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NINETEENTH CENTURY

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NONE eer GEN TuURY

Jewelry

FROM THE FIRST EMPIRE TO THE FIRST WORLD WAR

ei COO PE REN @) Ngee S ECM
POR Whale ARTS OF IDEACOR AMIOIN

ACKNOWLEDGMENT

In assembling material for the exhibition, the Museum has received

most helpful suggestions and information from the following, to
whom are given most grateful thanks:

Miss CHRISTINE ALEXANDER
JOHN O. GREEN

MELVIN GUTMAN

Harotp Husertus

Miss EMMELINE SEWELL

I. SNYDERMAN

WILLIAM G. SyRING

The design on the cover is after a drawing by Felice Giant,
No. 349 in the Catalogue

Copyright 1955 by the Cooper Union Museum for the Arts of Decoration

INTRODUCTION

In THE DECORATIVE ARTS the nineteenth century offers a greater variety
of designs and styles than any other, and one of the most varied fields in this
various era is jewelry. Before the French Revolution jewelry had been
almost exclusively the prerogative of the very rich; pieces were, in conse-
quence, quite rare. But by the death of Queen Victoria quantities of jewelry
in the most and least precious of metals abounded, and no woman was so poor
as not to own a ring or a brooch. While economic and political factors may
in part explain this abundance they cannot explain the variety. ‘Though the
century was eclectic and repetitive, it will be treated here chronologically
rather than stylistically. ‘This method is selected for convenience, as the
division into political periods seems a less arbitrary one than that of fashions
or styles.

Most of the precious jewelry of the century no longer exists: intrinsic
value and changes in fashion have destroyed it. The pieces that do remain,
even if not always the most costly, are not less interesting for being less
valuable. These, designed to be worn during the day or on occasions less
than grand, were usually more sensitive to changes in fashion than costly
jewels.

In addition to the pieces themselves some literary references do exist, but
these are of less help in realizing the past than paintings and prints which
show jewelry being worn. And more important than paintings and prints
are designs and drawings for actual jewels. The most elaborate preliminary
steps were taken for the most precious pieces of jewelry; hence the largest
number of remaining drawings are for just those jewels which are now most
scarce. Drawings from the hand of the jeweler or from his workshop are as
expressive of his manner and treatment of an object as the jewel itself.
Alternate schemes and variations of effect may be shown (Nos. 341, 355). The
Cooper Union Museum is particularly fortunate in possessing over eight
hundred designs and working drawings for jewelry; many from the nine-
teenth century are here exhibited (Nos. 341 to 404).

In rare instances both the pieces and its design still exist (Nos. 139, 395
Fig. 5). Occasionally pieces were made from designs of earlier centuries
(No. 234), or old pieces were accurately reproduced if their period happened
to be currently fashionable (Nos. 53; 128, Fig. 10; 133; 140, Fig. 8; 274).

France was the most important single country for the production of
jewelry throughout the century. Though ideas may have originated in
Italy or England, France was quick to make them fashionable, so the cen-
tury is here treated according to the political periods of France. In this

3

country, custom and practice have preserved, even into the present century,
the distinction between orfévrerie, or goldsmiths’ work, which in earlier
centuries included jewelry; bijouterie, which is exclusively the making of
jewelry; and joaillerie, or the setting of precious stones.

At the end of the eighteenth century jewelry made and worn in France
was of simple design and often of base metals (Nos. 2, 3, 7). The Revolution
had abolished the legal status of the corporation of goldsmiths, a ‘‘master-
piece” was no longer required of an apprentice; indeed apprenticeship was
not compulsory and anyone who wished could enter the field. There was no
longer any definition of standards of craftsmanship nor any legal standard
for purity of materials. Models, schools and collections were dispersed. A
division of labor was practiced: pieces were no longer designed and executed
by the same man or even his workshop. Now it was common, where earlier
it had been rare, for one craftsman to work from the design of another and
the finished piece to be sold by a third. This practice was to increase
throughout the century and at the end large establishments comprising
designers, craftsmen and vendors were the exception. The political and
economic reasons for a change of style at the beginning of the century are
obvious enough. For a time steel buckles were more fashionable than
silver. But even before the Revolution jewelry, and all decorative art, was
becoming more severe in pattern.

During the Directory (1795-1799) and Consulate (1799-1804) large
amounts of jewelry, none very precious, were worn: earrings, necklaces,
long sautoiy chains about the waist and shoulders, bracelets at the shoulder,
elbow and wrist and many rings. Gentlemen, besides wearing rings and
seals as fobs (a fashion that remained popular until the middle of the cen-
tury), also wore chatelaines, usually finely made of steel with gold or porcelain
decoration (Nos. 7, 8). Though it became more popular later in Berlin,
cast iron jewelry was made in 1789 in France. The new government made
and hoped to exchange this for the more precious jewelry of patriotic citi-
zens and to use the gold for reducing the national debt. In 1813 thousands
of pieces of cast iron jewelry of considerable quality were made in Prussia
to be given to those who donated their jewelry for the purchase of ammuni-
tion to fight Napoleon. Cast iron jewelry continued to be made in the
1820’s and 1830's in the gothick style.

At the beginning of the nineteenth century neo-classic restraint had long
since replaced rococo grace, but it was not until the First Empire (1804-
1814) that archaeology dominated design. More than any previous century
the nineteenth was in a position to exploit the past through this science.
Greek and Roman intaglios and cameos were worn on the head, arms, body
and even the toes; reproductions, often fine, were plentiful for those not

4

fortunate to possess old pieces (No. 6). Napoleon revived the pomp of
Imperial Rome; like most parvenus, he emphasized a ceremony that required
the ladies of his court to wear many jewels. Regardless of the demands of
court ceremony the Empress enjoyed jewels, as may be seen in many of her
portraits.

These and other paintings of ladies of the First Empire in their jewels
illustrate two features: the prominence of the tiara, and the ubiquity of
the parure, or matched set of jewels. The tiara had not been fashionable
for centuries; in the eighteenth century in court dress an aigrette or spray
of jewels, sometimes holding feathers or flowers, was considered a sufficient
ornament for the hair. Under the Empire a jewelled tiara (No. 352), often
with a comb as well, was indispensable in court dress for ladies. It was as
though the new ruling class, uncertain of its authority, wished its rank
emphasized in the jewels of its ladies. Frequent return to fashion through-
out the nineteenth century has removed much of their symbolic effect,
though even today when the number of courts at which tiaras may be worn
is notably smaller, they are considered customary for court dress.

Emphasis on a parure of jewels was also characteristic of the Empire.
Ensembles of tiara, comb, earrings, necklace, brooch and bracelets, all of
the same motif (No. 351), were not an innovation of the period; but the
larger part of all important jewelry of the period was made up in such sets.
Parures of diamonds, emeralds and diamonds, rubies and diamonds, sap-
phires and diamonds, opals and diamonds, and cameos were made, at con-
siderable expense, for the Empress Josephine. ‘These remained with her at
the time of her separation; and new and even more costly parures were
made for the Empress Marie-Louise. The parure offered the maximum
amount of display and expenditure, for in the more important only precious
stones, usually set with diamonds or cameos, were used, though the Empress
Marie-Louise had parures of opals and one of cut steel. The fashion of
the parure established under the Empire remained, though it never regained
its dominance in court dress. Later examples were usually less costly and
elaborate.

The Empire represents the first developed style in jewelry of the nine-
teenth century. Its aim was brilliance and opulence; an effect of con-
spicuous consumption. The more costly pieces were well made and the
high standards of craftsmanship lost at the end of the eighteenth century
had been regained.

With the return of the Bourbons (1814-1830) display of wealth and jewelry
fell out of fashion. Louis XVIII was not fond of ceremony and the court
did not provide a sympathetic background for rich jewels, nor did many of
the returned emigrés have the means to provide themselves with such, did

5

they wish to. Politics and economics cannot entirely explain changes in
style, and this period with its great variety was one of the most experimental
of the century.

As if in reaction to the massive splendor of the Empire, jewelry was made
in lighter form. Nostalgia was felt for eras long antedating the Revolution.
The Middle Ages and the “gothick”’ style became fashionable. —The Middle
Ages were peopled with the ancestors of the aristocracy of the recently
restored regime; the displaced ruling class of the Empire could find no
associations here. The fifteenth-century fashion of the ferronniére was
revived. This jewel, named after Leonardo’s portrait of the blacksmith’s
beautiful wife, was a fine chain with a central motif worn low on the brow
(Nos. 46, 63). After the 1840’s it ceased to be fashionable. The sixteenth
century was revived in a “Marie Stuart” costume ball given in 1829 by the
Duchesse de Berri, daughter-in-law of Charles X.

This historical snobbery gave an additional sentimental value to jewelry
of small intrinsic worth. Now topaz, amethyst, aquamarine, garnet and other
semi-precious stones as well as cameo-cut shell were used in parures of
light-weight gold often stamped (No. 26), sometimes finely wrought in small
granules or filigree work (No. 30). Cut steel now became more popular
and less expensive.

‘The serpent, a motif used in jewelry at least since the Roman Empire,
became quite popular and remained so throughout the century. The deco-
rative flexibility with which its shape could be adapted to bracelets, neck-
laces, combs, brooches, and earrings (No. 366, Fig. 4) seems to have quite
overcome any unpleasant associations ladies might have recalled.

‘The jewelry of the Restoration bears its own nostalgic charm; the intel-
lectual and archaeological character of Empire jewelry as well as its
richness were modified and replaced by a sentimental and literary appeal.

