Just what a man loves!
Treasury created by Michael Dinwiddy
Just what a man loves!
Treasury created by Michael Dinwiddy
A. Protecting your antique jewellery.
Even when stored, precious jewellery needs special care. Jewellery should be kept in a fabric lined jewel case or a box with compartments or dividers.
If placed in one box, each piece should be wrapped in tissue paper because a diamond can scratch and damage other diamonds.
Though most people wear a ring all a day, however there are occasions when it should be removed:
Do not wear a ring while doing rough work. Even a diamond is durable, it can also be chipped by a very hard blow.
High temperatures can ruin jewellery and care must be taken during soldering.
Organic material like pearls, corals, cameos etc. can be damaged by acids, alcohol (including perfume) and skin creams.
Diamond Jewellery should not come in contact with chlorine bleach because it can pit and discolour the mounting.
A jeweller should check the ring once a year for loose stones and wear of the mounting. He can also clean the ring professionally
B. Cleaning your antique jewellery.
Once you have selected your piece of jewellery it is necessary to take good care in order to make it last a lifetime. Although nature invests millions of years of heat and pressure to crystallise a single diamond it is still imperative to take constant care in order to keep them at their brilliant best. A clean stone not only reflects light better, but actually looks bigger than one that’s been dulled by skin oils and cosmetics. To keep their fire at its brightest set jewellery should be cleaned once a month. Use one of the following methods:
Please note that:
Foiled-back set stones should never be immersed in any liquid.
Organic materials can only be immersed in luke warm water and certainly not alcohol and acids.
In most cases (even for organic materials), you can use one of the following methods, but be on the safe side and check with your expert.
Top quality antique gold Russian articulated bracelet with seven high domed malachite stones elements pierced with floral patterns, gold balls, stars and seven seed pearls. Moving parts are invisible with fine gold wire work. The bracelet closes perfectly with a gold closure and a security chain.
A type of ancient garment-fastener brooch consisting usually of a straight pin (acus) that is coiled to form a spring and extended back to form a bow and a catch-plate to secure the pin (the most common form of which resembles the modern safety-pin).
The early form had no catch and was used by passing the pin twice through the fabric and then bending it upward behind the head to secure it. Mycenaean and later examples were made with the pin coiled at one end to form a spring for a more secure fastening. Later they were made of two pieces of metal with the pin hinged to a bar having around it wire coils attached on each side of the hinge (a double-twisted or bilateral spring); this type was the precursor of the safety-pin invented in the 19th century.
Later the bow and the catch-plate were highly ornamented. Examples of the fibula have been made in gold, silver, and bronze. Some have been found at Etruscan sites in Italy, attributed to the 7th/5th centuries BC; it has been suggested that some of these were probably made locally, albeit some have also been found in the Illyrian region (now Jugoslavia).
Many fibulae have been ascribed to Anglo-Saxon make, an example with triple pendants has been recorded of Byzantine make, and there are a number of varieties from Romano-British sources.
A fibula is sometimes referred to as a ‘safety-pin brooch’. The term ‘fibula’ has been sometimes loosely used to refer to any type of ancient brooch, and conversely the term ‘brooch’ has been sometimes used to refer to a fibula; but clarity would be better served if the two terms are respectively confined to the two basically different types of fasteners.
Fabergé, (Peter) Carl
The Russian renowned for his artistic and imaginative creations in gold, enamelling, and gemstones, and best known for his jewelled eggs made from 1884 as Easter gifts from the Tsar to the Tsarina.
He was born in St Petersburg, studied at several European centres, and then joined the jewelry firm that his father Gustav (1814-81) had started in 1842. Upon his father’s retirement in 1870 he took over and soon, with his brother Agathon, enlarged the business. Later he was joined by his sons Eugène and Alexander.
He achieved international recognition after the Paris Exposition of 1900, and thereafter made articles for the Russian court, for Edward VII, and for other European royalty. Branches were opened in London and elsewhere, and the business grew to employ over 500 craftsmen.
Fabergé himself, although he probably designed some of the work, was not a goldsmith or enameller, but excelled in supervising the creation of the pieces as to which he required the most meticulous craftsmanship and controlled the selection of the types of stones, enamelling, and settings. Each type of work was executed in specialized workshop, and many of the pieces were signed with the marks of the individual workmasters, including, for the Easter eggs, Michael Perchin and later Henrik Wigström, and, for jewelry, Alfred Thielemann and later August Holmström.
The articles were mainly objects of vertu, such as carved animals and jewelled flowers in vases, as well as useful objects, e.g. frames, boxes, clocks, etc., but he also produced a small amount of jewelry, mainly conventional pieces (e.g. tie pins, cuff-links) reputed for the precision of their settings. He specialized in the varied use of enamels, such as work in plique à jour enamel and tour à guillocher, articles of metal of different colours, and a great variety of gemstones (often rose-cut diamonds and coloured stones cut en cabochon).
Many pieces were made in art nouveau style. The factory closed after the Revolution of 1918 and Fabergé escaped to Switzerland.
E. Vernier is a famous French medaillist, that was one of the foremen of the revival of the medaillist art in France around 1886. He was also a collaborator of Falize (other famous French jeweller) and awarded the prestigious “Medal of Honor at the Salon”.
A similar pin is depicted in the famous “jewelry bible” by Henri Vever “French Jewelry of the Nineteenth Century” in the English translation on page 1048.