Necklaces

A very pretty 18ct75% pure gold (or 750 parts pure gold and 250 parts other metals) More gold neck chain with that was made circa 1900-1910. It has five sections. Each section has a three leaf clover and one has two three leaf clovers with a small naturalA natural stone is called such because it has not been subjected to any treatments.  More split pearlNatural pearls are an organic gem formed inside live mollusc shells and come in all shapes and sizes. They are formed as the result of a natural irritant within the mollusc's mantle and as a defence, layers of iridescent nacre form over the top of it, creating a pearl.  More in between. It is a delicate and very lovely looking necklace to wear. }

A very wearable and pretty necklace that was made in the 1920s. It has been set with a pear shaped aquamarineAquamarine (from the Latin, “water from the sea”) is, as the name suggests, a pale green bluish to medium dark blue member of the beryl family. Due to its lovely, limpid color and its durability aquamarine has been one of the most popular gemstones from ancient times to the present day. 7.5 - 8 on the Mohs scale. The birthstone of March and 19th year ann... More drop, with a diamondA precious, lustrous gemstone made of highly compressed carbon. Diamonds are one of the hardest materials known to mankind. Colours of diamonds range from colourless, yellow, orange and brown to almost black. Natural coloured (or ‘fancy’) diamonds can be extremely rare. The cut, colour, clarity and carat weight of a diamond are the criteria jewellers use... More above then a peridotA variety of chrysolite. It is the gem of variety of olivine. The colour is generally a warm olive or yellowish green. More above the diamond and a pale topazIt comes in many colours, including brown, green. blue, yellow, red, pink and orange. Topaz is very hard, being 8 on the Mohs scale, with a high cleavage.  More on either side. The chain is a strong trace link design with a later lobster clasp. A beautiful necklace to wear especially in the summer time}

Bernard Instone (1891-1987) produced a large amount of interesting jewellery through the middle part of the 20th century. It was always characterised by flowers, leaves and semi-precious stones or different coloured enamels. His pieces are collected today because they were beautifully designed and executed. This is a great example of one of his matching sets of a necklace, bracelet and earrings. They are presented in a Liberty of London case. }

This is a really amazing 18ct75% pure gold (or 750 parts pure gold and 250 parts other metals) More gold necklace that was made in Italy in the 1970s. It is composed of graduated gold beads, the largest is 1.5 centimetres. In between are 18ct gold roundels. It has been strung on an 18ct gold chain so it is strong. The clasp is a fluted 18ct gold bead that you press the tongue in to. It looks incredibly smart when worn}

A good example of a 15ct62.5% pure gold (or 625 parts pure gold and 375 parts other metals). Popular during the Victorian, Edwardian and Art Deco eras but was discontinued in the mid-1930s. More gold Suffragette pendant that has been set with the Suffragette colours. It was made circa 1910-1915. The colours are Green garnets (Green meaning “give”), naturalA natural stone is called such because it has not been subjected to any treatments.  More split pearls (white meaning “women”), Amethysts (violet colour meaning “votes”). The pretty EdwardianJewellery made in the Edwardian era (1901-1914). More design is composed of a central oval cut amethystOne of the most popular gemstones, which has long been considered valuable. Amethysts range in colour from light to dark purple; the deeper purple stones are considered to be the finest. More surrounded by three pearlNatural pearls are an organic gem formed inside live mollusc shells and come in all shapes and sizes. They are formed as the result of a natural irritant within the mollusc's mantle and as a defence, layers of iridescent nacre form over the top of it, creating a pearl.  More and green garnetDescribes a group of several closely related minerals. Garnets come in a variety of colours, however the most common colour is dark red. In descriptions, ‘garnet’ tends to refer to dark red stones unless otherwise specified. More set flowers with pearl set leaves in between with a pearl set circle above and a pear shaped amethyst drop. It is on a 15ct gold chain with a secure barrel clasp. These necklaces were worn by sympathisers of the Suffrage movement as a sign to other women of their feelings. A more detailed explanation for the symbolism of the colours was explained in 1908 by Mrs Pethick-Lawrence, editor of the weekly newspaper Votes for Women, “Purple as everyone knows is the royal colour. It stands for the royal blood that flows in the veins of every suffragette, the instinct of freedom and dignity;}

