Aglet

Aka. Aiglet from Old French Aguillette is a small plastic or metal sheath typically found on each end of a shoelace, cord or drawstring. An aglet keeps the fibers of the lace or cord from unraveling, plus its firmness and narrow profile makes it both easier to hold and easier to feed through the eyelets, lugs, or other lacing guides. There is a subtle distinction between aglets, which are generally functional, and aiguillettes, which are generally decorative. The latter are usually seen at the end of decorative cords such as bolo ties and the identically named aiguillettes of military dress uniforms. During the Tudor and Stuart periods (1485-1714) the female nobility wore cords tied in bows ending in pairs of aglets or these silver, silver-gilt or gold tags linked seams & sashes together. Although none have survived they can be seen in portraits which document their use on hats, trimming sleeves & bodices, supplementing a set of buttons. Queen Anne wore large aglets shaped in squares, pyramids or elongated triangles enamelled with crescents or leaves, generously studded with rubies, Opals & pearls.

A gold or silver hat ornament to support a feather, or made in the form of a jewelled feather or sometimes a brooch supporting a jewelled feather. Shaped like the tufted crest, or head-plumes of the egret (from the French for egret, or lesser white heron), it was often almost entirely set with small gemstones, and sometimes also enamelled; it might be further adorned with light, vibrating, vertical metal stalks. A slide or vertical pin was occasionally provided, enabling the ornament to be worn in the hair or attached to a woman’s headdress. Aigrettes were in use from the 17th century until the late 18th, and again became popular in the late 19th and early 20th centuries.

Aigrettes, studded with diamonds, rubies and Opals also decorated the turbans of Ottoman sultans or the ceremonial chamfron of their horses. Several of these aigrettes are on display in the Treasury of the Topkapi Palace in Istanbul, Turkey. An aigrette is also worn by certain ranks of officers in the French army.

Amphora

A Greek jar or vase having an egg-shaped body and a narrow cylindrical neck, usually with two handles joined to the body at the neck and shoulder of the vase. A recurrent theme of jewellery design.

Amulet

An object attributed with magical value worn on a person.

An amulet (according to Pliny meaning "an object that protects a person from trouble"), is a close cousin of the talisman (from Arabic "tilasm", ultimately from Greek "telesma" or from the Greek word "talein" which means "to initiate into the mysteries.") consists of any object intended to bring good luck and/or protection to its owner.

Potential amulets include: gems or simple stones, statues, coins, drawings, pendants, rings, plants, animals, etc.; even words said in certain occasions for example: "vade retro satana" (Latin for "go back, Satan"), to repel evil or bad luck.

Since the Middle Ages in Western culture pentagrams have had a reputation as amulets to attract money, love, etc; and to protect against envy, misfortune, and other disgraces. Other symbols, such as magic squares, angelic signatures and qabalistic signs have been employed to a variety of ends, both benign and malicious.

In antiquity and the Middle Ages, most Jews, Christians and Muslims in the Orient believed in the protective and healing power of amulets and talismans. Talismans used by these peoples can be broken down into three main categories. The first are the types carried or worn on the body. The second version of a talisman is one which is hung upon the bed of an infirm person. The last classification of talisman is one with medicinal qualities. This latter category of magical item can be further divided into external and internal. In the former, one could, for example, place a magical amulet in a bath. The power of the amulet would be understood to be transmitted to the water, and thus to the bather. In the latter, magical inscriptions would be written or inscribed onto food, which was then boiled. The resulting broth, when consumed, would transfer the healing and magical qualities engraved on the food into the consumer.

Anklet

Anklet with Toe Rings

A feminine ornament from the orient, consisting of a chain that encircles the ankle.

Archaeological Jewellery

Greco-Roman

Greek Jewellery

Roman Jewellery (roman setting, roman gold)

Neo-Classical

Archaic

Etruscan Jewellery

Hellenistic Jewellery

Armband

Aka. Armlet, a band worn around the arm for decoration.

Art Deco Jewellery

Art Nouveau Jewellery

Articulated

Assay

Process of determining the proportions of precious metal contained in a piece of gold or silver.Assay Hallmarks may be a requirement of the laws of either the place of manufacture or the place of import, where required to be hallmarked, semi-finished precious metal items of art or jewelry pass through the official testing channels where they are analyzed or assayed for precious metal content. While different nations permit a variety of legally acceptable finenesses, the assayer is actually testing to determine that the fineness of the product conforms with the statement or claim of fineness that the maker has claimed (usually by stamping a number such as 750 for 18k gold) on the item.

In the past the assay was conducted by using the touchstone method but currently it is mostly done using X-ray Fluorescence (XRF). The most exact method of assay is known as fire assay or cupellation. This method is better suited for the assay of bullion and gold stocks rather than works or art or jewelry because it is a completely destructive method.

Asterism

An optical phenomenon of a star-like figure that is seen in some gemstones and crystals by reflected light or transmitted light. An example is the 6-ray (sometimes 4-ray, 8-ray or 12-ray) star-like figure that is observed by reflected light in some gemstones (especially the star ruby and the star sapphire) when cut en cabochon in such a manner that the greatest thickness of the stone lies parallel to the vertical axis of the crystal. The effect is caused by the reflection of light from a series of microscopic fibrous inclusions or small canals lying within the crystal parallel to the prism faces and arranged in three directions that intersect, usually at angles of 60°. Such stars are also seen in some other gemstones, e.g. beryl, almandine, star opal, rose quartz. A stone showing asterism is known as an Asteria or a 'star stone'.

Atelier

Pertaining to an artist's studio or workroom.

Baciamano

A bracelet with connected finger ring(s). An Italian name for the custom of a kiss on the hand as a sign of respect. Also see Hathphul.

Bail

The part of the pendant that goes over the chain is the bail. If it has two loops, it is a "rabbit ear." Most bails are attached to a metal pendant, but some connect directly to a stone. Peg bails are glued in a hole in the top of a stone. They are used primarily for inexpensive, tumbled gems. Another type of bail is designed to be glued on the back of a cabochon. It keeps the cost down, (compared to a bezel setting) and does not distract from the gem. Sometimes it is the most practical finding to use, if drilling a hole in the stone is undesirable.

Bandeaux

Bangle

A non-flexible arm ornament (circular or oval) that slips over the hand or is hinged and closed by a clasp, worn on the wrist or the lower or upper arm (sometimes several together).  Bangles have been made in many regions, periods, styles and sizes, with or without decoration, and of gold, silver, coral and amber. Made from the Middle La Tène Period (300 BC-100BC) of the Iron Age onward until today, especially in Africa and Asia. The Romans made bangles of glass, clear or variously coloured.

Bar Setting

Bar settings are usually made of platinum or white gold. The shiny, angled surfaces enhance the gem as well as making it appear larger. They are used mostly in men's rings.

Barette

A device to hold the hair in place, worn at the sides or the back of the head, and held to the hair by a clip or other manner.

Baroque

Baroque shapes or baroque jewellery

An enameling technique in which translucent enamels are introduced over a ground which has been chased, engraved or otherwise worked to create modelled surface. the enamel colour varies in intensity with the depth of the cutting.

Bas-relief

When the relief or projection from a surface is low or shallow. Bas-relief, French for "low relief", from basso rilievo in Italian, denoting a sculpture which is not free-standing or in the round, but has a background from which the main elements of the composition project. Bas-relief is very suitable for scenes with many figures and other elements such as a landscape or architectural background. A bas-relief may use any medium or technique of sculpture, but stone carving and metal casting are the traditional ones. If more than 50% of most rounded or cylindrical elements such as heads and legs project from the background, a sculpture is usually considered to be "alto relievo" or "high relief", although the degree of relief within both types may vary across a composition, with prominent features such as faces in higher relief.

Beads

Beads are made from gemstones, metal, glass, wood, and shell. Pearls are the most popular ingredients for strung necklaces. Opals make excellent feature beads and can be interspersed with metal and other gemstone beads, they may be made of Boulder Opal Matrix, Black Opal, White Opal and Treated Matrix . Beads are described by the material they are made from, their shape, and size. For example, you might order 12 mm, Crystal Opal lentils, round, oval or faceted rondelles.

Bell Push

A button that is pushed to ring a bell, usually to summon servants. Often highly decorative eg. Faberge's Opal elephant bell push.

Belle Époque

Also referred to as the the Victorian period, a period in European social history that began during the late 19th century and lasted until World War I. The quiet hints and subtle effects of semi-precious stones like aquamarine, cats-eye, alexandrite, moonstone and Australian or Mexican Opals were appropriate to the light, open designs of this time.

Belly Ring

Opal can highlight such navel ornaments which are often set with small bright gems.

Belt Buckle

Western style belts come with buckles, tips, and keepers. These can be all metal, use cabochons, or be inlaid with stone chips.

Bench Drawings

The technical drawing term for Design Drawings. These detailed drawings are used to communicate all aspects of the design.

Bezel Setting

The oldest and most basic gemstone setting is the "Bezel", derived from the French word "Biseau" meaning chamfered. Used primarily to set cabochons, a vertical strip of metal is formed to encircle the stone, then soldered to a metal base. The stone is secured by pushing and bending the bezel towards the stone using a burnishing tool.

Though stronger than prong settings, standard bezels do not allow as much light into the gem. Most bezels are hand made and are generally used for cabochons. Bezels can be plain or fancy and an Open-Bezel may be used to allow more light to penetrate the stone.

Bijouterie

The French term for jewellery in general

Bijoux

French term for Costume Jewellery.

Body Jewellery

Belly ring, Nipple Ring, Nipple Stud, Clitoris Ring, Clitoris Stud.

Bolo Tie

Bolos feature a fancy metal centerpiece, a loose stone, or a bezel set stone. They require a cord, usually braided leather, a back, and tips.

Western wear also includes collar tips, boot tip and heal decorations.

Bookmarks

Boxes

Cigar boxes, jewellery boxes and vanity cases.

Bracelet

penannular bracelet

line bracelet

link bracelet

snake or serpent bracelet

charm bracelet

Breast Ornament

Breastplate

Brilliance

A general feature of gems, determined in Opal by the intensity of light emerging, the presence of potch, colour and its type and proportion, and the amount of ‘milkiness’ in the Opal.

Briolette

A drop cut gem whose entire surface is cut into triangular facets.

Brooch

penannular brooch

heart brooch

name brooch

Bar Brooch

Button

A small object usually used to fasten together two sides of a garment. Buttons were used in ancient Greece and Rome, but were employed more generally in southern Europe in the 13^th century becoming popular by the 14^th century. By the 16^th and 17^th century they had come to be used almost exclusively by men and were made in highly decorative styles. Sometimes buttons may be carved from stone, and made of gold and silver set with gemstones, cameos or enamelling.

Button Covers, Gemstone Button

Cameo

Originally a gemstone having layers of different colours (e.g. sardonyx, cornelian and boulder opal) carved to show in low relief the design and background in contrasting colours. The earliest carved coloured stones, date to several thousand BC Sumeria, and were merely beads in cabochon form and sometimes stones carved in intaglio for use as seals. As far back as the 6th century BC stone cameos of great artistry were made in ancient Greece. This carving technique features a raised (positive) relief image and as opposed to the 'intaglio' method which has a negative relief image. Cameos were populary worn as jewelry by the Romans and a few rare Opal cameos are attributable to the period. The art continued to a reduced extent throughout the Middle Ages and became very popular during the Renaissance when master gem-engravers worked for prominent collectors such as Lorenzo de' Medici. Thereafter, with intervening periods of more or less fashionability, cameos have been made and mounted in articles of jewelry, e.g. brooches, pendants, and especially finger rings. The leading artist of the 19th century was Tommaso Saulini. In later periods cameos were also carved in other hard materials, e.g. rock crystal, coral, jet, shell, etc.

Wilhelm Schmidt, carved his cameos from the newly discovered Boulder Opal variety found in Queensland Australia in the early 1870’s. He had invented a process of cutting Opal cameos in such a way as to utilize the matrix of the rough Opal for the ground colour. Schmidt’s Opal cameos were exhibited in the 1878 Paris Exhibition by John Brogden and received a gold medal.

Carat

A Troy measurement for weighing gemstones, derived from the Greek word Keration. There are 155 carats in a Troy Ounce. One carat equals 0.2 grams (5carats=1gram). This weight measure is used for most cut gemstones, including all varieties of Opal. Rough Opal, particularly of the White Opal variety is measured in Troy Ounces.

Casting

Jewellery is composed of many parts. Sometimes they are cast as a single piece, other times they are assembled from separate components.

