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    • Elettra Gardini

      The Milton Brooch, 7th century

    • Youliana Manoleva

      The Milton Brooch Disc brooch Place of origin: Kent, England (probably, made) Date: 600-700 (made) Artist/Maker: Unknown (production) Materials and Techniques: Silver, bronze, gold, garnet, shell

    • Stephanie Valencia

      The Milton Brooch Place of origin: Kent, England Date: 600-700 Artist/Maker: Unknown (production) Materials and Techniques: Silver, bronze, gold, garnet, shell; Victoria and Albert Museum

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    Sarmatian burial mound excavated this summer in Russia’s Southern Ural steppes has yielded a magnificent but unusual treasure. The artefacts contained within the mound are helping to shed light on a little-known period of the nomadic culture that flourished on the Eurasian steppe in the 1st millennium BC. Cast gold earring with cloisonné enamel decoration.

    work of Philippe Wolfers Pendentif

    WILLIAM THOMAS PAVITT flourished c.1900-1915 Arts & Crafts Pendant Gold Opal Peridot Marks: Marked: W.T.P. & 15ct. British, c.1905 Literature: cf. William Thomas Pavitt & Kate Pavitt: The Book of Talismans, William Rider & Son, 1914.

    Lalique 1898 brooch - opals, gold & diamonds. Love the use of gold used on this piece.

    Pair of earrings Place of origin: Europe (made) Date: 1st century-4th century (made) Artist/Maker: Unknown (production) Materials and Techniques: Gold, set with sapphires and hung with emeralds and pearls

    Pair of earrings Place of origin: Europe (made) Date: 1st century-4th century (made) Artist/Maker: Unknown (production) Materials and Techniques: Gold, emerald matrix

    The ornate and colourful decoration on this brooch consists of cloisons (cells) inlaid with garnets and blue glass paste. The front is further enriched with filigree wires. The garnets themselves were possibly obtained by sea trade from India. A brooch like this is an elaborate form of safety pin, with the pin hidden on the back of a decorative disk. Women who could afford it would wear such a brooch to close a cloak or veil over their chest.

    The Milton Jewel is one of the finest examples of Anglo-Saxon brooches of the period, with a sophisiticated design carried out in a combination of materials.The use of cloisons inlaid with garnet, filigree knot work decoration on gold sheet and shell bossess are typical of this type. The brooch was found in 1832 in a cemetery at Milton, west of Dorchester-on-Thames. There is another similar brooch in the Ashmolean Museum, Oxford, which was found nearby.

    Date:1540-1560 The settings of the stones on this pendant are open at the back. This allows direct contact with the wearers skin. According to medieval and Renaissance beliefs, the magical properties of the stones could thus benefit the wearer. Renaissance pendants were often made as amulets to protect against danger. Here, the power of the amulet is heightened by an inscription to ward off epilepsy and an invocation to God, Jesus and Mary.

    1200-1300 Gems have long been considered by all peoples as somehow magical because of their brilliance of colour and hardness, but other materials, such as teeth, also had magical properties. This ring has the hoop engraved with two inscriptions, providing double the power; one a magic formula, the other a biblical phrase. The magical charm: ‘BURO + BERTO + BERNETO’ is to protect against toothache. The biblical phrase 'CONSUMMATUM + EST' were used as a charm to calm storms.

    This Nineteenth-century jewel draws its inspiration from the pendants made in Germany in the early 1700s, but it is unusual amongst Renaissance Revival pieces for its commemoration of an event from contemporary Italian foreign policy. Engraved on the large central sapphire is a representation of the battle at Dogali in Ethiopia, where five hundred Italian troops were massacred on 27th January 1887 while attempting to establish an Italian empire in Africa.

    Large gold disks brooches are the most characteristic creations of seventh century Frankish goldsmiths work and are usually set with glass and or semi-precious stones. The brooch is also adorned with filigree (twisted threads of gold applied to the surface) Certain designs in the filigree on Frankish brooches, such as the S shape, elaborated into the figure eight on the present example, show continuation of Roman decorative tradition.