But in the work of one man the archaeological aspects of jewelry became
more important than ever before. Having opened a shop in Rome in 1814,
Fortunato Pio Castellani (1793-1865) began making reproductions of Greek
and Etruscan jewelry in the 1820's. The quality of the granular and filigree
work of these pieces had not been seen since antiquity. Their accuracy as
reproductions, achieved by workers whom Castellani had discovered still
using ancient techniques, gained for him an international reputation. These
pieces were made in two weights of gold, as was ancient jewelry; a light
weight in imitation of funerary jewelry (No. 53), and a heavier weight
reproducing that made for wear (Nos. 55, 57). Except for an interruption in
1848-1858, the work was carried on after Fortunato Pio’s death in 1851 by
his son Augusto (1829-1914). His reproductions of the jewelry of classical
antiquity (No. 59) and northern medieval pieces (No. 71, Fig. 1) were made

6

throughout the century in such a similarity of style and technique that with
few exceptions they are difficult to date. Besides making jewelry the Cas-
tellani formed a large collection of antique examples; Augusto later became
Director of the Capitoline Museum and much of his collection remains there.
His elder brother Alessandro (1824-1883) also collected and dealt in antique
jewelry. He travelled extensively and displayed the work of the firm, which
was admired and imitated widely, at most of the exhibitions of art and
industry which were held all over Europe and America after 1851. Much
of the antique jewelry now in the British Museum was acquired through
Alessandro Castellani. Many of these pieces while in his collection had
served as models for the firm (No. 128, Fig. 10).

Society of the period of Louis Philippe (1830-1848) held no aristocratic
pretensions. The newly established bourgeoisie had been frugal for so
long that they were unable to change their habits when they became the
ruling class. The result was “un certain luxe, réel, mais économique.”

Such a society did not offer a large market for precious jewelry. But
jewelry continued to be made of cheaper materials in increasingly large
quantities. Enamel furnished color (Nos. 47, 48) and stamped work gradu-
ally replaced the delicate granular and filigree work of the 1820's and early
1830’s. The quality is inferior to that of earlier work although there are
certain outstanding exceptions. Inexpensive alloys, such as pinchbeck, had
been known since the late eighteenth century; these now readily lent them-
selves to the popular die-stamped jewelry of the late 1830's and 1840's (Nos.
85 to 89). Lack of intrinsic value has preserved this type so that the period
is well represented. In the 1830’s seed pearls, often made into parures,
became quite fashionable (No. 80). The small pearls give somewhat the
effect of the earlier gold granular work in larger scale. Jewelry made of hair,
usually human, was popular from the 1840’s until the late 1850’s. Miss
Flower notes that young ladies often made it themselves lest an unscrupu-
lous tradesman substitute a stranger’s hair for that given to him to work
(Nos. 100, 101). This is perhaps the most striking type of what has been
called the “jewelry of sentiment.”

An outstanding example of jewelry of sentiment, but of precious materials,
is a pair of bracelets made about 1840 for Queen Louise d’Orléans of
Belgium, with the names of her children, Léopold and Charlotte, one on
each. The clasp of each of these conceals a crystal-faced locket which might
have held a portrait, or lock of hair or some token of the child. The fine
quality and conservative design of these bracelets is to be expected of a
royal piece of this time (No. 66, Fig. 7).

Since the 1840’s tourists returning from Italy have bedecked their persons
and their progeny with Neapolitan jewelry of colored glass mosaic depicting

7

Pompeian themes and Roman ruins (Nos. 72, 103), or coral cut and polished
until it resembles little petrified bouquets (No. 150), or cameos cut from
the lava cast forth by some visited volcano (No. 240). Further north pietra
dura, a mosaic work of naturally colored stones usually in designs of
flowers and insects, catered to the same clientele (Nos. 106, 116). The vary-
ing quality of this work had no effect on its unvarying attraction, and it con-
tinued to be made throughout the century with little change of style.

The romanticism begun in an earlier period now became dominant. In
1844 Eugene Julienne published ornamental designs for almost every
object, including jewelry, in every style beginning with that of the thirteenth
century. Frangois-Désiré Froment-Meurice (1802-1855) had a large work-
shop producing jewelry in the medieval style, but debased imitations of his
pieces, often not without an appeal of their own, were more popular, and
cheaper, than his rather pedantic, but beautifully finished jewels (No. 64).
In England also, jewelry reflected the Gothic Revival. Among the many
designs of Augustus North Welby Pugin (1812-1852) may be found some
for jewelry, but these are incidental in his work. The most influential pro-
ductions in jewelry of this kind besides those of Froment-Meurice were done
by the German Wagner and the Dane Rudolphi, both working in Paris.

Forms used in jewelry became thicker, coarser and heavier in appear-
ance, though often the pieces were quite light in weight. The jewelry of the
1840’s disappoints by its pretentions to a solidity it does not possess.

The First Empire borrowed grandeur from Imperial Rome; the Second
Empire (1852-1870) drew with equal freedom on Egypt, Greece, Etruria,
Rome, the sixteenth, seventeenth and eighteenth centuries of Italy, France
and England, and the Near and Far East. During this period quantities of
jewels in the greatest variety of styles and range of quality were made. In
its diversity of styles the Second Empire epitomizes the century.

Once again French society was dominated by an aristocracy of relatively
recent origins. Ihe Emperor had many of the crown jewels reset in 1853
for his bride Eugénie, Countess of Montijo, who throughout her reign,
unlike the preceding Queen Marie-Amélie, patronized many jewelers. The
most immediate result of this new interest was the production of richer,
brighter jewelry which used precious stones more profusely than that of the
previous decade. This new brilliance was especially striking when con-
trasted not only with the preceding reign but with the short-lived Second
Republic and the disturbed years after 1848.

At that time Louis Tiffany, who had opened a stationery and fancy goods
shop in New York in 1837, went to France. By judicious and extensive
purchases of jewelry he was able to set up the firm, Tiffany and Company,
in 1851.

8

In the same year French jewelers sent examples of their work to the
Great Exhibition held in London. England as well as France was prosperous,
and some jewelers practiced in both countries. English jewelry is usually
better made than that of France and its technical innovations were often
imitated by the French. But fashions in jewelry, in the style of the pieces
themselves and how they were to be worn, were usually established in
France and followed by the rest of Europe and America.

Earlier in the century styles had some base in politics, archaeology, or
sentiment. Now they were revived apparently for no other reason than
novelty, and fashions changed rapidly, every few years. The medieval
style (No. 390) shared popularity with the rococo of Louis XV (No. 115),
which was soon outmoded by the style of Louis XVI, to which, for no
possible historical reason, the Empress became attached. Her apartments
at the Tuileries were decorated in this style and one of her jewelers, Bau-
grand, designed in this style for her (Nos. 398, 399, Fig. 6). The sixteenth
century was also fashionable. In 1876 a facsimile edition of the jewelry
designs of René Boyvin (fl. 1560-1580) was published, and the designs of
Hans Collaert (fl. 1580) were realized in gold and precious stones (No. 234).

Rapid changes of fashion, perhaps artificially induced, were probably
more like the changes of style during the first half of the twentieth century
than any previous period. In the 1860's costume jewelry first reached a
popularity never subsequently lost. This jewelry was an economic necessity.
Precious jewelry had become so massive and heavy and stones so large
(No. 396) that the amount of gold and gem-stones alone made it the preroga-
tive of the very rich. Yet the demand for jewelry was great: costume jewelry,
often made of base metal and imitation stones, was not intended to last
longer than the fashion of a dress. Galvanization had now made possible
cheap electrically cast reproductions. In the 1850’s aluminum was isolated
and though it first was more precious than gold it soon became quite cheap
and was used for a short time in jewelry (No. 121). Actual insects and even
birds were set as jewelry (Nos. 164, 165).

More sober jewelry was still widely produced. By this time the Castellani
had many imitators; among the most successful were Eugéne Fontenay
(1823-1885) of Paris, whose works are adaptations of the antique rather than
recreations of it (Nos. 185, 186), and Robert Phillips (d. 1881) of London.
Giacinto Melillo (1846-1915) of Naples was perhaps the foremost of the
Castellani’s pupils. His copies of Roman jewelry are no less accurate than
the Etruscan and Greek pieces of the Castellani, and they show an elegance
which is characteristic of the last years of the nineteenth century (Nos.
274 to 276, 300 to 307).

Carlo Giuliano, the outstanding jeweler of the second half of the century,

9

now appeared at London in the late 1860’s. His earliest work is typical of
its period and distinguished from other jewelry only by a certain refinement
and superior execution (No. 178). ‘Though he worked in the Greek and
Etruscan styles (No. 147), he also developed a manner quite distinct from
that of the Castellani, and created jewelry unlike any made _ before.
Giuliano’s knowledge of antique and Renaissance jewels is often apparent
in these pieces, but they are not essays in archaeological reconstruction.
While the Castellani applied their superb craftsmanship and unerring taste
to reproductions which expressed alike the style of their time and the values
of archaeological scholarship, Giuliano’s pieces are more imaginative and
certainly no less finely made. His attitude toward the past is that of an
artist rather than a scholar. His later jewels, made in the light elegant
forms typical of the last years of the century, are quite distinctive and express
understanding and sympathy with jewelry of Egypt (No. 205), the sixteenth
century (Nos. 262, 321), the Orient (No. 247), and Art Nouveau (No. 292).
But his work does not reflect transiently fashionable aspects; in all these
pieces it is the stature of his own personality as an artist-jeweler which is
most apparent. His elegance transcends the Edwardian.

