Queen Victoria reinterpreted the custom of wearing the symbol of The Royal Order of The Garter by moving it from the leg, where it had been proudly exhibited as proof of being favoured by royalty, to displaying it upon her arm.  As she was the foremost originator of fashion it inspired an incredible amount of interpretation into bangles, rings, but also on lockets and brooch settings.

As a symbol it can be seen to represent strength, loyalty and protection, and of course, eternal love with its obvious evocation of the Ouroboros.

So many emotional experiences can be celebrated using this motif, as a symbol of familial or romantic love, these beautifully  imagined  versions serve as a powerful,  deeply personal and immediately accessible touchstone, whether the person it inspired thoughts of were near, far or passed.

The other consideration of course is that they look superb, and can be made angular and tailored, crisp and classic or highly decorative, rounded, draped and finely engraved.  Buckles are as powerful and iconic today as any day in centuries past. 


The Rise of the French Cut Gem in The Art Deco Era

In the 1920’s the ‘garconne’ look took over, with straight sheath style dresses of far shorter lengths than ever before, Sleeves, like hemlines, retracted or disappeared leaving arms a perfect site for adornment. Flexible or Line bracelets came to be de rigueur, stacked all the better! To compliment the bobs & slimline long drop earrings, sautoir necklaces & angular, finely detailed & starkly contrasting diamond & coloured stone rings. Brooches continued to be a focal point for ornament & could were worn in several places from cloche hat to waistband.

The French cut was the perfect match for these new jewels, so popular in the 1920’s, it appeared in sapphire, emeralds, rubies & sometimes in diamonds. As accent stones they were supremely effective at adding colour & contrast to other cuts. French cuts offer a more sculptural 3D shape with larger facets, but on angles which reflect off in many directions. This would only work with gems of excellent colour, light enough to bounce the light around & send its coloured sparkle out as much as possible. Used on watches, bracelets, brooches, rings & earrings being more lively than both the step cut or the carre, they brought to life the crisp & streamlined designs of the age.

Art Deco is primarily white jewellery. Platinum was still relatively new on the scene because it was unable to be worked prior to the end of the nineteenth century.

This piece is a quintessential Art Deco bracelet, its straight lines featuring angular French Cut sapphires set in platinum, millgrained & hand engraved with the colour palette of stark white metal against rich deep blue reminiscent of the gorgeous hoard of Tutankhamun’s treasure. It is sleek & elegant, in both materials & manufacture clearly of quality, easily worn & timeless.


The Charm & Symbolism of Snake Jewellery

Throughout the ages, across many cultures and civilisations, Snake Motifs have featured prominently in jewellery and adornment.  This motif has a history that includes varied meanings from fertility and rebirth to healing, guardianship, everlasting love and commitment.  The snake can also signify a slightly darker side such as poison, evil, sexual desire and passion!

The Pharaohs of Egypt revered the snake as a symbol of both royalty and deity whilst the ancient Romans saw the serpent as an expression of everlasting love and adoration.  In ancient Greek mythology they were venerated for their ability to shed their skin and thus seen as a representation of regeneration and rebirth.  Both the Aztecs and the Mayans featured snake gods within their religions and in ancient Chinese mythology, it was believed that the snake had close relations with the gods and that they were able to prolong one’s life. The creature was considered a symbol of reproduction and good luck.

Derived from the Greek terms “ouro” meaning tail, and “boros”, which translates to eating, Victorian jewellery often used an entwined snake, the Ouroboros, to symbolise infinity, the circle of life and eternal love.  The Victorians were influenced by the treasures of Roman and Greek times and replicated many details of the visual culture of the Ancient world.  Queen Victoria herself was given a jewel encrusted serpent by Prince Albert as an engagement ring.  Reaching their peak of popularity during this period, the snake appears as a widespread motif on brooches, pendants, rings, bracelets and all sorts of ornamental accessories.

We have a rare and adorable example, our 15ct Persian turquoise Victorian snake necklet .  Turquoise was fashionable and highly prized in the 19th century and cabochons of this vivid blue stone were cleverly used by Victorian jewellers to emulate the scales of these reptilian creations.

It is the contrast and duality of the snake that keeps us intrigued and attracted to adorning our wrist, finger or decolletage with this timeless and stylish motif.



This trailblazing women’s monement started in 1866 and finished (historically) in 1928. It symbolised a fundamental societal change in womans rights which gave them the power to vote. Through peaceful protest and symbolic gestures, the three colours green (give), white (woman) and violet (vote) became a voice and symbol of hope for a gender population that demanded to be heard in a male controlled world.

In order to show support enamel badges were worn, but in a period where decorative arts and fine arts were making strong aesthetic statements, jewellery was widely endowed with these three significant colours. In the Edwardian pieces green, usually peridot or tourmaline represented hope and the emblem of spring, white usually pearl or diamond represented purity in private and public life, and violet/pink usually amethyst, tourmaline, topaz or garnet stood for freedom and dignity.

