TEW Galleries presents 
Antique and estate jewelry
with a special focus of the colletion on jewelry from the late 1940s, 50s, 60s, and then into the 70s, a period which forms the last golden age of jewelry design and craftsmanship.
Discovering this jewelry, its striking color combinations and reflection of nature's opulence, is to feel the buoyancy, glamour and timelessness of these three decades. Forward-looking collectors are increasingly appreciative of the magnetism of the 1950s, 60s, and 70s and this is a great time to obtain superb and carefully chosen pieces before they disappear into private collections to be passed down to future generations.
History - the 1950s
It might be easy to overlook the creative and stylistic innovation of these decades, as they seem all too recent. However, the iconic quality of this jewelry is unlike anything that came before, and formed a strong contrast to the streamlined styles of the 1930s and 1940s.
As the western world exited from the privation and pain of World War II, precious metals were once again easy to obtain and the recent diamond mining successes meant jewelry could engage in uninhibited displays of wealth. Skilled craftsmen returned from the battlefields and war industries to the workshops just as the demand for jewelry rose swiftly, especially from an exuberant American market. The 1950s embraced this new era of motivation and innovative jewelry designers reflected this happy and optimistic outlook in a voluptuous display of naturalism.
Gold was richly textured and corded, and designs favored scrolls, knots and clusters. Flowers, leaves, shells, animals, and birds were ripe for artistic interpretation with a preference for asymmetry and spiky edges which reflected concepts of modernity and innovation. Daytime jewelry was almost exclusively made in yellow gold, judiciously decorated with diamonds and precious stones. As the work day ended the polite society slipped into the cocktail hour, a de rigeur celebration of their new status. Jewelry changed into a brilliant display of white light, as platinum and white gold were used to show off cascades of diamonds and other large and important gems.
1960s
The euphoric mood of the 1960s made its formal debut with the movie "Breakfast at Tiffany's" which captured the tenor of an American society engaged with fashion and luxury. Women embraced a bejeweled opulence and nothing was too beautiful. Fashion reflected the big social changes and severe hair bobs, mini skirts, hot pants, white boots, and hip huggers were just some of the new styles. America became more informal; important gem stones in simple mounts were relegated to the bank vault and a new class of jewelry that could be worn at all times emerged. By the mid 1960s, sets of jewelry were worn with abandon both during the day and at night; two bracelets, a ring on each finger, earrings, and a necklace, were not too much for an outfit.
Turquoise which made a vibrant entry into the market in the 1950s was even more popular in the 1960s and reflected a taste for startlingly beautiful colored gemstones, often cut in cabochon, and chosen for their hue, rather than for the value of the gem. Yellow gold, now the preferred color, was engraved, hammered, or twisted, to heighten the visual impact. Random shapes, abstract designs and strong three-dimensional qualities, a holdover from the 1950s, were transformed into an expression of relaxed chic. Diamonds, still the most sought after gemstone, found new appeal with the proliferation of marquise and pear shape cuts. These design elements were used to create jagged outlines that reflected the freedom that America was experiencing.
1970s
While jewelry designed in the 1950s and 60s had strongly identifiable traits, the 1970s began and ended with a multiplicity of expressions. Traditional shapes; clean, bold, and rounded contemporary forms, and sculptural invention were all present, making stylistic unity hard to pinpoint from a critical standpoint. The 1970s also ushered in an era of sobriety as a result of recession and the changing attitudes towards minorities and women, and ultimately, towards a more personal style. This was reflected in a jewelry market focused increasingly towards pieces to be worn both casually and formally.
One of the dominant aspects of the late 1960s and early 1970s was the dazzling influence of Indian and Islamic civilizations on jewelry design. This was best expressed through large pieces and very vivid color. Also finding renewed popularity were sautoirs, long gold chain necklaces often set with precious and semi-precious gems that had first gained favor in the Edwardian era. Carved and polished stones like lapis, onyx, malachite, tiger eye and rock crystal were fashionable and coral surged in popularity after a 50 year slumber.
As the 1970s ended, so did an era of tour de force craftsmanship as the worlds most highly trained artisans retired and died. Never since has there been such a level of skill and artistry so necessary to create the aesthetics for which this last golden era of jewelry is renowned. A changing educational system meant that young men were no longer apprenticed at the age of 12. At the same time haute couture was experiencing its first real challenges from ready to wear clothing. The day of the jewelry designer as a visionary of style largely came to an end as the grand tradition of jewelry as an art form was increasingly replaced with generic mass production for an expanding middle market.
JEWELRY HOUSES, DESIGNERS AND WORKSHOPS
To appreciate the surprising creations of the late 1940s, 50s, 60s and 70s is to become familiar with names like Cartier, Harry Winston, Tiffany & Co., Van Cleef & Arpels, Bulgari, Buccellati, Boucheron, and David Webb, who operated some of the largest and most influential jewelry houses and proudly signed their production with their brand names. Each one of these captured the feeling of the moment, in distinct ways and at different times. Their success was built on the creativity of a cadre of behind the scenes designers, or in some cases, one individual whose vision was so perfect it could ignite a brand. Of particular interest is Jean Schlumberger, who created wildly popular designs for Tiffany & Co. bringing the company a new era of fame.
Behind the scenes, highly skilled craftsmen fabricated their creations. Only the very biggest jewelry houses had the financial means to have their own workshops, thus most relied on a confidential network of ateliers and artisans to whom they subcontracted their production. The largest of these wholesale operations engaged their own in-house designers, jewelers, setters, enamellers and clockmakers, while other smaller operations provided distinct skills. Some workshops gained their own renown; Oscar Heyman and Brothers of New York made jewelry for Van Cleef & Arpels and Tiffany & Co. and also marketed designs independently.
Much of the beautiful jewelry of the 1940s, 50s, 60s and 70s comes from these workshops, including significant pieces which were bought or commissioned directly from them by private clients with discreet access. However, with the exception of proven documentation or rare maker's marks by the workshops and designers, it is almost impossible to know who created much of the gorgeous jewelry that adorned the stylish and the wealthy. Many people rely on brand names, but there is no better to way to appreciate jewelry than by its beauty, originality, superior workmanship and exciting gemstones, as this is where the most overlooked opportunities for acquiring superb pieces exist.
I invite you to experience The TEW Jewelry Collection with the assurance that the pieces have been individually chosen, independently evaluated, and are unique and beautiful. These factors make for great enjoyment now and into the future, as this jewelry will become increasingly unavailable.
- Timothy Tew
Bibliography
Bennett, David and Daniela Mascetti, "Understanding Jewellery", Antique Collector's Club Ltd., Woodbridge, Suffolk England, 2008