In this blog, I’m going to address the 4 gemstones that are NOT suitable for engagement rings and why. Read more »
This guide will reveal the options you need to solve the moral and ethical issues associated with why people seek alternative engagement rings. Read more »
This blog will teach you the 3 things you MUST know when buying gemstone jewelry. I’ll teach you how to evaluate the Basics of Color so you can be a more confident gemstone jewelry buyer! If you want to be able to buy jewelry more confidently, read on. Read more »
Antique, Estate and Vintage Jewelry. What’s the Difference?
With so many terms floating around in the market, if you’re confused, you’re not alone! I have to define these terms for people in my store every day it seems, so I thought I’d try to clarify them in a blog.
Antique Jewelry is the most easily defined, so let’s start there. Antique Jewelry is defined as jewelry that is 100 years old or more. Victorian jewelry falls into this category, as does Edwardian jewelry. Art Deco jewelry is the time period starting around 1920-1925, so in 3-8 more years, Art Deco jewelry will be considered antique, but not just yet!
The term “vintage” has been applied to everything from collectibles to farm tools. The word itself is most often applied to wine. It’s the year or season that a particular wine was made. When it comes to everything else, it is very much the same. Vintage objects relate to a year of origin, like a vintage 1932 violin. There is no block of time specifically related to the word “vintage” like there is with the word “antique.” People in the jewelry business use the term to suggest different things. It was used to mean “jewelry that is about 50 years old” when I first started in the business. In more recent years, I’ve noticed that people use it to indicate jewelry that’s about 25 years old or more. For example, Rubylane.com, which is the world’s largest curated online venue for vintage & antiques, defines vintage as 20 to 99 years old. If you go into jewelry stores, salespeople will say “vintage jewelry” for everything that wasn’t made by a particular designer yesterday! Even then, you can still hear things like, “vintage David Yurman” in a lot of stores. To make matters even more confusing, the term vintage means different things in different places. My friend, who moved to England several years ago, said it means “costume” jewelry there. I do see the word vintage used in that context more and more here in the States, too. It seems to be a catch all word for ANY estate jewelry.
The last term, Estate Jewelry, is more easily defined. It’s pretty common to think that it all came from auctions or someone’s inheritance. While estate jewelry can and does come from both of those sources, the truth is that the word just means “any jewelry that someone else wore.” It does not have to be from a certain period in history, and it does not have to be a certain age. It simply means that if you buy it today, wear it home, and sell it tomorrow, it’s estate jewelry.
Before I got into this business, I used to go into stores that had estate jewelry and see things that looked modern and think,” Interesting… I didn’t know those styles were made back then.” Granted, I wasn’t exactly sure when “then” was, but I knew it had to be long before I was born. It was almost a let-down when I realized what estate jewelry was. Now I like to think of it as “pre-loved.” Estate jewelry is just jewelry that someone else loved before me!
I hope that helps to clear up these terms for you. Just like everything else, it’s more fun to “talk the talk” when you know the language!
As I wander around shows, I inevitably learn all sorts of fun and interesting things I hadn’t known before I walked in the doors. At the NY Watch and Antique Jewelry Show a few weeks ago, I had the opportunity to see a Lalique’ brooch in person and talk to Spicer-Warin about it. I learned something really important about Lalique jewelry that I didn’t know before. Read on and you’ll be a bit wiser than your friends when it comes to buying Lalique’ jewelry.
Even in a case full of amazing jewels, a Lalique piece will stand out. There’s something so dramatic, so theatrical, about his jewelry. This brooch is certainly no different. It’s a plaque shape, rather heavy, with one angel at the far right end and five singing choir to the left. I can’t tell if all the figures are supposed to be angles, but only one has wings, so you may draw your own conclusions.
There were only three of these brooches ever made. One sold at Sotheby’s in 2012 for $30,000.
One is obviously in Spicer Warin’s inventory and the last one is still at large somewhere in the world. If you have it, you may donate it to me. I won’t mind.
Here’s where it gets interesting:
Lalique didn’t like to make the exact same thing in multiples. This one was cast from a mold and three were made, as I said previously. Each of the three made, however, was slightly different. This one was made different by having light blue enamel on the back. The backs were left plain on the other two.
