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Entries in jewelry exhibit (8)

Doyle & Doyle Debuts Rare Collection of Antique Jewels

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Doyle & Doyle is thrilled to debut pieces from a spectacular cache of rare antique jewels, all acquired from a single collector. Including jewelry from ancient Rome, 17th century Spain, and 19th century France, these are the best examples of their type and many are hallmarked by well known jewelers. Keep reading for a sneak peek of the historic collection before it goes on exhibition at Doyle & Doyle in September

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These exquisite micromosaic pieces date to the mid-19th century and are hallmarked for the Vatican Workshop of the Papal State.The Vatican's mosaic studio was founded in the 16th century, its skilled artisans create artworks commissioned by wealthy patrons and pieces for the Pope to give as gifts.  The Sistine Chapel ceiling by Michelangelo, Saint Peter’s Square designed by Bernini, and Raphael’s “The School of Athens” are among the many masterpieces you can discover at the Vatican. Originally founded in the 16th century, the skilled artisans working in the Vatican’s mosaic studio create pieces for the Pope to give as gifts and artworks commissioned by wealthy patrons. They also oversee and maintain the ten thousand square meters of colorful mosaics that adorn Saint Peter’s Basilica. This bangle and brooch are beautifully made, featuring glass tesserae so tiny that the designs look like paintings in shades of red, blue, green, and white. Perhaps a wealthy young man purchased them during his Grand Tour through Europe, or they were gifts to an important Church official. No matter their origin, they are little works of art that display the incredible skill of the Vatican’s workshop.

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The collection includes other ecclesiastical jewels in addition to the Vatican micromosaics, including a variety of gem-set and enameled crosses from many different periods. This striking dimensional crucifix cross is Spanish from the 17th century, detailed with enamel and engraving that resembles wood grain. Although probably not original, we love it worn on the black ribbon choker, especially when layered with antique gold guard chains. Although these are museum quality jewels, they’re definitely wearable!

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There are also charming examples of sentimental and devotional jewelry. The rose cut diamond encrusted heart hangs from a sweet rose gold dove. The diamonds are foil backed and you can see hints of pink, gold, and even green reflecting through the stones. The rare late 17th century Spanish reliquary pendant is a small compartment that holds a tiny bit of a saint’s blood. It’s backed by a hand painted figure of a female saint and framed by emeralds and garnets. This type of jewel was probably a private devotional artwork. Spain being an intensely Catholic country, people believed in the power of saints to affect their daily life. In additional to more traditional liturgy, 17th century Spaniards prayed to their personal saint to intervene and make their lives better.

6 doyle doyle arts and crafts turquoise pendant art nouveau enamel winged female pendant Gaston Laffitte

The other half of this incredible collection is comprised of museum quality Arts & Crafts and Art Nouveau jewelry. The Arts & Crafts Movement was a direct response to the mechanization and poor working conditions engendered by the Industrial Revolution in the mid-19th century. Adherents looked to the Middle Ages, nature, and popular folk art for inspiration, seeking to return to an idyllic time before mass production. Shying away from precious materials, Arts & Crafts jewelers favored readily available gemstones, such as garnet, amethyst, citrine, opal, and moonstone. The delicate gold pendant is British, comprised of hand wrought wirework set with bright blue turquoise and glowing moonstone. 

7 doyle doyle art nouveau plique a jour enamel necklace Gaston Laffitte silver locket Lucien Coudray

By the end of the century, Art Nouveau artists took the theme of nature to the next level. Art Nouveau jewelry often incorporated idealized female forms with swirling, whiplash hair framed by sensuous flora, like this striking silver mirror locket. Dating to 1900, this lovely piece is hallmarked for French jeweler Lucien Coudray. Coudray specialized in engraving medals and won several prizes for his artistry. Another popular form was a winged female with gossamer enamel wings studded with tiny gems or pearls. This statuesque dragonfly woman was created around 1900 and bears the hallmark of noted Art Nouveau jeweler, Gaston Laffitte. The light filters through the translucent green plique-a-jour enamel wings, creating a delicate stained glass effect.

This is just a small preview of the incredible historic collection - want to see it all? Doyle & Doyle is putting on a public exhibition in September. Email info@doyledoyle.com for more information and to get on the invite list!

 

This post was contributed by Juliet Rotenberg of Doyle & Doyle, thank you!!

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Want more?! To check out the store tour of Doyle & Doyle, click here.