Thanks ladies, you changed the world!


Micro Mosaics

As the name would suggest micro mosaics are the very small version of mosaics, usually made to be worn as jewellery, or set into decorative arts pieces. They are created using tesserae packed very carefully, selected with incredible care & skill to produce a variety of images. These tesserae are tiny pieces of every coloured glass set into a complementary background.  To produce these works of art, a craftsman heats vitreous beads of glass enamel, to melt the glass together and achieve a unique and uniform colour. Once sufficiently heated, the liquid glass is drawn out in long viscous strings or fileti to dry. The fileti are then cut into millimetre long oblong pieces called tesserae. A silver or gold piece of jewellery was used as the framework of the mosaic, and in preparation of the tiling, it was lined with a gum like substance. This adhesive takes up to three months to dry giving the artisan time to painstakingly lay each tesserae into place. In higher quality pieces of micro mosaic, each square inch of the piece of jewellery will contain between 3,000 and 5,000 individual tesserae tiles! Often more complicated pieces were made in individual cells as this period of 3 months was still not enough time to create the entire piece. Once all of the tiles had been laid a grout of sorts made with powdered marble was applied to hold the piece together.

There are very few master artists left that still know the entirety of the method to produce these miniature works of art. The actual term ‘micro mosaic’ was coined by wealthy 20th century collector Sir Arthur Gilbert in reference to Roman mosaics.  The ancient Romans were masters of mosaic, as seen in pieces surviving Pompeii, so were the Byzantine artists, who made religious images of fine quality.

Wearing micromosaic jewelry became popular during the Grand Tour period (17th – 19th Century). Members of rich European families would travel around Europe, taking in the sights and cultures of different countries. Italy was a very popular tourist spot as it had a long and prestigious history in arts and culture – a favourite subject in aristocratic circles. A very productive relationship between glass producers & and Italian craftsmen quickly turned their glass making skills to making stunning miniature micromosaic pictures for their rich visitors.

As part of these trips, travellers would brush up their language skills, take up fencing, commission paintings of themselves amongst the ruins of Rome, and naturally, take home a few precious baubles they found along the way. Chief among these for visitors to Rome was micro mosaic.

The history of these intricate beauties dates back to the Vatican Mosaic Studio founded in 1567 established to recreate the masterful alter pieces in St Peter’s Basilica that had started to deteriorate due to the humid atmosphere of the crowded building. As Rome was such a popular destination for tourists of the day, these mosaics provided a wonderfully luxurious remembrance of their journey that was easy to transport home. Early artisans of the mosaics made small oblong plaques that could be sent home and inset into furniture and snuffboxes, with recreations of famous paintings and pastoral scenes.

Mosaic work jewellery of this period usually depicted famous Italian landmarks such as the Colosseum, the ancient ruins at Pompeii and St. Peter’s Basilica, though occasionally Roman mythology was a subject too. The richest tourists would commission their own mosaics, with animals and famous works of art being favourite subjects. The small size of the micromosaic was appealing; micro mosaics could be worn on the Grand Tourists’ continuing journey, or sent back home to loved ones like a kind of fore-runner to modern postcards. Micro mosaics were most commonly found as brooches and pendants but were also sold in large parures, demi parures, and as individual bracelets, necklaces and pairs of earrings. Cemented to a glass, stone or metal background and framed, the glass tesserae were originally so small, these brooches appeared to have been painted or enameled, until they were examined under a microscope. At first, the tesserae were rectilinear or square, but after a while, each piece could be individually shaped to resemble brush strokes. In the early 1800’s, commercial mosaic studios opened in Rome, offering the rapidly growing tourist market, micro mosaic mementos.

Inspired by the great mosaics of antiquity, the most direct inspiration for micro-mosaics was the so-called Doves of Pliny, a wall panel measuring roughly 3 by 2.5 feet, discovered in 1737 at Hadrian’s Villa outside Rome. The earliest micro-mosaics produced during the first half of the 19th century depicted naturalistic landscape scenes either incorporating monuments of ancient Rome or copied from 17th century landscape paintings.  Flower bouquets and animal subjects were also popular motifs of early 19th century micro-mosaics.

Other than being sold in Italy, many micromosaics were exported to jewelers in London and Paris to be set into larger pieces.

Our Doves Suite:

Doves were another subject often depicted as they were symbolic to Romans of love but also emblematic to Christians of the Holy Spirit. The dove is commonly found in sentimental miniatures of the neoclassical period where it represents peace, love, purity and gentleness. When shown with an Olive Sprig it means Hope or Promise.