Sand Casting

Chain Tag

A small piece of metal with the jeweller’s name engraved.

Chains

Chains are described by three factors. The metal they are made from, the style, and width. For example, you can order a seven millimeter; curb chain in 14 karat gold. Chains come both in bulk and as finished necklaces. Cable, Box, Curb, Rope, Double Rope, Key chains, watch fobs and Herringbone to name a few.

Chalice

A goblet or standing cup used to hold sacramental wine during the Eucharist, often made of precious metal, richly enamelled and jewelled. In ancient Roman a calix was a drinking vessel consisting of a bowl fixed atop a stand, and was in common use at banquets.

Champlevé

Chandelier Earrings

Earrings with dangles that hang from a base, sometimes on multiple levels. They can range from elegant to funky in style.

Channel Setting

Primarily used to set faceted gemstones that are straight-sided, or quadrilateral in shape. (baguette or princess cut). The stones are aligned in a channel, sitting girdle-to-girdle. step-cut stones can rest on a track giving a "keystone" effect. Matching stones that are cut to a uniform size for use in channel settings are "calibré-cut," as in "Eternity Rings.” While beautiful, they are prone to loosing gems, a small bend in a ring may cause the stones to pop out.

Chasing

The technique of decorating by handwork the front surface of metalware, by indenting it and so raising the design, without cutting into it (as in engraving), using a chasing tool and a chasing hammer. It is done either to enhance repousse work by sharpening the relief decoration or as independent decoration by beating down the metal to form a relief pattern. When used to make a design on a flat surface, rather than to develop relief work, it is called 'flat chasing'. It is also used to remove surface roughness resulting from use of the cire perdue process.The piece of metal being worked is laid on a bed of pitch or, for hard metal, of wood or steel. It has been done since antiquity. During the 18th century the French are said to have excelled in such work, but there are also good English examples.

Whilst repoussé is used to work on the reverse of the metal to form a raised design on the front, chasing is used to refine the design on the front of the work by sinking the metal. The term chasing is derived from the noun "chase", which refers to a groove, furrow, channel or indentation. The adjectival form is "chased work". The techniques of repoussé and chasing utilise the plasticity quality of metal, forming shapes by degrees. There is no loss of metal in the process, as it is stretched locally and the surface remains continuous. The process is relatively slow, but a maximum of form is achieved, with one continuous surface of sheet metal of essentially the same thickness. Direct contact of the tools used is usually visible in the result, a condition not always apparent in other techniques, where all evidence of the working method is eliminated.

Chatelaine

Choker

A choker is a short narrow necklace that is worn close to a woman's throat, sometimes having a pendant attached. A necklace approximately 15 inches long.

Clasp

Unless tied together, necklaces are joined by clasps. There are nearly as many styles of clasps as there are necklaces. The size and quality should compliment the necklace.

Fine jewelry will have fancy clasps. Many incorporate filigree and some even have precious gems.

The strongest type clasp is a lobster claw. They have massive amounts of gold for maximum strength.

Another mechanical clasp is the spring ring. These are lightweight and inexpensive. Unfortunately, they are not as strong as other clasps, so you will usually find them on less valuable pieces.

The simplest clasp is a just a hook and eye made from wire. These are usually hand made. While simple, they are very strong and are a nice compliment to some designs.

Claw Setting

Closed Setting

Whereby the back of the stone is not exposed (the metal is not cut away behind the stone).

Cluster Setting

Cluster setting come a variety of shapes, with anywhere from three to a dozen stones. They are used in almost every type of jewelry. They found on rings, make earring heads, dangles, etc.

Cocktail Ring

Cocktail rings are huge-literally. In its heyday, the cocktail ring was worn by stylish women who drank equally stylish cocktails at lavish cocktail parties.

This all-time favourite has seen a return to favour in the late 00's - Bring on the bling in colourful Opal Cocktail rings.

Collet

Collier

From French collier de chien aka. Dog Collar; a wide necklace encircling the neck from throat to chin.

Cordelière

Bandolier

Composite Stone

Doublets and Triplets.

Cords

Silk is the traditional thread for beaded necklaces, but modern polyesters are now more popular because they have a longer lifespan. Tiger tail is a plastic coated wire, which is used with heavy beads. Occasionally other materials are used, including neoprene (synthetic rubber), leather, velvet, and hemp. Stingray, Kangaroo and Crocodile leather.

Cornucopia

The cornucopia (Latin) is a symbol of food and abundance dating back to the 5th century BC, also referred to as horn of plenty, Horn of Amalthea, and harvest cone.

In Greek mythology, Amalthea raised Zeus on the milk of a goat. In return the god gave Amalthea the goat's horn. It had the power to give to the person in possession of it whatever he or she wished for. This gave rise to the legend of the cornucopia. The original depictions were of the goat's horn filled with fruits and flowers: deities, especially Fortuna, would be depicted with the horn of plenty. The cornucopia was also a symbol for a woman's fertility.

Corona Clausa

The crown is a corona clausa (closed model) of gold consisting of a circlet.

Costume Jewellery

Articles of inexpensive jewellery, originally pieces suitable for a particular type of costume but now applied to two classes of jewellery:

1. Gem-set imitations, which resemble precious jewelry but are made of silver or pinchbeck and set with substitutes for gemstones, e.g. marcasite, paste or synthetic gemstones; although usually the stones are cemented, some are hand-set.

2. Articles made of base metal and imitation gemstones, being intended as a novelty and to meet an ephemeral fashion trend. Such latter articles are today usually purchasable at various types of shops other than jewellers; although much is mass-produced, some well-designed and rather costly examples have been created by leading couturiers, such as Chanel and Christian Dior.

The introduction of costume jewellery occurred in the 18th century, but its development and extended use were during the 19th century, especially in England when mass-produced jewellery was made by the Birmingham factory of Matthew Boulton.

When such pieces are made of materials of reasonable value and designed and made with skill and artistry, they may be considered to be within the meaning of the term 'jewellery'.

Not the same as Junk Jewellery

Crown

Any of various types of headgear worn by a monarch as a symbol of sovereignty, often made of precious metal and ornamented with valuable gems. Similar ornamental headgear worn by a person designated king or queen in a pageant or contest. An ornamental wreath or circlet for the head, conferred by the ancients as a mark of victory, athletic or military distinction, etc.

Crucifix

An image of Christ crucified on a cross, is for Catholic Christians the main symbol of their religion, but most Protestant Christians prefer to use a cross without the body of Christ.

Cuff

Cufflinks

A device that is employed to join temporarily the two ends of a cuff around the wearer's wrist without overlapping the cuff ends, being inserted through two buttonholes. Such articles are made of gold, silver or other materials, in many ornamental styles, shapes and sizes; luxury examples are ornamented with gemstones, enamelling, engraving, or relief decoration.

Cuff links are made in several forms:

with a short chain or loose link connecting the head with the rear head or back-plate, being attached to each by a 'jump ring'

with a back-plate of lentoid form that is joined by a fixed bar to the ornamented head

with a bar fixed vertically to the head and attached to a swivel bar that slides through the buttonholes and is then twisted into a securing horizontal position

with a chain that is coiled inside the head and that uncoils as the back-plate is passed through the buttonholes, to afford a variable space

with two separate pieces, one having a small boss and the other a corresponding depression, so that they can be pressed together as a 'press-stud'

Some cuff links have a decorative piece at each end that is too large to pass through a button hole; these 'double cuff links' are joined by a detachable link with a spring-like fastener. Cuff links are generally made in identical pairs, but some are of two different but harmonious designs.

Cutlery

Utensils such as knives, forks, spoons, used at the table for serving and eating food. These may be individual sets or unique items, like cake servers etc. These are usually made of silver or gold plate and may have areas to engrave and set with stones

Damascening

Dangles

Dangles are pieces that hang and swing. They are used with earrings, necklaces, brooches, and occasionally bracelets and finger rings. Dangles are made several ways. Any gemstone head can be used as a dangle. A jump ring, or a circle of metal, attaches them to the main piece. Strips of smaller gems can be used to connect the gem to the earring. Another method is to put beads on a head pin. The end is bent to attach to the main piece.

Demantoid

Demi -Toilette

Devotional Jewellery

Various articles of jewellery associated by use and decoration with the Christian religion, although some also have decoration of a secular nature or were used for reasons of superstitions or supposed magical powers. Devotion to one's beliefs, dedication to one's family, queen or country and the earnest attachment of a mother to her children are themes which are continually revisited in jewellery design.

The earliest types were the signet rings decorated with various Christian symbols or inscriptions, usually made of iron or bronze but sometimes of gold. Another early example was the reliquary in the form of a pendant or a finger ring; these were worn especially in the 13th to 15th centuries.Other types of devotional jewellery of the period were the Cross, devotional ring, rossaries, Agnus Dei pendants and the pendants decorated with relief figures of saints.

Diadem

An ornamented band worn around the brow of a man or woman, sometimes a a badge of sovereignty.

Such pieces were made from ancient times of metal, often gold, in the form of a wreath or sometimes decorated with gemstones, pearls, and other ornaments. They were usually held in place by a long hair pin. Many worn by women had attached long heavy pendent ornaments extending down over the ears and to the shoulders, and sometimes also rings or tassels suspended over the forehead and temples.

Diadems, from simple forms to those lavishly decorated, were worn by the Egyptian pharaohs and their wives. Greek examples varied from simple gold or silver bands to those decorated with repoussé or stamped rosettes or other motifs (including the Heracles Knot), and later with filigree work and granulated gold. Roman diadems developed from wreaths of leaves to head-dresses anticipating the form of a crown.

In western Europe during the Middle Ages the form was that of a chaplet and later of a band of hinged plaques with enamelled and jewelled decoration. In later centuries in France and England the form approached the semi-secular and was profusely ornamented with gemstones. More recently examples were made in Art Nouveau style.

The wearing of a diadem has not been confined to royalty or the nobility; ladies of wealth or fashion have worn them on important social occasions.

A diadem is also a jeweled ornament in the shape of a half crown, worn by women and placed over the forehead (in this sense, also called tiara). In some societies, it may be a wreath worn around the head. The ancient Persians wore a high and erect royal tiara encircled with a diadem.

Ear Ornament

Ear Cuffs aka. Ear bands are another form of ear jewellery, they are pieces of metal that wrap around ear.

ear & hair ornament

ear-drop

ear-loop

ear-ornament

ear-pick

ear-plug

ear-ring

ear-screw

Ear-Spool worn in the earlobe of men or women since Pre Columbian times. Ear spools were a funnel-shaped disc typically made of pottery, stone, jadeite, greenstone, obsidian or shells. The narrow end of the flared spool would penetrate the earlobe, and was held in place by a backing plate. The ear-spool would sometimes weighing enough to stretch the earlobe downward, a desired characteristic.

ear-stud

Earrings

There are many types of earrings for pierced ears. Kidney wires are simple pieces made from bent wire. French wires and shepherd hooks are the same thing. They are also made from wire, but are not closed like a kidney wire. All of them use loops to add decorations.

Top and Drop Earring,  W-Shaped Earring

Ecclesiastical Ring

While the sapphire eventually became the stone especially assigned for use in episcopal rings, the older specimens which have survived show that rubies emeralds, turquoises, chalcedonies, garnets and even opals were used. Bishops generally wore the ring on the index finger of the right hand, however during mass the bishop transferred it from the index to the annular finger. In the present day it is always worn on the latter.

Rosary

Religious Jewellery

Priest's ring

Electroforming

Enamel

Enameling is the fusion of a special powdered glass to metals. The glass can be applied using different techniques, all methods use heat to melt the powder.

Epaulette

A piece of ornamental material on the shoulder of a garment, especially a military uniform, sometimes bejewelled.

Estate jewellery

Vintage Jewellery

Tongue Studs and Eyebrow Studs, Nose Rings

Facial ornamentation was very popular in the Pre-Columbian Mesoamerica, and for the most part, jewellery was unisex being worn by both men and women. The one exception to this was the use of lip and nose plugs, which were worn exclusively by men of rank. The ear-spool was a popular item of ornamentation in most Pre-Columbian  civilizations, worn in the earlobe of men or women.

Festoons

Some necklaces have a fancy metal centerpiece. This is called a festoon. They can be merely decorative, or be set with gems.

Fibula

The archelogical term foir a brooch. Extremely common ornament of the classical age, the function of which was both to decorate and fasten items of clothing.

Filigree

Finding

Jewelry is composed of many parts. Sometimes they are cast as a single piece, other times they are assembled from separate components. Either way, each of these parts has a name. The individual parts are called findings.

Flatware

Usually known as silverware or cutlery. Refers to any hand implment in preparing, serving, and especially eating food; including knives, forks, spoons, cake servers etc.

Flower Heads

Some settings are designed to resemble roses or buttercups. These settings do wonders for highlighting small gems. They are usually found in earring and pendants.

Gallery

A strip of metal that is pierced with a continuing pattern, often framing vertical lozenge-shaped openings with an upper and lower band. A complete gallery is referred to as closed and a a half section is called open.

Gem Setting

There are three methods of securing a gem with metal. They are bezel, prong, and channel settings. Opals may move inside prongs, which damages their surface, so they are often set with an adhesive. Occasionally other gems including pearls are glued as well.

Geometric Style

A decorative style for jewelry developed in the 1920-30's in which the form is in abstract geometric shapes, produced with great precision, and the articles generally are smooth and highly polished. Such jewelry was a development of the Art Deco style, and the designers who worked in this style included Georges Fouquet, Wiven Nilsson and Raymond Templier.

Gilding

Girandole

A type of earring composed of a bow-shaped ornament, or more often a large circular gem at or near the top of the setting, and having suspended at the bottom three pear-shaped stones or pearls. There are many variations of this style of the 17^th and 18th centuries. The precursor of girandoles was the Chandelier Earrings of Roman times.

Glyptography

The art or process of carving or engraving on precious stones.

Gold à quatre couleurs

gold alloy

Green Gold, grey gold

Gold Purity

Karat is a unit of measure for the purity of gold. Pure gold is 24 karat; 12 karat gold is 50 percent pure. Not to be confused with carat weight.

Gothic Jewellery

Aka. Gothic Revival Jewellery

Granulation

Filigree or granulated gold

Griffes

These are 3 to 6 metal prongs that keep a stone from wobbling inside a setting.

Gueridon

A small usually ornately carved and embellished stand or table.

Guilloché

A style of engraved decoration that, in jewellery and object of vertu, is made on metal by means of an engine-turning lathe having an eccentric motion than can cut a variety of patterns. When such engraving is covered with enamel that reveals the pattern beneath.

Gypsy Setting

This is an ancient technique or style of setting for securing a gemstone in a finger ring with a fairly wide gold band. Whereby the stone is secured within a circular or oval recess, without a collet and held in place by a narrow turned over flange so that the table of the stone is level with the metal surface.

Hair Ornaments

Besides pins, barrettes, combs, and hair bands, come in precious metals decorated with gems including Opals.

hair & ear ornament

hair clip

hair jewelry

hair locket

hair ornament

hair pendant

hair pin

hair ring

hair spiral

hair work

comb

ponytail ornament & braid ornament

Hair Pin

Pins are used in people's hair, in hats, cloaks and lapels.

Hallmark

Hathphul

Aka. Baciamano or Hand-bracelet. An Indian wedding ornament. The  top element circles the wrist, the central element covers the back of the hand and the ring(s) go over the fingers.

Hat Pin

Hat ornament

Hollowware

Hollow metal utensils and artifacts; usually refers to metal tableware, such as bowls, pitchers, teapots, trays and serving dishes having some depth.

The simplest metalwork technique for making hollowware is to join pieces of sheet metal together, using rivets, solder, or other means. Raising, a technique dating from at least the 3rd millennium BC, is commonly used for hollowware in silver, copper, and other malleable metals: a disk of sheet metal is gradually shaped into a hollow form over a stake or anvil by a series of hammer blows spiraling from the centre of the convex side; the hammer marks are later removed with a smooth, planishing hammer.

Tiffany & Co. produced a series of bowls in both a Navajo, Aztec and Viking style, set with predominantly with Opals and various semi-precious stones from 1900 to 1905.

Illusion Setting

An illusion setting allows a small gem fit a larger setting. Aka illusion mounting.

Inlay

A decorative technique of inserting pieces of contrasting, often coloured materials into depressions in a base object to form patterns or pictures that normally are flush with the host material. Inlays of precious metals in a base metal matrix or coloured stones may be inlaid in marble, wood and precious metals. Gemstone inlays are most commonly made from materials like shells, mother-of-pearl, horn, ivory, turquoise, malachite and Opals. Also see Mosaics and Intarsia.

Intaglio

This carving technique features a negative relief image as opposed to the 'cameo' method which has a raised (positive) relief image. In 6th century BC Greece this technology was used to adorn wax seals and the world’s first coinage.

Intarsia

A work of art in which gemstones are fit together to produce an intricate geometric design. Intarsia may take the form of a doublet stone, a design inlayed in jewellery or used to decorate the entire surface of objet d'art such as an elegant small box or humidor. Opal provides an excellent highlight to such creations and is highly favoured for use in their production.

Invisible Setting

Van Cleef & Arpels introduced  pavé secret or "invisible setting", or serti mystérieux "mystery setting" in 1933 and are famous for using the technique throughout its jewellery creations. Technically, a channel setting using calibrated stones without any metal showing from the top. This innovative technique took the market by storm, creating the illusion of floating gems, each stone being fastened by wires from the underside of the piece.

Iridescence

This phenomena is produced by the reflection from air-filled cracks in a stone, iris quartz is a perfect example, although seen in many gems, in Opal it should not to be confused with play-of-colour.

Jiqa

A typically Eastern form of jewellery used to adorn turbans and other head-dresses. They served as clasps to secure ornamental plumes, as jeweled imitations of such plumes or both. The legendary Shahs of Persia wore characteristic (red or black, sometimes four-pointed) felt hats adorned with jiqas (aigrettes or plumes, usually be-jewelled) and gems. The Shahs also lavishly adorned themselves with armbands, belt, sword and dagger all jewel-encrusted and numerous ropes of pearls around their necks.

Joaillerie

La Joaillerie, French term for the type of jewellery that is composed mainly of gemstones.

Key Ring

Key Holder Ornament

Knives

Knives and blades such as swords have long be decorated and collected as symbols of military power or for their practical and ornamental value.

Lapel Watch

Aka. Pocket watch.

Lacquerware

Lavalliere

A necklace

Lariat

A vessel that is typically an ornamental vase on a pedestal and that is used for various purposes, including preserving the ashes of the dead after cremation.

Leather

Leather of all knds have been used in jewellery making since neolithic times. In modern times it has been fashionably incorporated into jewellery design. Apart from bovine leather artists are making increasing use of exotic leathers such as stingray skin leather, crocodile leather, kangaroo leather and shark skin leather.

Letter Opener

Bejewelled letter openers are often fashioned with handles made of gem materials including Boulder Opal, shell, antler and ivory.

Locket

A locket is a pendant that opens to reveal a space used for storing a photograph or other small item such as a curl of hair. Lockets are usually given to loved ones on holidays such as Valentine's Day and occasions such as Christenings, weddings and, most noticeably during the Victorian Age. An excellent early example is the Opal laden pendant Mary Queen of Scots gave James Gordon ancestor to the Earl of Aberdeen in the 16th century.

Lorgnette

A pair of eye-glasses equipped with a handle.

Loupe

A small magnifying lens, usually 10x magnification. By loupe one can adequately assess most non treated Opals in terms of inclusions and to detect composites.

Maculation

A dirty or spotty finish acheived by exposure to air.

Magical Stone

Magical Jewellery

Maison

Marquise

Aka. Navette

Matte

Medieval Jewellery

Mêlée

Classification used in the sorting of diamonds and small coloured gems weighing less than carat, very suitable for pave setting.

Microscopic Setting

Aka. micro-setting

Millefiori

Minaudiere

A fancy purse-like compartmentalized lady's vanity case, invented by Van Cleef Arpels in the 1930’s and named by Alfred Van Cleef. A sleek golden case with a hidden fastening, that , once opened, revealed special compartments for powder lipstick, a tiny comb and small objects indispensable to a lady’s glamour. Designers and craftsmen adorned the lids with exotic illustrations.

Miniature

Modern Jewellery

Moh's Scale

Mokume Gane

A mixed-metal laminate with distinctive layered patterns. First used in 17th-century Japan for sword fittings and directly translates as wood-grain metal. Traditionally the components were relatively soft metallic elements and alloys (gold, copper, silver) which form liquid phase diffusion bonds with one another without completely melting. After the original metal sheets were stacked and carefully heated, the solid billet of simple stripes could be forged and carved to increase the pattern's complexity. To achieve a successful lamination using the traditional process required a highly skilled smith with a great deal of experience.

Money Clip

Money clips are a masculine form of jewelled accessories.

Monstrance

Ref. Jewels and Jewelry, Clare Phillips

Mosaic

Tiny pieces of Opal chips are fit together to form the face of a doublet or triplet. Mosaics may also be used to create a picture under glass; often the glass is painted acting to transfer the picture outline.

Necessaire

A gold or silver bag containing the principal female beauty accessories, often decorated with stones and enamels. Along with cigarette boxes, necessaire were popularised by the maisons in the 1950’s.

Necklace

Some necklaces are made of chain, others are composed of pearls or beads strung on a cord. Still others are made from a variety of pieces linked together.
Some neck pieces are made from a single, solid piece of gold or silver. These are called neck rings.

Neckware

Neck Chain

Neck Ornament

Neck Ring

Neckband

Necklet

Neckpiece

Strap Necklace

Nose Ornament

In India the women of some castes wear a gem set in the wing of the nose, also referred to as a Nose Stud.

Obi-Dome

Are rounded barettes of some size used in some Japanese coiffures. They are worn at the back of the head, at the back of the mage or bun. They are usually made of lacquered wood. Obe-Dome is an ornament attached to Obi-Jime.

Obi-Jime- A rainbow-colored heavyweight ribbon is an essential part of traditional Japanese costume and Kimono, acting as a belt-like sash. Obi-Jime with Obi-Dome is also called Obi-Dome.

Objet d'art

Objet trouvé

Literally found object.or readymade—describes art created from the undisguised, but often modified, use of objects that are not normally considered art, often because they already have a non-art function. Marcel Duchamp was the originator of this in the early 20th century.

Objects sometimes worn as articles of personal adornment in the form in which they are found in nature eg. (opalised) shells, teeth and bones, without setting or ornamentation except perhaps a hole drilled for suspension. It is possible to create jewellery by connecting unconventional materials. Some such objects  have been set in mounts and strung together as a necklace or a bracelet, and to such an extent may be embraced within the term jewellery.

In the context of jewellery an ‘objet trouvé’ is an object or thing that is taken out of its context and worn as a jewel, regains another meaning..

Found art derives its identity as art from the designation placed upon it by the artist.

The idea of dignifying commonplace objects in this way was originally a shocking challenge and although it may now be accepted in the art world as a viable practice, it continues to arouse questioning.

Found art, however, has to have the artist's input, the artist's designation of the object as art. There is mostly also some degree of modification of the object, although not to the extent that it cannot be recognised. The modification may lead to it being designated a "modified", "interpreted" or "adapted" found object.

Object of Vertu

Aka. Objets de Virtu, a French term pertaining to a taste, knowledge or love for curios or works of fine art; connoisseurship; the quality of being rare, beautiful, or otherwise appealing to a connoisseur. Objects of art, especially fine antique objets d'art, considered as a group.

Opal-Faced Watch

These are made by applying a mosaic to the watch dial, and more rarely using a single slice of Opal as does Piaget of Switzerland. Sometimes gemstones are used to provide the entire watch-case as per the exclusive collections of Swiss watch maker Haas & Cie.

Open Bezel

Aka.Partial Bezel, whereby a seat is made for the stone and metal strips are rubbed over in two or more places  leaving most of the stones side and back open to light and easily identifiable. Whereas in the case of a composite Opal a full bezel setting may be obfuscatory.

Open Setting

There are two basic types of gemstone settings: open settings and closed settings. Open settings are any type of setting that allows light to enter through the bottom of a faceted or transparent cabochon gemstone.

In a "closed setting" light can only enter the stone from the top. This type of setting is appropriate for opaque cabochon-cut stones and highly refractive faceted stones where light can enter through the crown and table of the stone and be reflected back to the observer from within.

Palladium

A rare metallic element of the Platinum group. It is similar to platinum, being silver-white, malleable, ductile and in ordinary circumstances non-tarnishable, but it is much lighter in weight. Palladium is used to produce jewelry without drag on dresses of silk and lightweight materials.

