• A Hellenistic intaglio, the thin oval carnelian plaque engraved with a dancing Maenad figure, carrying a thyrsus in her left hand and a tambourine-type instrument in her right hand, her billowing loose fabrics accentuating the sense of dance, 2nd to early 1st Century BC. Note: Maenads, or raving ones were the female followers Dionysus in Greek mythology and subsequently of Bacchus in Roman mythology. Often depicted in flowing robes, holding a thyrsus (a long staff wrapped in vines upon which sits a pine cone) Maenads were both frightening and mesmerising in their madness, whipped into frenzies through dance and intoxication. As followers of the god of wine, fertility and theatre, they were (both willingly an unwillingly) freed from self-consciousness and societal conforms, free to indulge and explore their desires, resulting in their label as mad women - As is so often the case with these ancient myths they are profoundly and eternally relevant with their message echoing down the centuries (more recently think années folles, 1960s, and modern sexual revolutions). They serve as an excellent background for discussions as poignant today as ever...the relationship between freedom and chaos, and - never more in this atmosphere of relative physical confinement - the delights and limits of mental escapism (aided by wine or not). * This piece was sold at TEFAF but the new owner kindly let me post it * #symbolicchase #intalgio #hellenistic #maenad #ancient
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    A Hellenistic intaglio, the thin oval carnelian plaque engraved with a dancing Maenad figure, carrying a thyrsus in her left hand and a tambourine-type instrument in her right hand, her billowing loose fabrics accentuating the sense of dance, 2nd to early 1st Century BC. Note: Maenads, or raving ones were the female followers Dionysus in Greek mythology and subsequently of Bacchus in Roman mythology. Often depicted in flowing robes, holding a thyrsus (a long staff wrapped in vines upon which sits a pine cone) Maenads were both frightening and mesmerising in their madness, whipped into frenzies through dance and intoxication. As followers of the god of wine, fertility and theatre, they were (both willingly an unwillingly) freed from self-consciousness and societal conforms, free to indulge and explore their desires, resulting in their label as mad women - As is so often the case with these ancient myths they are profoundly and eternally relevant with their message echoing down the centuries (more recently think années folles, 1960s, and modern sexual revolutions). They serve as an excellent background for discussions as poignant today as ever...the relationship between freedom and chaos, and - never more in this atmosphere of relative physical confinement - the delights and limits of mental escapism (aided by wine or not). * This piece was sold at TEFAF but the new owner kindly let me post it * #symbolicchase #intalgio #hellenistic #maenad #ancient
  • A natural pearl, emerald and diamond jabot brooch by Cartier circa 1925. The jabot brooch (that is to say two decorative elements connected by a pin) was particularly popular in the 1920s and 30s as it appealed to the desire for versatility in jewels. Compared to some other brooch designs, these could be used as a practical fastener as well as decorative focus. This is true to its origin as the jabot was a decorative lace frill attached to men’s shirts in 17th and 18th centuries (a flourish from the opening of the waistcoat) and evolving into women’s wardrobes in the 19th century, here fastened by a brooch to the front of women’s dresses. By the 1920s the fasteners no longer needed a jabot and were used more freely, worn as a handy and decorative elements on any clothing and to fasten any loose and flowing fabric, scarf or other...with the free use came free interpretation and inspiration. Here, to embrace the exoticism sweeping 1920s Parisian aesthetics, this jabot is inspired by the traditional turban ornament, the ‘sarpesh’, strongly associated with the Maharajas of Mughal India. The last image is the emperor Farrukh Siyar, standing in a flowery meadow holding a 'sarpesh', painting 1715. #symbolicchase #cartier #1920s #jabot #bringbackthebrooch #naturalpearls #vintagejewelry #finejewelry
