The Hottest Celebrity Jewelry Trend Happening Now–Hoops!

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Jennifer Lopez may have been one of the originators, but now there seems to be a resurgence in the popularity of hoop earrings and celebrities are following suit.

What makes this hoop trend new? Crank the typical thin metal circle hoop earrings up a notch… or 12 notches! We’ve spotted all kinds of luxe versions of the hoop earring — from diamond color coated to encrusted opal slices. Hoops are competing as the new statement earrings on the red carpet.

Not to mention they have a remarkable way of framing the face and are extremely adaptable in size to fit anyone’s face shape. They’re quintessential and dependable. Hoop shaped earrings have been a powerful symbol in numerous cultures throughout history. The oldest earrings archaeologists have discovered belong to Sumerian women who lived in 2500 BC, and favoured the classic gold hoop style.

Hoop earrings are a foolproof, classic staple and if you don’t have a pair of hoop earrings in your jewelry box, check out these celebrity looks for inspiration to add a pair now!

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Hailey Baldwin demonstrating that one pair of hoop earrings is never enough. Hailey wearing 2 pairs of gold hoop earrings from Jennifer Fisher Jewelry at the iGo.live launch event.

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Jennifer Lopez wore Harry Winston three row diamond hoop earrings at the ‘Rei Kawakubi/Comme des Garçons: Art of the In-Between’ Costume Institute Gala 2017. She also wore a pair of bold gold Samira hoop earrings by Jennifer Fisher Jewelry in her new music video for ‘Amor Amor Amor’.

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Nicki Minaj wore oversized diamond hoop earrings by Lynn Ban at the 2017 MTV VMAs.

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Rihanna prefers colored diamond encrusted hoop earrings. She wore Rihanna Loves Chopard pink sapphire hoop earrings to the LA premiere of Valerian and The City of a Thousand Planets. She also wore yellow diamond hoop earrings by Jacob & Co. at the launch of her Fenty Beauty, pictured here.

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Singer Rita Ora wore diamond Tiffany and Co. hoops at the 2017 Teen Choice Awards.

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Sarah Paulson wearing diamond Jasmine hoop earrings by Nirav Modi at the 2017 Screen Actor Guild Awards.

PICTURE credit all GETTY, with the exception of Rihanna photo via WIRE IMAGE

This post was contributed by:

wwwdaily Laura Lee Fulham | T: @WhoWoreWhatDly | W: www.whoworewhatdaily.com

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Leslie Hindman Auction: September Sale is INCREDIBLE

Leslie Hindman: Lot 87

You’ll be enchanted forever by this ring, up for bid at Leslie Hindman Auction in Chicago, IL — this is lot 87 in the three-day bidding extravaganza.

Leslie Hindman: Lot 377 Leslie Hindman: Lot 378 Leslie Hindman: Lot 379 Leslie Hindman: Lot 380

Four mesmerizing opals are on the block at Leslie Hindman, day one, and they come back-to-back in lots 377-380. Get your bidding paddles up!

Earlier this year, I got the opportunity to get a behind-the-scenes look at the Leslie Hindman Auctioneers jewelry headquarters in Chicago, IL. To say I’ve got some perspective on how an auction house runs is far from the truth, but I came away being able to put faces with names, insight into a typical day, and a brief intake of the enormous amount of sparkle the jewelry department works with. It was one of my most favorite experiences of this year! Now when I hear that Leslie Hindman has an upcoming auction this September (the 10th-12th to be exact) I have more context of the event, as they are excited to bring a three-day extravaganza with some heavy and hard-hitting bidding in the future. This three-day auction will feature over 1500 items of all price points and eras. If you like big and bold, Victorian or Modern, opals or rubies, they’ve got something for everyone.