Q & A and Visit with Emily Stoehrer of MFA Boston

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After a long and exciting week in Boston, I had a visit to the Museum of Fine Arts set up to feed my jewelry history cravings. One of my favorite things about my love and passion for jewelry is learning! Museum exhibits are such a great way to see and learn, often producing a lifelong impact or memory--especially for me. Whenever there is a headlining jewelry exhibit, I like to try to schedule trips in hopes of catching it before it ends. Lucky for Boston, the MFA has quite an extensive jewelry department that is constantly researching, collaborating, and creating new exhibits. I got to have a private tour with Emily Stoehrer who is not only a wealth of knowledge, but highly dedicated and involved in what she does for the museum. I was fascinated in so many ways, as she brought me through the MFA's current exhibit Past is Present: Revival Jewelry. 

Learn more about Emily as she answers my questions below and make sure you stop by the exhibit before it ends in August of 2018. Can't wait to visit again!

 

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I am the Rita J. Kaplan and Susan B. Kaplan Curator of Jewelry. It’s a unique role in an American fine art museum, which was established in 2006. I was appointed in 2014, and over the last three years have worked to develop the exhibition program; add extraordinary jewels to the collection; connect with jewelers, designers, and collectors; and collaborate with colleagues across the museum to plan programming and events

Spanning thousands of years of jewelry history, there are more than 20,000 objects in the jewelry collection. Highlights include our ancient collections and contemporary jewelry, but over the last decade have added to our holding of fine jewelry. A great example of this is a gift given by the Rothschild family a few years ago, which included an outstanding pearl and diamond necklace that dates to the late nineteenth century. With large, perfectly matched natural pearls, it’s an extraordinary treasure! Yvonne Markowitz (who is the Rita J. Kaplan and Susan B. Kaplan Curator of Jewelry Emerita) and I have worked to establish a jewelry resource center for anyone interested in the study of jewelry, and as part of that we have also worked with the Curator of Design to acquire jewelry with related design drawings. Studying drawings from firms like Trabert & Hoeffer Mauboussin, the manufacturer-jeweler Louis Ferón, and the artist-craftsman Frank Gardner Hale, alongside the jewelry they made, has greatly informed our understanding of jewelry and how the industry operated historically.

We have also worked to add strength to strength by filling in gaps in our historical collection. For example, until recently we did not have anything by Carlo Giuliano. But, this year we added two amazingly naturalistic gold and enamel butterflies to the collection—a Duke of Burgundy and Bath White butterfly, to be specific. They are impossibly thin, and enameled on both sides to show every detail of the butterfly’s body and wings. They are a stunning example of the goldsmith’s art. Another historically important and spectacular ornament that I recently acquired is the Apparitions brooch which was designed by Eugene Grasset and made by Henri Vever for the 1900 Paris Exposition. It’s hauntingly beautiful art nouveau aesthetic won them the Grand Prix.

My favorite part of the job is the research and planning that goes into creating an exhibition—doing research in libraries and archives and taking a deep dive into historical documents, publications, and material culture. Unfortunately, as I run from meeting to meeting, I don’t get to spend as much time doing this as I would like. So, I rely on some a team of volunteers and interns to help with some of it. Once the research has been done, and the objects have been selected, the real fun begins. I have learned so much about the storytelling capabilities of jewelry from working with the MFA’s remarkable exhibition designers, mountmakers, and conservators as we discuss and mock-up how each object will be displayed in the gallery.

MFA Boston | Gem Gossip

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As any lover of jewelry knows, the past has consistently inspired jewelers and designers. While interest in historicism was particularly strong during the nineteenth century, there were great revival jewels made before 1800 and after 1900. In the same way the Victorians struggled with the tension between mass-production and hand-craftsmanship, we grapple with digital design and the pace of modern life. So, I see this as a topic that is as relevant today as it was 150 years ago, and if you think about it that way you’ll notice many examples of twentieth and twenty-first century jewelry that engage with a historical narrative. I hope that visitors enjoy seeing traditional “revivalist” ornaments by outstanding jewelers like Castellani and Giuliano, Bapst and Falize and Boucheron, but also some unexpected surprises like a 9-foot titanium python necklace by Munich-based contemporary jeweler David Bielander, and that the juxtaposition makes them question their notion of revival jewelry.