Papal Ring

Aka. Pontifical Ring

Parure

Means adornment in French, from the verb parer, to adorn. Beyond various items of matching jewellery, a parure is an entire wardrobe, or suite, of matching jewellery; which rose to popularity in 17th century Europe. Reserved for royalty and the wealthier classes, no woman was considered socially acceptable without a complete wardrobe of jewellery that defined her status, strength and political power. A matching suite of coordinated pieces could include a necklace, a comb, a tiara, a diadem, a bandeau, a pair of bracelets, pins, rings, drop earrings or cluster stud earrings, brooch and a belt clasp that might be worn over a fine gown.

Passamenterie

Paste

Aka. Faience or Fake. Glass of one variety are the oldest sort of imitation precious stones dating back to the Egyptians and Romans. The term "paste" as applied to glass imitations is said to come from the Italian pasta meaning dough, and it suggests the softness of the material. Most pastes are mainly lead glass. Modern glasses are also silicates of various metals, but unlike gem minerals the glasses are not crystalline but rather amorphous, that is, without definite geometric form or definite internal arrangement.

Paste may be detected by its lack of double refraction. However Opals, diamond, spinels, and garnets are also single refracting. Imitation Opals made simply by imbedding iridescent foil in opalescent (milky) glass are easily detected by sight or upon closer inspection with a loupe. In ancient times, Pliny the Elder describes Opal as a multi-coloured gem, he refers to paste imitations of Opal in his Historia Naturalis.

Pâte de Verre

A labour-intensive form of glass casting that dates to the second century BC.The French developed the process which they used for inlays in jewelry and sculpture.

Pavé Setting

Pavé means to paved in French, as in laying cobblestones close together. This is one of the most difficult gem setting techniques and only the best goldsmiths can do it well. First, holes are drilled that are just slightly smaller than the diameter of the stones girdles. The stones are laid in place then, with a V shaped chisel, a small bead or prong of gold is raised and pressed over the girdle of the gem. The stones are held in place using three to six raised beads per stone. When done properly, light will reflect off all the tables in a row simultaneously.

Pave Secret – Invisible Setting

Pendant

Pendants are items that hang from a chain or beaded necklace. They may hold gems, or be decorative objects in themselves.

Some pendants are called pearl enhancers. They have a clip that goes between pearls or beads. They can be added or removed as the owner chooses.

Others pendants are called "slides." These are accents that go on chains. As the name implies, they are free to slide from side to side as the chain moves.

Some pendants are centerpieces in themselves. They come in the shape of religious symbols, or simply decorative designs.
Small pendants are called charms. They are most often used on bracelets and occasionally used on necklaces.

Pendulant Earrings

Aka. Chandelier Earrings, usually involve the suspension of pendants from rosettes or hooks which sit on the ear.

Accoutrements de Senteurs in French; articles of jewellery made with a small receptacle for some substance, e.g. musk, ambergris or perfume that emitted a pleasant scent. Some earrings, necklaces, and bracelets were made of beads for containing perfume, and the pomander was made especially for such purpose. Popular in the Middle Ages and the Renaissance,  Mary, Queen of Scots owned 2 sets.

Period Jewellery

Georgian

Victorian style

Edwardian jewelry

Plique-à-jour

(French: “open to light”), in the decorative arts, technique producing translucent enamels held in an open framework made by soldering individual wires or delicate metal strips to each other, rather than to a supporting surface as in cloisonné. The unattached support, usually a sheet of metal or mica, can be easily removed after the enamels have been annealed and cooled, producing an effect not unlike a stained-glass window in miniature. Developed in France and Italy in the 14th century, this technique has been used largely for making vessels, jewelry, and, in Russia, demitasse spoons.

Post Modernist Jewellery

Pre-Columbian

Jewellery

Prince Harlequin

A unique Black Opal gemstone weighing 181.20 carats 'Prince Harlequin' can be seen at the Natural History Museum in New York.

Prong Settings

The pieces that hold the stones are called "heads." They come in the same shapes as the gems they hold; round, oval, rectangular, marquis, etc. Heads can hold single stones or many.
Some heads are solid pieces and others are wire baskets. Note the amount of metal used as it varies considerably. The more metal, the stronger the setting.

Prong settings are preferred for faceted gems. Sometimes they are as simple as a few pieces of wire soldered onto the main piece.
This technique is very versatile. It can be used for simple or elaborate designs. This cocktail ring features a cushion shaped sapphire, surrounded by diamond baguettes.

While some prongs are just wires, others are much stronger. These are designed for daily wear.

Prospector’s Brooch

A type of brooch introduced in Australia at the time of the discovery of Opals before the turn of the nineteenth century. The brooch being in the form of a map of Australia with the states shown in Opals of different colours within a gold frame.

Punch

A small metal stamp which beaten onto precious metal guarantees its quality and source.

Reliquary

(cross or pendant)

Repoussé

Dot-Repoussé

Means hammering and punching on a metal plate using rounded bits.

Ring

The basic component of a ring is the shank, which is the part that wraps around the finger. They come in many styles, sizes, and shapes. Some will have stones added; others will be worn unadorned.

Opal Ring

Ring Brooch

Ring Sizes

Ring Sorts

Harlequin Ring

Thumb Ring; bishops in the middle ages were depicted as wearing numerous rings including such

Finger Rings

Toe Ring

Stirrup Ring

Serjeant Ring

Eternity Ring

Friendship Ring

Engagement Ring

Swivel Ring

Serpent Ring

Signet Ring

Wedding Ring

Wedding Band

Ring Guards

For people with arthritic knuckles, there are ring guards. These are spring like mechanisms that open to go around the knuckle and then tighten to fit around the soft part of the finger.
There are also mechanical ring settings that open up, then close like a key ring. These are loosing popularity as they are expensive and difficult to use.

Rococo Jewellery

The Rococo style of decoration followed the Baroque or Rocaille style in France c.1730. The main features of which are the departure from the symmetrical arrangement of gem-stones. The repertoire is characterised by the introduction, in patterns, of rockwork, shells, flowers, foliage, feathers, ribbon and scrollwork. Developed in France under Louis XV, Rococo spread to Italy, Germany, and Austria and to a lesser extent to England.

Rondelle

A flat bead used as a spacer between contrasting beads.

Rub-over Setting

A style of setting a gemstone in a bezel but then bending (rubbing) the upper edge o the metal over the girdle of the stone to secure it.

Sautoir

A long necklace, sometimes falls below the navel. Either a string of beads or a long chain made of large links. Often ending in a tassel or locket, it may be embellished with opals and other precious stones. A sautoir can be worn as a necklace or draped across one shoulder.

Scarf Clip

Scarf Ring

Scarf Slide

Schmuck

The German word for jewels, jewellery, adornement and ornaments.

Setting

The term "setting" refers to an unfinished ring, brooch, etc., with places to hold gems.

Setting Edge

Known as the girdle on faceted gemstones. This is the widest part of the stone, it should generally be around 1mm thick and the stone is then tapered towards the back (or pavilion) by several degrees or more. The setting edge on a cabochon stone such as Opal provides the outline for a bezel setting.

Setting Techniques

Some settings are actually techniques, rather than components.

Sévigné

A type of brooch in th form of a bow-knot, made of gold or silver in an openwork pattern and set with many small diamonds, sometimes having a suspended stone. It was worn as a bodice ornament from the mid 17^th until the late 18^th century.

Shank

The round body of the ring that encircles the finger, not including the setting.

Shape or Cut

Lozenge Cut

Pendeloque Cut

Heart Shape

The part of the ring that extends from the shank to the center of the setting.

Silver Purity

925 and Rhodium plating

Slides

Opal slides are usually drilled like a bead, except the hole is not centred but rather runs horizontally at the top of the stone (or its vertical axis).

Small Stones Settings

These settings make the gems look larger than they actually are. Since smaller gems both weigh less and cost less per carat, this is an affordable way to get additional sparkle for your budget.

Splitting

Or cleaving, a difficult rather secret knack of hitting or shearing the stone with a fine chisel and small hammer so that it falls apart according to the crystal growth structure. Freezing is often employed, sometimes followed by hot water immersion and screw drivers used to coerce the stone which has been incised with a blade along the fully exposed opal vein.

Arising out of the ashes of the goth, punk and industrial movements, ‘Steampunk’ takes cues from the Victorian era, and speculates on how the world would be different if steam power had become the driving force behind our culture. Authors Jules Verne and H.G.Wells are important influences on its fashions which have an obsession with time; clock parts, keys and gears are often used in the construction of steampunk jewels. Steampunk jewellery is usually hand-made and never mass-produced; it often has a salvaged dark appearance. Favoured metals are brass, bronze, copper and dark silvers such as gunmetal, brushed aluminium and titanium.

Sterling Silver

Stick Pin

Pins are used in people's hair, in hats, and lapels. They run from plain to highly decorated. Clutches are used on the end, for safety and comfort.

There are pendants, lockets and picture frames, ready to add a pin to wear as a brooch, or hang from a chain.

Lapel Button

Dress Pin

Cloak Pin

Styles & Eras:

Rococo Jewellery

Art Deco Jewellery

Tutti Frutti Jewellery

Modern Jewellery

Post Modern Jewellery

Talisman

see Amulet

Tension setting

A "tension setting" uses the metal's natural tendency to "spring" back to its original position to hold the stone in place. The metal is spread apart, and the girdle of the stone is seated into small grooves in the inside surface of the metal. This type of setting requires special alloys of metal that are strong enough to create and withstand the necessary pressure to hold the stone firmly. Tension settings are only appropriate for very hard stones (Hardness of 9 to 10: diamond, ruby, sapphire, cz or moissanite) as the setting can exert up to 12,000 lbs. of pressure per square inch on the stone's girdle.

The tension-setting was developed in the 1960s by Professor Friedrich Becker of Niessing in Vreden, Germany.

Textured Metal Finishes

texture

textured gold

hammering

acid etching

Faceted Gold

Tiara

Tiaras were a royal Persian headdress, also worn by the Greeks and Romans.
A decorative jeweled or flowered headband or semicircle for formal wear by women.

Also a 3-tiered crown worn by the Pope.

The 'Oriental Circlet' was originally set with Opals by Prince Albert for Queen Victoria. It was later altered by Queen Alexandra and reset with rubies.

Tie Pin

Tie tacks have posts, clutches, and chains. Cravat pins and Tie clips are engraved, have gems or designs on the front.

Tiffany Settings

Early in the last century, the famous jeweler Tiffany came up with a new setting. This holds the gemstone higher, allowing more light in the gem and showing it off to greater advantage. It has become very popular and carries his name.

Titanium

A metallic element discovered in 1789, and used principally in aerospace technology. Now favoured by some jewellers for the subtle and attractive range of colours it acquires when heated. It is also lightweight and durable.

Touchstone

Aka Touchpiece, A coin formerly given by a British sovereign to a sick person whom he touched to heal them of scrofula or the King's evil and sometimes suspended personally by the soverign around the recipients neck. It was regarded as an amulet, the magic power of which was supposed to be derived from the power of the King's touch to cure the ailment. Often gemstone afficionado's and Opal miners will have a special keepsake which they carry on them to admire and be admired, sometimes like Jerry Doktor's Rose it may have healing powers if not soothing tones.

Toughness

Each mineral has a characteristic toughness or its resistance to cleavage and fracture.

Translucent

Transparent

Tutti Frutti

Meaning "all fruits" in Italian, refers to a style of (vintage) jewellery set with numerous multi-coloured gemstones, mostly cabochons or carved stones in the shape of flowers, berries and leaves, often in a basket design. The term applies to the stone itself. Designers who employed this style were Verdura, Cartier and Seaman Schepps among others. Early examples date back to the 1930's however the style had its heyday in the 1970's. Opal continues to play a significant role in the Tutti Frutti repertoire.

Vanity Case

Such accesories are often set as jewels and may take themore specific form of lipstick casses or powder compacts.

Vermeil

A silver of varying degrees of fineness covered with a thin layer of gold. Gilded by different methods including electrolysis.

Vinaigrette

A small pierced receptacle or decorative box containing a sachet with scented vinegar. Formerly carried by fashionable ladies to ward off faintness. The usual type was globular or cuff-shaped, made of gold , silver, porcelain, with a metal grille under the stopper or hinged lid to hold a sponge saturated with the scented substance. Often they had an attached chain so as to be suspended from a bracelet, neck chain, chatelaine or finger ring. Made in France, Switzerland and England.

Virtuous Stone

Aka Apostles' Stones

Any gemstone that was formerly regarded as having protective or curative powers, either medically or psychologically, by reason of its alleged magical powers as a stone, without regard to the stone being a precious or even rare stone or to the setting. Various stones  were considered to be efficacious against certain specific ailments or types of accident. Such beliefs were prevalent during the Middle Ages.

