold, Victorian
€ 790,00
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Dated 1897 – Victorian English Opal-ring with four Diamonds, crafted in Birmingham
€ 990,00
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Ca. 1860 – Etruscan Revival Brooch made of 15 Carat Gold, with Malachite
€ 3.900,00
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Dated 1892 – Victorian English Wedding band made of 9 Carat Gold, Birmingham
€ 390,00
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Ca. 1900 – Late Victorian Cluster ring with 11 Diamonds, Engagement ring
€ 2.900,00
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Dated 1870 – 15 ct. Gold ring with Almandine, Rock crystals & Emeralds
€ 1.190,00
incl. VAT - differential tax applies collectors items and antiques in accordance with German law §25a UStGplus shipping -
Dated 1893 – 9 Carat Gold ring / Wedding band with Braided motif
€ 590,00
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Ca. 1850 – 15 ct. Gold Bracelet with Locket, from Victorian English
€ 2.500,00
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Ca. 1860 – Shell-cameo Brooch with 15 ct. Gold frame “Venus and Cupid”
€ 2.500,00
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Ca. 1840 – Early Victorian English Gold ring with four Almandines & five Pearls
€ 990,00
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Ca. 1870 – Micro mosaic-Earrings with Gold frames, Motifs of antique Roman buildings
€ 1.590,00
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Ca. 1870 – Etruscan Revival Earrings with Granulations work, crafted in Victorian England
€ 890,00
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Ca. 1865 – Jewellery set of Pendant/Brooch and “Night+Day” Earrings, French
€ 5.900,00
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Ca. 1870 – Etruscan Revival Bangle made of 15 ct. Gold with one Diamond, Victorian England
€ 1.990,00
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Ca. 1850 – Cut Steel Earrings with Vauxhall-Glass, from Victorian England
€ 990,00
incl. VAT - differential tax applies collectors items and antiques in accordance with German law §25a UStGplus shipping -
Ca. 1870 – Victorian English Gold-Earrings made of 15 Carat Yellow-gold
€ 1.190,00
incl. VAT - differential tax applies collectors items and antiques in accordance with German law §25a UStGplus shipping -
Ca. 1890 – Victorian English Eearrings made of 15 ct. Gold & Silver, with Old-cut Diamonds
€ 1.990,00
incl. VAT - differential tax applies collectors items and antiques in accordance with German law §25a UStGplus shipping -
Ca. 1900 – Late Victorian Engagement ring with Diamond & Emeralds, made of 18 Carat Yellow-gold
€ 3.200,00
incl. VAT - differential tax applies collectors items and antiques in accordance with German law §25a UStGplus shipping -
Ca. 1880 – Sterling Silver Bracelet with a Belt-Motif, Victorian England
€ 590,00
incl. VAT - differential tax applies collectors items and antiques in accordance with German law §25a UStGplus shipping