At the end of the 1860’s a jeweler in Paris began to perfect a way of
setting stones that was to result in the nearly complete elimination of gold-
smith work in precious jewelry and with few exceptions reduce the jeweler

_to a stone setter. Oscar Massin revived and popularized the eighteenth-
century manner of mounting jewels on springs; more importantly, he
developed invisible mountings which emphasize, indeed show nothing else
but, the stones. This technique coincides with a renewed popularity of
those stones which show to best advantage in such a mounting: diamonds.
‘Two reasons may be given for the popularity of diamonds at this time. Some
of the vast resources of the South African diamond mines had reached the
Paris market by the early 1870’s. A decade later electricity was introduced
for illumination in public places. In 1875 the Opéra at Paris opened and
a few years later, in 1883, the Metropolitan Opera House was first occupied.
Across these vast interior spaces and under the glare of white electric light
jewelry of colored stones, gold and enamel appeared both more garish and
less striking than the delicate sparkle of diamonds in invisible mountings.
Perhaps this unfavorable comparison helped the reaction which did come
against the heavy jewelry of the 1860's. Beginning in the later 1870’s and
until after the end of the century jewelry became lighter in form, more
open in design and depended more on the scintillation of diamonds for
brilliance. Along with this desire for brilliance and absence of color, jet
became fashionable. It was worn perhaps for the first time without funereal
connotations (Nos. 225, 226).

10

The end of the Second Empire marked no great stylistic change in
jewelry. The period was so varied as to defy easy generalization. English
wealth sustained the inevitable changes of fashion, and if the center of
fashion did not move to London, what was thought to be the English
taste was promoted in Paris, especially sporting jewelry, popular in the
1880's and 1890's.

No economic reason can account for the reaction against the elaborate
jewelry of the 1860’s and early 1870's; the diamond jewelry that succeeded
it was often more expensive. From the 1880’s until the First World War
England and France enjoyed considerable prosperity. Precious jewelry,
with diamonds by far the most popular stones, was made in increasingly
lighter designs. An entirely different kind of jewelry appeared in the
1890’s, a result of aesthetic doctrines formed by the Pre-Raphaelites,
elaborated by William Morris and others and realized by the Art Workers’
Guild (1884) and the Arts and Crafts Exhibition Society (1886). ‘The Middle
Ages were foraged, though not archaeologically, nor were their forms re-
created for any sentimental reasons. ‘This was a doctrinaire revival, the forms
of certain past ages were used because each was thought most suitable for
the particular function of the piece. A moral snobbery valued the irregu-
larity of the handcrafted piece above the high finish associated with machine-
made objects. Glitter was vulgar. Unpolished metals were used, stones
en cabochon were preferred to faceted ones. ‘This new concept of jewelry,
adopted abroad and refined by Gallic elegance, was soon fashionable. The
exceptional pieces of René-Jules Lalique (1860-1945) (Nos. 308 to 311,
Fig. 13) and the designs of Eugeéne-Samuel Grasset (1841-1917) (Nos. 400 to
403, Fig. 12) represent mature examples of l’Art Nouveau; while those of
Hector Guimard (1867-1942) seem to justify the special designation of a
“Style Guimard” (Nos. 312 to 314).

This is a truly international style and a most flexible one. Based on almost
no forms found in any styles of the past, it allows the greatest latitude for
the personality of the artist. The firm of Fabergé in Saint Petersburg
mastered it perfectly (No. 324), while at the same time working in the more
conventional style of 1900 (No. 322), as well as making archaeological repro-
ductions of twelfth-century pieces (No. 326).

Perhaps the work of Louis Comfort Tiffany (1848-1933) is most typical
of l’Art Nouveau in America. In his and similar pieces the metal appears
almost kneaded, so evident is the hand-wrought quality; encrustations of
patina proclaim the surface unviolated by any hint of polish. Nothing is
permitted to remove the effects of time, real or apparent; the cabochon-cut
stones are chosen for their color and size, never for their value or perfection
(Nos. 338, 339). Each piece is so doctrinaire in its design and execution,

11

so self-consciously aesthetic, that it demands appreciation rather than gives
pleasure. It is paradoxical that this jewelry, designed with such a striving
for timelessness, should now appear so dated.

The contemporary work of Giuliano seems, in comparison, almost with-
out epoch. It is, of course, no less a product of its age — indeed it is less of a
revolt against its age — than l’Art Nouveau pieces; but its major interest is
an aesthetic one, none of it is primarily a period piece. And it is with the
death of this artist and the outbreak of the First World War that the
period covered by the present exhibition comes to its end.

WILLIAM OsMUN

12

Fic. 1. BraceLer, in medieval Scandinavian style; gold and emeralds
Castellani; Italy, Rome; 1840-1848
Lent by Martin J. Desmoni

Fic. 2. Broocu; jasper cameo, gold, enamel
Benedetto Pistrucci (1784-1854) ; England; about 1830
Lent by Martin J. Desmoni

<
pest sl Gal se
ieelee) eee’) a)

Fic. 3. DrsiGNs For A BRACELET oR BELT AND Four EArriNGs; drawing, pen and watercolor
Italy; 1805-1815
The Cooper Union Museum

YT 5:

SSN RS :

Fic. 4. Design For A Comp; drawing, pencil
Italy; 1830-1840
The Cooper Union Museum

ES),

Fic. 5. Designs For Two Bracerers; drawing, pencil, watercolor
Probably Augusto Castellani (1829-1914); Italy, Rome; 1858-1880
The Cooper Union Museum

Tic. 6. DEstGNs FoR THREE Broocues; drawing, pencil, chinese white
Gustav Baugrand (1826-1870) ; France, Paris; about 1867
The Cooper Union Museum

Fic. 7. PAirR OF BRACELETS, made for Louise d’Orléans (1812-1850)
Queen of the Belgians, with the names of her two children
Gold, enamel, diamonds; probably France; about 1840
Lent by Raphael Esmerian

Fic. 8. PAR OF EARRINGS, reproductions of V-IV century B.C. Greek pieces; gold
Augusto (?) Castellani (1829-1914) ; Italy, Rome; 1858-1870
The Cooper Union Museum

Fic. 9. Tiara, of oak leaves and acorns; gold
Settepazzi; Italy, Florence; 1820-1830
Lent by Raphael Esmerian

Fic. 10. NECKLACE AND PAIR OF EARRINGS, reproductions of
III-II century B.C. Greek pieces; gold, enamel
Augusto Castellani (1829-1914) ; Italy, Rome; 1858-1870
Lent by Martin J. Desmoni

Fic.

Fic.

11. DesiGN ror A BRACELET; drawing, pencil
Salvatori; Italy, Rome; 1860-1870
‘The Cooper Union Museum

12. DresicN ror A BroocH; drawing, watercolor

Eugéne-Samuel Grasset (1841-1917) ; France, Paris;

The Cooper Union Museum

1900

Vic. 13. Douste Broocu; glass, diamonds, enamel, gold
René Jules Lalique (1860-1945)
Lent by the Metropolitan Museum of Art

Fic. 14. Water, made for James Buchanan (Diamond Jim) Brady (1856-1917)

Showing his initials formed by snakes; buffalo hide, vari-colored sapphires, gold
United States; about 1890

Lent by Frederick William Bradley

Fic. 15. PENDANT; rock crystal, pearls, enamel, diamonds, gold
Carlo Giuliano (d. 1912) ; England, London; 1880-1890
ent by Martin J. Desmoni

10.

11.

12.
13.
14.
15.
16.
17.
18.

19.
20.

22.
23.

eos
25.
26.

CATALOGUE

(The numbers set in parentheses after the descriptions of the objects refer to the owners
of the objects, as shown in the list of Contributors to the Exhibition on page 23.
An asterisk (*) indicates that the object is illustrated.)

. Pair of earrings; steel; France; about
1800 (3)

. Lorgnon and chain; cut steel; France;
about 1800 (5)

. Seal; chalcedony, steel; France; about
1800: (5)

. Finger ring; gold, diamonds, glass; France;

about 1800 (5)

. Locket; gold, mother-of-pearl, glass; Eng-
land 1800-1805 (5)

. Pendant; gold, carnelian; Giuseppe Giro-
metti (1779-1851); Italy, Rome; 1800-1810
(6)

. Chatelaine; gold, cut steel; France; 1800-
1810 (5)

. Chatelaine; gold, enamel; France; 1800-
1810 (5)

. Scarf pin; gold, pearl, diamonds, enamel;

Maison Bapst; France, Paris; 1810-1820
(6)

Brooch; cast iron; Germany, Berlin; 1813-
1815 (5)

Three links and clasp for bracelet; cast
iron, gold; Germany, Berlin; 1813-1815
(9)

Seal; gold, carnelian; England or France;
about 1815 (5)

Trinket, in form of trick cannon; gold,
turquoise, enamel; France; about 1815 (6)
Brooch; gold, seed pearls, ruby; France;
1818-1830 (14)

Pair of earrings gold, jet, glass; France
or England; 1818-1830 (3)

Demi-parure; gold, ceramic; Italy; about
1820 (6)
Brooch; shell cameo, gold; Italy; about
1820 (6)

Pair of earrings; gold; probably France;
about 1820 (14)
Locket; gold; England; about 1820 (6)

Locket; gold, glass; England; about 1820
(14)

. Seal; obsidian, gold; United States; about
1820 (5)

Seal; chalcedony, gold; United States;
about 1820 (5)

Corsage ornament, convertible into three
brooches; gold, turquoise, diamonds; Italy
or France; 1820-1825 (16)

Tiara, of oak leaves and acorns; gold;
Settepazzi; Italy, Florence; 1820-1830 (7)
Bracelet, brooch, and scarf pin; alman-
dines, gold, enamel; France; 1820-1830 (6)
Pair of earrings; topaz, gold; France;
1820-1830 (12)

27.

Ons

35.
36.
37.
38.
39.
40.

41.

47.
48.
49.
50.
51.
52.

