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Issue 17 Spring 2013

ISSN 2042-8529

Jewellery History Today Spring 2013

2 Chairmans letter
3 An 18th-century jewellery

5 The late-medieval precious

goods trade

8 Crowning Glory
9 Imperial Ottoman Jewellery
10 Jewels from Imperial
St Petersburg

11 Recent and forthcoming


13 News and Events

18 SJH Lecture Programme
19 Listings
Jewellery History Today
The Magazine of The Society
of Jewellery Historians
Issue 17 Spring 2013
Managing Editor:
Copy Editor:
Ad. Manager:

Muriel Wilson
Jane Perry
Natasha Awais-Dean
Sophia Tobin
Deborah Roberts
Deborah Roberts
Doug Barned

We look forward to receiving your contributions

and suggestions. Please contact Jewellery
History Today. Copydate for Issue 18, Autumn
2013, is 15 July 2013.

Published by
The Society of Jewellery Historians
Scientific Research, The British
Museum, London WC1B 3DG
ISSN 2042-8529
The Society of Jewellery Historians is a Registered
Charity: No. 282160, and a company limited by
guarantee, No. 7032947, registered in England.
Cover: Ottoman lady, 1545-1659. Dader Banu.
Levni, album, TSM H 2164 (detail). See p.9.
Printed in the UK by Spectrum Printing Services,

The opinions expressed in Jewellery History Today

are those of the contributors and are not necessarily
those of the Editors or The Society of Jewellery
Historians. No part of Jewellery History Today may
be reproduced without permission. 2013.

Jewellery History Today Spring 2013

Chairmans letter
Some while ago your committee was advised that it would be sensible if the Society
became incorporated. This would make the Society a legal entity and would provide
protection for both the trustees and other members. The financial liability of members
would be limited to 1. Accordingly a Company Limited by Guarantee was set up with
the name of the Society, and relevant extraordinary general meetings were held, at
which the members agreed that the Company should apply for registration as a charity,
and that the membership and activities should be transferred to the new charity. The
committee was increasingly aware that a subscription increase would soon be required,
and postponed registering the new charity until that was agreed, so as to ease the
paperwork involved in changing members standing orders. At the recent AGM in
February members agreed to the proposed subscription rise. The Company now has
Charity Registration, and new standing order forms are enclosed with this issue of JHT.
Members are encouraged to set up revised or new standing orders promptly, as this
is hugely beneficial to the Societys administration. Subscriptions paid this way do,
of course, attract the prompt payment discount. Members who are eligible are also
strongly urged to Gift Aid their payments.
In line with the Societys policy of greater co-operation with similar societies, also
enclosed is a letter from the President of the Society for Court Studies together with
a membership form. This excellent society, of which your chairman has long been an
enthusiastic member, deals with a wide range of subjects pertaining to royal courts,
including regalia. Many of its events are held in relevant historic buildings, giving
attendees privileged access to those places. More details may be found on the societys
web-site: There is also a link on our own website.
Nigel Israel

Once again the editorial group has worked hard to bring you another stimulating issue of
JHT. Natasha Awais-Dean, our new Features Editor, offers subjects relating to the trading
of jewellery and its constituents: David Humphrey writes about sources of supply and the
transport of precious materials in the late medieval period, and Lynne Bartlett, the Societys
Hon. Treasurer, expands on the paper on the Webb familys trading history in the 18th Century
that she delivered for the SJH Diamond Day symposium at Goldsmiths Hall last June.
As you will see in our Recent Publications section, there are floods of high quality books
appearing on all aspects of jewellery history. A book on European Traditional Jewellery, by
our indispensable Copy Editor Jane Perry, will be published in June, and will be available
to members at a 20% discount (see back cover). We hope to publish a review after the
book appears. In the meantime she describes a Turkish book on Ottoman jewellery for
Reviews Editor Sophia Tobin. We also have a new survey of the history of the Faberg
oeuvre and its clients, as well as a study of some of the jewels. It is always heartening to
visit an exhibition of historical jewellery and metalwork, and Sarah Nichols has reviewed
Crowning Glory at Fairfax House in York for us.
We were greatly saddened by the deaths of Gertrud Seidmann and Peter Hinks, both
revered as outstanding in their fields, and their colleagues have provided fitting obituaries.
Each of the editorial group valiantly fits the work into a busy and demanding life, and
although it is divided between us there is always room for volunteers of all kinds. Everyone
hates chasing advertising for a periodical, but the revenue helps to offset production costs,
besides its value to advertisers, and a persuasive individual could do wonders. We run two
book reviews in each issue, covering often highly specialised new publications. If you feel
that your own interests are under-represented, why not volunteer a book review yourself?
We welcome offers from members who feel that their own expertise or special interests
would fit a recently published title, and you usually get to keep the book! Similarly there
is a continuing need for reviewers of exhibitions of historical jewellery, and updates on
museum collections, particularly those that have been recently renovated, or are outside
the UK. So watch out for opportunities and please step forward.

The highs and lows of an 18thcentury London jewellery business

By Lynne Bartlett
The story of the Webbs as jewellers in London during the 18th century gives insight into the
structure and practices of the jewellery trade in the period.
Peter and Marmaduke Arthur Webb, father and son, supplied mostly
diamond-set jewellery to the minor aristocracy. The major part of
their day-to-day trade was in setting and re-setting their customers
diamonds and pearls in the latest fashions and supplying extra stones
as required (fig 1).
Information about the Webbs is taken from the Chancery Masters
Exhibits, Public Record Office documents held at the National
Archives, London. A series of day books, ledgers, and journals covers
the period from 1735 to 1792. The journals are perhaps the most
informative books in this collection, since they record in date order
the items sold, to whom they were sold, the constituent parts and
their costs, and the selling price. The ledgers show how the goods
were paid for.

metal), chasers, enamellers, and necklace stringers. The closeness of

the business relationships between jewellers is illustrated by the fact
that both Peter and Marmaduke Arthur had fellow jewellers as their
executors. Peter Webbs executors were John Saffory and Edward
Holmes. Two Edward Holmes, father and son of the same name,
supplied the Webbs with both brilliant and rose-cut diamonds and
pearls. They also undertook some seal cutting and general jewellery
work for them. Holmes senior was Peter Webbs executor and a trade
card with a dated bill for 1768 shows that he was trading at the Pearl
in Foster Lane (fig 2).
The Throgmorton Street premises were put off in September 1771
as part of a retrenchment of expenses after Peter Webb suffered a
doleful paralytic infirmity, possibly a stroke, and then retired to the
country at Hammersmith. Thereafter, Marmaduke Arthur struggled
to set his fathers financial and business affairs in order, moving to
lodgings in Hanover Square.
Marmaduke Arthur Webbs executor was Richard Dugdale. We hear
of him on 5 February 1772 as Mr. Hoggs Apprentice Dicky. Dugdale
was apprenticed to Robert Hogg of St Annes, Soho in 1757 and
is subsequently mentioned at Mrs Hoggs on 25 September 1773.
Records show that Marmaduke Arthur Webb (active 1760-1792)
bought diamonds from Richard Dugdale and also sent him work.
The books show an increasing demand for enamelled pieces in the
second half of the century. Webb used various enamellers including

Fig 1. Silver, coque de perle, and diamond necklace, England,

1740-60. Victoria and Albert Museum, London (M.151&PART1975). Webb sold a coque de perle necklace in 1767.

Where better for a young man to seek his fortune in the early part
of the 18th century than London the largest, fastest growing, and
most dynamic city in Europe? Peter Webb (d.1775), the youngest
son of Arthur Webb of Kilkenny, is first mentioned in a marriage
agreement dated 20 March 1717. The wealthy London jeweller David
Le Court, his future father-in-law, was keen to safeguard his daughter
Catherine (d.1776) and the family wealth. Le Court is listed as being
in Throgmorton Street between 1718 and 1726, and Peter Webb
traded at 28 Throgmorton Street from 1724 to 1772. It is possible
that a few years after his marriage Peter Webb took over his fatherin-laws business.
The network of suppliers used by the Webbs illustrates the range of
craftsmen operating in London during the 18th century. They bought
and sold a range of diamonds and pearls and sent work out to other
jewellers (mostly making mounts for diamonds and other gemstones),
silversmiths, diamond-cutters, lapidaries, engravers (both in stone and

Fig 2. Draft trade card for Edward Holmes (British Museum, Prints &
Drawings, Heal,67.217). Image courtesy of the British Museum.

