Stray Jewels: The art of archeological inspired jewellery

Stray Jewels is a monthly column written by BBC Antiques Roadshow jewellery specialist, Susan Rumfitt. Susan started her career working for Christie’s auctioneers in Glasgow before establishing her own jewellery department, The Gallery in Harrogate. In 2006, she joined the Antiques Roadshow and has since built up an extensive knowledge of and passion for fine jewellery. This week Susan examines the work of 19th century Italian jeweller, Fortunato Pio Castellani

Whilst browsing through the catalogue for the forthcoming jewellery sale at Tennants on November 13, I was drawn to the most fabulous bangle that is on offer. Lot 2396, an ‘Archaeological Etruscan Revival Style Bangle’. It is made of gold and is set with cornelian scarabs within swivel mounts. The bangle has a pre-sale estimate of £4,000-6,000. Although not dated in the catalogue, the jeweller who made it must have been a great fan of one of the most important archaeological revival jewellers of all time, Fortunato Pio Castellani.

Many Victorian and even contemporary jewellery designers have been drawn to his work due to the boldness in design. Castellani jewellery is highly sought after by collectors. In 2006 Sotheby’s Auctioneers in New York sold the ‘Judith H Siegal Collection of Castellani & Giuliano Jewellery’. Siegal’s collection was put together over 20 years and brought together some of the finest works of art that were produced by these jewellers. In the collection was a beautiful gold bangle also set with scarabs, by Castellani.

Who was Castellani?

A gold bracelet by Castellani, circa 1860, sold for £20,000

The firm was founded by Fortunato Pio Castellani and the style of jewellery that was produced was known as Italian Archaeological Jewellery. Fortunato opened his shop in Rome in 1814. In 1826 he met Michaelango Caetani who became his life long friend and collaborator. It was Michaelango who inspired Fortunato to imitate the gold work of the ancient world and get inspiration for his jewellery from ancient jewels. His work was an instant hit.

The thriving business was continued by two of Fortunato’s sons, Alessandro (1823-1883) and Augusto (1829-1914). The jewellery was extraordinary. Works of art in gold and set with micro mosaics, enamel, scarabs and decorative techniques of granulation and filigree work. This was the destination shop for the Grand Tourist of the 19th century. The pieces are identified by a very distinctive mark of interlaced C’s.

In the November 2020 jewellery sale, Tennants offered a gold bracelet by Castellani which sold for £20,000. Despite being dated circa 1860, the curved batons give an almost contemporary feel to the bracelet. The lion heads terminals on the bracelets draw us back to the revival style.

The Popularity of Victorian Revival Jewellery

A Victorian Millefiori ‘froggy brooch’ sold for £3,800

Victorian jewellery certainly doesn’t appeal to everyone and comes in and out of favour within the auction world. What has never changed is the fascination with the Archaeological, Egyptian or Renaissance Revival jewels of the mid Victorian period. The Castellani family exhibited their jewellery at the 1862 International Exhibition in London and as a result their popularity grew in Britain. Jewellers were copying their style well into the 1890’s. Even pieces which are not attributed to a specific designer do well at auction, particularly when they are well executed. In their Spring Sale earlier this year, Tennants had a delightful Archaeological Revival Millefiori Brooch, dated circa 1880, within a fitted case – always a bonus. This was a particularly quirky brooch as there was a frog motif to the pendant and was referred to as “froggy brooch”, by the original owners.

Victorian jewellery may appear quite serious but it as we can see it can be great fun too! Happy jewellery hunting.

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Stray Jewels with Susan Rumfitt: Gold Rush

Stray Jewels is a monthly column written by BBC Antiques Roadshow jewellery specialist, Susan Rumfitt. Susan started her career working for Christie’s auctioneers in Glasgow before establishing her own jewellery department, The Gallery in Harrogate. In 2006, she joined the Antiques Roadshow and has since built up an extensive knowledge of and passion for fine jewellery. This month, Susan explores the importance of gold jewellery. 

As we celebrate all the gold medals achieved by our talented sports men and women at the Olympic and Paralympic Games, I thought it would be appropriate to look at the importance of gold jewellery in the 19th century.

We are used to both white and yellow gold being used in jewellery today, but for the majority of the 19th century it was yellow gold that was popular in jewellery manufacture. Although you will find hallmarks on Victorian jewellery, many pieces are not hallmarked from this period, as the British hallmarking act didn’t come into law until 1973. During the Victorian period 18 carat gold was used for the finest pieces of gold, but by 1854, 9, 12 and 15 carat gold were introduced, making jewellery more accessible and affordable.

An early 19th century Cannetille work and Amethyst Pendant

Very early in the 19th century gold had often just been used as a backing for precious gemstones and to add strength to a setting. By the second decade we see the introduction of cannetille work. This decoration was made up of tiny gold granules and very fine curled wires, inspired by ancient Greece. For many this style was too intricate and easily damaged so by the 1840’s we see the introduction of more solid jewellery that is decorated with repousse work – designs were raised in relief by hammering the gold from the back of the piece, often further embellished with textured detail.

Further embellishment of gold pieces was introduced during the reign of Queen Victoria. To reflect an early period of peace and prosperity in her reign, jewellery became an important way of showing off wealth. As both Queen Victoria and her husband Prince Albert were keen on fashion and jewellery, the industry boomed and designers were free to express their artistic talent.

Early 19th century fine gold and gem set necklace, circa 1840 (left); Victorian gold snake and heart brooch, circa 1880 (right)

By the 1850’s there was a huge interest in revival styles. One designer that was particularly important was the Italian Fortunato Pio Castellani. He brought the old Greek process of granulation back into fashion again and reproduced ancient pieces of jewellery. As a result gold jewellery in the Etruscan style was in abundance.

Victorian Gold, Peridot and Garnet Bracelet, circa 1880

Women’s roles and attitudes developed throughout the Victorian period and we see their position in society become more important by the 1860’s. This was reflected in very bold gold jewellery. Lockets, earrings and brooches took on a very large and angular look, reflecting power. Bangles often came in pairs – one worn on each wrist and other bracelets piled on the arm. Victorian magazine, The World of Fashion, stated that ‘Bracelets are now considered indispensable’ and went onto describe that it was fashionable to wear at least five bracelets all at once including ‘a bracelet of gold network fastened with a simple narrow ribbon’.

Today, Victorian jewellery is often seen as over the top in design and too fussy. As a result, with the ever fluctuating price of gold, it is often tempting for people to ‘scrap’ their Victorian jewellery, particularly when the gold price is high. However, the demand for good quality, unusual Victorian jewellery is high amongst collectors. So, if you are thinking of selling, make sure you have a jewellery specialist value your jewellery for its true worth… and not just its weight in gold!

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