. Demi-parure;

Brooch; gold, silver, pearl, diamonds,
rubies, emeralds; France; 1820-1830 (6)

. Necklace; tourmalines, gold; France or

England; 1820-1830 (14)

. Pair of buckles; gold, steel; English; 1820-

1830 (5)
amethysts, aquamarines,

gold; France; 1825-1835 (5)

. Seal; agate, gold; France or England;

1825-1835 (5)

. Seal; agate, silver-gilt; France or England;

1825-1835 (5)

. Seal; chalcedony, gold; France or Eng-

land; 1825-1835 (5)

Brooch; jasper cameo, gold, enamel; Bene-
detto Pistrucci (1784-1854); England;
about 1830 (6)

Brooch; agate, gold; Benedetto Pistrucci
(1784-1854); England; 1830-1840 (6)

Seal and watch key; gold, emerald, tur-
quoise, amethyst; probably France; about
1830 (5)

Chain; gold; France; about 1830 (12)
Pair of earrings; gold; France; about 1830
12

meee bracelet; gold, pearls; Ireland;
about 1830 (11)

Brooch; gold, coral; England; 1830-1835
7

pane ring with crowned initial “L”;
gold, enamel, diamonds; France; 1830-
1840 (6)

. Pair of earrings; tortoiseshell with gold

piqué; France; 1830-1840 (5)

. Pair of earrings; amber, gold; probably

France; 1830-1840 (5)

. Brooch; gold, enamel, garnets; France;

1830-1840 (9)

. Bracelet; gold, star sapphire, diamonds;

France; 1830-1840 (16)

. Bracelet, probably made up from a fer-

ronniére; silver-gilt, turquoises; France;
1830-1840 and later (5)

Necklace and earrings; gold, enamel;
probably Switzerland; 1830-1840 (16)
Bracelet; gold, enamel; Switzerland; 1830-
1840 (16)

Bracelet; gold, turquoises,
England; 1830-1840 (16)
Hat ornament; gold, garnets; England;
1830-1840 (5)

Bracelet; gold, diamonds,
rubies; England; 1830-1840 (3)
Pair of earrings; gold, wood; England;
1830-1840 (5)

diamonds;

emeralds,

13

53.

54.

55.

56.

58.

59.

60.
61.
62.
63.
64.

65.
*66.

67.

68.
69.

70.

Tle

72.
73.
74.
75.
76.
77.

14

Tiara, reproduction of III century B.C.
Greek funerary piece; gold; Fortunato
Pio (?) Castellani (1793-1865); Italy,
Rome; 1830-1848 (6)

Brooch; silver, gold, enamel; Fortunato

Pio (?) Castellani (1793-1865); Italy,
Rome; 1830-1848 (6)
Necklace, in the Etruscan style; gold;

Fortunato Pio (?) Castellani (1793-1865);
Italy, Rome; 1830-1848 (6)

Locket; gold; Fortunato Pio (?) Castellani
(1793-1865); Italy, Rome; 1830-1848 (6)

. Necklace and brooch, in the Etruscan

style; gold, amber; Fortunato Pio (?) Cas-
tellani (1793-1865); Italy, Rome; 1830-
1848 (6)

Bracelet; gold, carnelian; Fortunato Pio
(2) Castellani (1793-1865); Italy, Rome;
1830-1848 (6)

Brooch with pendant, reproduction of
IlI-II century B.C. Greek piece; gold;
Castellani; Italy, Rome; 1830-1848 (6)
Parure; gold, carnelian; Castellani; Italy,
Rome; 1830-1848 (6)

Bracelet; gold, enamel; England; 1830-
1850 (11)

Chain with seal and watch key; gold,
silver; United States; 1830-1850 (5)
Ferronniére; gold, stone mosaic; Italy;
about 1840 (5)

Pendant; gold, chalcedony, enamel, pearl;
Francois-Désiré Froment-Meurice (1802-
1855); France, Paris; about 1840 (6)
Bracelet; gold; France; about 1840 (12)
Pair of bracelets, made for Louise
d’Orléans (1812-1850) Queen of the Bel-
gians; gold, enamel, diamonds; probably
France; about 1840 (7)

Necklace in form of a serpent; gold, tur-
quoises, garnets, diamonds; France or
England; about 1840 (11)

Brooch; gold, diamonds, pearl; English;
about 1840 (16)

Chain with seal, watch key and trinkets;
gold, silver, enamel, carnelian; probably
United States; about 1840 (5)

Pendant; gold, garnets, enamel; Castel-
lani; Italy, Rome; 1840-1848 (6)
Bracelet, in medieval Scandinavian style;
gold, emeralds; Castellani; Italy, Rome;
1840-1848 (6)

Parure; glass mosaic, jasper, gold; Italy,
probably Naples; 1840-1850 (5)
Demi-parure; stone mosaic, gold; Italy,
1840-1850 (5)

Pendant; chalcedony, pearls, gold, en-
amel; Italy; 1840-1850 (6)

Brooch; shell cameo, gold; Italy; 1840-
1850 (5)

Bracelet; gold, aquamarine; France; 1840-
1850 (5)

Bangle bracelet, in form of a cuff; gold,
turquoises; France; 1840-1850 (9)

- Necklace; silver-gilt, paste, France; 1840-

1850 (9)

79. Bracelet; gold, enamel; Austria; 1840-1850
5)

80. pee seed pearls; probably England;
1840-1850 (5)

81. Parure; gold, amethysts, enamel; Eng-
land; 1840-1850 (3)

82. Brooch; gold; England; 1840-1850 (3)

83. Brooch; gold, enamel; England; 1840-
1850 (14)

84. Brooch; gold, enamel; England; 1840-
1850 (16)

85. Pair of earrings; pinchbeck; England;
1840-1850 (5)

86.-89. Brooches; pinchbeck; England; 1840-
1850 (5)

90. Bangle bracelet; gold, turquoise, pearls;
probably United States; 1840-1860 (5)

91. Chain with fobs; gold, hair; United
States; 1845-1850 (5)

92. Pair of earrings; gold, hair; United States;
1845-1850 (5)

93. Top of a pin; gold; probably Castellani;
Italy; mid-19th century (5)

94. Pendant; gold and enamel; Italy; about
1850 (6)

95. Pendant and chain, in the style of the
16th century; gold and enamel; Italy;
about 1850 (6)

96. Bracelet; malachite, silver-gilt; Italy or
France; about 1850 (5)

97. Parure; chalcedony cameo, gold; L.
Saulini; probably England; about 1850
(12)

98. Brooch; chalcedony cameo, gold, dia-
monds; L. Saulini; England; about 1850;
(6)

99. Parure; gold, silver, turquoises; England;
about 1850 (3)

100. Bracelet; gold, hair; England or United
States; about 1850 (5)

101. Demi-parure; hair, gold; England or
United States; 1850-1855 (5)

102. Bracelet; gold, enamel, diamonds; France;
1850-1855 (7)

103. Finger ring, octagonal; gold, glass mosaic;
Italy, Naples; 1850-1860 (7)

104. Parure; shell cameo, gold; Italy, Naples;
1850-1860 (12)

105. Pair of earrings; chalcedony, glass mosaic,
gold; Italy, Naples; 1850-1860 (5)

106. Eight studs; stone mosaic; Italy; 1850-
1860 (5)

107. Pair of sleeve links; tortoiseshell; Italy;
1850-1860 (5)

108. Pair of bracelets;
1850-1860 (5)

109. Necklace; gold; probably Italy; 1850-1860
5)

110. cae gold, silver, enamel, diamonds,
rubies; France; 1850-1860 (16)

111. Brooch; glass cameo, gold,
France; 1850-1860 (5)

112. Brooch with pendant scent bottle; gold,
enamel; France; 1850-1860 (6)

tortoiseshell; Italy;

enamel;

113.
114.
115.
116.
117.
118.

119.

124.

125.

126.

129.

130.

131.

133.

134.

Hairpin; gilt metal, glass; France; 1850-
1860 (3)

Necklace; gold, amethysts; probably Eng-
land; 1850-1860 (14)

Bangle bracelet; gold, enamel; probably
France; 1850-1860 (5)

Demi-parure; stone mosaic, gold; Italy;
1850-1870 (5)

Bracelet; gold, pearls; France; 1850-1870
(5)

Bracelet; gold, garnets, enamel; France;
1850-1875 (5)

Scarf pin; gold, silver, enamel, diamonds;
probably J. Paul Robin (d. 1869); France,
Paris; 1855-1860 (5)

. Brooch; enamel, gold, pearls; Switzerland;

1855-1860 (5)

. Demi-parure; aluminum, gold; probably

France; 1855-1860 (5)

. Demi-parure; glass mosaic, chalcedony,

gold; Italy, 1855-1860 (5)

. Pendant brooch; gold, rock crystal, dia-

monds, silk; Dumoret; Paris;
1855-1870 (12)

Necklace; gold, carved emeralds, pearls,
enamel; Augusto (?) Castellani (1829-
1914); Italy, Rome; 1858-1870 (6)
Necklace; gold; Augusto (?) Castellani
(1829-1914); Italy, Rome; 1858-1870 (6)
Necklace, letter on each of eight links
spells AMOR ROMA; glass mosaic, gold;
Augusto (?) Castellani (1829-1914); Italy,
Rome; 1858-1870 (6)

France,

. Necklace; gold, emeralds, pearls; Augusto

(?) Castellani (1829-1914); Italy, Rome;
1858-1870 (6)

. Parure, reproducing III-II century B.C.