Let’s take a look at some of my top picks:

Leslie Hindman: Lot 6 Leslie Hindman: Lot 55

Lot 6: Nothing beats an Etruscan Revival basketweave wrap bracelet! This is such a fine example and I love the gemstones used on it–sapphire and diamonds! It gives it a cool look against the warm yellow gold. I also love the granulation work, in both excellent and ready-to-wear condition. This piece may date back to 1870, but never looked more trendy than on an elegant wrist in 2017. Estimate: $3,000-5,000

Lot 55: Lately I’ve written several articles on engagement rings and I’ve been finding that women are wanting something traditional but with a twist! This ring speaks volumes with just the small accent sapphires, as it makes the ring totally unique. The piece is Art Deco and set with a 3.24 carat Old European cut diamond in the center. Love the style and think it should belong to someone who will treasure it as an engagement ring. Estimate: $10,000-15,000

Leslie Hindman: Lot 68 Leslie Hindman: Lot 86

Lot 68: I’ve seen the benefits of purchasing pieces that are convertible and this is a fine example of a two-in-one! Meet the silver-topped diamond pendant/brooch of your dreams. This piece totals over five carats of old cut diamonds and radiates from every angle. I could picture it being worn on a chain or worn pinned to a collar. The possibilities are really endless. Estimate: $4,000-6,000

Lot 86: The only kind of bugs I like are jewelled insects! This guy is one for the books–look how cute he is. Set with rose cut diamonds all-original to the piece and a jaw-dropping opal back. I love the detail on the textured gold legs and the ruby eyes. It’s all in the details. Estimate: $2,000-3,000

Leslie Hindman: Lot 111A Leslie Hindman: Lot 118

Lot 111A: Plique a jour is jewelry’s version of stained glass and I must say, I don’t own a single piece of this beautiful artform. These earrings though, should and would be the best first piece of plique a jour to add to my collection. I love the colors and I love the design. They are 18k yellow gold and feature 12 brilliant cut diamonds. Estimate: $500-700

Lot 118: This diamond and ruby ring stopped me in my tracks. Wow. It is done in platinum and set with a marquise cut in the center, with calibre French cut rubies and round diamond accents. It is pristinely made and you can see the remarkable craftsmanship even in the photo alone–now I want to see it in person! It could be yours on September 10th. Estimate: $4,500-6,500

Leslie Hindman: Lot 124 Leslie Hindman: Lot 300

Lot 124: This ring is so cool for so many reasons! Let’s start with the fact that it has contrasting metals–rose gold and platinum. The design is also pretty amazing, and the different metals really play off this element. The rubies are actually different, if you already couldn’t tell–one is synthetic and the other is genuine. Such a stunning ring. Estimate: $4,500-6,500

Lot 300: The coolest earrings I ever did see. These are actually diamond studs with detachable jackets that easily slip on/off the earring posts. There are four jackets total, so lots of possibilities here! And the style of these has never been more on-trend. Geometric and angular, love them. The diamond studs total 2.26 carats. Estimate: 3,000-5,000

Leslie Hindman: Lot 487 Leslie Hindman: Lot 509

Lot 487: I had to include this insane emerald ring because of its colossal size–then I read further and realized it is a piece by Judy Geib. A true artist who hand makes everything herself–fun fact: did you know she taught herself how to make jewelry? No formal training. Her pieces are known for their juxtapositions–like beauty and rawness, fine gold mixed with silver. Estimate: $4,500-6,500

Lot 509: Iconic and chic, I had to include this cuff bracelet from Verdura into my favorites list! It is easily recognizable as a Verdura statement piece. Done in 18k yellow gold, set with peridot, amethyst, and diamond and complete with the Maltese cross enameled in black. What a special bracelet. Estimate: 28,000-38,000

This sponsored blog post was brought to you in collaboration with Leslie Hindman.

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SEPTEMBER SALE: September 10th-12th

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Jewelry Collection Stories: Kate of @LuxCharmJewelry

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This month’s Jewelry Collection Story comes from Kate of @LuxCharmJewelry and it is a good one! Kate is a full-time art teacher and part-time jewelry enthusiast and collector. You may already be following her on Instagram, but if not you must. Her collection is pretty amazing and her story may resonate with many of you. So without further ado, I give you Kate’s collection story:

I’ve always loved jewelry. I have early memories of playing “dress up” and “jewelry store” with my grandmother Louise. She kept her jewelry in the top dresser drawer. Oh how I loved looking inside those little boxes and seeing all the sparkly jewels inside! We would arrange her jewels on top of carefully arranged bits of pretty fabrics and embroidered handkerchiefs and take turns “shopping.” It was so much fun trying on her white dress gloves and high heels and playing with all those pretty things.

