A variety of revivals

‘Revival’ was a broad umbrella term that covered a whole range of designs inspired by the discovery of burial tombs near Rome in the 1820s and ’30s. Archeological Revival was key at another international exhibit in London in 1862. The Castellani family was famous for its mastery of Etruscan Revival granulation; tiny beads of applied gold make up the decorative patterns of corded wirework and filigree scrolls. ‘Boss’ surmounts of circular discs accented brooches, drop earrings, and wide-hinged bangle bracelets in 18-karat yellow gold or higher, reaching peak popularity in the 1860s and ’70s. In modern times, Ilias Lalaounis may have been inspired by these iconic designs.

The Castellani family perfected the art of micromosaic tile designs using tiny glass pieces called tesserae. The different colours fitted together like a miniature jigsaw puzzle to create the intricate vibrant picture. Popular motifs included doves, beetles, flowers in urns, amphorae, and the ‘Veduti di Roma’ series with scenes depicting ancient architecture like the Colosseum. Amazingly, many of these drop earrings, brooches, and bracelets still exist with little or no damage or loss to the tesserae.

The fixation for all things Egyptian begins in the late 1800s and intensifies with the opening of the tombs in 1922. A fabulous example of Egyptian Revival is a bracelet decorated with carved hard stone scarabs, palms, and animal deities in shadings of palest to deeper greens, the reverse with incised hieroglyphics and set in silver and gold. Cartier revisits the idea in the 1980s with a simpler, contemporary version of a scarab ring in 18-karat white and yellow gold.

Carlo Giuliano’s enamelwork is synonymous with Renaissance Revival in the 1880s. One example is a lozenge-shaped pendant set with garnets, pearls, and rose-cut diamonds, highlighted with polychrome enamels in blue, orange, green, black, and white; a natural pearl drop completes the piece. A great sample of Gothic Revival is a diamond-encrusted brooch of an ornate capital letter, ‘J,’ circa 1890.

Politics and diplomacy

Japanese decorative arts were formerly closed to the West, but displayed during the London International Exhibition in 1862. Still inspiring jewellers well into the 1920s, the Japonesque designs leaned toward the usual picturesque stereotypes of mountains, lakes, and boats—attractive nonetheless. Tiffany originated many pieces with Oriental inspiration.

Over time, what once was considered strangely odd and excitingly exotic has come to be classically familiar, but no less enticing. The progression from style to style happened due to diverse influences; combing jewellery archives is like watching the history of the world in microcosm—both informative and alluring.

Ron Dupuis is a gemmologist and graduate jeweller with 32 years’ experience in the international auction market. He is president and CEO of Toronto-based Dupuis Fine Jewellery Auctioneers and can be reached at ron@dupuis.ca.