Now you know something about Lalique that you didn’t know before: even on cast pieces, Lalique’ took the time to make each one unique! You can thank Spicer Warin for that juicy piece of information.
This is reproduced from a Live Show and Tell that Sarah Nehama and I did on Instagram on July 17th, 2016 where we explained the history of Mourning and Sentimental jewelry- 17th -20th centuries- as it was shown through a series of live posts from our own personal collections.
Memento Mori Ring
A 17th century ring with round medallion engraved with a grinning skull in the center, surrounded by the Latin phrase “Spes Lucis Aeternae,” or Hope of an Eternal Life. Decorated with round punches spaced around the medallion close to the edge. A simple silver band attached to the underside. Possible Italian, judging by the script (according to the dealer) but came from a German collection. A popular phrase in the 17th century, the motto was found in heraldry, carvings, paintings, etc. It may have been used as a wax seal, given the detail and depth of carving.
Lover’s Knot Ring
Georgian gold ring, 15K-18K, circa 1750-1765 set w/red spinels (one replaced w/ruby) surrounding a lover’s knot hair token on ivory or card under crystal, oval shape. Fluted back of bezel, reeded shank. Shank a professional later replacement, possible sizing. This ring is for sale here.
An English oval gold clasp, c. 1760-80, with woven brown hair, the cipher CS topped with a coronet for an Earl (5 “pearls”, 4 “strawberry leaves”; see https://en.wikipedia.org/wiki/Crown_%28heraldry%29), atop the hair, this surrounded by an ivory frame with bows and branches done in ink (like scrimshaw) and covered with glass. Measures 1.5x 1.25”
A late 18th century (c. 1780) brooch/pendant, oval in shape, in rose gold, with a domed glazed compartment containing a lover’s knot in light hair “tied” with a ribbon of silver set with small rose-cut diamonds on a background of ivory. Surrounded a blue guilloche enamel border set with forget-me-nots in gold. The reverse has an oval, slightly domed glazed compartment with hair in a basketweave design topped with gold initials EH. Measures 1 3/8” x 3/16”
Allegory of Friendship Ring
A navette-shaped ring with a miniature in sepia on ivory of a woman leaning on a bare tree with drooping branches, with a vine twisting up the trunk. She is dressed in gown with a garland in her hair, her feet are bare, and she points to her heart. There is a motto around the collar and hem of her dress in Latin: “Longe et Prope” and “Mors et Vita”. She is Friendship, and the motto means Far and Near, Death and Life. The symbolism refers to true friendship- the tree and vine signify that true friendship is based on mutual support and interdependence. The dead tree (probably an elm) signifies that a true friend does not abandon another in distress. The miniature is surrounded by 30 rose cut diamonds set in silver over a gold base. The 18K gold shank is constructed of looped wire bordered by reeded edges, culminating in a triple reeded band at the back. The ring originally dates to circa 1785, while the shank may be a later replacement (c. 1820), but then again, this combination could be the original construction. There is a stamp on the inner shank: 18 Ct.
I have only seen a handful of these over the years- always with the same image of the turtledoves tying a Lover’s Knot between them. I have never been entirely sure if they are purely Sentimental or have mourning undertones. They are sometimes in French- Le Plus Lion Le Plus Serre’ – translating to The Further I Fly, The Firmer I Tie as in the bottom fob. Other times the inscription is in English – The Farther I Fly The Faster I Tie, as seen in the top brooch. Since all the images I’ve seen are basically the same, I can conclude that these were standard Love Tokens of the late 18th Century. Generally, they indicate a bond between two people that strengthens with distance- be that distance metaphorical or literal. It could be a love token given as one is literally traveling, or if could be a statement of mourning meaning that “even death cannot separate our bond.” Either way, these are touching items of devotion and love.