The exhibition highlights four revival styles: Archeological, Classical, Renaissance, and Egyptian. Each case in the intimate space includes a choice group of jewelry aimed to tell a story – travel, nationalism, graduation, cameo, scarabs, and snakes are just a few of the themes explored. If you pay very close attention to the labels, visitors might also be delighted to learn how early some of these objects were added to the MFA collection. Like the Met, the MFA was founded in 1870, and some of these jewels were acquired in the subsequent decades, making them contemporary jewelry when they were donated. A neoclassical necklace and five brooches with mythological scenes in carved shell cameo, and a Castellani necklace, earrings, and brooch commissioned by the amber collector William Buffum are just two examples of the objects that have resided at the MFA for more than one hundred years. Newer acquisitions on view include: a tour-de-force bracelet by the Roman jeweler Ernesto Pierret that features a central bovine head, granulation, and two menacing faces that come together to form the clap; a spectacular early twentieth-century neck ornament by G. Paulding Farham for Tiffany & Co.; and a slithering silver snake belt/necklace, with sapphire eyes, that Elsa Peretti designed for the American fashion designer Halston in the 1970s.

While 80% of the works on view are from the MFA collection, there are also some noteworthy loans. From the collection of Susan B. Kaplan, a startlingly lifelike lion speaks to the genius of Castellani’s designers and craftsmen. Unlike other micromosaic workshops, Castellani left the surface of their work uneven to create a glittering effected. Wartski Ltd., of London, loaned a demi-parure (belt buckle, brooch, and bracelet) by Falize Frères. Enameled on both sides, the glorious ornaments use translucent enamel and foil to create a fantastical scene with birds, like those seen in illuminated manuscripts. Generously sponsored by Cartier, the exhibition includes four magnificent twentieth-century ornaments from the Cartier Collection. Made between 1906 and 1928, the garland style medusa necklace, winged scarab belt buckle, Eye of Horus bracelet (that once belonged to Linda Porter), and the diamond chimera bracelet are outstanding examples of French revival jewelry, and the depth of the MFAs ancient collection allows for these dazzling jewels to be exhibited alongside the ancient artifacts that inspired their design.

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My path to jewelry was a crooked one. I have an undergraduate degree in Psychology, and had plans to attend law school. But a few years working in the District Attorney’s office, I changed my mind and I began researching graduate programs in fashion. In 2005 I moved to New York City and enrolled in the two-year Fashion & Textile Studies program at the Fashion Institute of Technology. Thanks to FIT’s remarkable alumni network I ended up back in my hometown with an internship at the Museum of Fine Arts, Boston. As an intern I worked with conservators in the Textile Conservation department to relocate the fashion collection.

My first full-time position at the MFA was as a Collections Care Specialist and my responsibilities included preparing more than 10,000 objects from the Asian costume and textile collection for photography – everything from kimono to dragon robes and textile fragments to temple hangings. When that project ended, I became the Curatorial Research Associate reporting to Yvonne Markowitz (then curator of jewelry). For two years I worked with her on the inaugural exhibition in the jewelry gallery, and the book Artful Adornment. Both the exhibition and the book focused on highlights from the MFA’s jewelry collection. Yvonne quickly became a very important part of my life, and has been an extraordinary mentor. She encouraged me to think about a future as a jewelry curator, bringing my knowledge of fashion history to the understanding of jewelry. She enthusiastically introduced me to her contacts and colleagues, took me to conferences, and supported my own research in the field. She also told me to consider a PhD.

During my time at the MFA, I had been teaching courses in textiles and fashion history, and in 2010 I left the Museum and took a position at a small college in Boston’s Back Bay neighborhood. As Program Director and Assistant Professor, I managed three robust fashion programs with more than 100 students. At the same time I took PhD courses and exams, and began work on my dissertation. My doctoral work focused on the intersection of fashion, jewelry, and media. I examined the vintage jewelry on the red carpet from 1995-2010 using Neil Lane’s collection as a case study.

After nearly 30 years at the MFA, Yvonne retired in 2014 and I was appointed to replace her. Over the last three years, I curated the exhibitions Hollywood Glamour: Fashion and Jewelry from the Silver Screen, Past is Present: Revival Jewelry, and smaller installations; planned jewelry related events and trips for the MFA’s Fashion Council; traveled extensively to lecture, visit art fairs and exhibitions, participated in educational opportunities organized by Association for the Study of Jewelry and Related Arts (ASJRA) and Art Jewelry Forum (AJF) trips, attend conferences, visited collectors, galleries, designers, and jewelers. It’s been a whirlwind. Recently I have taken on two leadership roles, joining the board of directors for the Society of North American Goldsmiths (SNAG) and the Boston chapter of the Women’s Jewelry Association (WJA).

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I am immersed in research for two forthcoming exhibitions, and a book related to my doctoral work.

Opening in September 2018, an exhibition of Boston arts and crafts jewelry and metalwork will replace Past is Present in the Stanley H. and Rita J. Kaplan Family Foundation Gallery. From the establishment of the Boston Society of Arts and Crafts to the disastrous 1929 stock market crash that crippled many artist craftsmen, this exhibition will be the first to focus solely on Boston jewelers, and will include design drawings, jewelry, and hollowware by artists like Frank Gardner Hale, Josephine Hartwell Shaw, Margaret Rogers, and Edward Everett Oakes.

That exhibition will be followed by one on Elsa Peretti, who will be celebrating 50 years as a designer in 2020. Beginning her design career making jewelry and accessories for Giorgio Sant’ Angelo and Halston before joining Tiffany & Co., Peretti has created timeless designs that continue to resonate with modern consumers. Her refined taste has focused, primarily, on silver but the exhibition will feature a diverse sample of her work, as well as her inspirations, and—of course—include a fashion element. An esteemed arbiter of style, fashion icon, and friend of many twentieth century notables, this exhibition will celebrate Peretti’s life and career.

My work at the MFA keeps me very busy, but I am also in the midst of writing a book titled Jewelry in Celebrity Culture: Glamour and the Hollywood Spectacle. It will be published as part of I.B. Taurus’s Dress Culture series (edited by Reina Lewis and Elizabeth Wilson). From the tour-de-force necklace that the American firm Trabert & Hoeffer loaned Colette Colbert to wear in the 1935 film The Gilded Lily to the impact of The Representation Project’s #askhermore campaign, the book will examine how jewelry aids in Hollywood’s production of glamour.

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To be honest, the last three years have been a series of highlights. The people I have had the opportunity to meet have been the most memorable. The many conversations and meetings I had with Neil Lane as I conducted research on Hollywood jewelry and his private collection, having lunch with Elsa Peretti in Sant Marti Vell, Spain and discussing her incredible life and work, and spending two days in Wallace Chan’s Hong Kong atelier are at the top of the list!

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I look forward to seeing the field grow in new and exciting ways. There are so many M.A. programs that embrace the study of jewelry history, and there remain extensive subjects awaiting scholarly work. Coupled with a G.G. I think there is extraordinary potential for research and writing. I was lucky to have a great mentor, who guided my career path, and if you can find an experienced curator or historian to play that role for you, it’s priceless. This field is so welcoming. I encourage anyone interested in jewelry to find others that share their passion, social media is a great place for this.

Being a museum curator is much more multi-faceted than I realized after leaving graduate school. Even after years working at the Museum, it wasn’t until I was a curator that I realized the diverse requirements of the job—a natural curiosity, a mastery of your subject area and how it connects to other types of art, a vision and strong ideas that you can translate into exhibitions, excellence in building and maintaining relationships with artists and collectors, as well as strong research, writing, and public speaking skills.

I am very lucky that the MFA has such a vibrant jewelry program. My position, the gallery, and the prominence of jewelry at the MFA is all thanks to tremendous generosity Susan B. Kaplan. It is our hope that other American fine art museums will expand their collection, exhibition, and publication related to jewelry. And, that similar positions will emerge at other American museums.

MFA Boston | Gem Gossip MFA Boston | Gem Gossip

 

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WANT MORE? You can follow Emily on Instagram ---> @jewelcurator

Jewelry Book Review: Fascination British & Continental Jewelry 1785-1885

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A book like Fascination: British and Continental Jewelry 1785-1885 The Collection of Nancy and Gilbert Levine is the type of jewelry book that I am constantly longing for--a glimpse into someone's personal collection, featuring descriptions of each piece and hopefully a little insight into the collector's mind.  This is exactly what you get with this book and I am forever grateful!  A special thanks to Lenore Dailey who recommended this book via Instagram--what a wonderful community we have as jewelry collectors!

As with most collections, it always starts with one piece and one beautiful story.  For collectors Nancy Levine and the late Gilbert Levine, whose collection of over 200 pieces is chronicled here, it was an Assyrian bangle bracelet that started it all.  The couple were on a trip in London during the 1960s and stumbled upon this piece in a shop window.  It was then that they fell in love with the sheer beauty and craftsmanship of the time period, and an obsession was born.  Since then, the collection has been graciously loaned to be featured in several museums across the United States, with the Museum of Arts and Sciences in Daytona Beach, Florida being a long-holding curator as well as the force behind this publication.  It is very magical, as a collector, to hear the words used to describe Ms. Levine when she gushed over her pieces--pouring out historical information like an expert and with a spark in her eye. It is a feeling most collectors understand!

The book showcases the collection in beautiful, colored photographs with excellent descriptions of each piece which will both fascinate and educate any reader.  I love Ms. Levine's introduction titled, "On Collecting." The book is divided into sections based on time period and themes, with a focus on jewelry from 1785-1885 only--a truly unique time period in both jewelry and history.  Although this book doesn't focus too much on the historical aspect, it does give a brief overview of what was going on during that period of 100 years before getting into the jewelry, which helps to understand the aspects of the jewelry more fully.  The sections are broken down into Jewelry of the Gentry, Cannetille, William IV, The Bourbon Restoration, Early Victorian, Cameos, Revivalist, Late Victorian, Second Empire, Mosaics, Mourning, Souvenir, Evening Glitter, Religious Symbols, Earrings, and Jewelry of the Less Affluent.

I have to admit, this time period is one I know the least about, so reading this book really had my knowledge growing!  I won't give too much information away, other than it is a must-have for any antique jewelry collector!  Here are just a few key points I learned from this amazing, chronicled collection:

 

  • A couple seed-pearl demi-parures were featured in this book--I didn't know that they were worn mostly by single women, as diamonds were worn mostly at night by married women.  
  • The invention of the Argand lamp during the 1780s had influenced jewelry gold finishes--the use of matte contrasted with polished gold--which was now made visible by these new lamps.
  • Tassie cameos were invented by Scotsman James Tassie--they were sulphur-wax molds cast with a potash-lead paste, essentially paste cameos, made to satisfy the needs of the less affluent to collect exquisitely carved cameos held by the affluent.
  • Revivalist jewelry is a term used to describe pieces of this time period where styles of the past--like Etruscan, Egyptian, etc--were becoming en vogue.  This was due to many archaeological finds of the time, excavations taking place in Italy, Greece and the Middle East. Increased ability to travel also helped fuel this reawakening of jewelry style.
  • There are two types of mosaics: Roman & Florentine (the picture above of the micro mosaics feature all Roman types.

 

To buy a copy for yourself: (I bought a used copy through Amazon and it was signed by the curator!)

Fidra Jewellers Reports: Ring Exhibit at the Ashmolean Museum

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Very excited to bring you this story brought to you by Fidra Jewellers, one of my most favorite antique jewelry stores in England which I love to daydream about and hope to visit someday!  The shop is located in Brighton. To learn more, read this blog post I wrote in my archives.  Thank you Helen for contributing such a fun post:

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If you have a 'thing' for rings and you're ever at a loose end in Oxford, the Ashmolean Museum has a fascinating 'Finger Ring' collection which is well worth a view. The Ashmolean is the oldest university museum in the world. It started out in 1683, initially as a building to house the cabinet of curiosities that Elias Ashmole had collected.  

The collection of Finger Rings consists of a diverse selection of rings with amazing hand-wrought detail ranging from Pharonic Egypt to Victorian Britain, and what this wonderfully varied collection particularly celebrates is the personal significance that each of the rings had to its wearer. 

The wearing of rings has throughout history a meaning which is personal to each piece....

'Often in history and in legend...a story turns upon the fact that that a ring or jewel is recognised as belonging to someone important...and it is true that rings were known and recognised as powerful symbols and that the passing of a ring from one person to another could have an awesome significance'.' --Scarisbrook/Henig; Finger Rings.

The stunning collection is housed in a purpose-built octagonal shaped cabinet and the rings are grouped together in types with many early and rare rings including:

 

  • Rings significant for legal and business purposes, denoting power such as intricately carved Roman and Etruscan seal rings.

 

  • Rings marking the key events in the lives of their owners such as marriage and death are instanced in the beautiful Renaissance fede love and marriage rings and the exquisitely enamelled 17th century momento mori rings.

 

  • Papal and other ecclesiastical rings demonstrating the strength of religious faith or authority of the wearer include rings with prayers, Biblical inscriptions and iconography.

 

  • Amulet rings such as the fourteenth century toadstone rings, showing belief in the supernatural power of some gemstones.

 

It's a real feast for the eyes....the only frustrating thing about this rich and diverse collection for a jewellery junkie such as myself, is that you can't pick them up to examine them or even try them on!

 

The museum is free to visit, however the whole collection can be viewed here:

http://www.ashmolean.org/ash/objects/makegallery.php?pmu=153&mu=152&gty=brow&sec=&dtn=20&cpa=1

Or you can buy the book that accompanies the exhibit:

Museum Exhibit: Hollywood Glamour, Fashion and Jewelry from the Silver Screen

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Museums, both large and small, offer an abundance of inspiration through their special exhibits. They also offer rare glimpses into our past cultures and ancient civilizations. I have made it a point to spend more time in the presence of some of the greatest treasures from our world. There is so much to offer in terms of creativity as artists and individuals. With that in mind, I recently visited the Museum of Fine Arts (Boston) in search of renewed inspiration and in doing so captured and sourced images for Gem Gossip and her readers for a two part day-tripping jewel-filled adventure!

My first stop at the MFA, naturally, was the Hollywood Glamour exhibit since it embodies my affection for jewelry, fashion, and photography. Hollywood Glamour celebrates the Golden Days of Hollywood by featuring the iconic style of movie stars from the most glamorous years of film, otherwise known as the Silver Screen.

The term Silver Screen comes from the actual silver content embedded in the material that made up the motion picture screen's highly reflective surface; fabric choices for gowns such as chiffon, silk, and satin translated well into the glitz and glamour curated for black-and-white film. Each gown portrays the visual opulence for which it was created - metal-wrapped threads of genuine silver and gold.

Hollywood Glamour presents sixteen gowns from the top couture designers of the time, displaying jewels and movie set paraphernalia. Alongside the gowns are curated window boxes with alluring portraits of the awe-inspiring stars from the Silver Screen wearing the exhibit's possessions. All of this nostalgia takes place underneath moody chandeliers while snippets from the subject film loops on a big screen, keeping the dream alive.

The Golden Age of Hollywood commenced with the end of the silent era in American cinema (the late 1920's) and extended through the early 1960's. This Golden Age created affairs of the heart that centered on passion, emotion, and romantic involvement of main characters - the leading man and his lady. Golden Age films were meant to transport you to another world, provide escapism from the despairing reminders of the Great Depression and convey hope to overcome one's difficulties by enjoying an on screen happily ever after, sealed with a kiss.

Fine jewelry of this time was also designed with versatility in mind, as pieces would generally serve more than one purpose. A multi-use necklace, just one extravagant piece from the collaboration of American jeweler Trabert & Hoeffer and Parisian house Mauboussin, (once owned by Jean Knight and on loan through Neil Lane) converted into separate brooches, bracelets and rings! Hollywood actresses not only wore their incredible jewelry on and off screen, it was also an integral element of the meticulously crafted character for each star by the studio. Joan Crawford has been famously quoted saying : "I never go outside unless I look like Joan Crawford the movie star. If you want to see the girl next door, go next door."

While standing in a room full of girl next door's, speculating on each star's distinct air, I am aware nothing in the Golden Age is as it seems, especially for Mae West. Standing only five feet tall, she wore ridiculous shoes, constructed to mislead admirers, and therefore adding 8 and a half inches to her frame! Neil Lane, who has generously loaned the Art Deco platinum and diamond bracelet once belonging to Mae West, acquired it through the purchase of the estate of her former lover and bodyguard, Paul Novak, thirty years her junior. He is said to have "loved her so much" he stored all her jewels in a safe deposit box, the contents of which were only sold after his death.

Edith Head, the only costume designer to win eight Academy Awards referred to this time as "luxury that once existed before the era of budgets and economy." I am reminded of this opulence among Coco Chanel, Elsa Shaparelli, Carole Lombard, Betty Grable, and Marlene Dietrich. This is not only an important exhibit marking Hollywood's history, and a modest collection of jewels ranging in worth of $60,000 - $3,000,000, but it also highlights the illusory veil created to provide hopefulness and happiness (if only for a brief hour) through our most strenuous times. Hollywood Glamour not only captures and celebrates life and our romantic past, it is a poignant reminder that this is what jewelry, and the art of adornment, is all about.

Hollywood Glamour : Fashion and Jewelry from the Silver Screen, sponsored by Neil Lane, is located in the Loring Gallery of Textiles at the Museum of Fine Arts in Boston. Exhibit runs September 9, 2014 through March 8, 2015.

 

This post was brought to you by Alexis Kletjian