The Rarity of Georgian Jewellery

During the 17th centuries ‘Age of Empires’ colonists revelled in the rich raw materials of the ‘New World’ and quantities of exotic gemstones were mined in bulk and exported to Europe, such as rubies and diamonds from Brazil, and emeralds from Colombia. However, the beginning of the 18th century saw a shortage in precious materials suitable for jewellery particularly gold; as a result, many items of jewellery were created as multifunctional pieces that could be reconstructed. For example, a tiara could be worn as two brooches or a necklace. Some pieces were taken apart altogether, and their components removed or melted down. The deconstruction and reuse of materials was not only a way to cope with material shortages but also a practical way to keep up with the fast changing fashions of the era. The legacy of this practice is that Georgian-era jewellery, in its original state, is rarely found today. On top of this, the violent French Revolution destroyed the Parisian jewellery industry. The extravagant tastes of the aristocracy, which had been a powerful driving force in the innovation of new styles, was removed by the guillotine in 1793, and the large royal and aristocratic collections that were requisitioned by revolutionaries were mostly destroyed or sold. Therefore Georgian era pieces are extremely rare and valuable despite their relatively meagre use of large or high quality stones.

Evolving Motifs

Nonetheless, the Georgian era was still a diverse period full of aesthetic variation, particularly in the intricate and inventive settings from French jewellers. The French aristocrat, male or female, relied on jewellery for their heavily adorned. After the Revolution, and under the imperial pretensions of Napoleon, France again became a centre for jewellery. After Napoleon’s successful military campaigns in Italy and Egypt, many artefacts from ancient times were looted and brought to France. The circulation and spread of artefacts from classical antiquity throughout Europe led to a renewed fascination with antiquity for European, and particularly French, jewellers. Motifs changed away from the organic, which had been favoured at the end of the 1700s to a focus on the imperial past. If foliage was included it was no longer a bright clipping from a verdant country garden, instead it had the corse grandeur of Greece. Laurel and acanthus leaves were used to forge a visual link with Napoleon and his courtiers with the grandeur of classical antiquity. In addition, sphinxes and pyramids adorned gemstones as homage to the treasures of ancient Egypt that had recently been discovered. Greek key motifs featured as part of the Hellenic style, as did modest necklaces and bracelets which aimed to accentuate the purity of their wearers in the style of neoclassical fashion. 

The Georgian Revival

By the early 19th century the growth of the British Empire and the start of the Californian gold rush, provided an influx of new material for European jewellers. Extravagant and detailed jewellery designs, largely borrowed from the French Rococo style became increasingly popular in the last years of the Georgian era. Portraiture from the period illustrates the lavish tastes for ornament and jewels held by both men and women. Long gold chains were popular and worn in multiple strings and often were connected by large cameos. This fashion is illustrated in Francois Gerard’s 1803 portrait of Lady Elgin (National Gallery, Scotland).