French Amatory Brooch
These brooches are fascinating in that they are known as a particularly French variety of Sentimental jewelry called Amatory jewels. They were popular in the late 1700’s and are made to resemble a bouquet of flowers. They are interesting to me in that while some do contain hair, many (like this one) are made to NOT contain hair at all, so they are more about Love, than what we think of traditionally as “Mourning.” In that regard, they fall into the category of Sentimental Jewelry. Many of these pins were made in England in a French Style. To tell them apart, antique jewelry expert Jacqueline Babush gave me a tip that I’ll now pass on to you. If the background is guilloche’ enamel, it’s French. If it’s blue glass, commonly called Bristol Blue since the glass was produced in Bristol, England, it’s the English alternative.
Two mourning miniatures on ivory contained within one round locket; the first side is of a child’s face, with his/her eyes closed, framed by wings and perhaps clouds in a variegated blue palette, suggesting a deceased child who is now with the angels. The other side in the sepia shows a plinth with an urn; the motto on the plinth is “Rest In Peace.” Weeping willows surround the monument, with fainter cypress trees in the background. The body of the urn is fashioned from women hair with a pearl in the center. Circa 1800. Measures 1 3/8″ diameter.
Chrysolite Ring with Hair
An 18k gold cigar band ring with a round galssed compartm-ent with women hair surrounded by 12 facedted chrysolites (chrysoberyls). Circa 1800-1810
15K rose gold ring with central plaited hair under crystal surrounded by twelve faceted Goode died 6 Jany 1822 aged 19.jet stones (or possibly black garnets) set in pie-crust closed back settings, with stranded shank, engraved on the underside of the bezel: Jane Goode Died 6 Jany 1822 Aged 19. This ring is for sale here.
Portrait Miniature Bracelet with Hair
A portrait miniature on ivory of a young woman in a landscaped background; she wears a pink off–the-shoulder dress with white lace trim, her pale brown/blonde hair in ringlets. This oval portrait is housed in an ornate solid 18K case, elaborately engraved and enameled in black, which is attached to a woven hair bracelet, presumably the hair of the young lady, as the color is the same. The whole piece is of extremely fine quality and well constructed. There is a small surface crack in the ivory running through the left side of the woman’s face, and a small portion of the hair bracelet near the case is loose but not unwoven. There are a few minor chips to the enamel, but nothing major. Elle Shushan of Philadelphia, based on viewing the photos, believes this bracelet is French in origin, miniature, case, and hairwork, all. Dates it to circa 1835.
A circa 1845-50 American daguerreotype of a man with a striped vest and dark hair housed behind beveled glass in a gilt metal locket with and engine turned back (no hair window on reverse). Measures 2” x 1 5/8”
A Victorian set consisting of an oval brooch/pendant in 14K gold (tested, not marked), with onyx or French jet stones. Oval glazed center with a curl of blonde hair set on top of black material, framed in a gold bezel with twisted wire surround, surrounded also by varying shapes of beveled onyx (crescent, tear-drop, round) set in individual bezels with beaded edges and separated by gold granules. Reverse has the original pin findings as well as an original loop for a chain. The earrings are the same materials- central oval panel with one blonde curl on black material covered with glass, surrounded by gold bezel and twisted wire, and decorated with black onyx in varying shapes. Reverse has an ear wire in a hinge at top with a C-hook closure. There’s also a small loop at the bottom on the back, possibly had a further drop at one time (I may get something black and make an additional drop).
Victorian Onyx and pearl set
As the Victorian period progressed, the populace became disenchanted with the Queen’s perpetual mourning. As a result, jewelry became less like a staple of mourning fashion and more like the beautiful jewelry people wanted at the time. The black onyx allowed it to conform to the Queen’s standards, yet still be fashionable within the Grand Era of the Victorian period. I love this style because it’s still mourning jewelry without being “Mourning Jewelry”, if you know what I mean! This whole set, while each displaying a different image, all works together to form a cohesive whole. The Victorians loved their symbols and there was an entire language to flowers and plants. If you look at the underlying meaning behind each of these plants, a story emerges. Lilly of the Valley means “sweetness,” but has an underlying meaning of having made someone’s life complete. Wheat, while generally standing for “prosperity,” has a deeper meaning of someone who lived a rich, full life; a person who has reaped the benefits of a life well lived. Taken together, one can see the story of this set as having been made to celebrate someone who lived a long, successful and happy life. This was someone who enriched the lives of others. We should all be as lucky as the person for whom this was made!
Victorian mourning pins
One of the things that I like so much about Late Victorian jewelry is that it allows us to wear a piece of history without it looking like traditional mourning jewelry as I said in the previous post. Many of us are uncomfortable wearing something attached to a concept like mourning, especially when there’s someone else’s hair in it. These pendant conversions I made from pins let you wear antique jewelry that just looks like a beautiful necklace, in an updated, modern way. Pieces containing seed pearls are made for the period of mourning known as Half Mourning- or the later stages when the restrictions on dress were being lifted. The pearls, while representing tears in mourning, symbolically meant a “return to life” after the full mourning period. We all go through stages of our lives where we feel like we are in mourning. It’s nice to have a reminder that we all allowed to be happy. These gold and black onyx pendant conversions serve as that reminder and are all sold separately. The carved black onyx pendant is $150. The black onyx, gold and seed pearl Clover pendant (which means “Think of Me”) is $199. The black onyx, gold and seed pearl decorative center pendant is $425. Message me on Facebook or Instagram. The chain shown is for visualization purposes and is not included in sales.
This ring shows how the tradition of mourning lingered into the 20th Century. There were some people who weren’t ready to let go of the traditional customs of the precious centuries. These people used a “modern” interpretation with a photo in a celluloid or Bakelite ring called a Prison Ring.
The concept of Mourning Jewelry has even followed us into the 21st century. Join me in my next blog as I show you some modern designers who are reinterpreting Mourning Jewelry today!
Identifying Gutta Percha, Bog Oak, Jet and Vulcanite has long plagued antique jewelry aficionados. This blog will help you separate these substances in no time!
When I got a question on my Facebook page about how to identify these substances and what the differences were between some of them, I was as happy as a kid in a candy store. I got to look into books I hadn’t picked up in years and even go online to the really geeky sites on things like the History of Plastics. It was my own little nerd fest of one.
I was asked some really serious questions about identification so I’m going to get a bit technical, but it will be worth it, I promise. When I’m done, you’ll be picking out gutta percha from vulcanite and bog oak from jet to the amazement of all your friends.
Let’s start with Bog Oak since it’s one of the easiest things to identify. First, Bog Oak isn’t just oak. It can actually be three different wood species: Pine, Yew and Oak. Each of these turns a different color after thousands of years of exposure to tannins in bogs so the color itself is a good way to identify it. Oak changes to an almost black color, yew changes to a reddish brown and pine turns a golden yellow. None of the other substances are a golden yellow or reddish brown so if it’s one of those two colors, it’s bog oak.
Second, all those species of wood will have one thing that the other substances will never have: growth lines! Trees grow and we are all familiar with the growth rings of trees. If you look at bog oak jewelry, you will see growth lines with a standard 10x power jeweler’s loupe. Since none of the other substances will have growth lines, bog oak is the easiest to identify.
Third, the subject matter will give away bog oak very often before you even take a closer look. Bog oak jewelry often has an Irish motif so you’ll encounter jewelry like shamrocks, harps, and castles.
Now, start thinking about how jewelry is made from each of these substances. Bog Oak has to be carved so you are going to see tool marks on any jewelry that’s made from bog oak.
JET: The only other of the four substances that’s remotely natural and therefore carved is jet. Jet is like “petrified” wood, but according to GIA, it’s a form of lignite coal. It’s decayed wood that was compressed under layers of sediment and pressure to form a coal-like substance. Jet started to form in the Jurassic period. Bog oak became what it is only a couple thousand years ago. That’s a huge difference. Whereas with bog oak, you can still see that it is wood, in the case of jet, it’s not really wood anymore. It’s more like stone than wood so you won’t see growth lines. Jet can take a very high polish so you will see a surface more like glass. Since glass was the biggest imitator of jet, you have to worry more about mixing up jet and glass than mixing up jet and other Victorian jewelry substances like gutta percha and vulcanite. The picture below from Mourning Glory Antiques shows the high polish of Jet.
