Opulence and Naturalism: Georgian Jewelry, 1714-1830

English Georgian emerald and diamond sevinge brooch/pendant, 1750-1770.  This piece might have hung off or a choker necklace.

Original Pink Parure, Circa 1780.  A matched set meant to add elegant finish to a gown, the pins could be added in the hair, or on the bodice.

Stunning 1740s georgian emerald and diamond paste earrings

Girandole earrings, named after elaborate candelabras of the period, often had 3 dangles off of center settings and were a literal symbol of  the "Enlightenment".

One of the most fascinating and opulent eras for fine jewelry was the Georgian period, which spans from the early 18th century to about 1830.  The French revolution grew out of such a large class divide in our history it is hard to fathom it, but prior to this period, jewelry was made to suggest the opulence of the ultra-wealthy.  The heavy ornamentation of the Baroque period was still evident, but silver became a more popular setting than gold.  Gems or glass stones, called pastes, were set in beautiful pieces so that the wealthy could flaunt their opulent taste.  With most jewels cut in the rose cut and cabochon styles (which had been around since the middle ages), jewellers could use real stones or glass pastes to achieve the effect.  The jeweller would create single setting for the piece with a closed back, then they would cut the jewel or glass to shape;  they would then carefully add a small piece of foil into each setting they created before adding the jewel.  Not only was the single setting idea very economical for the period when things are still made by hand, but the foiled stones could act as a kind of mirror so that the rear of the piece, though covered, still shone as if light was passing through.  This must have been stunning in the candelight salons and balls of the era.  Earrings were fashionably heavy and large, called Girandoles, and many times necklaces were strung on ribbon so the length could be altered to  worn as a choker.  For an added bit of drama, women wore elaborate stomacher jewels, fobs, chatelains and equipages on their person.  These carried utilitarian items like wax, perfume, and snuff right on the person, but were also decorative. Fashionable men wore paste shoe buckles, slides and pins, and equipages and chatelaines for their watches and snuff boxes.

Woman with Girandole earrings, painted 1767

18th century chatelaine with watch.  Chatelaines were worn by men and women, and were often attached at the waist to the bodice or vest.  This chatelain appears to have a watch, a wax seal (for sealing letters) and a small watch wind key at left.  This would have belonged to a noble lady or gentleman.

Woman with chatelaines hanging from her bodice, late 18th century.

Georgian shoe buckle, 18th century.  Buckles like this were set with paste glass and were curved to rest on the instep of the shoe.

Charlotte of Mecklenburg-Strelitz, Thomas Frye 1761 wearing a parure set including tiara or head comb.  Note the choker length of the necklace and girandole earrings.

Gold was not in as much favor as the silver jewelry, perhaps because it recalled the heaviness of the Baroque era that came before it.  The Spanish, who had gold interests in South America, still held to tradition and typically wore more gold than other countries in Europe.

Portrait of Marie Francisca Agnelli by Anton Mengs, 1769.  This woman may have been of Spanish descent because she is wearing relatively unpopular gold jewelry.  Note the large Stomacher jewel in the front of her gown, which could be removed and added to a different dress.

Georgian Gold and Amethyst Parure, 1770.  Gold was more common in Spain because of the South American colonies.  Many bracelets in the era were typified by the large box clasp and catch chain, which can be seen on the bracelet.

The elite classes were not the only ones who wore jewelry.  The merchant and servant classes often had pieces made for sentimental purposes, or had jewelry passed down to them from the higher classes.  It was not unusual for a servant girl to be wearing clothing and jewelry from prior decades.  The pieces worn by the merchant classes were often utilitarian, and included: Mementos mori (mourning mementos), miniature portrait pendants, and buckles and belts, fasteners and slides.

Lover's Eye Jewelry, 1780-1800, painted enamel and paste.  This was a love token,  probably given by a fiance or fiancee to celebrate an engagement.

1750-1755 (circa), Badge of the Anti-Gallican Society. Painted enamel scene with paste surround.  Anti-French sentiment, represented here by a British royal scene, was probably part of a growing trend then to shun the lifestyle of the ruling classes, which culminated in the French Revolution of 1789.

A Memento Mori figure in painted ivory with paste amethyst stones, created to commemorate a burial 1790s.  Mementos Mori were a long standing practice, and all classes of society wore them to remember those who passed.  This practice continued into the early 20th century.

"Portrait of Ms Lockwood" Andrew Plimer, 1788.  In an era before photographs, people relied on portrait jewelry of their loved ones, and often carried them on their person.  This was also a universal practice, and not just reserved for the upper classes.

Russian Royal, 18th century, wearing a portrait brooch on her bodice.

After the French Revolution, Georgian Jewelry changes.  Most of the Georgian Jewelry available on the marketplace today is from the later dates of 1800-1830 because earlier pieces were rare to survive not only the french revolution, but jewellers often took old jewels out of old settings and repurposed them.  As a result, Georgian jewelry is generally rare to find in its original setting, and this includes late Georgian jewelry.  This era begins to transition into the later Victorian styles, and exhibits the naturalism that was becoming such a popular motif. Floral and scroll motifs are typical of the period and the most common stones used are garnets, precious topaz, coral rather than diamonds, emeralds and rubies.   Cameos connected by a chain were popular, as were elements from nature, including birds  and leaves. 

Necklace, italy, 1810.  A naturalistic motif represented by small painted landscape ivory cameos.

Georgian Riviere ("river of stones") necklace, circa 1800

Georgian Riviere necklace Amethyst, 1820

Countess Daru, 1810 wearing green citrine riviere necklace.

French, 1820 necklace, cannetile style.  The cannetile style was a setting similar to filigree.