Jewellery History Today Spring 2013

Fig 3. Silver-gilt short sword with diamonds,

rubies and emeralds, England, c.1757.
Victoria and Albert Museum, London
(M.17&A-1978). This is an example
from the same period as Clives piece.

one of his more famous collaborators,

George Michael Moser (1706-1783). A
renowned chaser, engraver, and enameller,
his career illustrates just how strong a pull
London had for skilled craftsmen in the 18th
century. Moser was born in Schaffhausen,
Switzerland. He started his career in London
as a chaser of bronze furniture before moving

on to the chasing of watchcases. When the

fashion demanded polychrome surfaces he
switched to enamel and became a leading
exponent of that art.
Then, as today, customer loyalty was prized
and there was repeat business from several
customers. This is perhaps best illustrated by
the purchases of one of the Webbs betterknown clients, Robert Clive (1725-1774).
The Webb accounts show that, despite Clives
increasing wealth and status, he continued
to patronise these same jewellers for six
years. In 1755, shortly before his return
to India, Captain Clive spent over 600 on
mostly diamond-set jewels for his wife. On
his next visit to London in 1760, Colonel
Clive bought jewels worth 144 from the
Webbs including a case for a diamond swordhilt. It is possible that the case was intended
for the sword worth 700 voted to him by the
Court of Directors of the East India Company
for his success at the Siege of Arcot (fig 3).
A popular design for jewellery, which
continued from the mid-18th century onwards,
was a brooch or corsage ornament in the form
of a bouquet of flowers. Designs for these
are found in published design books and
many modest examples survive (fig 4). The
Brilliant bouquet purchased by Lord Clive
on 22 August 1761 was the most stupendous
piece and perhaps one of the most elaborate
jewels made and sold by the Webbs (fig 5).

Fig 5.

Details of Clives Brilliant bouquet:


To 152 Brilliants in the Anemony

To 57 Brill.s and 7 Roses wth. Rubies in ye large Tulip
To 24 Roses
To 54 Brill.s in ye large Starr
To a large Brill. in the middle of said Starr w.20 grs.
To the small Tulip with the large Brill. wt. 22.5 grs. with 23 small Brill.s
and Saphires the small Brill.s 20 the large ditto 280
To 6 Brill.s 9 Roses 6 Emeralds and 1 Ruby in a flower
To 3 Brill.s 3 Rubies 7 Roses 1 Emerald ditto
To the Emerald stalks
To a pink Brill. w. 10 Saphires 10 Brill.s 20 Emeralds flower
To a very large and superfine Pearl Budd
To a fine Saphire and 11 Roses roundish
To 2 flys
To 25 Brill.s added to the Bouquet
To the Tulip Emerald and 27 Brill.s
To 2 small flowers and Tulips and a Pink
To 30 Roses in ye Knott that binds ye Stalks
To 32 Roses for flowers in ye Bottom Branches
To setting the whole Bouquet
Total 1060-0-0
Paid by cash 800, an Egrett 130 and a bracelet with a thin India cut lasque and 2 Emeralds 130.

Jewellery History Today Spring 2013

Fig 4. Design for floral jewel from Trait

des Pierres Prcieuses by Jean Henri
Prosper Pouget, Paris, 1762. Image
copyright of author.

A lasque is a cut of diamond taken from

naturally occurring thin crystals which
have parallel faces and were used to cover
miniature paintings. An alternative name
is portrait stone. This bouquet-style brooch
must have been a truly amazing jewel,
designed to impress, but its fate is unknown.
Of course even today networks of specialist
craftsmen, such as those used by the
Webbs in the 18th century, still exist in the
designer/maker and bespoke jewellery fields.
The various complaints made by Marmaduke
Arthur Webb in his letters could easily be
paraphrased by a modern jeweller:
The misfortune of jewellery is that with a
large stock the things wanted are often
what one has not got
(25 May 1771)
Most in our business overstocked and
money scarce
(15 October 1773)
Nothing bought without 6 months credit
and it is hard to know who to trust
(24 December 1773)
I never knew money so difficult to get in
(9 June 1774)
Dr Lynne Bartlett is a designer/maker. She
is Honorary Treasurer of SJH, an FGA and
an examiner for the Gem-A Foundation
Course in Gemmology, a board member of
the Association for Contemporary Jewellery,
and a member of the Colour Group (GB).

Satisfying increasing demand

for precious materials within the
late-medieval northern European
goldsmithing trade
By David Humphrey
Demand for goldsmiths work in northern Europe underwent dramatic expansion in the final quarter
of the 12th century. That expansion resulted from a complex amalgam of issues ranging from
developments in how courts chose to demonstrate their political power and affluence visually to the
emergence of notions of fashion and the fashionable. From jewellery to food and clothing, the idea
sprang up that specific items, and styles, were only in vogue until the next innovation came along.
The French court was the key player in
developing notions of fashion, to whose
trend-setting ambitions the Sack of
Constantinople in 1204 fortuitously
brought the gift of large quantities
of precious materials, craft workers,
and technological innovations in the
goldsmithing trades of Paris and other
northern European cities.
By the last quarter of the 12th century
a basic structure was in place, allowing
goldsmiths to obtain the materials to
create new objects. The most important
sources were:
the recycling of materials
from existing objects
provided by the client;
the purchase of recycled
materials from within the wider
local or national market;
the purchasing, by the goldsmith,
of stolen materials, or the
commissioning by the goldsmith
of the theft of materials; and
the acquisition of materials new
to the market, purchased by the
client or goldsmith, from supply
sources in non-local or national
markets, or from distant locations.
The last of these rapidly became of
paramount importance as the trade
sought to fulfil the increasing demands
on its existing capacity (fig 1).
Whether sourced and supplied from
local or national markets, or from the
furthest corners of the known world, a

The Grand-Pont [Pont au Change] has on one side sixty-eight rented

shops and on the other, seventy-two; the money-changers reside on
one side and the goldsmiths on the other. In the year 1400, when the
city was in its flower, so many people passed all day long on this bridge
that one immediately encountered a white monk [a Carmelite] or a
white horse.
Extract from:
La Description de la ville de Paris et de lexcellence du royanne de
pluseurs aucteurs par Guillebert de Mets, lan Mil IIIIc et XXXIIII.
French text published in Antoine-Jean-Victor Le Roux de Lincy and
Lazare-Maurice Tisserand, Paris et ses historiens aux XIVe et XVe
sicles (Paris: Imprimerie Impriale, 1867, pp.152-234. Reprinted in
R. Berger (ed.), In Old Paris, New York, 2002).
Fig 1. An idea of the size of the market that needed to be serviced by goldsmiths can be gleaned
from Guillebert of Metzs description of the Grand-Pont in Paris. Written in 1407, Metzs
observation on the number of goldsmiths shops fails to inform the reader that many of these
presumably very small shops on the bridge were themselves simply outposts of larger workshops
located elsewhere in Paris most notably in the Les Halles district.

wide range of business models were to

be found in the trading process: from
the well-organized, well-financed chain
of individuals or companies to what
can best be described as the triumph
of organised chaos of the one-man
operation. The many business models
employed appear to have satisfied a large
percentage of the demand remarkably
so given that they were competing for
precious materials with book producers,
the makers of medicines and elixirs,
and more adventurous cooks.

new to the market were obtainable
within Europe, for example: gold
from locations in Bohemia and the
Carpathian mountains; silver from
Spain and Freiburg in Germany; garnets
from Eastern Europe; jet and amber
from the English and Baltic coasts; and
sapphires from the Puy region of France.
These, and other European locations,
continued to supply a percentage of the
materials required by the trade but they
could not supply all of its demands.

Jewellery History Today Spring 2013

Goldsmiths were forced to seek supplies from outside Europe

in a much more proactive way than had previously been the
case: from Africa, India, and the vastness of Asia. Trade in
precious materials with Europe from these locations had an
established history, but rapid expansion in demand from the
last quarter of the 12th century imposed new pressures on
that system which had to be met by expanded and enhanced
modes of operation.
Outside Europe key precious materials could be sourced
as follows:

sapphires from Ceylon;

diamonds from India;
true rubies from Burma, Ceylon, Egypt, and India;
the balas from Afghanistan;
emeralds from India; and
pearls from the Red Sea.

The limited supplies of gold and silver obtainable from

within Europe were augmented, in the case of gold, by
enormous quantities in the form of both coin and lessfinished forms from an area centred on Ghana and Mali by
caravans working between Timbuktu and Libyan Tripoli, and
then exported through the ports of the North African coast of
the Mediterranean. The amounts are impossible to calculate:
a single consignment of gold in excess of a ton arrived in
Cairo in 1325 from sub-Saharan Africa, instantly crashing
the market. Gold was also brought to Europe from Japan,
Tibet, Vietnam, China, and possibly Korea.
The chain of supply was selected with a flexibility suited
to specific circumstances. The most readily identifiable
business models operated may be summed up as:
the use of an agent by the goldsmith, or those
commissioning the piece, who would travel
to the location of the materials, purchase
the materials, and return with them;
the purchase of materials by an agent from
another party en route between the source location
and the markets of the Mediterranean rim;
the purchase of the materials by an agent from another
party in the markets of the Mediterranean rim;
the purchase of the materials by an agent from
itinerant salesmen, the so-called gemarii, who visited
the cities and towns of Northern Europe; and
the purchase of the materials by the goldsmith
himself from itinerant salesmen.
Those considered as agents also included middlemen,
operating between client and supplier, but who were often
employed as sub-contractors by agents who themselves
were appointed by clients in northern Europe. Agents and
middlemen were a disparate body of Europeans, Asians,
Arabs, and Africans who often spoke only their own
language or dialect although the more successful did
learn the language or dialect in use in the region in which
they operated.
Precious materials brought from the East, via what might
be labelled simplistically as the Silk Road land routes,

Jewellery History Today Spring 2013

eventually arrived at ports including Acre and Beirut on the

Eastern rim of the Mediterranean, if routed via Damascus
and Baghdad. If routed via Baghdad and Cairo, these
materials gravitated towards Alexandria. A percentage of
traffic was routed further north through Constantinople.
What an individual port handled was in no small degree
dependent on the proximity of large trading centres further
back along the trade route. Acre, Beirut, and Lebanese
Tripoli had links born out of proximity to Aleppo. Beirut
had a relationship with Damascus. All of the eastern ports
were outlets for Baghdad and, in the south, Alexandria
for Cairo and Baghdad. Individual ports developed
reputations for specific, or specialist, sub-markets in
precious stones and were considered to be parts of a multisited trading environment. Acre was noted for specialising
in pearls, and Alexandria for emeralds from India and
rubies from Egypt (fig 2). These trading locations appear
to have weathered the storms of invasion and the changing
favoured nature of a particular port in maintaining their
traffic in precious materials.
From the various markets and ports associated with the
Mediterranean rim, precious materials were transported
into Europe and eventually to the clients and goldsmiths
of northern Europe, via a combination of sea and overland
transport (fig 3). Sea transport was most often via Venetian

By this defeat the pride of the Turks was entirely

cast down, and their boldness effectually repressed;
whilst the caravan, with all its riches, became the
spoil of the victors. Its guards surrendered to our
soldiers themselves, their beasts of burden, and
sumpter horses; and stretching forth their hands in
supplication, they implored for mercy, on condition
only that their lives should be spared. They led the
yoked horses and camels by the halter, and offered
them to our men, and they brought mules loaded
with spices of different kinds, and of great value;
gold and silver silver dishes and candlesticks
an immense sum of money, and an incalculable
quantity of goods, such as had never before been
taken at one and the same time.
Extract from:
Geoffrey de Vinsaufs Itinerary of Richard I and
Others, to the Holy Land, translation in H. Bohn,
Chronicles of the Crusades, London, 1848.
Fig 2. Transporting goods whether by sea, land, or a combination
of both could be a dangerous occupation. Weather, war, and a host
of other potential problems could waylay traders or transporters to
one degree or another. The above account from 1192 of a captured
caravan illustrates the potential hazards.

The amount of time taken to transport precious materials from their sources
of origin to the towns and cities of northern Europe was an enduring
issue for both clients and goldsmiths. Predicting how long it would take
to transport goods, by small-scale traders, from the far side of Asia to the
shores of the Mediterranean was a difficult, if not impossible task for traders
and end purchasers. Too many factors could impact on delivery time: from
weather to war, but approximate timings came to be used as part of the
trading process. Examples of such timings for the period in question are:
Toulouse to Paris (water or road, spring and summer)
Toulouse to Paris (winter)
Genoa to Marseilles (sea, fine weather)

3 weeks
2 months
7 days

For less predictable routes and conditions traders often worked on the basis
of expected distances that could be achieved by a given means of transport
in a given period often one day - in good conditions:
By road (horse, cart, waggon)
By sea

20-35 miles
60-100 miles

The accuracy of such predicted figures is open to serious question: terrain,

weather, efficiency of animals, crews, vessel conditions all played a part in
determining the actual length of passage.

or Genoese shipping which took

cargos to the ports of southern Italy,
from where they were taken overland
via trans-alpine routes including the
St Gotthard Pass and the Brenner
Pass. More time-consuming was
passage by sea via galleys working
between the Mediterranean ports and
the cities of northern Europe often
with the additional delay caused by
their activities tramping between
the various ports located on both
northern and southern coasts of the
A short article can only touch the
surface of a complex demand and
supply industry operating in an age
lacking the tools of communication
and business available to traders of
similar materials today but for all
that, it appears to have operated
quite successfully.

Dr David Humphrey is a visiting tutor

at the Royal College of Art in London.
His research interests focus on a range
of issues in late medieval northern
European goldsmithing.

Timings for the large caravans across both northern Africa and from Asia
were more easily predictable than for small-scale operations, as they tended
to depart at specific times of the year which allowed for the late spring
moulting season of the camel.
Fig 3. Aspects of transport logistics.

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art historians, dealers, gemmologists,

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Jewellery History Today is published

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Jewellery History Today Spring 2013


Crowning Glory
Fairfax House, York, until 23 June 2013
Reviewed by Sarah Nichols
In April 1763, the 9th Viscount Fairfax (1700-1772) hosted an
elegant Entertainment and Ball to celebrate his birthday and
the completion of major renovations to his newly acquired York
townhouse. No doubt the 200+ guests were adorned in their
finest jewels. To mark this 250th anniversary, Hannah Phillip,
the Director of Fairfax House, has curated Crowning Glory, an
exhibition focusing on headwear, particularly coronets and tiaras,
but with other interesting contextual jewellery and dress. The
objects in the exhibition are drawn primarily from Yorkshire
collections and many have never been on public display before.
The exhibition includes eight coronets from all ranks of the
peerage Baron, Viscount, Earl, Marquis and Duke and so
provides a wonderful opportunity to compare and contrast the
different arrangements of strawberry leaves and/or balls, known
as pearls, in each design. A coronet is worn on just one occasion,
the coronation of a monarch, and in the last 300 years there
have been only ten such opportunities to wear a coronet and
coronation robes. The exhibition includes the coronets and robes,
made of dark crimson silk velvet and miniver (unspotted white fur
from a stoat), of Baron and Baroness Bellew. There is no evidence
that Lord Fairfax owned a coronet or attended the coronation
of George II in 1761 but where possible the exhibition tries to

