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Revival Jewelry Ancient Assyrian, Etruscan, & Egyptian sites were being excavated in the 1800's and bringing examples of antique jewelry styles to light. The technical expertise exhibited in these pieces provided a challenge for 19th century jewelers as they attempted to duplicate the styles and re-discover techniques used. Besides these ancient styles, Medieval designs of Europe were also being re-interpreted. Egyptian Revival While most people equate the Art Deco time period with Egyptian revival, there were earlier eras equally fascinated with Egyptian design. Excavations in the 1800's created an interest in Egyptian style in Victorian era jewelry. The Art Nouveau jewelry makers utilized Egyptian motifs; winged scarabs are a beautiful example, often with wings of translucent plique a'jour enamel. Discovery of King Tut's tomb in the 1920's made Art Deco jewelers interested in re-creating the style. In the 1960's, the movie "Cleopatra" created another surge of interest in these motifs. Each era interpreted Egyptian designs in their own way. Scarabs, asps, ankhs, sphinxes, pharonic heads - these and other motifs reflected the art and history of ancient Egypt. Etruscan Revival The Etruscans were ancestors of the ancient Romans; their jewelry was made up of tiny grains of gold, applied without solder, to a metal surface. Goldsmiths of the 19th century were fascinated with this technique and began to attempt to match the high quality of workmanship. (They got close, but never really mastered the quality shown in ancient examples.) Assyrian Revival Archeologists were investigating the ruins of Ninevah in the 1840's. Artifacts found showed Assyrian motifs of lions, winged bulls, and turbaned men with curled beards. The "Great Exhibition" of London, held in 1851, showcased new jewelry incorporating these designs which viewers found fascinating and exotic. Medieval Revival There was interest in the 1820's through 1890's in re-interpreting Medieval designs of Europe. These pieces incorporated designs etched into the metal with added enamel, old cut gemstones, and pearls similar to those shown in paintings by Renaissance artists like DaVinci and Holbein. Jewelry pieces in this style are completely finished out - back, a well as front. Ferroronieres (mentioned in the sections for Georgian and Early Victorian jewelry) were inspired by a similar jewel shown in a painting by DaVinci. Medieval designs were favorites of Pre-Raphaelite artists. The idea of hand-made, individual pieces appealed to their overall philosophy against modern mass production. The Castellani family were famous jewelry makers of the 19th century. With shops in London, Paris, and Naples, they were known for their work in Etruscan and Medieval styles. (They were even featured in a poem by the famous poet, Robert Browning, who wrote: "Do you see this Ring? 'Tis Rome-work, made to match (By Castellani's imitative craft) Etrurian circlets . . . ." Austro-Hungarian Designs Austro-Hungarian jewelry is a continuation of Renaissance design and is sometimes called "Neo-Renaissance". From the 1890's to early 1900's, these pieces can be told from earlier ones of similar design in that they look somewhat heavy and are less intricate. Traits To Look For: Gold over silver (called Gilt or Gilded) Crude, rough cut gemstones Pearls - baroque, freshwater, and mabe Finished out backs Enamel, sometimes also on the back Opulent look Hand-made with some crudeness of workmanship

Victorian Revival
Victorian designs became popular again in the 1930's and again in the 1950's - particularly in costume jewelry. These are usually less detailed than older pieces and show less workmanship.

---I'd welcome your comments, suggestions, and any knowledge you'd care to share, as well. Is there a subject you'd like to have added to these pages? Please feel free to email me at: jthomas@jantiques.com