Vitreous

Having the lustre of a piece of broken glass, this is commonly seen in quartz, Opal and other non-metallic minerals.

Watch Case

Wire Jewellery

Wirework mesh jewellery

Wrap Tite

Related to the bezel setting is a thing called a wrap-tite. These go around a stone's girdle and have a loop for an attachment. They are used in necklaces and bracelets.

Sources & Image Credits:

AN ILLUSTRATED DICTIONARY OF JEWELRY, Harold Newman, 1990.

Wikipedia

Donald Clark CSM

www.thefreedictionary.com

CROWN JEWELS OF IRAN, V.B.Meen & A.D. Tushingham, 1968.

JEWELLERY SOURCE BOOK, Diana Scarisbrick, 1998.

Photo © The Khalili Collection, London

www.khulsey.com/jewelry/jewelry_history_pre-columbian.html

Baer
Baer Jewels was established in 1988 as an atelier in Hong Kong, Peter and his wife Doris’ duplex showroom and workshop is a unique concept in the heart of Central. Peter Baer is an award-winning designer who apprenticed in his native Switzerland and studied gemmology in Germany, he held design and management positions with leading companies in both Europe and Hong Kong before going independent. Baer jewels are distinctively modern, combining geometric and sculptural lines which evoke a certain architectural quality. Baer use only the finest quality metals and gemstones, including jade, pearls and Opals. Each creation carries the hallmark ‘baerjewels’ with an embedded diamond as a testimony of authenticity and guarantee of superb craftsmanship. www.baerjewels.com

Blennerhassett
Susan Blennerhassett is a renowned national and international award winning jeweller, co-owner with husband John of Blennerhassett Fine Jewellers in Western Australia. Since her apprenticeship 28 years ago, a major part of her training involved working with Opals, their uniqueness, fiery colours and free-form shapes inspired a passion for working with Australia's National Gemstone. This enthusiasm remains with Susan today, client’s commissions to design have led to her most creative pieces featuring the naturally playful colours in Opals enhanced by diamonds and coloured stones. www.blennerhassett.com.au

Katey Brunini
Brunini was raised in a small beach community just north of San Diego where she is now based. At twenty Katey graduated Bachelor of Arts in History from University of California Santa Barbara. Shortly thereafter she left for Europe and North Africa discovering her passion for jewelry in Egypt. A seminar in haute couture design in London followed by the GIA and various apprenticeships with master jewelers culminated in four years as custom designer for J. Jessops and Sons of Southern California. Katey’s gypsy lifestyle led to her Italian roots, in  Sicily she was taught high-karat gold work and ancient techniques by master goldsmiths. K. Brunini jewelry designs was established in 1988. The imaginings of her travels are a constant inspiration of her raw yet refined elegance, a fondness of nature is reflected in her use of organic gems; carved bone, wood and antlers. Her collections include; Twig, Vertebrae, Spider Web, Objects Organique and Spirit Animals; and can be seen in Vogue, Harper’s Bazaar, W, Allure, Town & Country, Elle and Conde Nast Traveler. Brunini creates marvelous Boulder Opal rings often layered with yellow or rose gold fretwork over a silver shank. www.kbrunini.com

Buccellati
Mario Buccellati opened his first shop in Milan in 1919. In the following years he made jewelry for the royal families of Italy, Spain and Egypt, as well as Pope Pius XI and Pope Pius XII, among others. In 1925 he opened in Rome followed by Florence in 1929 and New York in 1953. In 1965 the founder's three sons, all goldsmiths, reformed the company to preserve the Buccellati style. According to the company's creative director and daughter of Gianmaria, as a child she sometimes played with the rare Opal egg which years later was on show at the Smithsonian, now netted in diamonds. Under the leadership of Gianmaria Buccellati and his children Maria Christina, Andrea and Gino, 70 Italian craftspeople create personalised jewels featuring texture-engraved gold  Their unique artistry can be enjoyed in exclusive boutiques in Milan, Sardinia, Paris, New York, and Beverly Hills, as well as franchises in Venice, Capri, Elba, Hong Kong, Tokyo, and Osaka. The firm in the United States is known as Buccellati. But because of the other brothers Lorenzo and Federico's shops in Europe, Gianmaria's European boutiques are called Gianmaria Buccellati. www.buccellati.com

J.E. Caldwell
In 1839, James Emmott Caldwell, a New York City trained jeweler, began to supply wealthy Philadelphians with stylish European jewelry, silver, and objets d'art.  Business soon flourished and over several decades, the store moved to more fashionable premises in Chestnut Street also changing owners several times. In 1868, the firm was officially established as J.E. Caldwell and Co.and towards the end of the nineteenth century, the firm began to hand fabricate beautiful gem-set jewels which are heralded among the finest examples of American Art Nouveau and Art Deco jewelery. Caldwell were 'the' jeweler to the establishment in the city of brotherly love, their clientele consisting mostly of married and conservative people. Around the turn of the century, finely chased surfaces, were combined with unusual gemstones such as Opals, complimented with typical Nouveau motifs: curvaceous women, vines, garlands, flowers, and insects. Throughout the 1920’s, the firm produced fine pieces of Art Deco jewelry, now well sought after by collectors. The company’s tradition of using fine Opals continued into the Deco period, and beyond, whereas Opal was no longer the gemstone of choice in the new era. J.E. Caldwell continues to offer high quality jewels according to the current styles. www.jecaldwell.com

Cartier
In 1847 Louis-Francois Cartier founded his business, in Paris, joined by his son Alfred. During the Art Deco era grandsons Louis, Pierre, and Jean-Jacques took over, opening salons in Paris, London and New York. They parlayed the company's distinctive oriental-influenced style, diamond set platinum jewels and technical excellence into a famous worldwide empire. In 1972, a private investment group bought Cartier Paris. A separate boutique product line named 'Les Must de Cartier' was developed at the time to appeal to the public at large. The merger of "Cartier" and "Les Must de Cartier" took place in 1981. In 1983 Eric Naussbaum began attending auctions worldwide to build the Cartier Collection, which now constitutes a priceless record of this amazing House's creativity. Several important pieces in the collection, dating from the 1930's to the 1960s', reveal an affinity with Opal had by the London firm ran by Jean-Jacques Cartier. In 1993 Cartier became a part of  Richemont's Vendôme Luxury Group. Cartier's current creative director Jacqueline Karachi-Lagane is clearly sympathetic: "The Opal is poetic. Imagine a lake. All the colours are reflected by moonlight. This is what the Opal is to me. It is like fireworks." www.cartier.com

Wallace Chan
Born in China into a traditional Chinese cultural environment, Wallace completed rigorous training as an ivory sculptor and studied art at university. A self-taught person by nature, in the mid 1980’s he invented the so called "Wallace Cut," an image-carving and reflecting technique incorporating elements of cameo, intaglio and gem faceting. A rich practical knowledge of metallurgy and machinery lead him to combine different kinds of gems, like Opals, and various metals which resist a creative idea because they are not easily combinable, he “marries” them until they are melted or cast into a unity. Creative influences include traditional art realism, Buddhist art and Greco-Roman mythic motifs. Particularly renowned by collectors in Hong Kong, China, Japan, Singapore, Taiwan, and Germany where his works are available in selected venues. 1987 winner of the Hong Kong Jewellery Design Grand Award. Chan’s Motto: Nature conceives, I complete. www.wallace-chan.com

Chaumet
Originally founded in 1780 by Marie-Etienne Nitot, as Nitot & Sons, the firm became the official jeweler to Napoleon’s court. Among their achievements were the Consular sword, the tiara of Pius VIIand the grand gemstone parures, including Opal sets, ordered by the Empresses Jospehine and Marie-Louise. Joseph Chaumet, joined the firm by marriage in the mid 1870s, assuming corporate leadership in 1885, he later renamed the firm. Joseph Chaumet's creativity and naturalistic approach created romantic jewels catapulting him to the pinnacle of Belle Epoque design. Chaumet served as the jeweler to many of the royal houses of Europeand won numerous awards at international exhibitions, aigrettes and tiaras became the company's signature items. Through the 1960s and 1970s, Chaumet's animal and flower jewels were prominent. The firm expanded its market share introducing watch designs. Now owned by LVMH Louis Vuitton Moët Hennessy, Chaumet has numerous boutiques across the globe.  www.chaumet.com

Christian Dior
Founded in Paris in 1946 and now owned by LVMH. As the newest entrant to fine jewellery creation of the famed Parisian luxury brands Dior has been fond of the fashionable palette of colours found in Opal. Creative director Victoire de Castellane is enamoured of Opals and the value equation of size and colour Opals offer. Opals and coloured stones of all types are preferred for use in the portrayal of extravagant nature inspired designs and huge cocktail rings. “Opal is particularly hard to work with, because it’s very fragile. In my opinion, the opal is magical, because it contains all colours. I love the fact that it is alive and full of water. There is a superstition around this stone that originated from a time when people in the workshops had to pay for these very fragile stones when they were broken. So they gave the opal a bad reputation in order to avoid working with them!” De Castellane says with a laugh.
www.diorjoaillerie.com

A. Dragsted
Established 1854 in Copenhagen. Jewellers to the Royal Court of Denmark and Greece, and to the Imperial Court of Russia. Presented at numerous exhibitions over several generations.

www.a.dragsted.aok.dk

Etta
Etta B.Goodstein found her calling as a teenager in 1968, attending her first silversmith class in high school. She began her working career as a freelance silversmith on Charles Street Boston, in 1970. From there life took her to the Communes in New Hampshire where she evolved as a character and an artist. In 1972, Etta established her own retail studio and began the journey which has taken her around the world in search of the colourful gemstones that adorn her unique jewelry, sculpture, and wearable art creations. Etta is a venerated member of her West Dennis community in the Cape Cod area. Etta has a long history of activism with respect to the environment and in political leadership as an active member of the Democratic Party. ‘Jewelry by Etta’ is entwined with natural color changing gemstones; tourmalines, Australian pink and champagne diamonds and especially Australian Opals crafted in karat gold or sterling silver. A passion for ethical and organically engaging gems, particularly Boulder Opals, is shared by her clients whose families (including the Kennedy clan) cherish them as heirlooms. www.jewelrybyetta.com

Fouquet
A family business founded by Alphonse Fouquet (1828-1911), spanned three generations, as his son Georges and later, grandson Jean worked tirelessly creating classic Art Nouveau designs. Georges' work rivaled that of Lalique; although Georges Fouquet is considered more versatile. Georges collaboration with artist Alfonse Mucha, in 1900, created spectacular plique-a-jour enamel designs. Their collaborative effort on an Opal inlaid serpent bracelet created for actress Sarah Bernhardt solidified their place in jewelry history. Georges worked alongside his son throughout the Art Deco era until the mid 1930s, when the company closed its doors.

Garrard
The Crown jewellers established in 1735. Descending from George Wickes the famous 18th century silversmith in the Haymarket. In 1802 the Garrard family name was cemented when Robert Garrard Snr took control. The company became one of the leading British silversmiths and maintained a silver and jewel factory as well as a shop in Albemarle street, making many British and foreign crown jewels. Prince Albert commissioned numerous Opal jewels by Garrard often providing the designs himself. In 1952 the company was acquired and moved to 112 Regent Street. In 1961 Garrard won first prize in the DeBeers Jewellery competition. Although later merged the company encountered difficulties during WWII and discontinued in 1963. The year 2002 heralded a dynamic re-launch of Garrard onto the international stage.

Giuliano
Carlo Giuliano (1831-1895) moved with his family from Italy to Englandin the mid 19th century, where he began to make granulated gold jewelry in the ancient Greek and Roman style. This style was popular at the time and his contemporaries the Castellani family were also based in London. Giuliano’s workshop was in his name after 1860 and in 1874 he opened a retail shop with his son under the name Carlo and Arthur Giuliano. By the 1870s, archaeological-style jewelry had lost much of its appeal, and the Renaissance style was capturing attention. Rather than replicate Renaissance jewelry, Giuliano sensitively interpreted it to suit late 19th century taste and the company blossomed. Precise enameling and careful attention to detail mark truly original designs. Giuliano’s superb yet understated pieces were enriched with a modest combination of gems including cabochon Opals. Patrons included Queen Victoriaand the Prince of Wales. Collaborations with Castellani and artist Edward Burne-Jones, a leader of the Aesthetic movement, resulted in a successful range of designs. Collectors and connoisseurs alike seek out Giuliano jewelry, the pieces are still fresh and feel heavy compared with other Victorian pieces, because Giuliano worked only in solid gold.