A smart silverA metallic element which is malleable and ductile, and white in colour, making it ideal for use in jewellery. It is usually mixed with copper to improve its hardness. More necklace that was made in the 1930s. Each link has been set with graded marcasiteThe marcasite of jewellery is in fact iron pyrite as marcasite itself is too brittle alone for the durability required of a piece. This jewellery marcasite is sometimes called ‘fool’s gold’ given its heavily metallic appearance. Marcasite of this kind also offers a kind of iridescence, explaining its use as a more affordable diamond replacement that wi... More (iron pyrites) The links are nicely articulatedWhen something has segments connected by flexible joints. More and it sits comfortably on the neck. This necklace has a bracelet to match}

This is an amazing 18ct75% pure gold (or 750 parts pure gold and 250 parts other metals) More gold necklace that was made during the 1940-1950 period. It is composed of articulatedWhen something has segments connected by flexible joints. More sections designed so that it curves around the neck and sits beautifully. It can be worn on a daily basis as it looks so smart in the daytime and at night too. We have tried researching the hand mark but have had no luck!}

This is a pretty necklace that was made circa 1900-1910. It is composed of a string of evenly matched naturalA natural stone is called such because it has not been subjected to any treatments.  More seed pearls interspersed with twenty two pear shaped double rose cutThe ‘rose cut’, defined by its rounded outline and multiple triangular facets, is one of the earliest diamond cuts, with its origins in sixteenth century Europe. A rose cut typically has a flat base and anywhere from six to twenty four facets, the latter known as a full rose cut. More citrineCitrine (from the French for ‘lemon’) is a rare, yellow type of quartz, a semi-precious stone that ranges in colour from pale yellow to orange to golden brown. The best quality citrine is found in Brazil. More drops. These necklaces were made up in India for the English market and were extremely popular in the EdwardianJewellery made in the Edwardian era (1901-1914). More period as they went so well with the fashions at that time. They are as wearable now as they were then. It has been restrung}

Green is such a pretty colour to wear and this necklace that was made circa 1910-1920 is no exception. It is silver and has cascades of green paste drops. It sits beautifully when worn }

A beautiful 18ct gold chain with a hand clasp that was made circa 1820. It is a good wearable length so it could be worn on a daily basis. Each link has a stars motif which you see quite a lot on Georgian chains. The hand clasp is three colour red, yellow and green gold and has been set with turquoise in a flower design after the Forget me not flower on the cuff. There is a ring on one finger that has been set with a rose cut garnet and the hand has an etched surface. The reverse has engraved cuff detail. A perfect chain to wear }

A lovely, striking natural rock crystal collar which has one silver large round bead and a silver clasp. It is an impressive look on the neck. }

A striking Art Deco silver necklace that was made in the 1920s. It has been set with graded marcasite (iron pyrites) Marcasite was a popular alternative to the more expensive rose diamonds as it glittered in a similar way, so this necklace can technically be termed as the costume jewellery of the time. It is a lovely design with swags on either side of a bow }

This is a really beautiful 18ct75% pure gold (or 750 parts pure gold and 250 parts other metals) More gold French chain that was made in the early 1900s. It has long enamelled batons in translucent eau de nil blue colour enamelA pigmented glass-like material used in powdered form and fused onto the metal surface of a piece of jewellery. More with engraved detail beneath and white enamel bands on either end. In between are naturalA natural stone is called such because it has not been subjected to any treatments.  More pearls. It is a good medium length so would be ideal to wear over a tee shirt or a jersey.}

A beautiful strand of graduated naturalA natural stone is called such because it has not been subjected to any treatments.  More pearls with a 15ct62.5% pure gold (or 625 parts pure gold and 375 parts other metals). Popular during the Victorian, Edwardian and Art Deco eras but was discontinued in the mid-1930s. More yellow gold clasp with a platinumDerives from the Spanish word 'platina' meaning 'little silver'. Acknowledged since the 1900s, platinum's durability and natural brightness has been and still is today highly treasured A metallic element prized for its rarity, whiteness, high tensile strength and insusceptibility to corrosion, platinum first became widely used in jewellery in the late ninete... More top that is set with diamonds in a cluster design. It has a safety chainA small chain applied to a piece of jewellery with the purpose of adding additional security to prevent loss. On bracelets and necklaces a safety chain will often join the clasp ends should the clasp fail. On a brooch it is often attached to a small pin which is to be used in tandem with the main brooch pin. More for extra security. Natural pearls are extremely rare. Only one in about 10,000 wild oysters will yield a pearlNatural pearls are an organic gem formed inside live mollusc shells and come in all shapes and sizes. They are formed as the result of a natural irritant within the mollusc's mantle and as a defence, layers of iridescent nacre form over the top of it, creating a pearl.  More and of those, only a small percentage achieve the size, shape and colour desirable to the jeweller. The value of the pearls in jewellery is determined by a combination of the lustre, colour, size, lack of surface flaw and symmetry that are appropriate for the type of pearl under consideration. This necklace has well matched graded natural pearls throughout. }