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    A natural pearl, emerald and diamond jabot brooch by Cartier circa 1925. The jabot brooch (that is to say two decorative elements connected by a pin) was particularly popular in the 1920s and 30s as it appealed to the desire for versatility in jewels. Compared to some other brooch designs, these could be used as a practical fastener as well as decorative focus. This is true to its origin as the jabot was a decorative lace frill attached to men’s shirts in 17th and 18th centuries (a flourish from the opening of the waistcoat) and evolving into women’s wardrobes in the 19th century, here fastened by a brooch to the front of women’s dresses. By the 1920s the fasteners no longer needed a jabot and were used more freely, worn as a handy and decorative elements on any clothing and to fasten any loose and flowing fabric, scarf or other...with the free use came free interpretation and inspiration. Here, to embrace the exoticism sweeping 1920s Parisian aesthetics, this jabot is inspired by the traditional turban ornament, the ‘sarpesh’, strongly associated with the Maharajas of Mughal India. The last image is the emperor Farrukh Siyar, standing in a flowery meadow holding a 'sarpesh', painting 1715. #symbolicchase #cartier #1920s #jabot #bringbackthebrooch #naturalpearls #vintagejewelry #finejewelry
  • The inimitable micro mosaicist Maurizio Fioravanti, with a micro mosaic, amazonite, and diamond ring by Vamgard. There is much to be said about the art of micro mosaic as I only touched on it yesterday, but I thought a great way of showing what is possible at the very apex of the medium would be to show you a piece by Vamgard, the name under which artist Maurizio Fioravanti brings his bejewelled fantasies to life. Here is micro mosaic realism at its best and, as an antique jeweller, I cannot tell you how exciting it is to see someone able to work at the level of the past greats as our jewellery world in general is an endless example of lost skill and sensitivities and what happens to craftsmanship when you prioritise time and money. In the same way that Raffaeli and a few others resurrected the ancient art of mosaics in the 18th century by refining and innovating, so too has Vamgard now evolved the art with contemporary and imaginative pairings of materials and a poetic playfulness of expression. Some elements remain the same as these miniatures are still (unbelievably) created without magnification, with handmade tesserae, and assembled painstakingly by hand...indeed, very few pieces emerge per year, so far a maximum of eight. A testimony to the thought and dedication that goes into each piece, as it’s not only in the form and colours of the tesserae that Maurizio innovates but also in the materials in which he chooses to imbed the mosaics themselves. Here it is amazonite - an unusual material first given official recognition in the 18th century and used rarely and periodically (namely the 1920&30s) for decorating purposes in jewellery. However, apart from unusual stones (we also had a pair of earrings with the micro mosaics set in lime green turquoise), Maurizio has also paired his miniature creations with anodised aluminium, woven steel, and carbon fibre layered and compressed with bronze fibres. It’s the delicious combination of the wisdom of a heart that understands the past and the creative freedom of a mind excited by the possibilities of the future...and in that combination I propose we find the recipe for genius. #symbolicchase #vamgard #micromosaic
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    The inimitable micro mosaicist Maurizio Fioravanti, with a micro mosaic, amazonite, and diamond ring by Vamgard. There is much to be said about the art of micro mosaic as I only touched on it yesterday, but I thought a great way of showing what is possible at the very apex of the medium would be to show you a piece by Vamgard, the name under which artist Maurizio Fioravanti brings his bejewelled fantasies to life. Here is micro mosaic realism at its best and, as an antique jeweller, I cannot tell you how exciting it is to see someone able to work at the level of the past greats as our jewellery world in general is an endless example of lost skill and sensitivities and what happens to craftsmanship when you prioritise time and money. In the same way that Raffaeli and a few others resurrected the ancient art of mosaics in the 18th century by refining and innovating, so too has Vamgard now evolved the art with contemporary and imaginative pairings of materials and a poetic playfulness of expression. Some elements remain the same as these miniatures are still (unbelievably) created without magnification, with handmade tesserae, and assembled painstakingly by hand...indeed, very few pieces emerge per year, so far a maximum of eight. A testimony to the thought and dedication that goes into each piece, as it’s not only in the form and colours of the tesserae that Maurizio innovates but also in the materials in which he chooses to imbed the mosaics themselves. Here it is amazonite - an unusual material first given official recognition in the 18th century and used rarely and periodically (namely the 1920&30s) for decorating purposes in jewellery. However, apart from unusual stones (we also had a pair of earrings with the micro mosaics set in lime green turquoise), Maurizio has also paired his miniature creations with anodised aluminium, woven steel, and carbon fibre layered and compressed with bronze fibres. It’s the delicious combination of the wisdom of a heart that understands the past and the creative freedom of a mind excited by the possibilities of the future...and in that combination I propose we find the recipe for genius. #symbolicchase #vamgard #micromosaic
  • An annular micro mosaic plaque depicting an ambulant tiger, Italian, circa 1800. A charming example of the Neo Classicism of the period, the technicolour of the grass and realism of the tiger (down to pink tongue and white teeth) being particularly lovely. This micro mosaic plaque would probably have been created in Rome (the centre of micro mosaicism and whose epicentre was The Vatican Mosaic Studio founded in 1727. Further studios such as The School of Mosaics initiated by Giacomo Raffaeli in Milan and craftsmen in Florence soon followed suit) as European travel became once again possible after the end of the French Revolution and ensuing Terror, Europe’s and America’s well to do (increasingly no longer just the aristocracy) flocked to Italy for their artistic education on their Grand Tour. This plaque (which would have been bought as it is and taken home to be mounted) pays homage to the mosaic scenes of Ancient Greece, and then later Rome, with its purposefully distinct white tesserae background (a stylistic choice, not a sign of lax technique) and choice of subject - evoking decorative Roman villa floors (in themselves, an homage to their Ancient Greek equivalents). #symbolicchase #micromosaic #1800s #19thcentury #mosaic #tiger #grandtour #italianart
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    An annular micro mosaic plaque depicting an ambulant tiger, Italian, circa 1800. A charming example of the Neo Classicism of the period, the technicolour of the grass and realism of the tiger (down to pink tongue and white teeth) being particularly lovely. This micro mosaic plaque would probably have been created in Rome (the centre of micro mosaicism and whose epicentre was The Vatican Mosaic Studio founded in 1727. Further studios such as The School of Mosaics initiated by Giacomo Raffaeli in Milan and craftsmen in Florence soon followed suit) as European travel became once again possible after the end of the French Revolution and ensuing Terror, Europe’s and America’s well to do (increasingly no longer just the aristocracy) flocked to Italy for their artistic education on their Grand Tour. This plaque (which would have been bought as it is and taken home to be mounted) pays homage to the mosaic scenes of Ancient Greece, and then later Rome, with its purposefully distinct white tesserae background (a stylistic choice, not a sign of lax technique) and choice of subject - evoking decorative Roman villa floors (in themselves, an homage to their Ancient Greek equivalents). #symbolicchase #micromosaic #1800s #19thcentury #mosaic #tiger #grandtour #italianart
  • The incredible Theodoros...a button-shaped natural saltwater pearl and diamond ring, which Theodoros was gentlemanly enough not to point out I was wearing the wrong way round initially (the last two shots) although I would like to suggest that this was because it looks great both ways. It takes a great mind to bring novelty and delight to well known formulas. The pearl and diamond ring has been in jewellery design for centuries - and this is a contemporary triumph. Jewels are inextricably intimate and this makes subtle details all the more delicious, note the graduated line of pearls amidst diamonds on the shoulders that you see only when you turn your hand. @theodoros.jeweler #symbolicchase #theodoros #pearlring #naturalpearl #contemporaryart
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    The incredible Theodoros...a button-shaped natural saltwater pearl and diamond ring, which Theodoros was gentlemanly enough not to point out I was wearing the wrong way round initially (the last two shots) although I would like to suggest that this was because it looks great both ways. It takes a great mind to bring novelty and delight to well known formulas. The pearl and diamond ring has been in jewellery design for centuries - and this is a contemporary triumph. Jewels are inextricably intimate and this makes subtle details all the more delicious, note the graduated line of pearls amidst diamonds on the shoulders that you see only when you turn your hand. @theodoros.jeweler #symbolicchase #theodoros #pearlring #naturalpearl #contemporaryart
  • A carved emerald and diamond ring by BHAGAT. A perfect example of the signature Bhagat aesthetic, this ring embraces the Art Deco proportions and sensibilities and that of Moghul Indian stone carving the emerald is also carved with a floral motif to the underside - a secret delight. Note the way that the baguette stones arch around the finger 👌🏼 I end with my parents’ cat, who is an expert stay at homer and a great source of inspiration when it comes to making the most of the space one has...#symbolicchase #bhagat #carvedemerald #contemporaryart #emeraldanddiamondring #finejewelry #britishblue
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    A carved emerald and diamond ring by BHAGAT. A perfect example of the signature Bhagat aesthetic, this ring embraces the Art Deco proportions and sensibilities and that of Moghul Indian stone carving the emerald is also carved with a floral motif to the underside - a secret delight. Note the way that the baguette stones arch around the finger 👌🏼 I end with my parents’ cat, who is an expert stay at homer and a great source of inspiration when it comes to making the most of the space one has...#symbolicchase #bhagat #carvedemerald #contemporaryart #emeraldanddiamondring #finejewelry #britishblue
  • An impressive natural saltwater pearl necklace, with an old-cut marquise-shaped diamond clasp, partial french maker’s mark but unsigned. Pearls! So much has been written about them...adored as far back as ancient Egypt, our relationship with them is eternal. Here they range from 7.05mm to 14mm in size, and come with an appendix letter from the SSEF attesting to the extraordinary characteristics of this necklace...by repute they were once owned by Rajmata Gayatri Devi of Jaipur... To accompany them, another marvel of the natural world, a comma butterfly that must have just been tempted out of hibernation by the sunny quiet...after a sharp decline in the 20th century they are one of the few species seeing a resurgence in recent years. I like the way they look a bit like someone has nibbled their wings but it’s actually a clever tactic to look like a dying leaf (when closed they are dark brown and beige tones) so they can sleep on trees in hibernation undisturbed..in fact they are masters of camouflage as their larvae are coloured to look like bird droppings to avoid getting eaten. I always admire a bit of strategic dressing. #symbolicchase #naturalpearls #1920s #vintagejewelry #pearlnecklaces #butterfly #commabutterfly
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    An impressive natural saltwater pearl necklace, with an old-cut marquise-shaped diamond clasp, partial french maker’s mark but unsigned. Pearls! So much has been written about them...adored as far back as ancient Egypt, our relationship with them is eternal. Here they range from 7.05mm to 14mm in size, and come with an appendix letter from the SSEF attesting to the extraordinary characteristics of this necklace...by repute they were once owned by Rajmata Gayatri Devi of Jaipur... To accompany them, another marvel of the natural world, a comma butterfly that must have just been tempted out of hibernation by the sunny quiet...after a sharp decline in the 20th century they are one of the few species seeing a resurgence in recent years. I like the way they look a bit like someone has nibbled their wings but it’s actually a clever tactic to look like a dying leaf (when closed they are dark brown and beige tones) so they can sleep on trees in hibernation undisturbed..in fact they are masters of camouflage as their larvae are coloured to look like bird droppings to avoid getting eaten. I always admire a bit of strategic dressing. #symbolicchase #naturalpearls #1920s #vintagejewelry #pearlnecklaces #butterfly #commabutterfly