Greek pieces now in the British Museum
and the Louvre; gold, enamel; Augusto
(2?) Castellani (1829-1914); Italy, Rome;
1858-1870 (6)

Demi-parure; gold; Augusto (?) Castellani
(1829-1914); Italy, Rome; 1858-1870 (6)
Pendant and chain, in the style of the
sixteenth century; enamel, gold, rubies,
emeralds, pearls; Augusto (?) Castellani
(1829-1914); Italy, Rome; 1858-1870 (6)
Pendant and chain, in the style of the
fourteenth century; enamel, gold, emer-
alds, pearls; Augusto (?) Castellani (1829-
1914); Italy, Rome; 1858-1870 (6)

. Pendant, in the style of the sixteenth

century; enamel, gold, rubies, pearls,
emeralds; Augusto (?) Castellani (1829-
1914); Italy, Rome; 1858-1870 (6)

Two brooches, each in the form of the
initial “M” of the Virgin Mary. Repro-
ductions of a jewel bequeathed to New
College, Oxford in 1404 by William of
Wykeham, Bishop of Winchester; gold,
pearls, sapphires, emeralds; Augusto (?)
Castellani (1829-1914); Italy, Rome; 1858-
1870 (7)

Brooch; gold, enamel; Augusto (?) Castel-

135.

136.

137.

138.

139.

*140.

141.

. Comb;

. Comb;

lani (1829-1914); Italy, Rome; 1858-1870
(6)

Brooch; gold, glass mosaic; Augusto (?)
Castellani (1829-1914); Italy, Rome; 1858-
1870 (6)

Brooch; chalcedony cameo, enamel, gold,
emeralds; Augusto (?) Castellani (1829-
1914); Italy, Rome; 1858-1870 (6)

Brooch; gold, ceramic; Augusto (?) Castel-
lani (1829-1814); Italy, Rome; 1858-1870
(6)

Bracelet; jadeite, gold; Augusto (?) Cas-
tellani (1829-1914); Italy, Rome; 1858-
1870 (6)

Bracelet, reversible, initials, one on each
of twelve links spell “Non Relinquam” on
one side, “Non Relinques” on other;
gold; Augusto (?) Castellani (1829-1914);
Italy, Rome; 1858-1880 (6)

Pair of earrings, in the form of sirens.
Reproductions of V-IV century B.C. Greek
piece now in the Metropolitan Museum
of Art; gold; Augusto (?) Castellani (1829-
1914); Italy, Rome; 1858-1880 (5)

Pair of earrings, reproductions of antique
pieces; probably Castellani; gold; Italy;
about 1860 (5)

- Brooch; gold, enamel; France; about 1860

(9)

gold, _ tortoiseshell;
France; about 1860 (5)

Hat ornament; garnet, enamel, gold, dia-
monds; England; about 1860 (16)

probably

. Bracelet; shell cameos, gold; probably

Italy; 1860-1865 (5)

. Bracelet; enamel, ruby, gold, diamonds;

England; 1860-1865 (7)
Pair of earrings in the Etruscan style;
gold; Carlo Giuliano (d. 1912); Italy or
England; 1860-1870 (6)

. Two brooches, each in form of a Doge’s

cap; rubies, diamonds, gold, and sap-
phires, diamonds, gold; Italy, Venice (?);
1860-1870 (5)

. Brooch; stone mosaic, gold; Italy, 1860-

1870 (5)

. Demi-parure; coral, gold; probably Italy;

1860-1870 (1)

. Brooch; lapis lazuli, gold; Italy; 1860-

1870 (5)
tortoiseshell, silver;

probably
Italy; 1860-1870 (5)

. Scarf ring; gold, aquamarine, enamel;

France; 1860-1870 (10)

. Demi-parure; gold, enamel; France; 1860-

1870 (5)

. Brooch; chalcedony cameo, gold, rubies,

diamonds; France; 1860-1870 (7)

. Pair of earrings; gold, pearls, turquoises;

France or England; 1860-1870 (11)

. Pair of earrings; gold, turquoises; France

or England; 1860-1870 (11)

. Brooch; enamel, diamonds, garnets, gold;

England; 1860-1870 (6)
15

159.
160.

161.

168.
169.

170.

179.

180.

181.

185.

186.

16

. Bracelet;

. Comb;

Pendant; gold, pearls, diamond; England;
1860-1870 (16)

Demi-parure; gold, pearls, enamel; Eng-
land; 1860-1870 (16)

Brooch and pair of sleeve links; gold,
enamel; France or United States; 1860-
1870 (5)

gold, chalcedony, diamonds,
enamel; United States; 1860-1870 (5)

. Demi-parure; gold; United States; 1860-

1870 (5)

. Pair of earrings; beetles, gold; Brazil;

1860-1870 (14)

. Pair of earrings; humming-bird’s heads,

gold; Brazil; 1860-1870 (5)

. Pair of earrings; gold; Italy or France;

1860-1870 (5)

. Locket; chalcedony, diamonds, gold, sil-

ver; probably United States; 1860-1880 (5)
Bracelet; bone; South Germany; 1860-
1900 (5)

Bangle bracelet; gold, enamel, diamonds;
England; 1864 (11)

Brooch and one earring, mourning jew-
elry of Mrs. Abraham Lincoln; gold,
onyx; United States; about 1865 (4)
coral, silver-gilt, tortoiseshell;
Italy; 1865-1870 (5)

. Demi-parure; gold, lapis lazuli; France;

1865-1870 (5)

. Hair pins; gold; France; 1865-1870 (5)
. Pendant locket; spinel, gold, enamel,

pearls; probably England; 1865-1870 (5)

. Demi-parure; ivory-nut, gold, enamel;

United States; 1865-1870 (5)

. Pendant; enamel, pearls, diamonds, gold;

France; 1865-1875 (5)

. Two finger rings; gold, enamel, diamond,

and gold, peridot; Italy; 1865-1880 (7)

. Parure; gold, rubies, sapphires, enamel;

Carlo Giuliano (d. 1912); England, Lon-
don; 1866-1870 (6)
Necklace, in the style of III-II century,

B.C.; gold, chalcedony; Carlo Giuliano

(d. 1912); England, London; 1866-1875 (6)
Pendant, with portraits of Henri II and
Catherine de Medici in swivel mounting,
in the style of the sixteenth century;
enamel, gold, rubies, emeralds, pearl;
France, Paris; about 1870 (6)
Demi-parure; agate cameos, diamonds,
pearls, gold, silver; Bessinger; France,
Paris; about 1870 (7)

. Pendant and chain; malachite, gold; Eng-

land; about 1870 (14)

3. Demi-parure; coral, gold; Italy; 1870-

1875 (5)

. Pendant; chalcedony cameo, enamel, dia-

monds, pearl, gold; Eugéne Fontenay
(1823-1885); France, Paris; 1870-1875 (9)
Pendant; cold enamel, gold, silver, dia-
monds; propably Eugéne Fontenay (1823-
1885); France, Paris; 1870-1880 (6)
Pendant; cold enamel, gold; probably

187.

188.

189.

190.

191.
. Bracelet; coral, gold; Italy; 1870-1880 (5)
. Demi-parure; coral, Italy; 1870-1880 (5)
194.

207.
208.
209.
210.

211.

. Necklace;

Eugéne Fontenay (1823-1885); France,
Paris; 1870-1880 (6)

Doll’s parure; glass beads, gilt metal,
enamel, porcelain, paper; United States;
1870-1875 (13)

Pendant; agate cameo, gold; Elena Pis-
trucci (1822-1886); probably Italy, Rome;
1870-1880 (6)

Pendant; shell cameo, gold; cameo by
Giuseppe Trabacchi (1839-1909) mount
by Augusto Castellani (1829-1914); Italy,
Rome; 1870-1880 (6)

Pendant; chalcedony, gold; cameo by A.
Lanzi; Italy; 1870-1880 (6)

Necklace; coral, gold; Italy; 1870-1880 (5)

Pendant; carved ruby, enamel, pearls,
gold; Italy or France; 1870-1880 (6)

. Brooch; gold, sapphire, pearls; France;

1870-1880 (5)

. Scarf pin, in form of leopard and snake;

gold, enamel, diamonds; France, Paris;
1870-1880 (6)

. Scarf pin, in form of camel and Moor;

gold, enamel; France, Paris; 1870-1880 (6)

. Scarf pin, in form of jockey cap; carved

amethyst, diamonds, platinum; France,
Paris; 1870-1880 (6)

. Locket with chain; enamel, gold; France;

1870-1880 (10)

. Locket, in shape of an album; gold, en-

amel; probably France; 1870-1880 (10)

. Pendant, in the style of the sixteenth cen-

tury; enamel, pearls, rubies, gold; France
or England; 1870-1880 (6)

. Necklace; coral, gold; Carlo Giuliano

(d. 1912); England, London; 1870-1880 (6)
cabochon shapphires, gold;
Carl Giuliano (d. 1912); England, Lon-
don; 1870-1880. (6)

. Necklace; garnets, gold; Carlo Giuliano

(d. 1912); England, London; 1870-1880 (6)

. Necklace; enamel, pearls, rubies, dia-

monds, gold; Carlo Giuliano (d. 1912);
England, London; 1870-1880 (6)

. Necklace and earrings; coral, gold; Carlo

Giuliano (d. 1912); England, London;
1870-1880 (6)

Pendant with chain; carved carnelian,
gold; Carlo Giuliano (d. 1912); England,
London; 1870-1880 (6)

Brooch; enamel, pearls, gold; Carlo
Giuliano (d. 1912); England, London;
1870-1880 (6)

Fibula brooch; topaz, gold, enamel,
pearls; Carlo Giuliano (d. 1912); England,
London; 1870-1880 (6)

Brooch, with two hearts; turquoises, dia-
monds, enamel, gold; Carlo Giuliano
(d. 1912); England, London; 1870-1880 (6)
Brooch; enamel, pearls, gold; Carlo Giu-
liano (d. 1912); England, London; 1870-
1880 (6)

212.

213.

214.

215.

216.

217.

218.
219.
220.
221.
222.

223.
224.

225.

226.
227.
228.

229.

230.

231.

232.

233.

234.

235.