When I was around 10 years old, my dad started giving me jewelry every year for Christmas, mostly rings. One year, I received a topaz ring that had the most amazing shade of bright blue. I adored that ring! Another favorite ring given to me by my dad was a gold signet ring that he had monogramed with my initials. I think I was around 15 at the time. It’s a classic look that will never go out of style and one I wear often today.

One of my favorite early jewelry memories was when my family went out to dinner before my high school senior award night. I didn’t know it at the time, but I was about to win the top artist award in my class, and my parents bought me this beautiful southwestern sterling bracelet and turquoise ring to mark the occasion. For high school graduation, I received a large, modernist sterling and gold ring. At the time, I wasn’t into yellow gold, and these bold sterling pieces were among the most beautiful pieces I owned. Luckily, my parents have continued the tradition of gifting me jewelry for special occasions, and I cherish them all. These pieces help to serve as reminders of special times in my life. My sweet husband has also joined in on the tradition and I have received many beautiful pieces from him now over the years, including my very first (and favorite) Victorian bird bangle bracelet and my beloved antique turquoise and diamond halo ring.

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As a teenager, I was really into second-hand shops–mainly for vintage clothes and small decorative items, but eventually I started picking up inexpensive jewelry and odds-and-ends; like pendants, chokers, chains, etc. At about the same time, I started making beaded jewelry and even gifting and selling pieces to my friends.

Years later, I decided to try my hand at selling handmade jewelry on Etsy. It was a fun, challenging, and creative outlet. Those were the relative early days of Etsy, and I grew as it grew. I did this for a couple of years and slowly started incorporating more and more vintage jewelry components and findings into my pieces. Eventually, the competition increased and my enthusiasm waivered, so I put my shop on hold.

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My love affair with antique jewelry began about eight years ago when my mom and I were antiquing at one of my favorite stores in Richmond, IN. My mom fell head-over-heels for this old gold cameo ring. At first, I was like, “What? Cameos? Ugh, I don’t get it.” Then much to my surprise, my mom professed her life-long love affair with cameos, citing stories from her youth. The shop owner quoted her a low price and my mom quickly bought the ring. She wasn’t one to make fine jewelry purchases on our excursions together, so I was intrigued and wanted to know more. I couldn’t stop staring at this unusual reddish-orange cameo ring on our drive back home; I was fascinated by it. It didn’t look like the girly, pink cameos I was used to seeing. It was more masculine in style and the gold was a rich rose color. The shop owner estimated the ring to be about 120 years old.

To my knowledge, I had never seen a ring that old before and now I wanted one for myself! The more I researched, the more I realized what an amazing deal my mom got on that ring. Sure, it was more than I was used to spending on random antique mall purchases (about $85), but still affordable. This made antique jewelry seem obtainable to me for the first time ever. I started reading jewelry books, researching online, and educating myself on antique jewelry. I liked learning the history behind each piece. It’s a perfect fit for me– combining my love of history, research, sentiment, story, etc.

Inspired by my new passion and focus, I reopened my Etsy shop–selling only vintage and antique jewelry. I absolutely loved hunting for old jewelry, even cameos! Thinking back to that special trip to Richmond with my mom, I believe this was the critical moment that later turned this new interest into a full-blown hobby and part-time job for me.

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Today I have such a deep and sincere appreciation for antique jewelry; I tend to collect a little bit of everything. All in all, I tend to go more for Victorian, Art Nouveau, and Art Deco pieces. Rings are probably my favorite type of jewelry to wear and collect. I love everything from dainty to bold, statement rings. I also love antique bangles and Deco necklaces in all sorts of finishes, metals, and styles.

One of my favorite things to collect are watches. My favorite makers are Longines and Bucherer. I have everything from watch pins, watch rings, wristwatches, and pocket watches. And I really love long enamel watch necklaces. My love of watch necklaces probably began when I scored an amazing Bucherer red guilloche enamel watch ball necklace for $60 in a small, local antique shop. I later learned this was a remarkable deal for one with its original enamel chain in perfect condition. I’ve since added about 10 more to my collection over the years. I just can’t stop myself when I see a beautiful one for a good price. I have such a weakness for fine guilloche enamel-work.