make connections with Fairfax and Yorkshire, such as a large

and magnificent hand-illustrated heraldic page from William
Radclyffes The Genealogy of the Most Ancient and Noble Family
of Fairfax, 1829.
The five 19th and early 20th-century diamond tiaras on view
are all from private collections, including a magnificent tiara from
c.1890 of scrolls and foliage set with rose, cushion and pearshaped diamonds, and a c.1860 kokoshnik, or Russian fringe
tiara, that converts to a necklace. The brilliance and value of the
diamonds is in sharp contrast to a group of 17 tiaras and hair
ornaments lent by the Mercer Art Gallery, Harrogate, from the
Hull Grundy bequest. Dating from c.1800 to c.1920 these are all
made from imitations of more valuable counterparts, including
paste diamonds and emeralds, orange glass simulating coral,
celluloid faux tortoiseshell, black glass and cut steel.
Although not headwear a highlight of the exhibition is the
Fairfax Jewel, comprising three exquisite mid 17th-century
enamel roundels painted by Pierre Bordier. Originally mounted
in a gold locket they were reset in a gilt metal plaque in the
early 19th century. The jewel was presented to Sir Thomas
Fairfax (1612-1671) by Parliament to celebrate his victory
against the Royalists at the Battle of Naseby in 1645. In a
somewhat ironic juxtaposition, replicas of
the Crown Jewels, made by Robert White
& Sons, London, in 1972, are displayed in
the case just around the corner. These are
lent by the Compton Family of Newby Hall
and commemorate the role of an ancestor,
Sir Robert Vyner, in creating the new Crown
Jewels for the coronation of Charles II after
the originals were sold or destroyed under
the Commonwealth.
Crowning Glory is a small but choice and
intimate exhibition with many fascinating
objects resonating with personal and public
Sarah Nichols recently returned to York
from Pittsburgh, U.S.A. where she was
Chief Curator and Curator of Decorative
Arts at the Carnegie Museum of Art until
2006. She gave a lecture to the Society
of Jewellery Historians on aluminium
jewellery in 2004.
The Fairfax Jewel, 15 x 20 cm, on loan from
Seaton Delaval. The National Trust.

Jewellery History Today Spring 2013


The Be-jewelled World

of the Ottoman Sultans
Reviewed by Jane Perry
The fabulous wealth of the Ottoman sultans is known to everyone,
by repute if not from personal experience of the treasuries of
the Topkap Palace Museum. What is much less familiar is the
background to this wealth: how the jewels were acquired, stored
and used, and their important place in the rituals of the court and
the diplomatic transactions of the sultans. This book is an account
of that lost world.
Its subject is the jewelled objects of the Ottoman court,
from its establishment at Istanbul after the conquest
of Constantinople in 1453 until its final disintegration
in the early 20th century. The majority of pieces come
from the Topkap, one of the few royal treasuries never
looted. Jewellery itself, particularly womens jewellery,
forms only a small proportion of the pieces, but it would
be churlish to reject the magnificent thrones, turban
ornaments, weaponry and saddlery on the grounds that
they are not jewellery according to western concepts.
The Ottoman court had its own rules, and such objects
were as important to the sultans image as a western
monarchs crown or sceptre were to him.
The great strength of this book is the mass of Turkish
archival and pictorial information, as well as morefamiliar western sources, which the author has skilfully
interwoven with examples of surviving objects. Her
triple persona, as architect, art historian and novelist,
combine felicitously to make the book easily readable
as well as formidably informative. There are many books
on jewellery as beautiful as this which are little more
than a succession of pictures linked by a few words
hastily written for the occasion. This book displays
a deep and long-lasting interest in the subject, and
great affection for the chroniclers whose words bring it
alive. The text is predominant and the illustrations are
precisely that; an illustration of the verbal information,
carefully chosen, beautifully reproduced, and enlarged
where necessary to show detail. The captions give little
more than the source of the image; all the richness is
in the accompanying text. And rich it is. It describes
the custom of Reversion under which estates reverted
to the sultan on the death of the holder, to the great
benefit of the treasury. It explains the coded words
used in the treasury registers to define the quantity
of gems on each item, and the importance of the
sultans public progress every week to Friday prayers. It
documents the delicate matter of reciprocal diplomatic
presents in 1791, gifts on their way to Austria were
speedily returned to Istanbul when news reached the

Imperial Ottoman
Jewellery. Reading
history through
Gl repolu.
BKG Publications,
2012, 150 TL.
360 pages,
31.5 x 24 cm.
ISBN: 9786055488147

Ottoman jewelled wall clock, modelled on a European pocket watch.

16th century, 23 cm diam, gold, rubies, emeralds, enamel. TSM 53/85.

convoy that the Austrian ambassador had brought none. It details how the
ladies of the harem managed to buy jewellery, while forbidden to leave the
palace, and gives context to the ubiquitous jewelled timepieces, throne
pendants, and dress ornaments.
This book can be recommended as a fine example of jewellery
history. As the record of a subject which has been largely neglected it is
doubly valuable.
Jane Perry is a visiting scholar at the V&A, studying and cataloguing
the traditional jewellery collections. She is copy editor of Jewellery
History Today.

Jewellery History Today Spring 2013


Jewels from Imperial

St Petersburg
Reviewed by Darin Bloomquist

A special shelf of the bookcase behind my desk is reserved for

the publications of Dr Ulla Tillander-Godenhielm and is referred
to by my colleagues and me as The Ulla Section of our library.
This shelf sometimes looks rather barren, as many of these books
spend more time on my desk or in the pile of books beside my chair,
always proving useful and becoming increasingly well-thumbed
over the years. A most welcome addition to this collection is her
newest work, Jewels from Imperial St. Petersburg, published
late last year by Liki Rossii, St Petersburg, and distributed by
Unicorn Press, London.
Recent years have seen increased interest in the
applied arts of Russia and a corresponding surge in
publications on the subject. What marks out Jewels from
Imperial St. Petersburg as one of the very best of these
is that it could only have been written by this writer;
Dr Tillander-Godenhielms commanding position as the
leading scholar in this field and the esteem in which
she is held, especially in her native Finland, afford her
access to private collections of jewellery, or often just a
single jewel, which have been hidden away for decades,
treasured and guarded by generations of descendants
of the original owners. The book benefits immensely
from illustrations of jewels previously unseen, even in
Dr Tillander-Godenhielms earlier books, and from their
stories previously unrecorded.
Jewels from Imperial St. Petersburg is a survey of
jewellery and precious objects produced in St Petersburg
from the early 18th century through to the end of Nicholas
IIs reign - and thus the end of Imperial St Petersburg
- in 1917. Stylistic developments are traced down
through the centuries, from the work of the great early
masters such as Jrmie Pauzi and the Duval family,
to the modern jewellers, including the writers greatgrandfather and grandfather, Alexander Edvard Tillander
and Alexander Theodor Tillander, among many others.
Images of the jewels are usually accompanied by portraits
of their original owners, the text telling their stories.
The jewels range from the very grand, such as the pink
topaz and diamond necklace (illustrated) by J.F.A. Duval
which was given by Dowager Empress Maria Feodorovna
to her granddaughter Princess Augusta of Saxe-WeimarEisenbach, to more personal and humble pieces. It is the
stories attached to the latter which are often the most
fascinating, such as that of Ulrika Mllersvrd, who may
or may not have had a romance with Alexander I, from
whom she received a topaz and diamond fermoir, still in
the possession of her descendants.


Jewellery History Today Spring 2013

Jewels from
Imperial St
Ulla TillanderGodenhielm. Liki
Rossii/Unicorn Press,
2012. 49.99.
296 pages, hardback,
25 x 30 cm.
ISBN 9781906509248

The writing style is concise and informative, with only

useful details and without superfluous embellishment;
the writer lets the jewels do the glittering, and their
histories are juicy enough without being overdramatized.
The illustrations are especially well-chosen (for which
much credit is surely due to the picture editor, Timothy F.
Boettger) and beautifully reproduced. Of special interest
are the records of the dowries of the Grand Duchesses,
published for the first time.
The book will prove valuable as a resource for
enthusiasts who already know something about the
subject and will be enjoyed by those discovering the
art of St Petersburg jewellery for the first time. As Dr
Tillander-Godenhielm writes in her Avant-Propos, each
piece has an interesting story to tell. She records those
stories better than anyone.
Darin Bloomquist is a Specialist in Faberg and Russian
Works of Art and a Director of Sothebys.