Grima
Andrew Grima (1921-2007) was born in Rome of an Italian mother and Maltese embroidery designer father, his family moved to London when he was a child. There he would later establish himself as one of the most prominent jewellers of his era, helping to revolutionise modern jewellery. He changed the tastes of the buying public accustomed to trinkets worn by their parents. Having studied engineering, an interest in structural aspects and the experimentation of new techniques informs his works, as does his willingness to compete with industrial production. The ability to combine manufacturing requirements with the aesthetics of the jewel is the underlying theme of his work. Grima made watches-jewels for Omega, where the focus on mechanics generated precious and futuristic textures. Andrew Grima developed the contemporary trend for texture and abstract (organic and rough-hewn) shapes and even the use of objet trouvés. Grima was the first modern, living jeweller since the likes of Cartier, Boucheron, Chaumet and Van Cleef & Arpels, to open stores in New York, Sydney and Tokyo, reaching his zenith in the 1960s and 70s, when he won an amazing 11 De Beers Diamond International Design Awards. The British royal family bought his jewels both for themselves and as State gifts.

Giulians
Established in 1966 by Ivan Vortuni, the House of Giulians' iconic George Street showroom in Sydney is world renowned for impeccable service and one of the finest collections of Australian precious gemstones. Over the years Giulians has served numerous famous clients including entertainment superstar Michael Jackson. Giulians is a family run company specialising in the  highest quality Australian opals, South Sea Pearls and Pink Diamonds. All jewellery is designed and handcrafted exclusively by their own in house designers and jewelers, overseen by award winning jeweler Gary Coffey. www.giulians.com.au

Guild of Handicraft
Charles Ashbee established the Guild of Handicraft in 1888 in order to develop techniques and aesthetics in jewellery, as well as in furniture and metalwork. Ashbee who was inspired by John Ruskin’s writings and William Morris’s work, started his career as an architect and was one of the first designers in the Arts and Crafts Movement to experiment with jewellery. C.R.Ashbee collaborated with other British jewellers, including John Paul Cooper to produce a range of items including belt or waist buckles, clasps, hatpins, pendants and brooches. Fine craftsmanship and ideologies of the medieval period inspired their work, including the use of naturally hewn stones such as split faces of Boulder Opal. It was essentially a reaction to the shoddy machine-made goods that had been created by industrialization in the late eighteenth and nineteenth centuries. Despite being the main inspiration for the Wiener Werkstatte and the fact that their designs were much copied by Liberty & Co., the Guild went into voluntary liquidation in 1907.

Oscar Heyman
Founded in 1912, this New York based manufacturer of the very finest precious gemstone jewelry is one of only a handful of family-owned workshops still dedicated to European-style craftsmanship and "by hand" fabrication. The family of six brothers and three sisters emigrated from Latvia in the early 1900's. Having apprenticed at a Faberge workshop in Russia, two of the brothers had extensive experience with platinum, a new metal at that time. Another brother was skilled at tool making. Together, they were able to establish a self-contained company where quality could be monitored at all stages. In time, the firm manufactured and supplied jewelry for the most prestigious American jewelry houses of the 1930s. Flower brooches became the company's signature item. Their magnificent creations are often purposely unstamped as a discretion to their trade customers and may require specialist authentication. The tradition continues as the family owned and operated company makes its own tools, alloys its own platinum and gold, selecting the finest gems, amongst them the most magnificent Black Opals, from which they design and create jewels for the most discerning clientele. Oscar Heyman is a preferred supplier and a key source for the finest retail jewelers worldwide.

www.oscarheyman.com

Iskenderian
John or Isky as he is known to his many friends within the Australian trade established himself in 1963 and comes from an Armenian family of jewellers who traded in Jerusalem. Winner of numerous awards, the De Beers Award in 1985, he counts President Bill Clinton as a client. To mark the birth of little Prince Christian of Denmark born in October, and whose birthstone is Opal, the Jewellers Association on behalf of the Australian people presented a Boulder Opal pendant encased in gold to HRH Crown Princess Mary and a set of custom made Opal and gold cuff links to HRH Crown Prince Frederik on the 6 August 2006 at Fredensborg Palace. These jewels were both superbly crafted by Mr. John Iskenderian of Sydney.

Georg Jensen
In 1904 Danish sculptor Georg Jensen founded his silversmith business in Copenhagen.His unique designs embrace elegant lines, organic motifs and simplicity of form that made him a commercial success. Not tied to one artistic arena, Georg Jensen created masterful works in jewelry, cutlery and hollowware. His brightly polished creations, both pure and timeless, encompassed Art Nouveau and Avant-Garde styles. Georg Arthur Jensen died in 1935, his legacy is that of one of the most influential silversmiths of the 20th century, his extraordinary vision lives on; The privately held company continues to cultivate new design talent and produces fine jewelry, watches, gift items and cutlery in gold, sterling silver, stainless steel and precious gems. Georg Jensen is a global luxury brand with 1000 employees, present in more than 12 countries, through an international retail network of more than 100 stores. www.georgjensen.com

Kaufmann de Suisse
Founded in 1954 by Swiss master goldsmith and jeweller E. Pius Kaufmann in Montreal Quebec. Best known for his Art Nouveau inspired "flowing lines” collection, combining softly curving strands of 18K gold or platinum with diamonds, this signature series is renowned for its simplicity and technical achievement. Kaufmann de Suisse has built a reputation for rare and important gemstones set within this distinct style. This elite jeweller has long maintained a permanent Opal collection, masterfully selecting and crafting only the finest Australian Opals. Joined by his sons and later daughter Moneca, the family-run company now operates three luxury jewellery boutiques; in Montreal, Quebec; Madison Ave New York City, and Palm Beach, Florida. Exclusively available in their stores, every piece of jewellery is hand made, signed and numbered to give it lasting integrity. Winners of six Diamonds International Awards, this is one of the few jewellery houses to create made-to-order designs in-house by their own traditional European style workshops. www.kaufmanndesuisse.ca

Liberty & Co.
Established by Arthur Lasenby Liberty in 1875, the luxury department store on London’s Regent Streetbegan selling ornaments, fabric and objets d'art from Japan and the East. The iconic Liberty fabrics were used for both clothing and furnishings. Arthur L. Liberty intended to change the look of fashion and this extended to jewellery, which had first been imported from Germany. Immediate success justified the development of a range of fabrics and jewellery for the company’s aspiring middle class clientele. Liberty employed numerous, mainly unknown English artist designers, and by 1901, had invested significantly in machine mass production. Archibald Knox was the major force behind Liberty & Co.’s jewellery design. Due to Knox, the Celtic Revival of Liberty & Co., was for a short time to exemplify English Art Nouveau to such an extent that in Italy, the style became known as the Stile Liberty. Liberty & Co. was prolific in the production of Opal encrusted jewellery in both silver and gold, prominently set in pendants and necklaces. Numerous silverware objet d’art including cultlery sets, vases and cigar boxes were lavished with Opals as well as agates, turquoise, pearls and enamel. The Liberty department store, brand-name and design archives belong to MWB Group Holdings plc, founded by Richard Balfour-Lynn and listed on the London Stock Exchange. www.liberty.co.uk

Mac
Ian (Mac) Macarthur began his career in the jewellery business working as a store hand for Dunklings jewellers of Melbourne, soon after leaving school. Mac is a specialised Opal jeweller who has perfected his techniques over 40 years. Having competed in the Designer Jewellery Competition at the annual Yowah Opal Festival since it started in 1997 Mac has won numerous awards. A quintessential Yowah Opal advocate, Mac is passionately taken by his eternal feature gemstone. Combining exotic native leathers with artistic lapidary and wholistic jewellery design he creates adventurous opal-laden objet, from breastplates to pocketknives. In the early 1990’s Mac Art Jewellery was established as a studio/gallery in the picturesque town of Bellingen on the New South Wales coast. www.macsopals.com

Marchak
Joseph Marchak established his firm in 1878. Known as the 'Cartier of Kiev', Marchak was a household name in Russia, he and his contemporary Faberge were the appointed jewellers to the Romanov Tsars. His son Alexander Marchak immigrated to Paris from Russia at the start of the Russian Revolution, rising to prominence during the Art Deco period, having exhibited at the 1925 Paris Exhibition of Decorative Arts. Favourite themes were birds and floral sprays, all highly romanticized and decorated in the most colourful precious and semi-precious gemstones including Opals. www.marchak.fr

Mauboussin
It was Paris1827, the year when the House of Mauboussin opened. The firm specialized in highly stylized architectural jewels set with precious gems of vibrant hue, often Opals, accented by sparkling white diamonds. They exhibited at the 1925 International Exhibition des Arts Decoratifs in Paris, and won the grand prize. Georges Mauboussin believed that jewelry should reflect the wearer's personality with a jeweled accent. Its Reflection series struck a chord with socialites and celebrities, such as Marlene Dietrich, who flocked to Mauboussin. The company opened offices in Buenos Aires and London prior to New York, in 1929. The ill-timed opening of their New York branch coincided with the stock market crash the same year. A weakened Mauboussin merged with Trabert & Hoeffer, Inc.

Piaget

Founded by Georges Edouard Piaget in 1874, who produced highly precise mechanical clock movements in his workshop on the family farm in the Jura mountains of Switzerland. Grandsons Gerald and Valentin registered the brand and expanded it geographically. The small village of Cote-aux-Fees became the centre of new developments in the field of ultra-thin mechanical movements, with a new workshop built in 1945. Defining moments include the sensational 1964 launch of ‘Gemstone faced’ watches, the ‘Cuff’ watch and in 1976 developed the worlds smallest quartz movement. Under the guidance of Yves Piaget since 1980, Piaget has a dozen boutiques around the world and numerous prestige outlets purvey the firm's jewelry and watches. Piaget use only the finest quality rough crystal Opal to make exclusive one-piece Opal faced watches.www.piaget.com

Leon Parry
Leon was apprenticed at Hardy Brothers in Melbourne, where he spent 10 years. He worked in Sydney, several years in Tasmania and later settled in Townsville spending 14 years there as a manufacturing jeweller. Leon and his family made a life change in 2008, moving to the small outback town of Winton in Queensland. Smitten with the local gemstone Leon soon acquired his own Boulder Opal mine, where he loves to take refuge, relax and be inspired. Winner of the professional category at the Queensland Boulder Opal Jewellery Awards in 2007, 2008 and 2009. He was a finalist in the 2006 JAA Design Awards. Determination payed off with a win in the opal category of the Jewellery Association of Australia 2010 Design Awards. Leon and wife Tracy are active members of the Boulder Opal Association, both are great advocates for the gem and industry. Leon's contemporary compositions are characterised by fine craftmanship and innovative use of new and exciting materials. He prefers freeform Opals and exciting shapes accentuated by different textures and coloured golds; green, yellow, pink.

Rachi
Miwako and Sumihiro Rachi are Tokyo based jewellery artisans. Engaged in the jewellery industry since 1974, they set up studio “Melpool” in 1989 and a showroom in 1997. Part of an elite group of celebrated Japanese designers, Rachi draw their inspiration from the Baroque & Rococo periods and the romanticism of Florence, Rome and Vienna. Particularly fond of blue-green Boulder Opals, which often form the centrepiece of Rachi's compositions.

Scavia
Established in 1923 as a goldsmith’s workshop in Milan by Domenico and Sara Scavia. Today, Fulvio Maria Scavia is the driving force behind this emerging Italian luxury group, encompassing the fine jewelry brand and a very personal concept of elegance expressed through a collection of precious accessories. Scavia’s unmistakeable style is characterized by the use of bold gemstones and colourful compositions. The creations are skillfully handcrafted from designs which are aesthetically researched and timeless. Scavia operate branded stores in Milan, Bangkok, Tokyo and Moscow. www.scavia.it

Nicholas Varney
Born into a New York society family, his father was famed interior designer Carleton Varney and his mother textile designer Suzanne Varney, who traveled extensively together with Nicholas from an early age. Having grown up surrounded by inspired design and educated in some of New York’s finest schools he came to associate jewelry with “love, travel, excitement and happiness”. Coveted in the pages of Vogue, W, New York Times and the Robb Report, Nicholas Varney’s jewelry attracts the attention of private clients, exclusive jewelers and galleries such as Bergdorf Goodman. Known for his artistic use of gems, Opal is an all-time favourite in his pursuit of the world's rarest and most beautiful stones. Often compared to miniature sculptures of museum quality, Varney’s works of art are worthy of being displayed as objects de virtu, better still they are very wearable. Varney says he strives to combine the “bravado of bold American designers such as David Webb and Tony Duquette with fine European craftsmanship.”  www.nicholasvarneyjewels.com

Vever
The family firm Vever was founded in Paris in 1821. When grandson Henri Vever (1854-1943) took control of the company he was already a distinguished jeweler, writer, and art collector. Vever's artistic approach and his use of enamel was often likened to that of Rene Lalique, and he too was enamoured of Opals. Henri Vever is particularly noted for expertly inlay setting Opals into his lavish creations. The House of Vever accomplished their greatest work during the Art Nouveau period with the highlight being the 1900 Paris Exposition. Maison Vever continued to make fabulous jewelry and objects d'art through the Art Deco era.