In addition, I love bird-themed jewelry and have many bird bangles, lockets, etc. I tend to favor cool-color pieces in general (it must be the Pisces in me!). I am very fond of blue–sapphires, lapis, zircon, and turquoise to name a few. Pale lavender chalcedony, dreamy moonstones, and that particular shade of green commonly used in Art Deco pieces–are all personal favorites. I have a growing collection of snake rings, too.

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I enjoy shopping at small, local places best. The Midwest is a gold mine for antiques of all kinds. The big jewelry enthusiasts seem to live on either coast and being stuck in the middle has its advantages… lower prices and less pickers. But this seems to get harder every year. My favorite display cases and shops seem to be shutting down. The old dealers retire; some pass away. I think part of me has also wanted to open a brick and mortar shop, but the risks are scary.

Currently, I seem to have the most luck shopping at antique shows and online auctions. I’m always on the hunt for new pieces. I would love to own more niello jewelry, antique enamel bracelets, and gutta percha bangles inlaid with gold. I have a thing for portrait paintings but oddly, own no portrait jewelry. I interned at the National Portrait Gallery right after college and it’s a subject I’m really interested in. I would love to find the perfect emerald ring and more “name” or “initial” jewelry to represent the important people in my life.

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Recently I celebrated a milestone birthday (hello, 40!) and had been hunting for the perfect aquamarine birthstone piece of jewelry for months. Then it finally happened…a huge, honking, 14-carat, Victorian, pear-shaped aqua ring in 15K gold popped up on my Instagram feed. Its large size, unfussy setting, and perfect pale-blue color, stopped me dead in my tracks. A direct quote from the seller was, “a mesmerizing, dreamy, huge piece of magic.” Indeed it was. I sold three personal collection rings to make room for this special ring, the latest addition to my jewelry box.

Back when I started wearing, selling, and collecting antique jewelry, I was the only one I knew who did. I just bought what I liked and what I could afford at the time. It wasn’t until I joined IG a couple of years ago that I found other like-minded people who loved and appreciated old jewelry as much as I do. Like most sellers/collectors, I am searching for more high quality and unusual pieces nowadays. Lately, there seems to be more competition, more reproductions, and higher prices on the online auction sites, making it harder to “score” a deal. While I may not be selling forever, I know I will be wearing and enjoying my jewelry for the rest of my life. It brings me so much joy. Marking special occasions and making new memories with jewelry are so important to me. Jewelry has a way of keeping our memories alive…providing a tangible reminder… connecting us to the people, places, and significant moments we cherish in life. Happy hunting!

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You can follow Kate –> @LuxCharmJewelry

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Why is it so Hard to Find Peridot Jewelry I Like?

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All photos above provided by Market Square Jewelers

Peridot is the birthstone of August, and many of us have come to find that August babies either love it or they hate it. Perhaps the ones that hate peridot haven’t had the same exposure to the gem as myself.

The peridot I know and love is a vibrant yellowish green that pops against yellow gold in such a magnificent and esoteric way. In Ancient Egypt, peridot was known as the Gem of the Sun and rightfully so. A well-cut peridot rivals the beauty of emerald and demantoid garnet, for a fraction of the cost.

In theory, peridot is plentiful and affordable. But while peridot is prized for its lavish and distinct coloring, it can be a struggle finding peridot jewelry that’s worth obsessing over. Unfortunately, so many factors work against peridot becoming an inexpensive jewelry staple like amethyst.

Here are some reasons why it’s so hard to find peridot jewelry I like:

1. Commercial Grade Peridot is Undesirable At Times

As far as amethyst goes, even commercial gems have the ability to be beautiful depending on the cut and hue. In contrast, most commercial peridot on the market looks the same – like small bits of washed out baby food. Too harsh? Based on how many uninformed people hate peridot, maybe not. When the cut is shallow, most of that lovable, vibrant green shade fades to almost clear, and there’s not much left to get excited about.