Parure. Jean Franois Andr Duval, 1818. Gold, silver, pink

topazes, diamonds. Private Collection. Courtesy of A La Vieille
Russie, New York.

Recent and Forthcoming Publications

Gunnar Andersson.
NMSE - Publishing Ltd,
2013, 6.99.
64 pages, paperback, 23.8 x 17 cm.
ISBN: 978-1905267767
Catalogue of an exhibition at the
National Museum of Scotland of
pieces from the Historiska Museet
Stockholm. Includes much jewellery.
Viking Identities: Scandinavian
Jewellery in England.
Jane F. Kershaw.
OUP Oxford, 2013, 65.
328 pages, hardback,
24.8 x 17.8 cm.
ISBN: 978-0199639526

Gioielli delle Bocche di Cattaro:

Perasto, Dobrotsa, Scagliari e
Perzagno. Tesori del Montenegro III.
Piero Pazzi.
Piero Pazzi, 2010, 45.
288 pages, paperback,
29 x 21 cm, Italian.
A catalogue raisonn of the Venetian and Dalmatian
jewellery of the 16th 19th centuries preserved in the
churches of the Bocche di Cattaro (now part of Montenegro),
with details of design and construction, and a brief
overview of the Manin chain. Published to accompany
an exhibition on the Treasures of Montenegro at Venice.
LOro e la Memoria. Ornamenti preziosi
nella Valle del Cervo e nellAlto Biellese.
Lia Lenti. Tipolitografia Ellesse,
Biella, 2012.
274 pages, paperback,
22 x 22 cm, Italian, English.
ISBN: 978-8890182730
Published in association with an exhibition
at Biella in Piedmont (Italy).
The Napier Co.: Defining 20th Century
American Costume Jewellery.
M.L. Lewis, H. Swen.
Napier Co, 2013, $129.
1000+ pages, hardback.

Kosmos. Jewellery, Adornment and

Textiles in the Aegean Bronze Age.
M. L. Nosch (Author), R.
Laffineur (Editor).
Peeters Bvba, 2012, $189.
810 pages, hardback,
11.4 x 8.4 inches.
ISBN: 978-9042926653
Proceedings of the 13th International Aegean
Conference/13e Rencontre genne Internationale,
University of Copenhagen, Danish National Research
Foundations Centre for Textile Research, 2010.
Hundreds of Medieval chic in
metal. Decorative mounts on belts
and purses from the Low Countries,
A. Willemsen, M. Ernst.
Stichting Promotie Archeologie,
Zwolle, 2012, 20.
152 pages, paperback, 22 x 18 cm.
ISBN: 978-9089321114
Introduction to the collection of medieval belt
mounts at the Rijksmuseum van Oudheden, Leiden,
including masses of detailed relevant images from
paintings, sculpture, etc, information on how things
were worn, changing fashions in the late Middle Ages,
and comparative data from the rest of Europe.
Nature Transformed: French Art Nouveau
Horn Jewelry.
Jessica Goldring.
Macklowe Gallery, 2013, $35.
90 pages, paperback,
22.6 x 25.1 cm.
ISBN: 978-0985429409
Published in association with
an exhibition at the Macklowe
Gallery in New York.
Van haarnaald tot schoengesp. Accessoires in
goud en zilver. Sterckshof Studies no. 44.
Zilvermuseum Sterckshof, 2011, 35.
368 pages, paperback, 27 x 21 cm.
Articles in Dutch and English, with
summaries in French and German.
Published to accompany an exhibition of silver
and gold costume accessories at Sterckshof.

Jewellery History Today Spring 2013


Klatergoud en zilveren bellen. Sterckshof Studies no. 39.

M. Jacobs, S. Goossens, A.-M. Willemsen.
Zilvermuseum Sterckshof, 2009, 25.
176 pages, paperback.
Dutch, with summaries in French, German and English.

Schtze des Mittelalters. Schmuck aus dem

Staatlichen Archologischen Museum Warschau.
Bnen, 2011. 17.
162 pages, paperback, 21 x 26 cm.
ISBN: 978-3862060719

Published to accompany an exhibition of childrens

silver and gold rattles at Sterckshof.

Published to accompany an exhibition at Brandenburg

an der Havel of Slavic treasures from excavated
sites in Poland, Ukraine and Belarus.

From Picasso to Jeff Koons: The Artist

as Jeweler. Diane Venet.
Skira Editore, 2011, 45.
240 pages, hardback,
25.5 x 25.5 cm.
ISBN: 978-8857211565
Published to accompany an
international touring exhibition.
Bijoux dartistes: De Picasso Jeff Koons.
D. Venet, B. Rose, A. Goetz.
Skira Flammarion, 2011, 52.
ISBN: 978-2081267503
French language version of
From Picasso to Jeff Koons:
The Artist as Jeweler.
Bijoux dartistes.
C. Bizot, E. Guigon, L.Devze.
Hazan, 2009, 32.95.
Paperback, 23.8 x 19.8 cm, French.
ISBN: 978-2754104166
Published to accompany an
exhibition at Besanon.
Bijoux dartistes: Une collection.
E. Guigon, T. Dufrne, G.
Sebbag, C. Bures.
Silvana Editoriale, 2012, 25.
160 pages, paperback, 25.8
x 21.2 cm, French.
ISBN: 978-8836624416
Published to accompany an exhibition
at the Crdit Municipal in Paris.
Dior Joaillerie: The Beauty and
Craftsmanship of Dior Fine Jewellery.
Michle Heuz.
Rizzoli International
Publications, 2012, 47.50.
300 pages, hardback,
22.5 x 30.5 cm.
ISBN: 978-0847837182


Jewellery History Today Spring 2013

Beauty & Fashion: History of Clothing

& Jewellery in Iran. Vol. 4 (Culture of
Iran Youth Series).
P. Massoume, F. Welland.
Anahita Prod Ltd, 2012, c. 20.
112 pages, hardback,
28.2 x 22.1 cm.
ISBN: 0980971438
Smycken = Jewellery.
Helena Lindroth.
Nordiska Museets Frlag,
Stockholm, 2012, 109 kr.
111 pages, paperback, 16 x
24 cm, Swedish, English.
ISBN: 978-9171085542
Published to accompany the redisplay of the Nordiska Museets
collection of jewellery.
Elisabeth J. Gu. Defner: Mensch - Natur Kosmos. Schmuck
und Gert/ Man - Nature Cosmos. Jewellery and Objects.
Karl Bollman.Arnoldsche Verlagsanstalt, 2012, 45.
248 pages, hardback, 21 x 26 cm, English, German.
ISBN: 978-3897903531
From the Coolest Corner: Nordic Jewellery.
L.den Besten, J.Veiteberg, L.Jonsson.
Arnoldsche, 2012, 35.
248 pages, hardback, 25.4 x 23.6
cm. English, Norwegian, Swedish.
ISBN: 978-3897903739
Selection of contemporary
jewellery by Nordic makers.

Ambre: Mmoire du temps.