Wartski
Founded in North Wales in 1865 by Morris Wartski. In 1907 two shops were established in the fashionable seaside resort of Llandudno. Business thrived for Wartski under the patronage of King Edward VII and a colourful clientele including Bing Crosby, Jackie O and the Marquis of Anglesey aka. the 'dancing Marquis' who had a penchant for emerald-set ping-pong shirts. Wartski opened premises on Regent Street and has moved shop to Grafton Street in London. Chairman Nicholas Snowman, maternal great-grandson of the founder, continues to support the firm's welcoming and scholarly traditions. Wartski is a family owned firm of antique dealers, specialising in fine jewellery, Silver and Russian works of art, including Faberge. www.wartski.com

Wiener Werkstätte
Members of the artists’ association ‘Secession’ and Vienna’s Kunstgewerbeschule, (College of Arts and Crafts), founded the Wiener Werkstätte (Vienna Workshop) in 1903. The workshop brought together architects, artists and designers whose first commitment was to design art which would be accessible to everyone. Clientele were mostly artists and the open-minded, progressive and financially well-to-do upper middle class, not the masses. As well as jewellery, leather goods, enamel, postcards, ceramics & clothing the Wiener Werkstätte even had a hat department – in line with the spirit of art as a holistic concept. Protagonist Josef Hoffmann and his main collaborator Koloman Moser created a geometric style whose functional simplicity anticipates later modernism and has influenced the work of many of today's leading designers and architects. Leading names of the period, such as Gustav Klimt, Oskar Kokoschka, Egon Schiele, Dagobert Peche, Otto Prutscher, Ernst Lichtblau and Josef Frank created works for the brand. Many of the jewels and metal objects produced were gem-set, often liberally with Opals, and cabouchon coloured stones were preferred. The creations were stamped with three different hallmarks, the trademark of the Wiener Werkstätte, the monogram of the designer and that of the craftsman. The Wiener Werkstätte had 100 employees in 1905, of whom 37 were masters of their trade. Though for a time the products enjoyed tremendous commercial success, which led to the establishment of sales outlets in Karlsbad, Marienbad, Zurich, New York and Berlin, the Wiener Werkstätte went into liquidation in 1932.

Harry Winston
Harry Winston first opened shop on New York City's 5th Avenue in 1932. Renowned for having possessed, cut or re-cut many of the world's most spectacular diamonds, Winston generously donated important gemstones and jewels to the Smithsonian museum; Amongst them the Oppenheimer, the Hope, the Portuguese diamond and the Peacock Black Opal brooch. “If I could, I would attach the diamonds directly onto a woman’s skin.” Winston celebrated magnificent stones and was passionate about adorning women with them. Rather than the precious metal shaping his designs, Harry Winston was consumed with the possibility of individual stones. His was a legendary approach with vastly modern results. Harry Winston died in 1978. The business continues to operate in select cities across the World.

Wolfers Frères
Philippe Wolfers (1858-1929) trained in the Brussels workshop of his father, master goldsmith Louis Wolfers. The famous Belgian jeweller, sculptor and glassware designer played an important role in the development of Art Nouveau locally and abroad. Early influences were the Rococo Revival and Japanese art and naturalism. By the 1880's, Philippe was the artistic director and designer of the family workshop: Wolfers Frères. He began to create jewellery that was of a sinuous and sensual nature; often curved and decorated with asymmetrically distributed floral motifs. Wolfers’ outstanding creations were well received at the Exposition Internationale Antwerp in 1894 and at the Exposition Internationale Brussels in 1897. Wolfers' success was immediate and resulted in the opening of branches in Antwerp, Liège, Ghent, Düsseldorf, London and Paris. Encouraged by this success Philippe committed Wolfers Frères to the Art Nouveau style. Wolfers exhibited at the Munich Secession 1898-1899 and in 1900 showed an important collection of his jewellery at the Paris Salon. In 1902 he exhibited at the Esposizione Internazionale d'Arte Decorativa in Turin. Inspired by the Symbolism Movement’s dream-like themes, he plied chased gold or silver with ivory, pearls, rubies, diamonds, Opal or enamel to create luxuriant jewels. Pendants, brooches, belt buckles and hair ornaments decorated with floral, animal and natural designs, sensual female forms, with fluid symbolic ornaments. The House of Wolfers Frères closed their doors in 1975.

Yoshiko Yamamoto
Born in Kobe Japan Yamamoto moved to USA in 1968 to attend the School of the Museum of Fine Arts in Boston.  She remained in Boston, initially working with Miye Matsukata at Janiye atelier and gallery until his death in 1981. Opals, especially Boulder Opals emerged as her stone of choice during the 1980’s and they remain a definite favourite. Yamamoto prefers Boulder Opal because of its natural, organic appearance; she views the brownish matrix as a “part of the earth…alive with passionate colour.” Yamamoto’s creations are characterised by a preference for high Karat gold incorporating 18K, 22K, and 24K with matt and etched finishes applied, providing a modern twist on the ancient art of textured gold. Throughout her 35 year career the shape of the stone has informed the design and geometry has been a recurring theme of Yoshiko Yamamoto’s ever evolving and experimental compositions.

Sources & Image Credits:

AMAZING CARTIER: JEWELLERY DESIGN SINCE 1937, Nadine Coleno, 2009.

Article on Rex Steele Merten: ‘Diamond Life’ by Wendy Sheather, Audi Magazine Australia, Issue 2, 2004

www.departures.com/articles/bewitched-bothered-and-buccellatid

Heritage Auction House Jewelers article

Christie's Jewelry Collecting Guide: Master Jewelers

professionaljeweler.com/archives/articles/2001/jan01/0101v.html (Giuliano)

Sondra Schneider – writes of Nicholas Varney in Aspen Peak Magazine

Nicholas Varney quoted from Robb Report: Rising Stars

PIAGET WATCHES & WONDERS SINCE 1874, Franco Cologni, Giampiero Negretti & Franco Nencini, 1994.

PAUL FLATO : JEWELLER TO THE STARS, Elizabeth Irvine Bray, 2010.

THE WOLFERS DYNASTY: FROM ART NOUVEAU TO ART DECO, Werner Adriaenssens & Raf Steela,

Paloma Picasso interview with Susan Skelly, QANTAS Magazine February 2010

QUIET RIPPLES: THE CREATIVE JOURNEY OF YOSHIKO YAMAMOTO, Yvonne Markowitz, 2009.

YARD: THE LIFE & MAGNIFICENT JEWELRY OF RAYMOND C. YARD, Natasha Kuzmanovic, 2007.

http://solitaire.com.sg/magazine/story2.html (Grima)

Dior, De Castellane quote courtesy of solitaire.com.sg

www.hancocks-london.com/acatalog/jean_justin_dusausoy.htm

Cartier’s creative director Jacqueline Karachi-Langane, quoted in QANTAS magazine, Special Report: Australian Luxury Goods, April 2011, Helen Pitt.

EYE OF THE BEHOLDER: A LIFE IN JEWELLERY, Barbara Gasch, Cree Marshall & Otto Rogge(photographer), 2005.

Gillian Fulloon, 'Marks, Percy (1879 - 1935)', Australian Dictionary of Biography, Volume 10, 1986, pp 412-413.

www.dhub.org/articles/1373 (Percy Marks)

The Crown of the Holy Roman Empire also known as the Crown of Charlemagne was made in the 2nd half of the 10th century and now resides in Vienna at the Schatzkammer Museum of Art History. Originally set with various precious gems including the most legendary stone of Medieval Europe the 'Orphanus' Opal as referred to by Albertus Magnus.

"They gleam at each other; the noble stone and the sweet young man, a feast for every princely eye. Those still doubting who embodies the realm may now see on whose head the topstone stands! This stone is the lodestar of all princes." Walter von der Vogelweide, 1198.

Dubbed the 'Stone of wisdom' it was thought to represent the chosen of God and to the Hohenstaufen thinking incorporated all the virtues and symbolised Christ himself. The translucent white opal with an intense red flash glowed in the dark. Around 1350 under the reign of Charles IV the Orphanus disappeared from the front panel of the crown.

The Russian Imperial Crown c.962 AD, containing Hungarian Opals is also on view at the Vienna Schatzkammer Museum in Austria.

This reliquary statue of Lady St Foy at Conques in France dates to the late 10th century. She is a wooden figure covered with sheets of gold and silver, wearing a crown and earrings decorated with granulation and filigree. Her bodice is set with numerous stones; cameos, pearls and gems. The gems including Opals are uncut stones typical of the Middle Ages.

The Sun Jewel pictured was worn by the British maritime hero Sir Francis Drake (1543-1596). At the centre of this hat jewel is a ruby engraved with an intaglio orb, surrounded by Opals within a diamond and Opal border.This is framed by straight and curved rays alternately enameled red and set with rubies. On the back of the jewel is a miniature of Elizabeth I of England (1533-1603). The orb, which is emblematic of sovereignty, may allude to Elizabeth, or to Drake’s historic circumnavigation of the world. The jewel has four loops for attachment to a hat. In total it contains twenty Opals which were much in fashion in England after 1573.

This jewelled pendant is crowned by 5 crystal Opals. A white hand grasping a laurel wreath is flanked by dragons emerging from cornucopiae all framing a crystal reliquary containing a curl of Queen Mary's dark brown hair.

Mary Stuart Queen of Scots (1542-1587), though she has not been canonised by the Catholic Church, many consider her a martyr, and there are relics of her. The pendant was a gift by Queen Mary to one of her closest supporters James Gordon ancestor of the Earls & Marquesses of Aberdeen. Ever since it has been worn by the reigning Marchioness of Aberdeen.

This lapis lazuli drinking cup sits on a stem formed by two gold dragons with Fire Opal eyes, four dolphins and a white enamelled putto. It forms part of a collection of ceremonial vessels in the treasure of the Grand Dauphin - Louis of Bourbon (1661-1711). On display at the Prado Gallery in Madrid it is reputedly the work of the Saracchi brothers, circa.1600.

This piece is important as a rare early example of the use of Opal from the newly discovered American continent.

Countess Elizabeth of Exeter (1681-1723) wore this 'Dragonfly' pin in her hair. Most likely made by a local jeweller, set with cabochon Opals, rubies, garnets and diamonds, it is enamelled on the reverse. This lovely piece now resides in the Museum of London.

Also in London, a very Black Opal of 131 carats is exhibited at the Natural History Museum.

This attractive necklace of Opals mounted in brilliants originally belonged to the Maréchale de Rochambeau. Made towards the end of the eighteenth century it is exemplary of the care and attention given to mounting Opals; imitation Opals were also made but usually in pinks and mauves which are unknown to mineralogy.

During the eighteenth century women of high rank in society were sure to include coloured stones in their list of jewels. Opals were greatly appreciated for their rare colouring and especially preferred in the demi-parures intended for daytime wearing rather than by candlelight.

This striking, gilt-bronze centre table (marble topped with a lapidary relief bouquet) originally placed in the Golden Drawing Room in the Winter Palace, the main residence of the Russian Imperial family in St. Petersburg. Commissioned for Empress Alexandra Fedorovna (1842), presented to Grand Duchess Maria Aleksandrovna, future Empress Maria (1844), sold at Bonhams for £916,000 on December 1st 2010. Reflecting the legendary opulence of the Russian Empire, the table top depicts a bouquet of flowers in a range of materials, from Opal, to coral to onyx and turquoise. This surrounded by a lapis lazuli Greek key border, the gilt-bronze surround with a frieze of cartouches, on a foliate stem and tri-form base mounted with swans, on a scrolling foliate frieze and acanthus cast feet. Exceeding the pre-sale estimate of £150,000 – 200,000 by over four times. This important historical piece was made by the Imperial Lapidary Factory in Peterhof, designed by Joseph August Satory (1803-1868), bronze mounts by Nichols and Plincke English Shop, 1842.