The real question here should be “How do I tell the difference between jet and glass?” That’s a simpler answer than you would expect also. I read a secret with jet a long time ago. Jet used to be called “black amber.” It was not only found alongside amber in alluvial deposits, it reacted like amber. Amber, if you will remember from my video blog on How To Identify Amber Without Damaging It, will develop static electricity when rubbed on wool or silk. You can use the static to pick up small bits of paper. The same is true of jet! Jet will develop a static charge and also pick up small bits of paper. So tear up some paper to test for jet. Another test for jet is to rub it on the unglazed or rough edge of the bottom of a porcelain cup. Jet will leave a black streak on the porcelain but glass will not. Glass is also cold to the touch and jet will be closer to room temperature. By the way, “French Jet” is glass.
That takes care of the “carved” materials. I say that because knowing how these things are made and what they are made from will help you identify them. Bog oak and jet are carved. Anything carved will have tool marks. If it has tool marks, it’s either bog oak or jet. The color of the material will help you separate them, along with the presence or lack of visible growth lines.
Now… gutta percha and vulcanite.
Gutta percha is a sort of latex or resin derived from the tree sap of various trees in the Pacific Rim. It was one of the first thermoplastics and is historically important because of that. Interestingly, little jewelry was made from gutta percha. Most of the gutta percha went into “functional” things like buttons, wax seals, belts, boot soles and according to the History of Plastics website, a lot of golf balls in 1848. If it’s jewelry, it is RARELY Gutta Percha.
Gutta percha is light sensitive and has a tendency to turn brown with exposure to light (and oxygen) over the years. Most of the gutta percha jewelry seen today is brown and not black like it was originally. The color is a clue to its material nature. Unless it was hermetically sealed after it was made, it will have been exposed to light and OXYGEN. What is not exposed to oxygen?? It will therefore have turned a brown-ish color. Gutta percha is also molded, not carved, so there won’t be any visible tool marks on the piece. Since it’s basically a rubber-like material, it will smell like rubber when it’s rubbed briskly on fabric. The most effective way to tell if your jewelry is gutta percha is to TASTE IT. Seriously. Please wash it before and after tasting it and in fact, taste it at your own risk. But if you choose to taste it, it will taste salty. If it doesn’t taste salty, it’s not gutta percha.
Vulcanite is the last of the materials. Another rubber-like substance made from more tree sap mixed with sulphur, it will also be molded and not carved.
The bracelet above from the Art of Mourning is a perfect example of molded jewelry. Look closely at the cross and the possible cluster of grapes (?) under the oak leaves. Do you see how rounded the edges are? Anything carved would have a much sharper edge. That “rounded-ness” is a sure way to tell if something is molded.
Most of the jewelry that you see identified as gutta percha is in reality mis-identified vulcanite. Vulcanite can also turn to a khaki brown color like gutta percha; will smell like rubber when rubbed on material; and also leave a brown streak on the unglazed bottom of a porcelain cup. You can tell the difference between vulcanite and gutta percha by choosing to taste it. If it’s salty, it’s gutta percha. If it’s not, it’s vulcanite. More often than not, it will be vulcanite. Like I said, most of what you will see as gutta percha will actually turn out to be vulcanite, so if you skip the taste test and call it vulcanite, you will probably be correct. Vulcanite will most often remain black in color while Gutta Percha will turn brown-ish. If you need to be 100% certain, go ahead and bite the bullet so to speak!
Now you know more than anyone should ever know about alternative Victorian jewelry materials and small sporting balls. You may now go forth and impress antique store owners and golfers with your new found knowledge.
If you have jewelry made from any of the materials in this blog, I want to hear from you! Send me a picture of how you wear your jewelry on my Facebook page or post it and tag me on Instagram. I’d love to feature you wearing your jewelry in an upcoming blog!
Now that you know what mourning jewelry ISN’T, I thought I’d show you some jewelry that IS! The following pieces may not look that much different, but the meaning behind the items changes from the images in the last two posts.