Camille Coppinger.
Thalia Edition, 2009, 25.
322 pages, hardback, 28.8
x 22.4 cm, French.
ISBN: 978-2352780472

News and Events

Ambra. Dalle rive del Baltico allEtruria.
M. L. Arancio, S. Massimi.
Gangemi Editore, 2013, 20.
96 pages, paperback, 24.2
x 22.4 cm, Italian.
ISBN: 978-8849225358
Published in association with
an exhibition at Rome.
Schmuck der Maharajas: Aus den
Schatzkammern indischer Frsten.
Hans Weihreter.
Deutscher Kunstverlag,
2013, 24.90.
232 pages, hardback, 30.4
x 24.6 cm, German.
ISBN: 978-3422071827
Published in association with
an exhibition at Augsburg.
Trade-Marks of the Jewelry and
Kindred Trades: Being an Extensive
Collection of Illustrations and
Representations of the Marks
... Used by Manufacturers
Gale, Making of Modern
Law, 2011, $29.75.
300 pages, paperback,
24.6 x 18.9 cm.
ISBN: 978-1241080310.
Collection of extracts from Legal
Treatises, 1800-1926,
Trials 1600-1926, and other
primary legal sources.
The Impossible Collection of Jewelry:
The 100 Most Important Jewels of the
Twentieth Century.
Vivienne Becker [SJH member].
Assouline Publishing, 2013, $695.
144 pages, paperback,
19.6 x 16 inches.
ISBN: 978-1614280583
An Icon in Jewellery Design
Ehrhorn Hummerston.
Forlaget Ehrhorn
Hummerston, 2009, $98.
256 pages, hardback,
11.9 x 11.8 inches.
ISBN: 978-8792559029

Traditional Jewellery in
Nineteenth-Century Europe
Jane Perrys book of this title will be published in June by the
V&A, as the latest book in their series dedicated to various
aspects of jewellery. The book provides a lively introduction
to the subject of traditional jewellery, that is the kind which
was worn with traditional costume, throughout Europe. It
is an accompaniment to the traditional jewellery on show
on the mezzanine floor of the William and Judith Bollinger
Jewellery Gallery at the V&A, and includes illustrations of
around 200 pieces of jewellery of all kinds, as well as of
people wearing them.
The V&A are generously offering the book to members of
SJH at 23, a discount of over 20%. If you would like to
take advantage of this offer, please see
back cover of this issue of JHT, or
Jane Perry has been a student of traditional jewellery of
all kinds for many years. She is also the manager of the SJH
website, and copy editor for JHT.

Lecture on Traditional Jewellery at V&A

Jane Perry will be giving a talk on
Traditional Jewellery, at the V&A, on
Wednesday 12 June 2013 at 13:00 in
the Hochhauser Auditorium, Sackler
Centre, V&A. There is no charge
for admission, and no need to book
in advance just turn up. For full
details, see

Jewels of Blacknesse at
the Jacobean Court
An article on this subject, by SJH member Daniel Packer, was
published in the Journal of the Warburg and Courtauld Insitutes,
LXXV (2012). It concerns a pair of earrings in the form of Moors
heads which were owned by Anne of Denmark, wife of James I.

Books for sale

Selection of second-hand jewellery books available at
10% discount for members of SJH. Postage at cost, or
collect for free in central London, or at any SJH lecture.

Jewellery History Today Spring 2013


News and Events

The Portable Antiquities Scheme

For our January lecture, Michael Lewis, Deputy Head of Portable
Antiquities and Treasure at the British Museum, talked about
how the passing of the Treasure Act in 1996 revolutionised the
reporting of finds of antiquities in Britain, particularly small
base metal objects which were included in the definition of
Treasure from 1 January 2003.
Finds are reported to Finds Liaison Officers all over the
country, and recorded in a common database, which now
contains details of over 800,000 objects in over 500,000
records, mostly accompanied by photos. The majority of finds
are medieval or earlier, and include all the most famous finds of
the last few years, as well as masses of coins, dress ornaments,
rings and other small objects.
This entire database, fully searchable by keyword or free text
search, is available online at

The Chiddingly Boar, silver-gilt, England, late 15th century, 32mm.

Found at Chiddingly, East Sussex, in 1999. Trustees of the British
Museum. This livery badge in the form of a boar, the symbol of
King Richard III, was featured in a recent ITV series on the top 50
archaeological finds discovered in Britain by members of the public
over the last 20 years. It came in at number 5.


Gertrud Seidmann
Gertrud was the leading scholar in
Britain on matters concerning British
neo-classical gem-engravers, but had
been even more versatile. She was born
in Vienna in 1919 and studied English
and Musicology in the University there
until the Anschluss. She came to
Britain and took a degree in French
and German, then a Masters degree
in Musicology at Queens University,
London schools and at Southampton
and Oxford she founded the British
Association of Teachers of German,
and was awarded the Goethe medal in
1968 in recognition of her services to
the study of German in Britain. She had
already developed a deep interest in
engraved gems, especially those of the
neo-classical period, taking a particular
interest in the work of artists in Britain,
but her knowledge of gemmology was
wide and freely shared with colleagues
and students. In Oxford she became
an Honorary Research Associate of
the Institute of Archaeology and a
central figure in the study of gems
which had become a major interest in
the university through the resources of
the Beazley Archive. There she played


Jewellery History Today Spring 2013

a major role in the arrangement of a

large collection of casts acquired from
the Wellcome Collection. She also
provided an annual seminar in German
for graduate students.
She was a busy publisher, her

best known work being a study of
the 18th-century British engraver,
Nathaniel Marchant, including a full
catalogue of his known works, and their
whereabouts, and a consideration of
the artists influence on contemporary
engravers, British and other (1987,
The Walpole Society). Numerous
articles supported and enlarged this
research including studies of Edward
Burch, Jewish rings, and entries in The
Dictionary of Art. A full bibliography
of her books and articles (over 50)
appeared in a Festschrift edited for her
by Martin Henig and Dimitri Plantzos
in 1999 (Classicism to Neo-classicism,
Her good humour and friendly

approach to colleagues and students
endeared her to all, and her hearing
problems did not hinder her being a
vigorous conversationalist. She became
an Oxford figure, in the best sense,
often involved in exhibitions and

other activities inspired by her chosen

subject. She also became Oxfords
oldest student (at Wolfson College)
when, at 86, she registered to write a
thesis on the collector Greville Chester,
a major benefactor of the Ashmolean
Museum. Of course I am older than
my supervisor, who will have to retire at
67 poor man. She had to abandon
the research when she reached the age
of 91 but she was awarded a special
Certificate of Graduate Attainment by
the university, in a very select ceremony
in the Divinity School in 2011.
John Boardman, President of SJH;
The Beazley Archive, Oxford


Peter John Hinks

23 February 1932 to 21 August 2012
Peter Hinks, who has died aged 80, was one of the foremost
jewellery historians of our times and a world-renowned
specialist on antique jewellery. In 1929 Peters parents
started their married life in New York, but returned to their
native Birmingham for the birth of their first child, Peter,
in 1932. The family moved to Hornchuch, and then on
to Pinner, where he attended Harrow on the Hill school.
Amongst his many hidden talents, Peter had a beautiful
singing voice (which many of his colleagues were given the
pleasure of enjoying on festive occasions) and as a child he
was a chorister at St Marys Church. By 1947 the family
were on the move again, this time to Cape Town. Peter
abhorred the apartheid regime and returned to England
aged 18. Here he chose the Air Force for his two-year stint
of National Service.
After coming out of the forces, he spent a short period
in the advertising industry before joining Sothebys in the
late 1950s. Here, his thirst for knowledge and his huge
appreciation for all forms of art were able to run rife. Peter
spent over 20 years at Sothebys in London, where he was
Head of the Jewellery Department for much of that time.
While meticulously examining and valuing the jewellery,
overseeing the cataloguing and the sales, and travelling
to all parts of the globe to see a variety of jewels and
clients, he was always eager to increase his vast knowledge
of the subject. In the early 1980s he was responsible for
launching the Jewels for the Collector sales which proved
a huge success. At Sothebys he is well remembered by his
colleagues for his immense jewellery scholarship, which he
generously shared with those who were so lucky as to work
with him.
In the early 1960s he gained his FGA, and, with his usual
determination to achieve the best results, tied for the highly
sought after Tully Medal. In 1969, within a decade of joining
the auction house, he produced his first book, Jewellery,
published by Hamlyn. Peter was a true pioneer of writing
on this subject and, in a sense, created a new area of study.
He went on to write several books on Western Jewellery,
the most notable being Nineteenth Century Jewellery in
1975 and Twentieth Century British Jewellery in 1983,
both published by Faber. These books are still authoritative
works on these periods and his captivating style and depth
of knowledge has endeared many a reader to his books, and
jewellery as an art form. Such was his passion for the history
of jewellery that he was still working on a new publication
at the time of his death. On 7 March 1990 he was made a
Freeman of the Goldsmiths Company.
Peter always cut a handsome and dashing figure, donning
his favoured form of neck attire the bow tie when he
held the gavel as the auctioneer for Sothebys Bond Street
jewellery sales, which were at that time held on a monthly
basis. After he left Sothebys in 1984, he continued with his