    Gold, enamel, sapphire, and diamond cicada brooch by Boucheron, circa 1890.

    Russian Royal Jewels: Maria Feodorovnas Russian Field Diadem Empress Maria Feodorovna (wife of Paul I, not the other one) commissioned a diadem from the famous Duval Brothers. The Empress wanted something that would remind of the Russian fields, and so the brothers created a diadem of oak and laurel leaves, bordered by sheaves of wheat.

    The swirling gold mounts in this set of jewellery give the impression of great wealth, although this is in fact deceptive. The mounts are stamped out of thin gold sheet using far less metal than would appear to be the case. Long earrings came into fashion at the end of the 1820s. Earrings were made for pierced ears. The piercing itself was often carried out by a jeweller.

    Nelson Dawson learned enamelling from the distinguished teacher and enameller Alexander Fisher. He passed on this knowledge to his wife Edith, who was a skilled watercolourist. She went on to do most of the enamelling in their joint work. They showed their first jewellery in 1899. It was set with the subtle botanical studies that were to become so typical of their work. This pendant is a particularly fine gem-set example of the Dawsons jewellery, centred on a enamel depiction of lilies of the

    Many 19th century designers used historical styles. This necklace, made about 1890, looks back to the elaborate enamel and gold pendants of the Renaissance. In the 16th century, many goldsmiths used a large irregularly shaped (or baroque) pearl as part of the figure. They also decorated the front and back of the piece with equal care. Louis Wièse, who made this piece, and his father Jules ran an outstanding firm of jewellers in Paris. They specialised in works inspired by archaeological finds, t

    Winged comb head which was originally a tiara comb. Bleached tortoise-shell with gold and silver, set with rose-and brilliant-cut diamonds and pearls; the comb teeth are missing. Place of Origin France (probably, made) Date ca. 1900 (made) Artist/maker Unknown (production) Materials and Techniques Tortoise-shell, diamonds and pearls, gold, silver

    Crown Place of origin: Portugal (made) Date: ca.1750 (made) Materials and Techniques: [case] Diamonds, emeralds and rubies set into a gold crown with chased rococo scrolls Credit Line: The Rosalinde and Arthur Gilbert Collection on loan to the Victoria and Albert Museum, London Museum number: LOAN:GILBERT.69:3-2008 Gallery location: Silver, room 89, case 2, shelf 1

    Place of origin: England, Great Britain (made) Date: ca. 1835 (made) Artist/Maker: Unknown (production) Materials and Techniques: Gold and chrysoprase Credit Line: Given by Dame Joan Evans Museum number: M.146-1975 Gallery location: Jewellery, room 91, case 17, shelf C, box 3

    Earrings with a winged putto riding a dove . Italy, about 1870. Gold with granulation and filigree Date: ca. 1870 (made) Museum no.: M.7 Materials & techniques: Gold with granulation and filigree work Location: Jewellery, room 91, case 20, shelf D, box 5 Place: Italy

    Pendant, Reinhold Vasters Pendant Enamelled gold pendant in the form of a three masted ship hung with pearls Designed and made by Reinhold Vasters Aachen, Germany About 1860 Height 12 cm Museum no. 696-1893 Ex Spitzer Collection © Victoria & Albert Museum, London

    Necklace with Sapphire Pendant, bow about 1660, chain and pendant probably 18-1900. Museum no. M.95-1909. Bequeathed by Lady Alma-Tadema. © Victoria & Albert Museum, London

    Spanish emerald and gold pendant at Victoria and Albert Museum.

    Necklace with pendants from Staraya Ryazan This necklace is part of a hoard of treasures found in 1822 in Staraya Ryazan—one of the richest finds in terms of gold and silver ware from pre-Mongol Rus'. It included an impressive set of gold jewelry and ornaments. The necklace, probably intended for a woman, is made of large openwork gold beads, between which hang five large medallions of cloisonné enamel on gold: