Vintage Jewellery

The Navajo are a Native American people of the Southwestern United States with the largest reservation in the country, mainly concentrated in Arizona and New Mexico. Their silverwork, which they began to produce in the late C19th, came to enjoy great popularity and often employed the use of turquoise. This matching suite is an excellent example of their work. The necklace is marked ‘Sterling’ for 925 silver and the same material would have been used throughout, providing a perfect backdrop to the ‘sleeping beauties’.

Inverurie is a town in Scotland where Pictish carved stones are found in the graveyard dating from the 7th Century. The Picts were a tribe of peoples living in the East and North of Scotland. Little is known of their origins but they were called 'Picts' by the Romans because of their painted and tattooed bodies. The Inverurie horse is the inspiration for this brooch. The actual design of the three horses was created by George Bain (1881-1968) the Scottish artist and teacher, famous for chronicling Celtic Art.

St Justin of Cornwall is well known for the production of 'craft' pieces in a variety of forms and materials. This piece probably dates to the 1980s and certainly cannot be found in their current catalogue.

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Opalite is a type of synthetic glass often mistaken for a gemstone due to its alluring translucence and the play of colors similar to those seen in opals. Unlike natural gemstones, opalite is man-made, primarily from dolomite and metal to create its distinctive shimmering and milky appearance. It typically exhibits a soft, opalescent sheen with a blue or orange glow when light passes through it, making it popular in jewelry and decorative objects.(geologyscience.com)

The sparkling stones and high quality mounting (there is a considerable weight of silver in this piece) would have made this buckle a notable addition to the Victorian ladies' wardrobe and it could equally well catch the eye today.

As most people who love costume jewellery know, Butler & Wilson have been and are a powerhouse British brand that have been designing costume jewellery since the 1970s. Pieces like this one are quite collectable due to their age and design. There are many collectors around the world that collect both vintage and new pieces. This one is for you!

Justo and Jorge Castillo come from the Los Castillo workshop. Los Castillo was an influential and ongoing design and manufacturing enterprise established in 1939 by Antonio Castillo and his brothers Justo and Jorge and their cousin Salvador Teran. Los Castillo is known for sterling jewellery and fine pieces in "married metals" combining various metals such as silver, copper and brass. Castillo who arrived in Taxco in 1923, began his long career working for William Spratling at Taller de las Delicias. He married Margot van Voorhies prior to opening Taller Los Castillo bu they were later divorced in 1946. (see The Little Book of Mexican Silver Trade and Hallmarks, 2013)

MARIUS HAMMER BIO:

Marius Hammer built up and managed Norway's largest goldsmith's workshop in the decades around 1900. By investing heavily in marketing and international launch, he helped make Norwegian enamelwork an important export item. In a golden age for Norwegian handicrafts, Hammer's company also delivered many works that are among the main works of Norwegian goldsmithing.

Hammer was a third-generation goldsmith in the traditional craft town of Bergen. In his father's workshop, he received training in an ancient guild craft, but his ambitions were greater than running a small workshop, as his father and grandfather had done. During his studies in Hamburg and Berlin around 1870, he gained insight into new techniques and production methods, and from 1871 he built up his workshop to become the largest in Bergen in a few years. He had modern aids such as gas and electricity installed early on.

The workshop made all types of goldsmith's wares: centerpieces, jugs, coffee sets, cutlery, jewelry and much more. However, from the 1880s, Hammer focused on the tourist market and became a major producer of souvenirs and other luxury items in filigree and enamel. He built up a network of branches in the well-known tourist destinations in Western Norway, and he also supplied large quantities of goods to businesses abroad, including London. From 1885, Hammer's company was court supplier to the Prince of Wales, and somewhat later the German Emperor Wilhelm II became an avid customer. The main product was filigree work with window enamel – glass mosaics in all the colors of the rainbow built up on a fragile network of thin, gilded threads. Small and large Viking ships in various price ranges for tourists, boots, teaspoons, jewelry and much more were produced in a wide variety and in large quantities. Around 1914, the company reached its peak with about 130 employees.

The key to Hammer's success in the tourist market was very active marketing, including through participation in the major world exhibitions. Together with the Kristiania firms Tostrup and David-Andersen, Hammer made enamelware one of the most important Norwegian exports.

In addition to souvenir production, Hammer also had an important production of corpus works, i.e. objects such as bowls, jugs and mugs. He invested heavily in prestige works for exhibition purposes and for the upper bourgeoisie, and a number of essays and other large corpus works are of greater artistic interest than souvenir production. Hammer engaged outstanding designers, and over the prosperous years from about 1900 to about 1920 the firm produced works that are now considered masterpieces in the goldsmith's art of the period.

Marius Hammer became Bergen's richest craftsman; he lived at the elegant country estate Christinegård in Sandviken and had himself driven in a two-horse carriage to his shop in Strandgaten. He built up a large collection of antiques and also traded in these in his shop.

With the outbreak of World War I, the tourists disappeared, and after the war, times became tougher for the luxury production that Hammer had focused on. The company was converted into a limited liability company in 1915, with his eldest son Torolf as director. However, he died in 1920, and from then on the company went into decline. Neither the old Marius Hammer nor his youngest son Max, who took over as manager, were able to carry out the radical restructuring that was necessary to adapt to the changing times. Shortly after Marius Hammer died in 1927, the company's properties and most of the machinery were sold, and the remnants of the company went into bankruptcy in 1930. (REF: https://nbl.snl.no/Marius_Hammer)

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The technique used is that of ‘niello’ work. (The word derives either from the classical Latin word ‘nigellum’ or the later mediaeval words ‘nigello’ or ‘neelo’.) Niello is a black mixture, usually of sulphur, copper, silver, and lead and used as an inlay on engraved or etched metal, especially silver. Added as a paste, it hardens to a black colour after firing and is then polished. Here it is the ground that formed from niello while the design shows though in silver, a less common version.

There is much skill in the craftsmanship here and the result is a piece of classic and timeless simplicity.