2. The Lime Green Color Can be Limiting in Design

I can’t recall ever seeing peridot in a white gold design that I liked. Let’s face it, peridot looks best in yellow gold. Most stones have a metal that complements it best, but with peridot, setting the stone in white or rose gold can be absolutely detrimental to the design. If you happen to love peridot in white gold, don’t let me turn you away. But this is why we see less peridot designs on the market than we do more versatile green stones like emerald that happen to look amazing in platinum and rose gold.

3. Large Peridot Stones are Significantly More Expensive

Larger peridot stones tend to maintain their deep coloring better than smaller stones. However, the larger the peridot stone, the more expensive it becomes. I can find affordable amethyst stones that weigh more than 4 carats very easily. Trying to find that same size peridot stone will set me back significantly more money, which is very limiting when jewelry shopping. It’s easy to find smaller peridot stones in places like Arizona and China, but the larger sizes are much more scarce globally, thus impacting the market overall.

4. More Awareness = More Demand

As more people become acquainted with that peridot sweet spot – the stones that are vibrant and well-cut – the demand naturally increases. Supply for quality peridot designs doesn’t fully match this new-found demand, which causes an increase in price and scarcity. This means I’ll have to be hunting for peridot jewelry instead of simply browsing for it. Instead of 10 great options, I may only find 5, and even then, I’ll be competing with other buyers looking for the same item.

With all the reasons why I have so few peridot pieces in my collection, I figured it best to reiterate that it’s not impossible to find worthwhile peridot jewelry. In fact, one of our favorite shops Market Square Jewelers, we feel, has the best selection of peridot jewelry! The photos above are provided by Market Square Jewelers and all the pieces are available for purchase! You can check out their website for more peridot jewelry here.

This post was contributed by:

Ageless Heirlooms Lauren Thomann | I: @agelessheirlooms | W: www.agelessheirlooms.com

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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.

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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.

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xoxoGemGossip

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

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Gem Gossip Visits e. scott originals in Boston, MA

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Minutes outside of Boston, in a town called Somerville, e. scott originals is a jewelry shop and studio where owner and maker Emily Scott Surette and her sidekick Mayble (an adorable Boston Terrier) make dreams come true. For Emily, this space is perfect in every way possible–it fosters her love for interacting with customers and clients, the studio provides endless moments to create, and Mayble gets to greet everyone as they walk through the door! That’s exactly what the dog did when I entered the shop, wonderfully sweaty from the heat wave that followed us up to Boston from Tennessee. I immediately fell in love with the layout and how Emily has decorated e. scott originals. She has incorporated some antique furnishings and decor into the jewelry displays, with some gold frames and mirrors…even an antique chandelier.

There are a few things that make e. scott originals tick, and working with clients one-on-one, making custom pieces from a very personable interaction, is at the top of the list. Emily loves creating new heirlooms from old, passed down jewelry, diamonds and gemstones. She also uses mainly reclaimed, anitque diamonds and recycled metals within all her designs, which we all can appreciate. Custom engagement rings are a big part of what she does, especially with clients who want something local, made by hand and feel like they are a part of the creation process. Emily’s warm personality and welcoming demeanor is just what the jewelry-creating process needs, not to mention her skills and expertise.

Another large part of what e. scott originals does and creates is their own line of highly wearable jewelry. Items that can easily fit with your every day look, like layer-ready necklaces, unique and fashionable earrings and fun gemstone rings. These fill the shelves and cabinet cases of the store and are ready for purchase. They are also ready for other stores, as Emily is looking to expand her wholesale market. Her target audience is ideal for any self-purchasing woman, gift-giving ease, and the price points are great. I did a little self-purchasing myself when I was there–after trying on the long Tuck studs in 14k yellow gold, I loved the look of them and how they could be worn stacked with other earrings I already own. I had to have them!

Before I left, Emily showed me an “inner circle” box that is presented to every couple who purchases an engagement ring/wedding bands from e. scott originals. The box features local businesses that come highly recommended to help easily plan your wedding day. Anything from cake makers, to photographers, and everything in between. You can see the full list here — I love this idea and I feel it shows what kind of business Emily is running: one full of gratitude, creativity and soul! And in case you’re wondering, she is an awesome recommender, as her restaurant suggestions were top notch!