writing and was also invited to lecture, and vet international

antique jewellery fairs, on a regular basis. His artistic flair
also showed itself in the wonderful carvings he made by
hand from either drift wood that he may have found on a
beach, or even the leg of an unwanted piece of furniture.
In the 1960s he also designed and made the ring which
Ringo Starr wore in the Beatles film Help. He was truly
endowed with a marvellous sense of humour, as well as his
high intellect and a kindness and true sense of friendship
that were enduring.
Peter was happily married to Elsa for over 30 years before
she died in 1989 leaving two daughters. For the past 20
years he shared his life with Clare and they spent much of
their time on the Isle of Wight; Peter and Clare both loved
the outdoor life. He was also a keen fisherman and sailor
and hence loved messing about on his boat in between their
long walks with Digger. He was a true man of many parts
and his contribution to the world of jewellery scholarship
was outstanding.
Alexandra Rhodes,
Senior International Jewellery Specialist,

Jewellery History Today Spring 2013


Saleroom News

A rare piece by Laliques workshop manager

An interesting art nouveau pendant was
sold at Woolley & Wallis in the Jewellery
sale at their Salisbury salerooms on 18
April, amongst a number of Victorian
and Edwardian pieces which included
several art nouveau, arts and crafts, and
art deco lots.
This silver, lapis lazuli and turquoise
pendant, depicting two well-detailed
large cats on a lapis lazuli background
representing the night sky, is one of the
few surviving signed pieces by the art
nouveau jeweller Paul Brianon. The
silver frame has a grotesque mask above
and the lynx-style cats tails are looped

elegantly through the shaped lower

section. It is set with three turquoise
cabochons, has blue beads on the silver
chain, and is signed Brianon on the
back of each corner.
Paul Brianon moved from his home in
Villeneuve-sur-Yonne to Paris in 1871.
As a struggling student he registered
at the Beaux Arts (School of Fine Arts)
where he met Ren Lalique, and in
1885 they took over the workshop of
Jules Destape on Place Gaillon, to form
the Lalique Company. Despite limited
funds, some of the most innovative work
was to be created there, and Lalique

Paul Brianon.
Pendant, signed on reverse, undated.
Silver, lapis lazuli, turquoise.

rose to fame. Brianon supervised the

workshop for 30 years, but his own
work is less familiar and overshadowed
by that of his partner. The firm moved
to the more spacious Rue Thrse
workshops in 1890, and the two men
remained close friends. Brianons own
work is relatively unknown, compared
to that of Lalique, but is typical of the
vocabulary of the art nouveau style and
skilfully designed and made.
We are grateful to the jewellery
department of Woolley & Wallis for this
Paul Brianon in his garden. Photo courtesy of Woolley & Wallis.

Princess Margarets Diamond Ring

A ring from Princess Margarets collection, and designed for her, was offered for sale at 750,000 at Antiques for Everyone at
NEC on 4 April, by Riverside Antiques of Stamford. The design frames a 5 carat uncut macle diamond (one in which two crystals
have grown into one, like Siamese twins) in a chunky gold setting and was commissioned by HRH in 1977. She is recorded as
having advised on the design. The ring was amongst a group of items from her personal collection.


Jewellery History Today Spring 2013

News and Events

Double Honours for Wartski

A recent newsletter from C20 (Twentieth
Century Society) tells us about the listing
at Grade II of the facade of Wartskis
shop in Grafton Street, London. The
Societys Director, Catherine Croft,
writes The shop front has been listed
as a distinctive and intact example of
1970s retail design which is now rare.
The architect, John Frederick Buckland,
graduated from the Northern Polytechnic
in 1951, subsequently working in interior
and exhibition design. In 1967 he
worked with Ronald Sandiford to design
a bicentenary exhibition for Christies
in London, and later collaborated on
interiors for a New York branch of
Christies at the Delmonico Hotel. The
modest, though undeniably handsome,
exterior for Wartski borrows from the late
1960s and 70s trend for assertive store
frontages where maximum effect was
derived from the qualities of material, in
this case five patinated bronze panels.
This is a seriously elegant shop front,
built to last. Its great that the firm has
responded so positively to the listing
and that a design-led business really
appreciates its own design legacy.

Wartski, founded in Bangor in 1865

and based in Llandudno in the early years
of the 20th century, moved from Regent
Street to its present premises in 1974.
Kieran McCarthy, Director of Wartski,
comments: Retail architecture can be so

ephemeral and fragile so it is heartening

to have the protection that listing affords.
We congratulate the firms most highprofile figure, Geoffrey Munn, on his
appointment as OBE in the New Years
Honours list, for services to charity.

Shopfront of Wartski of Llandudno, Grafton Street, London.

News from the Court Barn Museum

The Chipping Campden museums recent newsletter tells us that
the galleries are now fully restored after the robbery in November
2011. The cabinets have been rebuilt and new displays have
been created with items generously lent by kind supporters.
Security has been upgraded. Sadly, none of the stolen items
have been recovered. There is a heartening optimism and hope
of recuperation in the Trustees message, after the tragic loss of
much of the jewellery and silver in the museum. The museum
announces an ambitious programme of events during 2013,
with lectures, exhibitions, guide talks and displays covering the
rich heritage of crafts in the Cotswolds and workshops run by its
present day exponents.
The main exhibition for 2013 celebrates the work of Arthur
and Georgie Gaskin, showing both jewellery and their work as
illustrators. It will run from 10 October to 24 November, and on
Saturday 19 October Alan Crawford, a historian of the Arts and
Crafts movement, will give a lecture: Arthur and Georgie Gaskin:
an Arts and Crafts Partnership in Chipping Campden Town Hall
at 5pm. Tickets 7, obtainable from the museum. Booking is
essential, by telephoning the museum on 01386 841951 or

Pendant necklace by Arthur and Georgie Gaskin.

Jewellery History Today Spring 2013


The Society of Jewellery Historians 2013 Lecture Dates

Sir John Boardman - Natters Museum Britannicum.

21 May

The German engraver Lorenz Natter, who spent the years 1739 to 1761 in Britain, was so impressed by its gem
collections that he decided to publish an illustrated account of them. Unable to raise the capital to complete
the project, he left for St Petersburg where he died in 1763 leaving his papers in the Hermitage Library. The
Hermitage and the Beazley Archive in Oxford are now collaborating in a project to publish all 650+ of Natters
drawings, and to try to identify the present whereabouts of the gems he drew. This is proving no easy task since
most of the collections had been dispersed by the end of the 18th century.
David Wood-Heath - Guilloche, the machines, techniques and products.

25 June

Engine turning otherwise known as guilloche, is something for which the speaker has a deep and abiding
passion. Although it is frequently referred to in books on jewellery and related products, the reference is
usually limited to a simple comment such as engine turned, with no further detail or information about
how this frequently very beautiful and intriguing effect is achieved. The various types of machines will
be illustrated along with descriptions of the techniques used for each type. The presentation will focus
on jewellery and related artefacts but will also cover some more unusual uses of the technique, and will
include some comment on its practitioners.
Ros Conway - The marriage of new and traditional technology in the making of a 21st-century Goldsmiths
Company commission.

24 September

At a time when high street mass-produced, and even small, batch-produced, precious jewellery and
smallware is created by rapid prototyping methods generated by computer-drawn designs we cannot deny
the usefulness of these new programmes and methods, even in the developing of pieces that are highly
hand-wrought using traditional skills. Ros Conway will start by giving some background on her enamelled
jewellery and silversmithing work. She will then talk about the commissioning and making of a major
piece for the Goldsmiths Company, and the role played in its design by new technology combined with
the ancient and intensive skills of enamelling.