The Victorians were well versed at conveying messages through images & this could well be an engagement gift conveying the message of hope & promise to a particularly lucky lady.  As a suite they very sweetly illustrate the two individual birds seeking the Promised Land, then united in the majestic brooch sharing one sprig & perched upon the bow & quiver of arrows of Cupid, united at last & immortalized forever.

Our Floral Suite:

The language of flowers was universally understood by the Victorians. The language of flowers, sometimes called floriography, is a means of cryptological communication through the use or arrangement of flowers.

Roses were used to represent love as they are currently, the colour did affect meaning however, as did their stage of bloom. Our exquisitely executed suite is quite three dimensional; with a flat white background set in concentric circles acting as a stark contrast to the explosion of colour & form that creates the bouquet on each of the pieces. It also reintroduces the bright white of the central chrysanthemum, each petal specially shaped and perfectly balanced, as they are in life.

This is no artists’ impression of some flowers; this is a very lifelike & supremely skilful wearable sculpture that tells the world a message.

What is that message?

Each of the roses are full blown, shown as golden yellow, red & pink. I found several lists with some variation in meanings, but I have reached consensus with these:

Red, love & respect

Yellow, joy & friendship

Dark Pink, thankfulness

Forget-me-not, remember me, memories

White Chrysanthemum, you’re a wonderful friend, truth

Then the tricky one, the tiniest four petalled yellow one…it took some searching but I found it!

Potentilla erecta – TormentilTormentil has tiny flowers, usually 1cm to 1.5cm across and the colour of buttercups. This wildflower is easily distinguished from a buttercup because, although its leaves are similar to those of buttercups, the flowers of Tormentil have just four petals, unlike most other members of the botanical family Rosaceae, which have five. This wildflower is widespread and common throughout Britain and Ireland, and is found also across most of northern Europe. This dear little flower is often known as Cinquefoil, & its meaning is found to be Beloved Child, Maternal Affection.

There is also a meaning ascribed to a bouquet of full blooms, that of Gratitude.

Whether this was a gift to a mother from a thoughtful son or daughter, or a wonderful gift to soothe a child not taken on the tour, or another explanation entirely we cannot know, can they be adored purely for their gorgeousness? Absolutely!


One Object Many Stories – The Mourning Brooch

Kaz Cooke, author, cartoonist and 2013 State Library Victoria Creative Fellow, leads this intriguing discussion focusing on a single object from the Library’s collection: a mourning brooch made from gold and woven human hair.

She is joined by a panel of experts who help tease out aspects of social history, design and curatorship revealed by the brooch:

In this video, Kaz shares the fascinating history behind the brooch, a classic example of Victorian-era mourning jewellery. She also introduces the two women who are integral to its story, Anne Drysdale (1792–1853) and Caroline Newcomb (1812–74), colonial pioneers and life partners who ran a successful sheep farm together on the Bellarine Peninsula.


Essex Crystal

Essex crystals are also known as ‘reverse intaglios’. They are a cabochon of colourless rock quartz that has been carved on the flat side after which the details of the design are painted, creating a three dimensional ‘trompe l’oeil effect’.

Essex crystals acquired their name from William Essex, an artist who was recognised for his miniature enamel work created in the Victorian & Edwardian times. However, this was wrongly attributed and the only artist who made signed reverse intaglios was Emile Marius Pradier of Belgium.

Originally, reverse intaglio were made from rock crystal and were very popular from roughly 1860-1930. The rock crystal is shaped into its cabochon form and the image is drawn on the reverse side in watercolour paints. A scribe pencil and as many as 250 different soft steel tools in combination with a paste made out of diamond powder and oil are used to carve the image. After the design is carved in, the detail is painstakingly painted in using very fine brushes, some of which may only have consisted of one single hair!!

Depending on the era, cabochons were fashioned out of rock crystal, glass, clear bakelite and transparent Lucite. To enhance the three dimensional effect, the earliest crystals were backed in gold foil, followed by etched mother of pearl and then plain mother of pearl.  Initially, crystals produced in the Victorian times were framed by mounts made generally out of sterling silver, 18ct or 22ct gold. As time moved on the use of plastic to create the domes signalled the end of mounts as plastic is not as fragile as glass, so protecting the edges wasn’t as necessary.

Inspiration for the images within the crystals fell into four main categories. Animals , birds, flowers and nautical themes. Most often depicted were dogs, cats, racing horses, insects, foxes, floral scenes, monograms or coaching or gaming scenes. The crystals were not only used in jewellery, but also buttons, tie pins, cufflinks & stickpins. Occasionally two crystals were fitted back to back creating a sphere shape pendant showing  the front and back of one image.

We have three exquisite examples of Essex crystals showcased in our catalogue this year. The first is a very sweet Victorian bracelet with crystals attached portraying a dove carrying a letter, ‘Love’s Message’.  The second is an Austrian reverse painted intaglio crystal brooch depicting a bouquet of flowers and the third is an Essex crystal parrot brooch circa 1870.