Georgian mourning jewelry is different than Victorian mourning jewelry. The Georgian pieces are filled with Neo-Classical symbolism. Urns, Willow Trees, Plinths and women in white dominate the imagery in the earlier jewelry. In the later Victorian pieces, the symbolism changes to a more purely decorative rendition. The colors of the pieces themselves changed drastically between the time periods also. Georgian mourning jewelry is like a Neo-Classical painting with a white back ground contrasted against the ubiquitous black in the Victorian pieces.
These two pieces are typical Georgian mourning pieces. They are navette shaped, which some suggest resembles the shape of a tear. They contain all the images of mourning at the time- the urn and the plinth, willow trees in the background and the women in white. One of things that you may not know about these kinds of pieces is that the sepia pigment with which they are painted is made from masticated hair. Look closely- Do you see how some parts look textured? They are! The texture is actually hair mixed in with the sepia ink.
Victorian mourning jewelry on the other hand, is completely different.
Queen Victoria wore black after the death of Prince Albert and for the rest of her life. This demanded that the rest of the country wear black, so black jewelry became the standard in fashion. Whitby jet was one of the most sought after materials of the day for its glossy black color.
Gradually, the restrictions on mourning clothing and jewelry lessened and jewelry began to incorporate pearls and other colors. (There was a proper way to dress while in mourning. White could be worn in a later stage of mourning, called Half Mourning. It’s really quite fascinating.)
The Victorians went a bit overboard with the symbolism of the period. As I said in a previous post, entire books have been written on the flowers and plants that dominated the jewelry. I can’t possibly discuss all of them, but a few stand out. The Forget Me Not was a popular choice for obvious reasons and remained popular into the early 20th Century.
Not all the mourning jewelry of the time, like the ones above, contained hair. Some pieces, however, in both the Georgian and Victorian periods were comprised of little but hair!
One of the best things about mourning jewelry is that many pieces are engraved with dates- especially the date of the death of the person for whom the piece is honoring. That means that determining its age is as simple as looking at the date inscribed on it. If you can’t tell the era in which the piece was made by style alone, simply look for the dates! That means that studying mourning jewelry is a good way to learn to circa date non-mourning jewelry. Since jewelry styles often had similar themes, you can begin to circa date other jewelry by comparing the styles of the pieces to mourning jewelry that contain dates.
Many people collect mourning jewelry. If you do, I hope this helps you as you come across pieces for sale. It may have even helped you determine the age of some of the pieces within your own collection. If that is the case, then please leave me a message on my Facebook page or Instagram and let me know!
Perhaps you can’t see yourself collecting or wearing mourning jewelry. That’s ok. The wonderful thing about studying mourning jewelry is that we have so much of it remaining today, so it really helps us see how styles and the people wearing those styles changed throughout the ages. I hope this series of blogs helped give you a glimpse into the recent past and will perhaps bring some new knowledge into your future.
Did you know that not all “mourning jewelry” is actual “mourning jewelry”? In this short series, I’ll explain the many types of what we all call mourning jewelry today, what they actually mean and how they developed into the types of jewelry that we still wear today.
There are three categories of what most people refer to as Mourning Jewelry and not all of it is used for mourning- Commemorative Jewelry, Sentimental Jewelry and Mourning jewelry. Mourning Jewelry hit its apex during the Victorian period when Queen Victoria was mourning the death of Albert. Since there is a long standing tradition of emulating the court style, two countries followed suit, carrying with them a two continent fad. The tradition of mourning jewelry was in existence long before that, however. The Victorian period was simply the height of the tradition. In reality, the existence of wearing jewelry to commemorate a person’s life has been around long time. This will focus on the 300 year time span from the Georgian era to the turn of the 20th Century, but first, let’s take a brief look at how we got to that point starting the 1600’s.
Part I- Commemorative Jewerly and Memento Mori Jewelry
Commemorative Jewelry was used as a way to remember an event or person. It often contained hair, but more often included a portrait of a person or a motto.
One of the most famous examples of this are rings made to commemorate the execution of King Charles I. Examples of rings can be found containing a portrait of the King and often the initials CR engraved on them. This example from Horace Walpole’s Strawberry Hill collection made around 1649-1650.
This is one of only seven rings given at the burial of King Charles I. It contains a portrait miniature of the King, behind it, a death’s head, the initials CR and between it the motto “Prepared Be to Follow Me”. It is a prime example of commemorating an event. It is also important because after these rings were given, it sparked a new custom of a person bequeathing money from their estates to have “remembrance” rings made and distributed after their deaths. (Remember that the rest of the people in a country emulated Royalty and their actions).
This example of the King Charles I ring contains an important concept of the progression of this type of jewelry -Momento Mori Jewelry. His ring contained the phrase, “Prepared be to Follow Me” which is an extension of the popular motto “Remember You Must Die” found in the Momento Mori rings of the 16th and 17th Centuries. These types of rings carried similar symbols of mourning jewelry, but they were different concepts. Memento Mori jewelry was worn by the learned of its day and not intended as Mourning Rings. Instead these rings showed it’s wearer to be a philosophical thinker, openly acknowledging the fact that we all must die. The symbols of these rings like skulls, skeletons, crossbones, serpents (symbols of wisdom and eternity) and hourglasses eventually found their way into the mourning jewelry of later years. In this time however, they were not yet used as mourning tokens. They were powerful symbols and contained a language all their own.
Take a look at some momento mori pieces and you’ll see what I mean.
It was a simple way to show that you were a member of the learned elite of the time. This was a time when most people could not read or write except perhaps in the most rudimentary of ways. The majority of people who could read or write were very wealthy. This was a way to show that you were a member of that segment of the population. In essence, it was a 17th Century status symbol.
By the 1690’s, Death Head Rings were adapted to include a lock of hair of the deceased. During the first few decades of the 1700’s and into the Mid 1700’s, these rings were beginning to morph into the mourning rings we know today and were increasingly popular throughout the next two centuries.
A 17th Century Momento Mori slide showing the Skull and Corssbones, the Hourglass, a serpent and staff and double Phi, most likely signifying the person’s initials PP. The chalice on the right hand side could be the cup of the last supper, an indication of a religious leaning or it could be “the cup of learning” and another reference to a person’s high status within the community. With the inclusion of the serpent and the staff and serpent, other references to wisdom, I’m going to say that this ring was from a very educated person whose learning was very important to him (I’m saying “him” since most women who were educated at that time didn’t announce that fact.) Another reason for my inclination that this slide was for a learned man is the fact that his initials are written in Greek, indicating that this man was classically trained. Do you see how a possible story of a person’s life begins to unfold as you interpret the symbols? These symbols are important not only in and of themselves, but because once you learn about them, you can begin to decipher the story they tell.
In a time when the average life span was 40 years or less and death was a constant companion, these symbols provided the people of these eras a way to focus on the beauty of life. These rings and the jewelry that followed are not morbid pieces of history, but a living reminder of the wonders of our own lives. They give us a way to remember the beliefs that are important to us and those we loved.
The thing to remember about the King Charles I ring is that England was at the start of its own civil war. There were people who were loyalist supporters and people who supported the opposing regime. People who wore these rings were expressing not only a political leaning but a complete way of life. Just like Democrats and Republicans in the United States wear the symbols of their parties and use them to express a belief in the way they want the country to be, these people were using these rings to express the same thing. They are commemorating a belief system, hence the use of the commemorative jewelry.
As the decades progressed, commemorative jewelry took on new meaning: to commemorate a particular person’s life. The Georgian Era is filled with these types of commemorative pieces, which I’ll talk about in my next blog.
Join me again as I show you the progression of mourning jewelry and what hair in jewelry really meant.
…..coming soon Part II- Sentimental Jewelry
Sentimental jewelry often gets mistaken for Mourning Jewelry. It’s easy to do since so many pieces of Sentimental Jewelry contain hair. It is its own category of jewelry but I wanted to include it here since so many people just assume that any jewelry containing hair must be mourning jewelry. Sentimental Jewelry is sometimes called Remembrance Jewelry. It’s difficult to tell the difference between remembrance jewelry (given as a sign of affection) and mourning jewelry (worn to commemorate the dead). I’ll do my best to explain the differences here. Read more »