Check out some of my favorite pieces below that you can shop from home:

e scott originals e scott originals e scott originals e scott originals e scott originals e scott originals e scott originals e scott originals

E Scott Originals

199B Highland Ave.

Somerville, MA 02143

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Jewelry Collection Stories: Emily of @GemCircus

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We are kicking off July with an incredible jewelry collection story from Emily, also known as @GemCircus. If you’re a part of the jewelry Instagram community, you’ll easily recognize some of the jaw-dropping pieces in Emily’s personal collection. From the way she styles her necklace layers, to ring stacks, arm parties, and everything in between, we love her taste and enthusiasm for antique jewelry. I’m so excited she has agreed to share her story with us, so let’s sit back and enjoy:

My love for vintage and antique collecting started when I was a teenager, after my family moved to Vancouver, Canada, from Hong Kong in the early 1990s. I remember it was July when we arrived and I would walk to the nearby library every other day to borrow books to read (our container didn’t arrive almost a month later so all I have in my room were merely a bed, a built-in closet and my backpack). I started to notice our neighbours’ garage sales in my walks and I was amused at the things people were selling – from snow cone machines to music records, jewelry to stuff toys. That summer of looking through other people’s belongings and engaging in rapports gave me a sense of belonging and connection to the community. Ever since then I have become a frequent visitor to community flea markets, thrift shops and antique shows.

My jewelry obsession started around early twenties with vintage jewelry, in particular charms and silver filigree bracelets. I love to style them on mixed metal chains and I still love styling them now.

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I wasn’t picky and didn’t have a favourite period at that time so I usually picked up quirky little things like brooches, pins, jewel “plaques” (which I found out they were called “clasps” later) etc. Even though my collecting seemed to be random at that time, I was already drawn to jewelry that have motifs, like this brass crescent with hand and arrow and the clasped hand ring that I found in a thrift store. Looking back, I believe my love for antique sentimental jewelry originates from this pair!

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A lot of my Instagram followers already knew that I adore Georgian and Victorian sentimental and mourning jewelry, as well as portrait jewelry. This probably relates to my “innate sensitiveness” (as Carl Jung coined it) and the way I see jewelry as not merely an adornment but also a medium for expression, an art, an identity of who we are.

After I started reading books on lover’s eye, portrait miniature and mourning jewelry, I became obsessed with researching stories behind the jewelry that I collect. I realized that the brass crescent and the hand motif ring are not ‘funky little things’ as I thought in my teenage days, they actually carry specific meanings – love, new relationship and friendship – in the Victorian era. As my jewelry collection matures over time, I began to search for jewelry with motifs or meanings, like the urn, masquerade (masked lady), hand (figa, clasped hand, claddagh), heart (double-heart, flaming heart), star and crescent, buckle, swallow, snake, fern, acoutistic (“REGARD” and “DEAREST”) and Halley’s comet etc.

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I like to think that every piece of antique jewelry carries its own story of those before us, and I’m a custodian carrying on its legacy while creating my story with my collection. I love styling and always try to mix and match, experiment with different stacking and mixed metal, and do simple conversions to make every piece wearable. You can see from my Instagram photos that I’ve worn a big opal crescent brooch with another monkey brooch in the middle, stacked seven Art Deco wedding bands to make a statement ring, wrapped my wrist with antique chains and added a micromosaic brooch on top, stacked an Art Deco paste bracelet with a Hermes red enamel bangle, wore brooches on hats, and layered antique gold chains with watch chains. The fun is endless!

I shop everywhere but recently it’s largely online as there aren’t any antique jewelry shops in Hong Kong. I love the Instagram community as I’ve met so many wonderful souls (many of whom have become friends for life) around the world that share my obsession in antique jewelry. I always visit antique and jewelry shops when I travel too. It has been a tradition to bring back a piece of jewelry from each city that I visit.

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One of my obsession is Georgian masquerade jewelry: masked lady ring with ruby bonnet and rose cut diamonds from @karendeakin.antiques ; locket from @abrandtandson and the most recently acquired oval ring from @bijouxvictim

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Ring stacking is a daily essential for me: Georgian blue enamel rose cut diamond urn ring from @lenoredailey ; the moonstone on the mourning ring was a gift from my jeweler in Vancouver (he has kept it for 40 years!) and it fits perfectly on the bezel of the once empty mourning ring; flat cut garnet band from @antiqueanimaljewelry

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Mourning rings and figas: these enamel mourning rings are too big to wear so I usually wear them on gold chains as pendants. The twin coral figas were acquired from different continents yet they look so much alike. The one with emerald and diamonds was found in a UK auction and the one with seed pearl top was found in an antique show in Vancouver.

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You can follow Emily –> @GemCircus

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Las Vegas Antique Jewelry & Watch Show 2017

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Taking on the Las Vegas Antique Show with Becca of BCE Jewelry, with Lenore Dailey at her booth and we ran into Sheri & Trina of Metier

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Both pieces here (left & right) are from DK Bressler and both are more than meets the eye: the dragonfly is En Tremblant and the diamond brooch can convert into other pieces of jewelry

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Two gorgeous booth photos, the left is Platt Boutique Jewelry and the right I cannot remember for the life of me!

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I loved these three rings from Excalibur Jewelry, especially the open metal work on the pointer, & the right photo features an incredible Lightning Ridge Opal set in a turn-of-the-century ring from M&C Stevens

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This large pendant/medallion made me smile, from Platt Boutique Jewelry and the photo on the right are my three favorites from Jacob’s Estate Jewelry

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Lenore Dailey’s booth is just jaw-dropping in its own right, so I always take a photo of it every year — the photo on the right is an incredible ring box full of the most beautiful pieces from Simon Teakle

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I think Blue Topaz gets a bad rap–this bracelet is crazy gorgeous, from Clayton Antiques and the photo on the right features a museum-worthy suite of early Victorian jewelry

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I always have to stop and stare at the crowns I see at the show! The right photo features some of the best rings I saw throughout the entire show–these three, from Under the Crown. Favorite stack ever.

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Always a sucker for hearts, I loved this opal brooch from DK Bressler and the photo on the right features three light blue enamel bracelets from Keyamour. Once in a lifetime shot right there!

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I love to see what Joden has and this time around this necklace caught my eye–from the black enamel to the mega gemstones, wow! The photo on the right is a ring tray seen at Mary Ann-tiques

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The combo of moonstone + rubies is so good, I think that is why I loved this bracelet from Mary Ann-tiques so much. Also this tortoise shell butterfly brooch–wow, so unique and all handcrafted. This one belongs to Platt Boutique Jewelry.

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A box of goodies found at Lucy Verity … the photo on the right are my favorites from Mary Ann-tiques, some rectangles and ovals!

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Sapphire stack from Excalibur Jewelry and the jewelry box on the right was seen at Lucy Verity–that snake bracelet is to die for and unfortunately a little too big on my wrist.

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Last photos come from Excalibur–clusters of sapphire and diamonds, which create this amazing bracelet…and the photo on the right are my favorites from Craig Evan Small.

I’ve always associated the Las Vegas Antique Jewelry & Watch Show with The Paris hotel, however this was the first year in a very long time that that particular location was changed. This year’s show was located at the Las Vegas Convention Center. I didn’t know what to expect at all and actually didn’t even know where the convention center was located in regards to where everything else is until the day of the show! To my surprise, I enjoyed the change–but I also will be happy when the show returns to The Paris next year. I attended on opening day and then again the following day, covering as much as I could on day one and attempting to pick up where I left off the next day. I had good company on the second day–Katie of Vada Jewelry (like last year) and Becca of BCE Jewelry who had never attended before! It was cool to see someone experience the show for the first time and she walked away with an awesome diamond cluster ring.

For some reason the reoccurring theme for me this year was large, circular pendants aka medallions. It seemed like every booth I visited, I spotted one or was attracted to one. I like how with every show, I’m not sure what I’m going to find or what I will be drawn to…it is always something different. I brought home a really cool medallion zodiac pendant, which I will share in another post! I also brought back nearly ten pieces to sell for @shopGEMGOSSIP, some of which have already sold but you can certainly browse what is still available.

From the gorgeous diamond crowns I spotted at several booths, to lots of diamond cocktail rings, there was some major selections going on at this show. Lots of buyers were going full force and commenting on what a great show it was. I noticed an up tick in traffic flow up and down the aisles and saw a lot of buying happening.

As always, I have the best time roaming the aisles, running into people I know and chatting with my favorite dealers. It is fun catching up with everyone and I can’t believe this was my sixth year attending the show. And even after six years, I still relish in finding awesome pieces and the thrill of the hunt definitely still lives on at these shows. I hope that never changes!

Thanks for another great year, Las Vegas Antique Jewelry & Watch Show…can’t wait until next year!

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Read my other posts from the same show, years of the past:

2016

2015

2014

2013

2012

2011

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How To Tell if Gold Is Real?

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Fake gold comes in many forms. Sometimes it’s easy to spot and other times, fake gold deceives even the best of us. There are even times when jewelry has all the proper gold hallmarks, but it turns out to be a cheap (and illegal) form of costume jewelry.

Whether you’re sorting through your grandmother’s old jewelry or you found a ring on the street, you might be wondering what that jewelry is worth. The first step to doing that is figuring out whether the jewelry is made from real gold or any other precious metal.

Before you run to the jewelers, there are some things you can do at home to tell if gold is real. You’ll need a few things to get started: a magnifying glass, a magnet, and a little bit of patience.

Step 1: Look for Hallmarks

The first thing you should do when accessing a piece of jewelry is look for hallmarks. All modern fine jewelry is required to have hallmarks that indicate the gold content. There are various types of hallmarks depending on the age and country of origin.

If there are no hallmarks anywhere, don’t immediately discount the item. Most solid gold antique jewelry doesn’t have gold markings because it wasn’t always a requirement.

If there is a hallmark like 14K, don’t immediately assume the item is pure gold. For instance, 14KGF is a hallmark that indicates the item is gold filled and not solid gold. Also, some scammers have intentionally marked heavy items like gold plated chains with purity markings in order to try to sell for a higher cost. Always know who you’re buying from!

Step 2: Examine for Wear & Discoloration

The next thing you should do is take a jeweler’s loupe or magnifying glass to the item in question. You’re going to be looking for areas of discoloration or wear. Gold should age very evenly and you shouldn’t see any areas of extreme darkness unless it’s a joint where a different metal solder may have been used. Of course you will see some darkness in 10k gold pieces in antique jewelry due to the higher copper content, but this patina will be mostly even throughout.

Antique gold filled items have a relatively thick layer of solid gold on the outside. These pieces can be hard to test because for acid tests, you literally have to cut deep into the item to see if there is a base metal beneath it. If you do an acid test on or just below the surface, the item will read as pure gold.

There are ways, though, to immediately tell if an item is gold filled. If there is wear and tear on the item, search for a base metal. With a loupe, examine portions where gold would naturally rub off (like the edges) to see if there are dark areas of base metal peaking through. This will be an indication that the item is gold filled or gold plated.

Step 3: Eliminate Imposters with a Magnet

This step works well if you’re sifting through a lot of miscellaneous gold pieces. Take a strong magnet and run it across the pile. Anything that is attracted to the magnet can immediately be eliminated as not pure gold. Solid gold is not magnetic, regardless of the color or purity.

Remember, if the jewelry is not attracted to the magnet, this doesn’t mean that the item is real gold. There are other imposter metals that are also not magnetic. This test just helps rule out items.

Step 4: Try the Float Test

Gold is a very dense metal and in theory, it should never float. If you drop your jewelry into a cup of water and it floats, more often than not, the item is costume jewelry. However, a solid gold piece that is hollow and very thin may float, so don’t use this test as your only method.

Step 5: Seek out a Professional

Unless you’re in the jewelry business, we don’t recommend using the nitric acid to test for gold on your own. They sell many home testing kits online, but there is significant room for error here.

In order for this test to be effective, you need to scratch your jewelry. A professional can do much more to accurately tell you what an item is made out of before having to damage the piece. If an acid test is required, they’ll be able to inflict the least amount of damage to the item as possible.

There’s no sense scratching your jewelry only to need a professional to verify what you did anyway.

As always, good luck and happy hunting!

This post was contributed by:

Ageless Heirlooms Lauren Thomann | I: @agelessheirlooms | W: www.agelessheirlooms.com

Source: GossipGem.com

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