beginning collage


Welcome back! It’s always fun to see new designers, so in this blog I’m going to show you some great modern designers who are reinterpreting Mourning Jewelry and Memento Mori Jewelry for the 21st Century!


Acanthus Jewelry

Acanthus jewelry creates a whole line of cool jewelry with oxidized silver and 24 karat gold accents. The contrast is not only very visually appealing, it’s very NOW. To have styles that harken back to yesteryear is also a cool contrast in itself. **See the historical notes at the end of this blog in relation to the Vanitas pendant.

acanthus collage acanthus memento mori collage

Alix Bluh Jewelry

I love this modern take on a mourning keepsake. I hear many people tell me that they’d never wear jewelry that contained hair from someone they didn’t know. If you don’t like the idea of having traditional mourning jewelry to remember a loved one, how about turning the keepsake tradition into a shadowbox pendant? It doesn’t have to contain hair at all! This pendant contains denim from a father’s favorite pair of jeans wrapped in gold wire, a diamond tie clip he wore because the diamond was both of their birthstones, a loose emerald and turquoise, plus the Levi’s tag from his jeans! It’s such a loving sentiment and way to remember someone who has gone before us.

alix bluh edited


Arcana Obscura

I found Arcana Obscura through a hashtag search on Instagram when I was doing my Show and Tell on Mourning Jewelry. I kept coming across these really interesting new pieces that were representations of cemetery art. After the 3rd or 4th image, I had to find out more. Katie Hockstein is a one woman show who makes each piece to order in a variety of metals. Besides traditional death’s heads and Tempus Fugit images directly from 18th century cemeteries, she also makes snakes, daggers and crescent moons that you won’t be able to live without.  I also realized that there is a name for people like me who like to walk in cemeteries (hey- they’re quiet and have cool sculpture!). “Tombstone Tourists” are called taphophiles. I had to look it up because she has a skull band with that name!


arcana obscura collage tombstone collage


Estate Jewelry Mama

We’re all pretty obsessed with Lover’s Eye’s jewelry, so when I found out that Kim of Estate Jewelry Mama is making modern versions of these pieces, I was excited. She’s not only making them from original materials, she’s making them using original techniques! I’m sure you’re really anxious to see the whole new line called “ink and Ivory,” but this is just a sneak preview. The line isn’t even out yet, so you’ll have to wait to see more! Not all Lovers’ Eyes were made as mourning jewels. In fact, the first and most famous one was made to propose (read that story here). As with all good design though, the style wound its way around to remember those who have gone before us. With Estate Jewelry Mama’s jewelry, you can decide which meaning you prefer. Either way, you can find them soon!




Sarah Nehama

Few people have the eye for mourning jewelry that Sarah Nehama has. She wrote a wonderfully informative book on the subject when she curated a show of Mourning Jewelry at the Massachusetts Historical Society. It seems like a natural extension of her psyche to reinvent mourning jewelry in her own personal way. The way she chooses to do that is to upcycle old Tin Type photographs into one of a kind, hand-made jewelry. Tin types and Daguerreotypes were often used in mourning jewels of the Mid-19th Century, when they displaced portrait miniatures as the medium of choice for capturing someone’s likeness. Sarah uses tin types of children and adults and often tries to find more obscure tin type photographs, like two women reading or two men playing cards!

sarah collage


Vulpecula Jewelry

If you like signet rings and memento mori, Vulpecula Jewelry is for you! These rings are cast from Georgian and Victorian wax seals. The phrases are Biblical, as is the case with the Vanitas ring, or from 19th Century poems about a King’s ring, as in the “Even This Shall Pass Away” ring. If you can’t get enough of historical explanations, please continue reading the notes at the end of this blog.

vulpecula collage


WLG Metal Culture

William L Griffiths is a Master Goldsmith. I don’t mean that he’s a really good jeweler although he is that. Master Goldsmith is actually a title, for those of you who may not have known. It’s a title one can only assume after YEARS of study and apprenticeship. The process usually requires a degree from an accredited institution, an apprenticeship and the ability to have mastered many, many forms of traditional goldsmithing techniques. Look up what’s required one day. You’ll learn words you never knew existed and each of those words equates to a rigorous training schedule (and often decades of time) to master. Think of these people as the PhD’s of the jewelry world. The techniques required and the process itself, have not changed much from the Guilds put in place in The Middle Ages. It’s an honor to be a Master Goldsmith and it’s an honor to feature two of them here in this blog today.

Just look at this amazing pendant and you’ll see what I’m talking about.

wlgmetalculture1 wlgmetalculture2


If it’s skulls you want, then skulls you shall have! A lot of designers make skull rings from the incomparable Anthony Lent on the East Coast (also a Master Goldsmith) to the Gent’s line, King Baby, on the West Coast (and many more in between). Skulls are just cool right now, so they’re not necessarily indicative of “mourning” or memento mori per se in designers’ eyes. In fact, skulls represent many things in art such as wisdom and power. The great thing about the jewelry we wear though is that WE get to choose its meaning.


skull collage 2Credits from left to right- top to bottom: Anthony Lent (author’s photo from globalDesign 2016); Arcana Obscura ( photo used by permission from Arcana Obscura), Acanthus Jewelry (photo used by permission from Liz Katner) and King Baby (author’s photo from In House Jewelers visit 2016)

I hope you have gained a new appreciation for a centuries’ old art. There are many ways to bring the tradition into the 21st century, this blog features just a few! Maybe it will inspire you to want to wear one of the pieces I’ve featured, in which case, the links take you to the artists’ sites. Perhaps, though, this will inspire you to create your own new tradition, in which case, I want to hear about it! Please contact me on Facebook or Instagram.