Bangle bracelet; amethyst, pearls, enamel,
gold; Carlo Giuliano (d. 1912); England,
London; 1870-1880 (6)

Bangle bracelet; gold, enamel, peridots;
Carlo Giuliano (d. 1912); England, Lon-
don; 1870-1880 (6)

Bracelet; gold, pearls, enamel; Carlo Giu-
liano (d. 1912); England, London; 1870-
1880 (6)

Parure; gold, pearls, enamel; Carlo
Giuliano (d. 1912); England, London;
1870-1880 (6)

Necklace and pair of earrings, in the
form of parrots, in the style of the six-
teenth century; baroque pearls, enamel,
gold, diamonds; attributed to Carlo Giu-
liano (d. 1912); England, London; 1870-
1880 (16)

Pair of earrings, in the Louis XVI style;
chalcedony cameo, gold; England; 1870-
1880 (6)

Demi-parure; amethysts,
England; 1870-1880 (12)
Necklace; amethysts, pearls, gold; Eng-
land; 1870-1880 (12)

Necklace; garnets, gold; England; 1870-
1880 (14)

Locket with chain; gold, enamel, pearls,
diamonds; England; 1870-1880 (16)

Pair of bracelets, mourning jewelry; glass,
gold, tin; England or United States;
1870-1880 (5)

Bracelet; gold, enamel; United States;
1870-1880 (5)

Bangle bracelet with three pendant lock-
ets; enamel, gold, diamonds; England;
1870-1890 (16)

Three ornaments for the hair; jet, net,
wire; probably United States; 1870-1890
(5)

Demi-parure; jet, gold; probably United
States; 1870-1890 (5)

Brooch; opals, diamonds, jadeite, gold;
England; 1870-1900 (14)

Pendant; chalcedony cameo, pearl, gold,
enamel; John Brogden; England, Lon-
don; about 1873 (6)

Brooch; sapphire cameo, diamonds, gold;

pearls, gold;

Augusto Castellani (1829-1914); Italy,
Rome; about 1875 (6)
Pair of earrings; silver; Italy; about

1875 (5)

Bracelet; silver; Italy; about 1875 (5)
Finger ring, in form of snake, articulated;
gold, ruby, diamonds; England; 1875-1890
()

Hair pin, in form of a dagger; horn,
gilt metal; probably United States; 1875-
1890 (3)

Pendant, after a design by Hans Collaert
(fl. 1580); gold, enamel, rubies, sapphires,
emeralds, pearls; Pierret; Italy, Florence
or Rome; 1875-1890 (10)

Brooch, in form of a bird; gold, dia-
monds, rubies; England; 1875-1890 (7)

236.
237.

238.

248.

249.

250.

m2b a)

255.

256.

257.

258.

. Necklace;

Brooch and two studs; white sapphires,
enamel, gold; United States; 1875-1890 (5)
Brooch, a whistle in form of a riding
whip; gold; probably United States; 1875-

1900 (5)
Bracelet, in the medieval style with
mosaic portrait of Dante; gold, glass

mosaic, rubies, pearls; Augusto Castellani
(1829-1914); Italy, Rome; dated 1876 (6)

. Necklace; chalcedony, intaglios, pearls,

gold; Giacinto Melillo (1846-1915); Italy,
Naples; about 1880 (6)

. Scarf ring; lava cameos, gold; Italy; about

1880 (6)

. Necklace; chalcedony, gold; France; about

1880 (5)

. Locket and pair of earrings; gold, enamel,

diamonds; probably France; about 1880
(14)

. Chain; gold, garnets; England; about

1880 (5)

. Pendant; enamel, gold; probably Eng-

land; 1880-1890 (9)

- Hat pin, in form of a spider; enamel,

gold, rubies, diamonds; France; 1880-

1890 (16)

. Brooch, in form of a caterpillar; emer-

alds, diamonds, gold; probably France;
1880-1890 (5)

. Parure, in the oriental style; chrysoprases,

rubies, pearls, gold; Carlo Giuliano (d.
1912); England, London; 1880-1890 (6)
Necklace; enamel, diamonds, gold, pearl;
Carlo Giuliano (d. 1912); England, Lon-
don; 1880-1890 (6)

Necklace; pearls, diamonds, sapphires,
enamel, gold; Carlo Giuliano (d. 1912);
England, London; 1880-1890 (6)
Necklace; almandines, gold; Carlo Giu-
liano (d. 1912); England, London; 1880-
1890 (6)

star sapphires, gold; Carlo
Giuliano (d. 1912); England, London;
1880-1890 (6)

. Pendant; enamel, rubies, pearls, gold;

Carlo Giuliano (d. 1912); England, Lon-
don; 1880-1890 (6)

. Pendant; enamel, tourmaline, peridots,

gold; Carlo Giuliano (d. 1912); England,
London; 1880-1890 (6)

Pendant; rock crystal, pearls, enamel,
diamonds, gold; Carlo Giuliano (d. 1912);
England, London; 1880-1890 (6)

Pendant; enamel, ruby, pearls, diamonds;
Carlo Giuliano (d. 1912); England, Lon-
don; 1880-1890 (6)

Pendant locket; rock crystal, enamel, dia-
monds, gold; Carlo Giuliano (d. 1912);
England, London; 1890-1890 (6)

Pendant locket; rock crystal, enamel, dia-
monds, gold; Carlo Giuliano (d. 1912);
England, London; 1880-1890 (6)

Brooch, in form of a butterfly; enamel,
gold; Carlo Giuliano (d. 1912); England,
London; 1880-1890 (6)

17

259.

260.

272.

*273.

274.

Brooch, in form of a butterfly; enamel,
gold; Carlo Giuliano (d. 1912); England,
London; 1880-1890 (6)

Brooch; peridot, diamonds, enamel, gold;
Carlo Giuliano (d. 1912); England, Lon-
don; 1880-1890 (6)

. Brooch; enamel, diamonds, gold; Carlo

Giuliano (d. 1912); England, London;
1880-1890 (6)

. Finger ring, in the style of the sixteenth

century; sapphire, enamel, gold; Carlo
Giuliano (d. 1912); England, London;
1880-1890 (6)

. Hairpin; tortoiseshell, gold, enamel, crys-

tal; Carlo Giuliano (d. 1912); England,
London; 1880-1890 (6)

. Pendant, in form of winged lion’s mask;

enamel, emeralds, rubies, diamonds, gold;
England, London; 1880-1890 (6)

. Pendant; carved lapis lazuli, pink tour-

maline, enamel, gold; England; 1880-1890
(6)

. Bangle bracelet, terminating in two rams’

heads, in the Hellenistic style; gold; Eng-
land; 1880-1890 (6)

. Watch fob, with grotesque imp; leather,

gold, stone; Marcus and Company;
United States; 1880-1890 (5)

. Scarf pin; crystal, gold, pigment; France;

1880-1900 (5)

. Locket with chain; crystal, pigment, gold,

pearls; France; 1880-1900 (5)

. Brooch, in form of three berries; rubies,

diamonds, gold; probably France; 1885 (5)

. Bracelet, in form of a coiled snake; gold,

diamond, peridots; France or United
States; about 1890 (5)

Lorgnon, composed of snakes, those in
the handle form the initials J. D. B.; gold,
diamonds; Tiffany and Company; United
States, New York; about 1890 (5)

Wallet, made for James Buchanan (Dia-
mond Jim) Brady (1856-1917), and show-
ing his initials formed by snakes; buffalo
hide, vari-colored sapphires, gold; United
States; about 1890 (2)

Pair of earrings, reproductions of Roman
pieces of about II-I century B.C.; Giacinto
Melillo (1846-1915); Italy, Naples; 1890-
1900 (6)

. Hatpin, in form of a snake; gold; Gia-

cinto Melillo (1846-1915); Italy, Naples;
1890-1900 (5)

. Demi-parure; gold; attributed to Giacinto

Melillo (1846-1915); Italy, Naples; 1890-
1900 (5)

. Necklace; enamel, diamonds, gold; René-

Jules Lalique (1860-1945); France, Paris;
1890-1900 (12)

. Pendant; enamel, gold; René-Jules La-

lique (1860-1945); France, Paris; 1890-
1910 (12)

. Finger ring; enamel, peridot, gold; René-

Jules Lalique (1860-1945); France, Paris;
1890-1910 (7)

280.

281.
282.
283.

284.
285.

286.
287.

288.

289.

290.

291.

292.

301.

302.

303.

304.

. Brooch;

Finger ring; baroque pearl, enamel, dia-
monds, gold; probably Georges Le Turcq;
France, Paris; 1890-1900 (7)

Brooch; ivory, enamel, pearls, diamonds,
gold; France, 1890-1900 (11)

Match box; gold, emerald; France; 1890-
1900 (5)

Key ring; gold, emerald; France; 1890-
1900 (5)

Scarf pin; gold; France; 1890-1900 (6)
Scarf pin; gold, rubies; France; 1890-
1900 (6)

Scarf pin; gold; France; 1890-1900 (6)
Necklace; zircons, diamonds, pearls, en-
amel, gold; Carlo Giuliano (d. 1912);
England, London; 1890-1900 (6)
Necklace, may be converted into two
bracelets; diamond, emerald, ruby, sap-
phire, topaz, enamel, gold; Carlo Giu-
liano (d. 1912); England, London; 1890-
1900 (6)

Necklace; pearls, enamel, gold; Carlo
Giuliano (d. 1912); England, London;
1890-1900 (6)

Necklace; diamonds, aquamarine, pearls,
enamel, gold; Carlo Giuliano (d. 1912);
England, London; 1890-1900 (6)
Pendant; star ruby, star sapphires, en-
amel, gold; Carlo Giuliano (d. 1912);
England, London; 1890-1900 (6)

Pendant, after the style of the sixteenth
century; emeralds, diamonds, pearl, en-
amel, gold; Carlo Giuliano (d. 1912);
England, London; 1890-1900 (6)

. Pendant; pearls, diamonds, enamel, gold;

Carlo Giuliano (d. 1912); England, Lon-
don; 1890-1900 (6)

. Brooch; emeralds, diamonds, pearls, en-

amel, gold; Carlo Giuliano (d. 1912);
England, London; 1890-1900 (6)

. Watch fob, in form of rope and pulleys;

gold, turquoise; England; 1890-1900 (6)

. Locket; peridots, diamonds, gold, plati-

num; England; 1890-1900 (5)
sapphires, rubies, diamonds,
pearls, gold; England; 1890-1900 (6)

. Bangle bracelet; gold, sapphire; England;

1890-1900 (11)

. Necklace; rose quartz, gold; probably

United States; 1890-1900 (5)

. Brooch, in the Hellenistic style; gold,

enamel, pearls; Giacinto Melillo (1846-
1915); Italy, Naples; about 1900 (6)
Necklace, in the style of the III-II cen-
tury B.C.; gold; Giacinto Melillo (1846-
1915); Italy, Naples; about 1900 (6)
Pendant; carnelian, gold; Giacinto Me-
lillo (1846-1915); Italy, Naples; about
1900 (6)

Pair of brooches, in the style of the III-II
century B.C.; gold; Giacinto Melillo
(1846-1915); Italy, Naples; 1900-1910 (6)
Fibula brooch, in the style of the III-I
century B.C.; gold, enamel; Giacinto

305.