This Imperial presentation jewelled gold ring, was made in St Petersburg, 1856. Centred with an Opal within circular-cut diamonds, the inside of the shank engraved: 'Présenté par I.M. L'Empereur de toutes les Russies à Henry Bradbury 1857', with maker's mark A.P. or A.B. in Latin. Provenance: The engraved inscription presumably refers to the great English naturist, Henry Bradbury (1831-1860), whose work, The Ferns of Great Britain and Ireland (1855), was well-known in European Courts. Bradbury’s Opal ring was given him by the Russian Emperor under the Imperial Award System.

This stately chalice is carved from Opal matrix and the urn and several others like it are decorated with Hungarian Opals, they are on view at the Schatzkammer Museum in Vienna, Austria. Such vessels have been consecrated and used as religious objects by Roman and Byzantine aristocracy.

Other opal bearing articles worthy of mention include a collection of rings at the Schatzkammer Naturhistorisches Museum in Vienna and a necklace belonging to Princess Isabella of Hungary held at the Nemzeti Muzeum in Budapest.

At the British Museum © is an Opal cameo circa 1900 attributed to Wilhelm Schmidt an English carver of German origin. Portraying a profile head of a helmeted warrior, possibly Minerva, set in enamelled gold with a border of dots and fretwork pattern in white and blue enamel, flanked by silver leaves set with diamonds. This exquisite cameo is marked on the reverse and presented in the original case.

Schmidt carved his cameos from the newly discovered Boulder Opal variety, utilizing the matrix of the rough Opal for the ground colour and relief.

The Calouste Gulbenkian Museum in Lisbon, Portugal is the legacy of oil tycoon Calouste Gulbenkian. Gulbenkian was one of the world's richest men; he assembled during his lifetime one of the most important private collections of art, recognized by its diversity and quality. Whether it be coinage, paintings or sculpture, jewelry or ceramics, Gulbenkian acquired only masterpieces.

Calouste Gulbenkian commissioned 146 jewelled artworks by Rene Lalique between 1895-1910. Lalique’s creative imagination and his preoccupation with beauty saw him select Opals as his gemstone of choice repeatedly in dozens of these jewels. This is an unrivalled collection of works by one of the greatest figures in the history of art. Not only a representative set of the multifaceted work of Lalique, the collection is a testament to the vibrant colours, versatile qualities and mesmerizing effects of Opal.

The Cartier Collection

At the heart of the House of Cartier's heritage policy since 1989, the Cartier Collection includes more than 1,300 pieces, acquired at auction and from private individuals. The collection has been displayed in major retrospectives at internationally renowned museums. Catalogued using Cartier's own archive documents, it illustrates the changes in design styles and techniques in the Maison's creations. Several important pieces in the collection, dating from the 1930's to the 1960's, reveal an affinity with Opal.

In 1967 internationally renowned sculptor, silversmith and jewellery designer Stuart Devlin started making unique decorative Easter eggs for which he is well known; the egg he made in 1974 contained an Opal mosaic and is a renowned objet d’virtu. Devlin gifted his decoratively jewelled eggs to his patrons, Her Majesty Queen Elizabeth II amongst them.

Since ancient times the most luxurious and beauteous decorative arts and adornments have been attributed to the Persian Empire. To this day the most magnificent royal jewels in the world are the Iranian Crown Jewels housed in the Museum of the Treasury of National Iranian Jewels in Tehran. The profusion of gemstones is without match as a collection in number, size and quality. As testament to her rare yet undeniable beauty, Opal is represented in the collection by a small spray at the top of a jiqa or plume (Case 10, No.36). The piece is signed “Gebruder Wiser Wein”, and probably dates from the reign of Muhammad Shah (1834-1848), there can be little doubt that the Opals originated in the centuries-old mines of Cervenica (Hungary), now in Czechoslovakia.

The ‘Fire Queen’ or 'Dunstan’s Stone' was Lightning Ridge’s first famous gem, found in 1906 by Charlie Dunstan at the Angledool diggings north of Lightning Ridge. Weighing in at about 6.5 oz. or nearly 900 carats, this was the largest gem nobby found to date. After being originally sold for a mere £100, the stone changed hands several times, each new buyer finding it difficult to sell. Black Opal was still not well understood by the market and the industry still only in its early infancy.

The Jeweller & Watchmaker, 10 October 1949, gave the following description:

This Opal 'Parrot' is carved from a single piece of white Opal and perched in a miniature yellow gold cage. Residing in a private US collection it is one of the best examples of Fabergé's skillful lapidary workmanship.

Paulding Farnham was design director for Tiffany & Co. from 1891 until 1902. Farnham was responsible for producing a series of exquisite silverware items in a range of cultural styles:

Celtic motifs characterise the 'Viking' vase (pictured above left) studded with numerous Crystal Opal cabochons and orbs and decorated with enamels. Designed for the 1901 Pan-American Exposition in Buffalo.

Based on Navajo pottery this vase (pictured right) is embellished with Boulder Opals, turquoise and freshwater pearls. It was designed for the 1900 Paris Exposition.

A silver and ebony punch bowl with swinging handles is set with four Black Opals in the central band around its body. Completed in late 1902 it was commissioned by a client who had admired the 'Viking' vase on show in Buffalo.

An amazing silver and copper Aztec Indian bowl dates to August 31,1905. Featuring Boulder Opal matrix carved and inlaid into generous swinging handles.(pictured bottom right)

An Inkwell in the Art Nouveau mode, silver holloware featuring champlevé enamel and cabochon Boulder Opals. Made by Marcus & Company, New York, after 1900. In the collection of the Philadelphia Museum of Art having been donated by friends of the museum in 1976.

Master Jeweller Henri Vever’s “La Bretonne” pendant is amongst the most iconic of the Art Nouveau designs created at the turn of the century; it was exhibited at the 1900 Exposition Universelle in Paris and earned Vever the Grand Prix award for design.

The Bretons of France are an ethnic minority who migrated from south western Britain to north western France in the 4^th to the 6^th century, they speak Breton and are considered one of the six Celtic nations. The characteristic white bonnets or coiffes worn by Breton women were a popular subject for writers and artists during the Romantic period.

Crafted in enamel and inlaid with blue-green Opals, highlighted by diamonds, and amethysts, the pendant bears the delicate profile of a young girl wearing the traditional female headdress of Brittany, set against the background of a flowering bloom.

Sold by Christies on October 21 2009 at Rockerfeller Center in New York for $554,400, on an estimate of $400,000-600,000.

Among the many magnificent gems crafted by the great lapidaries in Idar Oberstein Germany at the turn of the last century were some marvellous solid Boulder Opal Cameos. The cameo on the left remains in the private collection of Tully C. Wollaston’s descendants in South Australia.

Idar Oberstein or Kirschweiler was an Historic Opal Cutting Center and once the richest town in Rheinland-Pfalz, if not in all Germany, courtesy of imports of the magical gem from Australia.

The Ceremonial Scissors used to cut the ribbon at the official opening of the Sydney Harbour Bridge on the 19th of March 1932 are encrusted with six striking Opals and were made by Angus & Coote jewellers of Sydney. These regal scissors were used again 60 years later to cut the ribbon at the opening ceremony of the Sydney Harbour Tunnel on the 29th of August 1992. They were again used for the opening of the Glebe Island Bridge on the 3rd of December 1995.

The 'Virgin Rainbow’ is a rare Black Crystal Opal belemnite fossil or 'pipe', it is eye-clean and 63mm in length. This incredibly luminous gem was mined at Brown's Folly (3 Mile) field by long time Coober Pedy Opal miners John Dunstan and his partner Steve Jagar, in September 2003.

The 72.65 carat gemstone featured in the four part documentary ‘Opal Fever’ for the ABC Reality Bites documentary series.

Enclosed in a thick red sandstone crust, with only a tiny tip exposed, it could easily have been missed. Luckily it was recovered with the aid of fluorescent light in the noodling machine.

Sources & Image Credits:

A FIELD GUIDE TO AUSTRALIAN OPAL, Barry O'Leary, 1977.(Ted Murphy collection of Opal pseudomorphs)

A HISTORY OF JEWELLERY: 1100-1870, Joan Evans, 1970 (2nd Ed.). (Sir Francis Drake - English fashion after 1573)

http://alaintruong.canalblog.com/ (imperial presentation ring, table, scent vessel)

AMAZING CARTIER: JEWELLERY DESIGN SINCE 1937, Nadine Coleno, 2009.

www.cartier.com/tell-me/living-heritage/patrimony/the-cartier-collection/

ANCESTRAL JEWELS, Diana Scarisbrick, 1989. ( 1.Queen Mary, 2. Cheapside hoard, 1690 Schedule at Burghley House)

A JOURNEY WITH COLOUR Vol II Part B, A HISTORY OF LIGHTNING RIDGE, Len Cram, 2004.(Dunstan's Stone)

BEAUTIFUL OPALS - AUSTRALIAS NATIONAL GEM, Len Cram, 1994.

DUBNICKY OPAL, Maros Barok & Peter Semrad, 2001.

CROWN JEWELS OF IRAN, V.B.Meen & A.D. Tushingham, 1968.

GEMS: THE WORLD'S GREATEST TREASURES & THEIR STORIES, Bernhard Graf, 2001. (Walter von der Vogelweide)

HILTON AUSTRALIA Vol.2 No.4 summer Issue 1987/88, Article: 'Opals - Australia's National Gem' by E. Gregory Sherman

HOLLYWOOD JEWELS, Penny Proddow Debra Healy & Marion Fasel, 1992.

JEWELRY 7000 YEARS, Hugh Tait (ed), 1991. (Grenville Jewel)

JEWELLERY FROM THE RENAISSANCE TO ART NOUVEAU, Claude Fregnac, 1965. (Necklace once belonging to the Maréchale de Rochambeau)

http://www.khm.at/en/treasury/highlights/gemstones-jewellery-and-commemorative-pieces/ (Egger Bros for Princess Stephanie)

LAPIDARY JOURNAL, Article 'Crown of Charlemagne', June Culp Zeitner, May 1983.

LA BRETONNE, Henri Vever:

www.christies.com/presscenter/pdf/09172009/105759.pdf

http://thejewelryloupe.com/christies-sells-fred-leighton-jewels/

LETTERS TO ERIC, Judith Smith & Dr. Alex Ritchie, 1993.

MAGNIFICENT TIFFANY SILVER, John Loring, 2001.(Paulding Farnham Vases)

OPAL - THE PHENOMENAL GEMSTONE, Lithographie, 2007. (Stephanie's Parure)

PAULDING FARNHAM TIFFANY"S LOST GENIUS, John Loring, 2000. (Tiffany's opal encrusted silver holloware)

PETER CARL FABERGE GOLDSMITH & JEWELLER TO THE RUSSIAN COURT HIS LIFE & WORK, Henry Bainbridge, 1967. (Alexandra Feodorvna and her daughters)

REDISCOVER OPALS IN AUSTRALIA, Stephen Aracic, 1999. (1.Historic Scissors used to open Sydney Harbour Bridge 2. Famous 'Galaxy' Boulder Opal)

ROYAL JEWELS; FROM CHARLEMAGNE TO THE ROMANOVS, Diana Scarisbrick, Christophe Vachaudez & Jan Walgrave, 2008. (Sir Francis Drake)

ROYAL TREASURES, Erich Steingraber, 1968. (Drinking Cup in the Prado)

THE DESIGNS OF ARCHIBALD KNOX FOR LIBERTY & CO., A.J. Tilbrook, 1995. (Cigar Box)

THE GREAT BOOK OF JEWELS, Ernst A. & Jean Heiniger, 1974.

THE FABERGE CASE, John Traina, 1998.

TIFFANY COLOURED GEMSTONES, John Loring, 2007.

TWENTY FIVE YEARS OF STUART DEVLIN IN LONDON, The Worshipful Company of Goldsmiths, 1983.

YARD: THE LIFE & MAGNIFICENT JEWELRY OF RAYMOND C. YARD, Natasha Kuzmanovic, 2007. (Yard - du Pont; Image courtesy of Southebys)

The Art Nouveau period occurred during the last two decades of the nineteenth century and into the first  two decades of the twentieth century. The term was taken from La Maison de l'Art Nouveau, a shop opened by the art dealer Siegfried Bing in Paris in 1896. Art Nouveau formed the bridge between the 19th and the 20th century and changed the jewellery industry indefinitely just as the Impressionists changed art forever after.

(pictured: Scarf clip by Georges Fouquet, sporting a lovely Yowah Nut Opal cabochon)