*****historical note*****

“Vanitas” in the memento mori tradition stems from two places. The first is a genre of paintings in the 15th -17th centuries that is directly correlative of memento mori. The second is the Biblical verse from Ecclesiastes, “Vanitas vanitatum, omnia vanitas” which the genre of paintings stems from. In English, the Latin translates to “Vanity of Vanities, All is Vanity.” The meaning of which becomes a sentiment of the transience of life. The paintings from Antonio De Pereda and Harmen Steenwijck remind us too of that same transience.

art collage




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.

17th Century Silver Memento Mori Ring

17th Century Silver Memento Mori Ring

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 1750-1760

Lover’s Knot ring 1750-1760

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.


Coronet Clasp 1760-1780

Coronet Clasp

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, 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”

EH Brooch Approximately 1780

EH Brooch Approximately 1780

Reverse of EH brooch

Reverse of EH brooch

EH Brooch/Locket

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 1790

Allegory of Friendship 1790

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.

Turtledove Brooch 1790's

Turtledove Brooch 1790’s

French TurtleDove Fob 1790's

French TurtleDove Fob 1790’s

Turtledove brooch

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 1790's

French Amatory Brooch 1790’s

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.


Angel Portrait Miniature, Front, Circa 1800

Angel Portrait Miniature, Front, Circa 1800

Angle Portrait Miniature, Reverse

Angel Portrait Miniature, Reverse

Angel Miniature

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, 1800-1810

Chrysolite Ring, 1800-1810

Chrysolite Ring, side profile

Chrysolite Ring, side profile


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


Jet Ring, 1822, Front

Jet Ring, 1822, Front

Jet Ring, side and reverse

Jet Ring, side and reverse. Engraved Jane Goode died 6 Jany 1822 Aged 19

Jet Ring

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 and Hair Work Bracelet. Approximately 1835

Portrait Miniature and Hair Work Bracelet. Approximately 1835

Portrait Miniature and Hair Work Bracelet, Full Length

Portrait Miniature and Hair Work Bracelet, Full Length

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.

Daguerreotype of Man, 1845-1850

Daguerreotype of Man, 1845-1850

Daguerreotype Case, Reverse

Daguerreotype Case, Reverse

Daguerreotype Locket

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”


Victorian Brooch and Earring Set 1860-1870

Victorian Brooch and Earring Set 1860-1870

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 Gold, Onyx and Pearl Earring, Necklace and Brooch Set 1870's

Victorian Gold, Onyx and Pearl Earring, Necklace and Brooch Set 1870’s


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!

3 Onyx, Gold and Pearl Pendants For Sale

3 Victorian Gold, Onyx and Pearl Pendants For Sale

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.


Bakelite and Celluloid Photo Prison Ring Circa 1930's

Bakelite and Celluloid Photo Prison Ring Circa 1930’s

Prison Ring

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.


17th-20th Century Mourning Rings

17th-20th Century Mourning Rings

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.

Shamrock and gold Bog Oak pin

Shamrock and gold Bog Oak pin

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.


Bog Oak showing growth lines under 10x magnification

Bog Oak showing growth lines under 10x magnification

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.


Identifying Bog Oak can be as easy as looking at the Motif

Identifying Bog Oak can be as easy as looking at the Motif

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.

whitby jet

Jet takes a high polish and can often be confused with glass



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.

Most Gutta Percha was used for things other than jewelry, like these golf balls.

Most Gutta Percha was used for things other than jewelry, like these golf balls.

Gutta percha was also used to make other things, like the mold for the golf balls above. (From a sold Bonham's Auction)

Gutta percha was also used to make other things, like the mold for the golf balls above. (From a sold Bonham’s Auction)

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.

Vulcanite is molded, not carved.

Vulcanite is molded, 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.

Circa 1780's mourning clasp and bracelet from the Walter's Art Museum

Circa 1780’s mourning clasp and bracelet from the Walter’s Art Museum


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.

Late 1700's Neo-Classical mourning brooch

Late 1700’s Neo-Classical mourning brooch

Navette shaped mourning brooch, late 1700's

Navette shaped mourning brooch, late 1700’s

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.

Whitby Jet from the British Museum

Whitby Jet from the British Museum


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.)

Onyx and pearl Victorian Amphora style earrings. The pearls indicate that these earrings were used for a period of mourning known as Half Mourning.

Onyx and pearl Victorian Amphora style earrings. The pearls indicate that these earrings were used for a period of mourning known as Half Mourning.


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.

Forget Me Not flowers were an obvious choice of mourning symbolism during the Victorian era.

Forget Me Not flowers were an obvious choice of mourning symbolism during the Victorian era.

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!

Mourning bracelet make almost entirely of hair.

Mourning bracelet make almost entirely of 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.


17Th Century gold and enamel "Death's Head" ring from the Ashmolean Museum

17Th Century gold and enamel “Death’s Head” ring from the Ashmolean Museum


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.

Commemorative ring of King Charles I From Horace Walpole's Strawberry Hill Collection

Commemorative ring of King Charles I From Horace Walpole’s Strawberry Hill Collection

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.

Gold "Death's Head" band from the British Museum 1673

Gold “Death’s Head” band from the British Museum 1673

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.

death head ring

Memento Mori Jewelry is different than Mourning Jewelry

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 »