  • For my generation, rings worn on the first third of your finger is Phoebe from Friends but, as it turns out, she was not the first. These two little ones are Roman, the one engraved with an ant is circa 2nd Century AD and the other heavier example with it’s distinctive slanting shoulders is circa 3rd century AD. Jewellery was prolific throughout the Roman Empire (Pliny worried about the economic implications of the obsession) and men, women, and children wore jewels. The finger on which rings were worn and of course the design itself were symbolic, although much of the understanding of this is sadly lost. #ancient #ancientjewelry #romanrings #intaglio #ant #symbolicchase
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    For my generation, rings worn on the first third of your finger is Phoebe from Friends but, as it turns out, she was not the first. These two little ones are Roman, the one engraved with an ant is circa 2nd Century AD and the other heavier example with it’s distinctive slanting shoulders is circa 3rd century AD. Jewellery was prolific throughout the Roman Empire (Pliny worried about the economic implications of the obsession) and men, women, and children wore jewels. The finger on which rings were worn and of course the design itself were symbolic, although much of the understanding of this is sadly lost. #ancient #ancientjewelry #romanrings #intaglio #ant #symbolicchase
  • As it’s Mother’s Day in the UK today I feel something impressive is in order to celebrate...this polished emerald fringe necklace is from the 1950s and comprises nearly 350 carats of Colombian emeralds, they graduate from 16.83 to 57.88 carats...the graduated fringe design is a staple of the 1930s and 1950s, usually with scrolling designs to either side of the fringe creating a punctuation mark before the back of the necklace. The central shield motif of this necklace is an evolution often seen in the 1950s, of the more angular shield of the 1930s, they became softer and more abstract in this period. Cartier in particular made similar open work designs such as this as clips. Emeralds are notoriously difficult to photograph and our neighbours at TEFAF will have seen me try quite a few times to do this necklace justice, I hope those of you who were able to come feel I managed to capture it...Happy Mother’s Day! #importantjewels #vintagejewelry #colombianemerald #1950s #magnificentjewels #fringenecklace #regal
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    As it’s Mother’s Day in the UK today I feel something impressive is in order to celebrate...this polished emerald fringe necklace is from the 1950s and comprises nearly 350 carats of Colombian emeralds, they graduate from 16.83 to 57.88 carats...the graduated fringe design is a staple of the 1930s and 1950s, usually with scrolling designs to either side of the fringe creating a punctuation mark before the back of the necklace. The central shield motif of this necklace is an evolution often seen in the 1950s, of the more angular shield of the 1930s, they became softer and more abstract in this period. Cartier in particular made similar open work designs such as this as clips. Emeralds are notoriously difficult to photograph and our neighbours at TEFAF will have seen me try quite a few times to do this necklace justice, I hope those of you who were able to come feel I managed to capture it...Happy Mother’s Day! #importantjewels #vintagejewelry #colombianemerald #1950s #magnificentjewels #fringenecklace #regal
  • There’s something about old-mine cushions...each with a character of their own, each with their own way of catching the light, with their own secret history of love and life...this is a 6.11carat, D colour, internally flawless stone set in platinum with baguette side stones, french assay marks for platinum and partial maker’s mark....and because I’ve spent the morning in my parents’ garden clearing away the winter to encourage the spring...the lace-like beauty of dead hydrangeas - for the “something outside to go with the all the inside”. #symbolicchase #cushioncutdiamond #flawless #diamondring #engagementring #vintagejewelry #hydrangea
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    There’s something about old-mine cushions...each with a character of their own, each with their own way of catching the light, with their own secret history of love and life...this is a 6.11carat, D colour, internally flawless stone set in platinum with baguette side stones, french assay marks for platinum and partial maker’s mark....and because I’ve spent the morning in my parents’ garden clearing away the winter to encourage the spring...the lace-like beauty of dead hydrangeas - for the “something outside to go with the all the inside”. #symbolicchase #cushioncutdiamond #flawless #diamondring #engagementring #vintagejewelry #hydrangea