306.

307.
308.

309.

310.

*311.

312.

313.

314.

315.

316.
317.
318.

323.

324.

$25.

326.

. Pendant;

Melillo (1846-1915); Italy, Naples; about
1910 (6)

Fibula brooch, in the style of the III-1
century B.C.; gold, enamel; Giacinto
Melillo (1846-1915); Italy, Naples; about
1910 (6)

Fibula brooch, in the style of the III-I
century B.C.; Giacinto Melillo (1846-
1915); Italy, Naples; about 1910 (6)
Necklace; gold; Giacinto Melillo (1846-
1915); Italy, Naples; 1910-1915 (6)
Necklace; enamel, pearls, diamonds, gold;
René-Jules Lalique (1860-1945); France,
Paris; about 1900 (12)

Brooch; enamel, diamonds, artificial
pearls, gold; René-Jules Lalique (1860-
1945); France, Paris; about 1900 (12)
Chain; enamel, diamonds, gold; René-
Jules Lalique (1860-1945); France, Paris;
about 1900 (12)

Double brooch; glass, diamonds, enamel,
gold; René-Jules Lalique (1860-1945);
France, Paris; 1900-1910 (12)

Brooch; gold, onyx, pearls, moonstones;
Hector Guimard (1867-1942); France,
Paris; 1900-1910 (8)

Pendant; gold, diamonds; Hector Gui-
mard (1867-1942); France, Paris; 1900-
1910 (8)

Finger ring; gold, diamonds, pearl; Hec-
tor Guimard (1867-1942); France, Paris;
1900-1910 (8)

Pendant; enamel, opal, diamonds, gold;
Comte du Suau de la Croix; France, Paris;
1900-1910. (9)

Brooch; gold; Boucheron; France, Paris;
about 1900 (5) _

Chatelaine; steel, gold; France; about
1900 (5)

Set of three studs and one pin; diamonds,
gold, silver; Cartier; France, Paris; about
1900 (5)

. Scarf pin; gold, pearl; France; about

1900 (5)

. Brooch; gold, pearls; France or England;

about 1900 (5)

emeralds, diamonds, enamel,
gold; Carlo Giuliano (d. 1912); England,
London; about 1900 (6)

. Brooch; moonstone, diamonds, gold; firm

of Peter Carl Fabergé (1846-1920); Russia,
Saint Petersburg; about 1900 (16)
Bangle bracelet; enamel, gold; firm of
Peter Carl Fabergé (1846-1920); Russia,
Saint Petersburg; about 1900 (15)
Pendant with chain; gold, diamonds, gar-
net; firm of Peter Carl Fabergé (1846-
1920); Russia, St. Petersburg; 1900-1905
(16)

Brooch, with Imperial Eagle; enamel,
diamonds, seed pearls, gold; firm of Peter
Carl Fabergé (1846-1920); Russia, Saint
Petersburg; 1900-1914 (16)

Medallion, reproduction of twelfth-cen-
tury Byzantine enamel, with chain; en-

327.

328.

329.

336.

337.

338.

339.

340.

amel, gold, rubies, sapphires, pearls, dia-
monds; firm of Peter Carl Fabergé (1846-
1920); Russia, Saint Petersburg; about
1910 (6)

Necklace with pendant; gold, pearls,
emeralds, sapphires, enamel; Mrs. Flor-
ence Koehler (1861-1944); United States;
about 1900 (12)

Comb; pearls, enamel, gold, tortoiseshell;
Mrs. Florence Koehler (1861-1944); United
States; about 1900 (12)

Necklace; gold; Mrs. Florence Koehler
(1861-1944); United States; about 1900
(12)

. Pendant; sapphires, pearls, gold; Edward

Everett Oakes (1891-);
1900-1910 (12)

United States;

. Pair of earrings; seed pearls, diamonds,

gold; France; about 1904 (16)

. Hat pin, in form of a bird on a swing;

diamonds, sapphires, platinum, gold;
Cartier; United States, New York; about
1910 (5)

. Brooch; silver; Georg Jensen (1866-1935);

Denmark, Copenhagen; 1904-1912 (11)

. Clasp; silver, amber, malachite; Georg

Jensen (1866-1935);
hagen; 1904-1912 (11)

Denmark, Copen-

. Brooch; silver, amethysts; Georg Jensen

(1866-1935); Denmark, Copenhagen; 1904-
1912 (11)

Double brooch; silver, opals; Georg Jen-
sen (1866-1935); Denmark, Copenhagen;
1904-1912 (11)

Hatpin; moss agate, pearl, crystal, gold;
Tiffany and Company; United States,
New York; about 1910 (5)

Necklace; opals, enamel, gold; Louis
Comfort Tiffany (1848-1933); United
States, New York; about 1914 (12)
Necklace; alexandrite, topazes, tour-
malines, enamel, gold; Louis Comfort
Tiffany (1848-1933); United States, New
York; about 1914

Earring stands; brass; United States;
probably nineteenth century (3)

DRAWINGS FOR JEWELRY
(The Cooper Union Museum)

341.

Designs for four aigrettes; Italy, probably
Florence; 1800-1815 (1940-86-164,-169,-170,
-171)

. Designs for two combs; Italy; 1800-1825

(1938-88-965,-967)

. Designs for a necklace and two bracelets;

Italy; 1800-1825 (1938-88-971,-961,-7404)

. Designs for two combs and a bracelet;

Italy; 1800-1825 (1938-88-684,-685,-7402)

. Designs for two necklaces; Italy, probably

Naples; 1800-1825 (1938-88-974,-980)

. Designs for two combs and a bracelet;

Italy; 1800-1825 (1938-88-682,-683,-7406)

. Designs for two combs and a bracelet;

Italy; 1800-1825 (1938-88-772,-773,-963)

. Designs for bracelet and belt (?) and four

19

349.

350.
351.

356.
357.

367.
368.

369.

370.
371.
372.

373.

374.

20

earrings; Italy;
-969)

Designs for three combs; two by Felice
Giani (1760-1823); Italy, Rome; 1805-1820
(1938-88-3094,-3095,-5016)

Designs for four combs; Italy; about 1810
(1938-88-698 to -701)

Designs for a parure and a comb; Italy,
probably Naples; 1810-1820 (1938-88-755,
-764)

1805-1815 (1938-88-968,

. Design for a tiara or comb; Italy; 1810-

1830 (1940-86-324)

. Designs for ornament for the hair (?),

comb, necklace and finger ring; Italy;
from 1810-1840 (1940-86-189,-360,-577,-814)

. Designs for chain and rings; Italy; about

1815 (1938-88-5254,-5253)

. Designs for earrings, comb and pendant;

Italy; 1815-1825
-972)
Designs for a comb and a brooch; Italy;
1815-1830 (1901-39-758,-751)
Designs for a buckle, two bracelets and
and ornament for the hair; Italy; 1815-

1830 (1901-39-764,-827, 1938-88-7405,-697)

(1938-88-924,-925,-966,

. Designs for two combs; Italy; 1820-1830

(1940-86-365,-432)

. Designs for four bracelets; Italy; 1820-

1830 (1838-88-690,-962,-693,-7403)

. Designs for three ornaments for the hair;

Italy; 1820-1850 (1938-88-691,-692,-694)

- Designs for two combs; Italy; 1825-1830

(1938-88-931,-932)

. Design for a tiara or comb; Italy; 1825-

1840 (1940-86-421)

. Design for a parure; Italy; about 1830

(1940-86-270)

. Designs for two ornaments for the hair;

Italy; 1830-1840 (1938-88-770,-775)

. Designs for two combs; Italy; 1830-1840

(1938-88-983,-984)

. Designs for a bracelet, a comb and three

earrings; Italy; 1830-1840 (1938-88-6283,
1940-86-346,-555,-557,-567)

Designs for two brooches; Italy; 1830-
1840 (1901-39-762, 1938-88-767)

Designs for three fillets or ornaments for
the hair; Italy; about 1840 (1940-86-244,
-281,-299)

Designs for ornament for the hair and
brooch; Italy; about 1840 (1940-86-257,
-631)

Design for a tiara for Fanny Cerrito (1821-
1899); Italy, Rome; 1843 (1938-88-6351)
Design for a parure; Italy; 1840-1850
(1940-86-645)

Designs for two fillets or ornaments for
the hair; Italy, probably Florence; about
1850 (1940-86-225,-227)

Designs for a coronet and ornament for
the hair; Italy; 1850-1860 (1938-88-7479,
-769)

Design for bracelet and brooch or buckle;
Italy; 1850-1860 (1938-88-771)

375.
376.

BONE
378.
379.

380.

381.

383.

384.

385.
386.
387.

388.
389.

390.
391.
392.
393.

394.
*395.

. Designs

Designs for six bracelets; Salvatori; Italy,
Rome; 1850-1860 (1938-88-6323,-6326)
Designs for four pendants, three in the
Egyptian style; Salvatori; Italy, Rome;
about 1860 (1938-88-6318,-6319)

Designs for two bracelets; Salvatori; Italy,
Rome; 1860-1870 (1938-88-6324,-6325)
Designs for nine brooches; Salvatori;
Italy, Rome; 1860-1870 (1938-88-6328)
Designs for twelve pendants in the Etrus-
can and Greek styles; Salvatori; Italy,
Rome; 1860-1880 (1938-88-6334 to 6343,
-6349,-6350)

Designs for: two brooches and two ear-
rings in the Renaissance style, dated 1863;
a bracelet, dated 1862; two bracelets each
with matching brooch in the Etruscan
style, dated 1855; Salvatori; Italy, Rome
(1938-88-6296,-6282,-6278)

Designs for six earrings, five pendants
with four earrings and five brooches;
Salvatori; Italy, Rome; 1869 (1938-88-6305,
-6309,-6285)

for twelve pendants, three
brooches and two scarf pins; Salvatori;
Italy, Rome; 1869-1872 (1938-88-6286,
-6290,-6317)

Design for a necklace in the Greek style;
Salvatori; Italy, Rome; about 1870
(1938-88-6292)

Designs for four brooches and two pen-
dants in the Greek style; Salvatori; Italy,

Rome; about 1870 (1938-88-6297,-6298,
-6330,-6344)
Designs for four bracelets; Salvatori;

Italy, Rome; about 1870 (1938-88-6279 to
6281)

Designs for three pendants and twelve
earrings; Salvatori; Italy, Rome; about
1870 (1938-88-6295,-6311)

Designs for various brooches and ear-
rings; Salvatori; Italy, Rome; about 1870
(1938-88-6288,-6300,-6302,-6308)

Design for two pendants; Salvatori; Italy,
Rome; 1870-1880 (1938-88-6293,-6294)
Design for a necklace “in the style of
the sixth century (B.C.)”; Salvatori;
Italy, Rome; 1870-1880 (1938-88-6327)
Designs for eight brooches in the medi-
eval style; Italy, probably Rome; 1860-
1865 (1938-88-6355 to 6357)

Designs for three finger rings and six
brooches; Italy; 1860-1870 (1938-88-6333,
-6345 ,-6346)

Designs for brooches, tiara, pendants and
eairings; Italy; 1870-1875 (1940-86-916,
-921,-936 to 940)

Designs for an ornament for the hair,
pendants, bangle bracelet and earrings;
Italy; 1870-1880 (1940-86-917,-909,-947)
Designs for six earrings; Italy; about 1875
(1938-88-6347,-6348)

Designs for five bracelets; probably Au-
gusto Castellani (1829-1914); Italy, Rome;
1858-1880 (1938-88-6352,-6353)

396.

397.

398.

peg 995

400.

Design for a brooch; Alexis Falize (1811-
1898); France, Paris; 1860-1865 (1950-6-1)
Design for a pendant watch; Alexis Falize
(1811-1898); France, Paris; 1860-1865
(1950-6-2)

Designs for three brooches; Gustave Bau-
grand (1826-1870); France, Paris; about
1867 (1950-6-4)

Designs for three brooches; Gustave Bau-
grand (1826-1870); France, Paris; about
1867 (1950-6-3)

Design for a comb; Eugéne-Samuel Gras-

401.

402.

*403.

404.

set (1841-1917); France, 1900
(1950-6-5)

Design for a buckle; Eugéne-Samuel
Grasset (1841-1917); France, Paris; 1900
(1950-6-6)

Design for a buckle; Eugéne-Samuel
Grasset (1841-1917); France, Paris; 1900
(1950-6-7)

Design for a brooch; Eugéne-Samuel
Grasset (1841-1917); France, Paris; 1900
(1954-41-1)

Designs for four necklaces; United States;
about 1900 (1910-44-1 to 4)

Paris;

21

NINETEENTH CENTURY JEWELRY

Selected References from The Cooper Union Libraries

Allemagne, Henry René d’. Les accessoires du
costume et du mobilier depuis le treiziéme
jusqu’au milieu du dix-neuviéme siécle. Paris,
Schemit, 1928. 3 vols.

Antique jewelry. Antiques, vol. 54, pp. 152-156,
Sept. 1948.

L’art décoratif aux Salons de 1906. Bijouterie —
joaillerie — orfévrerie — céramique. Paris,
Guérinet, n.d.

L’art décoratif aux Salons de 1912. Bijouterie —
orfévrerie — ornementation. Paris, Guérinet,
n.d.

Bainbridge, Henry Charles. Peter Carl Fabergé.
New York, Batsford, 1949.

Comstock, Helen. Jewels of Marie Louise.
Connoisseur, vol. 132, pp. 210-211, Jan. 1954.

Cooper Union Museum. Italian drawings for
jewelry, 1700-1875; by Rudolf Berliner, New
York, 1940.

Darling, Ada W. American Victorian jewelry.
American Collector, vol. 12, pp. 10-11, Aug.
1943.

——— Antique cameos and intaglios. American
Collector, vol. 12, pp. 10-11, Nov. 1943.

——— Hand motifs in jewelry. American Col-
lector, vol. 14, p. 14, Nov. 1945.

——— Mosaic, inlay and enamel jewelry. Ameri-
can Collector, vol. 13, p. 15, March, 1944.

——— Old chatelaines and sewing boxes. Amer-
ican Collector, vol. 13, p. 14, Dec. 1944.

Darcel, Alfred. Les arts industriels a l’exposi-
tion de Londres; La bijouterie et la joaillerie.
Gazette des Beaux-Arts, vol. 13, pp. 437-445,
1862.

Davenport, Cyril.
1900.

D’Otrange, M. L. The exquisite art of Carlo
Giuliano. Apollo, vol. 59, pp. 145-152, June,
1954.

Evans, Joan. A history of jewellery, 1100-1870.
New York, Pitman, 1953.

Flower, Margaret. Victorian jewellery.
York, Duell, Sloan and Pearce, 1951.

Holmes, Charles. Modern design in jewellery
and fans. London, Studio, 1902.

Kunz, George Frederick. The curious lore of
precious stones. Philadelphia, Lippincott,
1913.

22

Cameos. London, Seeley,

New

Kunz, George Frederick, and Stevenson, Charles
Hugh. The book of the pearl. New York,
Century, 1908.

Laurvik, J. Nilsen. René Lalique. New York,
Haviland, 1912.

Lenormant, Francois. Musée Napoléon III;
Collection Compana, les bijoux. Gazette des
Beaux-Arts, vol. 14, pp. 152-163, 1863.

Liitzow, Carl von. Kunst und Kunstgewerbe
auf der Wiener Weltausstellung, 1873. Leip-
zig, Seemann, 1875. References to Castellani,
pp. 130, 233, 324.

Mantz, Paul. Recherches sur l’histoire de
lorfévrerie francaise, période moderne. Ga-
zette des Beaux-Arts, vol. 14, pp. 534-550.
1863.

M’Cormick, William B. Art of France’s médai-
leurs. International Studio, vol. 77, pp. 201-
204, June, 1923.

Paris. Exposition Universelle, 1889. Etudes et
rapports sur la bijouterie, la joaillerie,
Vorfévrerie . . . et rapport de la commission
administrative. Paris, Chambre syndicale de
la bijouterie, 1890.

Paris. Exposition Universelle, 1889. Jury inter-
national. Rapports du jury international;
Classe 24, Orfévrerie. Rapport de M. L.
Falize. Paris, Imprimerie nationale, 1891.

Pattern book for jewellers, gold- and silver-
smiths. London, A. Fischer, n.d. (ca. 1860).

Pelka, Otto. Bernstein. Berlin, R. C. Schmidt,
1920.

Ryley, Arthur Beresford. Old paste. London,
Methuen, 1913.

Schlodhauer, Charles. Eléments de bijouterie
et de joaillerie, modernes et anciennes. Paris,
Morel, 1864.

Smith, Harold Clifford. Jewellery. New York,
Putnam, 1908.

Snowman, Abraham Kenneth. The art of Carl
Fabergé. London, Faber, 1953.

Tiffany, Louis C. The art work of Louis C.
Tiffany. Garden City, N. Y., Doubleday,
Page, 1914.

Vever, Henri. La bijouterie francaise au XIXe
siécle. Paris, Floury, 1906-08. 3 vols.

Weil, Milton. Catalogue of postclassical cameos
in the Milton Weil collection, by Ernst Kris.
Vienna, Schroll, 1932.

WHITNEY N. MorcANn

CONTRIBUTORS

To the Exhibition

ANONYMOUS (1)

FREDERICK WILLIAM BRADLEY (2)

THE BRooKLYN Museum (3)

Cuicaco Hisroricar Society (4)

‘THE Cooper UNION Museum (5)

MartIn J. DEsMONI (6)

RAPHAEL ESMERIAN (7)

MapaME HeEcror Guimarp (8)

MELVIN GUTMAN (9)

Miss Marian HacuE (10)

GrEorG JENSEN, Inc. (11)

THE METROPOLITAN MusEuM oF ArT (12)
Mr. AND Mrs. ELwoop T. MontcoMeEry (13)
THE MUSEUM OF THE City oF NEw York (14)
Mrs. FRANCES SCHILLINGER SHAW (15)

A La VIEILLE RussiE, Inc. (16)

23

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