An impressive 9ct gold Arts and Crafts necklace that I attribute to Rhoda Wager. Rhoda Wager was born in London in 1875 and brought up in Bristol, then she studied drawing and painting at the School of Art, Glasgow from 1897 to 1903. She exhibited metalwork and jewellery at the Glasgow Art Club in 1901 and at Cork, Ireland, next year. From 1903 she was a member of the Glasgow Society of Lady Artists and showed regularly with them. Returning to Bristol, Miss Wager taught art at St Mary's Girls' School. She spent her holidays making jewellery under Bernard Cuzner, a talented silversmith who had designed Liberty & Co. Ltd's 'Cymric' jewellery in 1899. Late in 1913 Rhoda went to live on her brother's sugar plantation in Fiji. Settling in Sydney in 1918, she resumed jewellery-making. This is when she began using opals in her jewellery as she could source them fairly easily. Her style is very distinctive with the use of engraved leaves on either side of the opals. Her work is also similar to Bernard Instone's designs. A member of the Society of Arts and Crafts of New South Wales, Rhoda Wager later joined the Melbourne and Brisbane societies, showing annually at their exhibitions. She retired in 1946. A review of her hand-wrought jewellery at the Dunster Galleries, Adelaide, in 1925, stated that her 'work is wrought from beginning to end. Each flower, stem and leaf or berry is made separately and soldered on bit by bit. Her work provides a link with the English Arts and Crafts Movement, and with jewellery designers like Cuzner and Sybil Dunlop. She died in 1953. This necklace is a tour de force of graded and well matched opals that display a myriad of blue, red and green colours. It is a real statement when worn }

A beautiful necklace that was made circa 1820. It has been strung with ten strands of natural seed pearls that terminate with a rectangular 15ct gold clasp set with eight natural split pearls.  Seed pearls are formed with the accidental help of a loose piece of tissue in the oyster.  They were found in river beds in Scotland in the early 19th century and used in mourning rings , brooches, necklaces and bracelets. They are uneven in formation and are charming to look at.  This necklace can be worn loose or coiled }

This heavy gage 15ct gold collar is interesting as it is very similar to Indian jewellery designs that have remained unchanged for years. To put this in context one has to look at the history of the mid to late Victorian period which is when this collar was made. After the nominal Mughal emperor Bahadur Shah Zafar was deposed at the conclusion of the Indian Rebellion of 1857  the English government decided to transfer control of British India and its princely states from the mercantile East India Company to the Crown, thus marking the beginning of the British Raj.   In 1874 the British prime minister, Benjamin Disraeli, decided to offer Queen Victoria the title "empress of India". Victoria accepted and the first Delhi Durbar (an imperial coronation) was held in her honour in 1877.  This led to a rise in interest for Indian goods and the designs influenced furniture, textiles and jewellery.  This collar is a superb example and was made in England circa 1880-1890. It is as wearable today as it was then }

This necklace is top condition and quality. The amethysts are well matched, and the pearls are an even colour. It is an unusual design with the rectangular amethysts offset by the swirly leaf motifs. The chain is set with tiny natural split pearls showing attention to detail. It was made in the Edwardian period, circa 1915. I have not seen this design before. }

A good strand of natural coral beads that have been knotted in between. The coral has come from Naples. Diving for coral has taken place in the Mediterranean Sea ever since Roman times, and in the 15th century Torre del Greco which is now part of the Naples commune became known for its coral diving and harvesting of red coral. However, it was not until the 17th century that the first cameos were produced, and not until 1815 that a unique manufacturing contract was granted to the town by the King of Naples. Because of it’s wonderful natural salmon to deep red colouration it was carved in to trinkets and jewellery for the Grand Tourists in the 1820s to buy to take back home. This strand of coral beads is a lovely example of deepish red well matched coral. }

A spectacular and finely made necklace that was made in the 1880s. It is full of strength and symbolism with Renaissance Revival motifs. There are bearded male heads with horns, winged griffins and stylised shells set with rubies and a pearl. These decorative pieces are interspersed with butterfly shaped sections set with rubies and natural split pearls. The main body of the necklace is silver with silver gilt components. The design of this necklace is reminiscent of the designs by Theodor de Bry who incorporated fantastical designs in to his jewellery. }

A really impressive 15ct gold necklace which was retailed by the firm of Murrle Bennett, based in Regent Street, London. They used various designers often collaborating with Theodor Fahrner. Sometimes you find both monograms of the two firms on a piece of jewellery. This necklace carries the Murrle Bennettt mark and is all 15ct gold apart from a later bolt ring which is 9ct gold. It has been set with three turquoise matrix which was a fashionable combination in the Art nouveau era. It was made circa 1910. }

A stunning 15ct gold necklace that was made in the early 20th century, circa 1910. The 15ct gold chain has been set with alternate turquoise and natural split pearls. Suspended from it is a 15ct gold heart shaped pendant set with lines of turquoise and natural split pearls. It has a secure clasp set with a turquoise and a natural split pearl. Turquoise was often used in the Edwardian period as it meant "Forget me not" after the flower of the same name. }

A lovely opal bead necklace that was made circa 1910. The opals are graduated and are a good even colour. They are predominantly green with blue and red flashes. The rectangular clasp has been set with three diamonds. This necklace would look amazing worn on a black dress. }

A pretty gilded silver and white enamel necklace that was made in the 1940-1950 period by Elvic and Company. The design is eight repeated waves enamelled with translucent creamy white enamel with an undulating silver design beneath. The company was named after it’s founder Nils Elvik (1853-1935) Elvik & Co who were based in Oslo, Norway. This necklace is typical of mid 20th century modern Scandinavian design and looks lovely when worn. }

Easy to wear and very stylish this 9ct gold fancy Albert chain would have originally been worn across the chest by a gentleman. It was made circa 1900-1910. It has two dog clips and a T bar. The links are unusual with alternate curb twist and paper clip design. Nowadays these Alberts are worn around the neck with the T bar at the front. You can also add other small pieces to complete the look. }

Finn Jensen was apprenticed to J.Tostrup then he became an independent designer and manufacturer of high quality vermeil guilloche enamel jewellery from 1953. The workshop continued after his death in 1976. This silver gilt lily pad necklace was one of his signature designs and was made in the late 1950s. The translucent red enamel reveals an etched lily pad leaf design in the silver beneath. It is a timeless piece of jewellery. }

Bjorn is a renowned jewellery artist and sculptor. He joined Lapponia founder Pekka Anttila and from the beginning developed Lapponia’s unique sculptural designs. When working in silver, Weckström’s aim is to portray the snowy, Finnish winter landscape with its frozen lakes, hence the unique finish found on Lapponia jewellery. These pieces are already collectors items and will survive the test of time. This collar sits beautifully on the neck as it is articulated. It was made in the 1970s. }

A wonderful unusual Austro-Hungarian necklace of a green enamelled bird with a collar and a central ruby suspended from an enamelled and small natural pearl chain. It was made circa 1880 in Austro-Hungary and is in the Neo-Renaissance style popular at the time and still very collectable today. }

A really wonderful platinum necklace set with good well matched graded white diamonds, the largest of which is a carat. The total weight is approximately 5.20 carats. It was made in the Edwardian period, circa 1900-1914 and is typical of the style from that era with flower and leaf motifs. Platinum is a very strong metal so it can be used sparingly unlike earlier silver pieces which look heavier than this necklace. The result is a lace like quality. There is added millgrain detail to the edges of the platinum. Millgrain was achieved with the use of a knurling tool and looks like little grains, hence the term, on the platinum. This necklace would be wonderful worn on the wedding day and subsequent occasions as it is so special. https://static.antiquejewellerycompany.com/2018/10/344M.mp3 }

A good Berlin iron collar with classical motifs. Berlin Iron gained international attention during the Napoleonic Wars (1803-1815) when the Prussian Royal family requested that the aristocracy and upper classes contribute their precious jewellery to help fund the War of Liberation. In return, these citizens were given iron jewellery as gifts for their loyalty, and many of those pieces were inscribed with the phrase “Gold gab ich für Eisen” (I gave gold for iron). The craftsmanship is extraordinary and the pieces were given a matte black lacquer finish to help prevent rusting. The process had originated with the Gleiwitz Foundry in Silesia, Prussia, in the 1790s, it then moved to Berlin in 1804. Berlin iron is highly collectable today because of it’s rarity and it’s history. }

A wonderful and rather grand silver necklace that cleverly imitates an emerald and diamond necklace. It was made circa 1900-1910 when this grand style was still in fashion. It has been set with graded white and green paste. The chain is articulated and attaches on to the pendant with three articulated drops. The sign of a good piece of jewellery is to look on the reverse side and this necklace has been beautifully finished with detail on the silver. The pendant also detaches so that it can be worn on it's own if wanted. It is a very convincing copy of the real thing. }

A very special platinum necklace that was made circa 1900-1910. It has been beautifully made in a bows and garland design with small flowers. It has been set with small diamonds throughout and has two natural pearl drops. The Edwardian period was really the prettiest style in jewellery. The pieces were so light looking and are still very sought after today. This necklace is one of the finest that I have ever come across. }

A very attractive pendant designed and produced by the famous firm Georg Jensen. It depicts a kneeling deer designed by Arno Malinowski who worked at Georg Jensen in Denmark from 1936 – 1944 and again, from 1949 – 1965. He designed this brooch in 1937. It is in excellent condition and is on a long silver chain. }

A beautiful diamond set pendant in it's original case that was made circa 1900-1910. It is finely made and is of the highest quality. It is set with three natural pearls with a central cluster composed of the largest pearl with diamonds around it. It is suspended on a platinum chain. Underneath the velvet is an extension or safety chain and a brooch fitting. This style of jewellery is the best in my opinion as it has a timeless quality about it. }

This is a great silver collar designed by Bjorn Weckstrom for Lapponia. Bjorn is a renowned jewellery artist and sculptor. He joined Lapponia founder Pekka Anttila and from the beginning developed Lapponia’s unique sculptural designs. When working in silver, Weckström’s aim is to portray the snowy, Finnish winter landscape with its frozen lakes, hence the unique finish found on Lapponia jewellery. These pieces are already collectors items and will survive the test of time. This collar sits beautifully on the neck as it is articulated. }

David Andersen opened his shop in Oslo, Norway in 1876. As a designer and retailer specialising in jewellery and silver wares, Andersen’s business model closely mirrors that of Danish silversmith Georg Jensen, who was twenty-three years his junior. Jensen opened his shop in 1904. Andersen died in 1901 and his sons took over company operations and designs. Today, David-Andersen (the company’s name since the early 20th century) is well known for its mid-century enamelled silver jewellery. This stylish silver and enamel collar was almost certainly made by the firm. }

A beautiful silver, natural split pearl and coloured paste necklace that was made circa 1910. It is typical of the Edwardian period with the soft colours which went so well with the ivory lace and pale colours that were in fashion at the time. It was retailed by Arnold & Lewis in Manchester. It looks stunning when worn. }

A stylish silver Victorian collar with a large silver clasp. It was made circa 1880 and has the option of hanging a locket off it which is what these collars were made for originally. }

A stylish and striking Mexican silver collar made circa 1950-1960. The design is inevitably based on Amer-Indian motifs and the whole necklace articulates in a curve around the neck. It was made in the town of Taxco, well known for its brilliant makers. }

A very smart silver fringe design collar that was made in Scandinavia. It is based on a fish skeleton design and looks wonderful when worn. }

An attractive long chain composed of faceted glass beads. It was made circa 1880 when Queen Victoria was in heavy mourning for Prince Albert and set a fashion for black jewellery. This material is sometimes called French jet which is somewhat confusing as it is not jet. However it is shinier than jet and tougher and was a very popular alternative. }

An impressive Vauxhall glass guard chain that was made circa 1880 when black was very much in fashion due to the Queen Victoria's husband Prince Albert's death. Vauxhall glass is often called French jet which is somewhat confusing. It is shinier and tougher than jet and equally appealing when worn. }

A decorative necklace made from vulcanite. It is composed of cubes and circular beads and is rather modern looking although it was made in the late 1800s! Vulcanite was patented in 1846 by Goodyear (the same tyre manufacturer of today), as the patent specified a manner of mixing rubber and sulphur, then heating the mixture to one hundred and fifteen degrees celsius. Often called ‘ebonite’, vulcanite was the most mass-produced rival to actual jet. Its ability to be moulded and not carved, along with a relatively low cost to manufacture made vulcanite a material that was accessible to middle and lower classes of the 19th century, especially at a time when actual jet was the height of fashion. }

A really wonderful silver Victorian collar which is in excellent condition. It has pear shaped drops which follow the neckline beautifully. It is rare and so classic. }

A nice heavy quality necklace which was made circa 1950-60. It looks lovely on the neck. }

Hans Hansen (1884-1940) opened his first shop in 1906 and initially made flatware. In 1931, together with his son, Karl Gustav, he started to design jewellery. Most of the firm’s designs were highly original and established Karl Gustav Hansen as a top jewellery designer. This silver "Peaks" necklace was retailed by Georg Jensen circa 1970 and is a beautiful and wearable piece. }

A good example of a silver gilt necklace made by the well known firm, Theodor Fahrner. His factory was a major player in the production of well designed good quality jewellery in the Art Deco period. He was one of the foremost designers in Pforzheim in the Black Forrest in Southern Germany. In this necklace the attention to detail is paramount. }

A good looking and useful silver necklace with interlinking links. It can be worn daily. }

A very pretty and delicate looking 18ct gold necklace in it's original case. It was made circa 1880-1900 and is set with natural split pearls which go around the entire necklace including the clasp. Behind the flower there is a hook which was often the case with this type of necklace as it gave an option to suspend another pearl pendant if wanted. }

A fantastic chain which is oxidised and polished silver in alternate sections. It was made in Germany around the 1980s. The links are large like a mayoral chain! }

A Victorian 18ct gold and natural split pearl festoon necklace. A single strand set with natural split pearls suspends four loops of pearls. Each loop is divided by a pearl set flower with eight petals. It is a very pretty look when worn. It was made circa 1890. }

An unusual and beautiful necklace. It is a mixture of gold and silver and set with four shaped cabochon moonstones and two blister pearls. It is from the Arts and Crafts period circa 1910 and very well designed. It is hard to attribute it to a particular maker but my guess is that it was made in Birmingham. }

A fabulous necklace featuring a string of natural pearls with fifty faceted citrines at intervals all around. It was most likely made in India for the English market as I have had many similar necklaces over the years. This example is the longest and fullest though! It was made circa 1900-1910. }

A quintessentially English silver collar with acorn drops. The acorn symbolises fertility, immortality and strength and has been featured in jewellery and Coats of Arms for hundreds of years. It was made circa 1880. }

A silver articulated necklace composed of 22 paisley design sections that was made in the 1950-1960 period. It is well made in heavy gage silver and looks fantastic on the neck. }

A stylish silver collar by Georg Jensen that looks really smart on the neck. It comes in the original case. }

A very attractive flat cut garnet necklace with natural split pearls in between. It was made circa 1900-1910 in the Georgian revival style. It is in its original Moroccan case. }

A stylish Art Deco necklace by the well known firm, Theodor Fahrner. His factory was a major player in the production of well designed good quality jewellery in the Art Deco period. He was one of the foremost designers in Pforzheim in the Black Forrest in Southern Germany. This necklace is silver gilt and set with marcasite (iron pyrites) with fine scrollwork detail in the silver. }

A smart Art Deco pendant on chain. It is set with sapphires and diamonds in an unusual bow design with a triangular sapphire drop. It is finely worked in platinum and beautifully finished on the back. This is always a good sign on a piece of jewellery. So often the back of a piece is not finished off properly. It was difficult and time consuming work which would not be cost effective nowadays. }

A stylish Art Deco necklace by the well known firm, Theodore Fahrner. His factory was a major player in the production of well designed good quality jewellery in the Art Deco period. He was one of the foremost designers in Pforzheim in the Black Forrest in Southern Germany. This necklace is silver gilt with fine detail in the design and is set with graded marcasite (iron pyrites). }