Later dates in 2013: 22 October and 26 November. 2014: 28 January, 25 February, 25 March, 13 May, 24 June, 23
September and 25 November.
Lectures are held at the Society of Antiquaries of London, Burlington House, Piccadilly, and start at 6.00 pm.
Members and guests only.
For last minute changes or cancellations, check on the website at

The Society welcomes new members

Formed in 1977, the aim of the SJH is to stimulate interest in
jewellery of all ages and cultures by publishing new research
and by bringing together all those interested in the subject,
whether in a professional or private capacity. Membership is
international and includes collectors, curators, gemmologists,
archaeologists, art historians, libraries, teachers and students,
dealers and auctioneers, and artists and designers.
The Society runs a programme of lectures, free to members,
from September to June, inviting speakers from many different
disciplines and many parts of the world. Lectures are usually held
in London on Tuesday evenings at the Society of Antiquaries,
Burlington House. The lectures are followed by refreshments
with an opportunity for members to meet. Members receive this
magazine, Jewellery History Today, three times a year, and the
journal, Jewellery Studies, which is published on an occasional
basis and contains full-length research articles. From time to
time, the Society arranges private views of special exhibitions,
study visits to museums, and symposia on aspects of history
and technology.


Jewellery History Today Spring 2013

The current subscription rate for individual members is 33 a

year, which will increase to 40 a year from September 2013.
For full details (including joint and corporate membership)
and application form, please visit:
Or write to:
The Membership Secretary
The Society of Jewellery Historians
PO Box 116
Bishops Castle
SY7 7BE (UK)
Fax: +44 (0)1588 630 710

SJH Officers 2013/2014

Hon Secretary:
Hon Treasurer:

Prof. Sir John Boardman FBA, FSA

Nigel Israel FSA, FGA, DGA
David Beasley
David Lancaster FGA, DGA
Lynne Bartlett PhD, FGA

Readers wishing to attend any of the shows, fairs or sales listed are strongly advised to contact the organisers
to confirm the details, in case of any alterations or cancellations which may occur after this issue goes to print.
Olympia International Fine Art
& Antiques Fair 2013
6-16 June 2013
Olympia Exhibition Centre, London
Tel: (+44) 0871 620 7062
Art Antiques
12-19 June 2013
Albert Memorial West Lawn,
Kensington Gardens, London
Tel: (+44) 020 7389 6555
26 June 3 July 2013
South Grounds,
The Royal Hospital Chelsea, London
Tel: (+44) 020 7499 7470
Antiques for Everyone - Summer
25-28 July 2013
NEC Birmingham, B40 1NT
Tel: (+44) 0121 767 2947
International Jewellery London
1-4 September 2013
Earls Court, London
Tel: (+44) 020 8271 2144
The LAPADA Art & Antiques Fair
25-29 September 2013
Berkeley Square, London
Tel: (+44) 020 7823 3511
8th Asia International Arts & Antiques Fair
24-26 May 2013
Grand Rotunda 2,
3/F Kowloonbay International Trade &
Exhibition Centre
1 Trademart Drive, Hong Kong
Tel: (852) 2341 0379



Please note that the times of auctions,

when known at the time of going to press,
are given in the local time.

Gold: Status and Glory. Masterpieces from

the Middle Ages and Today
2-31 May 2013
Moretti Fine Art Ltd
2a-6 Ryder Street, St Jamess, London
Tel: (+44) 020 7491 0533

Bonhams Jewellery
14 May 2013, time tbd, Oxford
15 May 2013, time tbd, Knightsbridge
5 June 2013, time tbd, Edinburgh,
Jewellery & Silver
11 June 2013, time tbd, Oxford
12 June 2013, time tbd, Edinburgh
10 July 2013, time tbd, Knightsbridge
16 July 2013, time tbd, Oxford
7 August 2013, time tbd, Knightsbridge
3 September 2013, time tbd, Edinburgh
11 September 2013, time tbd, Knightsbridge
17 September 2013, time tbd, Oxford
18 September, time tbd, New Bond
Street, Fine Jewellery
Christies Jewellery
22 May 2013, 10.30 am, South
5 June 2013, 10.30 am, King Street
19 June 2013, 11.00 am, South Kensington
Sworders Fine Art Auctioneers
25 June 2013, 10.00 am, Stansted
Mountfitchet, Silver & Jewellery
Dreweatts 1759
20 June 2013, 10.00 am, Bristol,
Jewellery, Silver & Watches
10 July 2013, 10.00 am, London, Fine
Jewellery, Silver & Watches
17 July 2013, 10.00 am, Godalming,
Jewellery, Silver & Watches
15 August 2013, 10.00 am, Bristol,
Jewellery, Silver & Watches
Bonhams Jewellery
25 May 2013, time tbd, Hong Kong, Fine
Jewellery & Jadeite
17 July 2013, time tbd, Melbourne, Fine
Christies Jewelry
15 May 2013, 2.00 pm & 7.00 pm,
Geneva, Magnificent Jewels
29 May 2013, 3.00 pm, Paris
11 June 2013, 10.00 am & 2.00 pm,
New York Rockefeller Center
14 May 2013, 10.00 am, Geneva,
Magnificent Jewels and Noble Jewels
24 September 2013, 10.00 am, New York
Important Jewels


Ultra Vanities. Bejewelled make-up boxes

from the age of glamour
31 May 20 July 2013
Goldsmiths Hall, Foster Lane, EC2V 6BN
Tel: (+44) 020 7606 7010
Mary Queen of Scots
28 June 17 November 2013
The National Museum of Scotland
Chambers Street, Edinburgh EH1 1JF
Tel: (+44) 0131 247 4422
Treasures of the Royal Courts. Tudors,
Stuarts and the Russian Tsars
Ends 14 July 2013
Victoria & Albert Museum, South Kensington
Cromwell Road, London SW7 2RL
Tel: (+44) 020 7942 2000
Small Size, Great Aesthetics a Hundred
and One Rings
Ends 9 June 2013
Schmuckmuseum Pforzheim
Jahnstrasse 42, D-75173, Pforzheim
Tel: (+49) 07231 392126
Magnificent Views? Landscapes in Jewellery
22 July 2013 13 October 2013
Schmuckmuseum Pforzheim
Jahnstrasse 42, D-75173, Pforzheim
Tel: (+49) 07231 392126
A Bit of Clay on the Skin: New Ceramic
14 May 2013 11 August 2013
Gardiner Museum
111 Queens Park, Toronto, Ontario, M5S 2C7
Tel: (+1) 416 586 8080
Out of this World! Jewelry in the Space Age
Ends 7 September 2013
The Forbes Galleries
62 Fifth Avenue, New York City
Tel: (+1) 212 206 5548

Jewellery History Today Spring 2013


by Jane Perry
READER OFFER To order a copy at the special
price of 23.00 (plus free UK
postage and packing), please
phone LBS Mail Orders on
01903 828 503 and quote the
Publication date: June 2013
30.00 RRP
Offer price: 23.00
ISBN 9781851777297
190 col0ur illustrations
245 x 210 mm 144 pp

A beautiful introduction to the rich variety of European traditional jewellery

This book draws together a wide selection of beautiful pieces, originating from across Europe from Iceland
in the north to Cyprus off the shores of Asia to demonstrate the wonderful variety of jewellery worn with
traditional or national costume. Spectacular examples include gilded Norwegian wedding crowns and
extravagant golden crosses of Normandy, ornate earrings of Spain and Italy, and imposing filigree clasps from
the Balkans. Jane Perry is a visiting scholar at the V&A, involved in cataloguing and studying its extensive
collection of European traditional jewellery. She has written many articles on aspects of nineteenth-century
jewellery and is the author of A Collectors Guide to Peasant Silver Buttons (2007).

See more V&A books at:
See inside our books at: