This Art Nouveau necklace with rose-cut diamonds and a cultured pearl drop is handcrafted in platinum-topped 18k yellow gold, weighs 4.4g and measures 19 inches long. The alluring platinum-topped pendant measures 30mm long and 22mm wide. Epitomizing the distinct sensual and curvilinear features inherent in Art Nouveau design, this authentic necklace is inspired by the English and contemporary version of Art Nouveau, namely the Arts & Crafts movement. Of unmistakable delicacy and delightful feminine aesthetic, this absorbing necklace exposes an exquisite pierced openwork plaque of asymmetric and naturalistic inspiration. Artistically chased throughout the perimeter, this alluring plaque is composed of a stylized triumvirate and an open-end marquise profile, encircling meticulously depicted leaves and collet buds. The openwork profiles are rendered in gold wire technique creating a fascinating lace-like pattern of unmistakable delicacy. A number of 12 rose-cut diamonds adorn the absorbing pendant, complemented by 0.06cts of European-cut diamonds graded H color and VS1 clarity. A dainty round cultured pearl measuring 3.5mm in diameter, graded 'cream' color suspends 'en tremblant' from the lower extremity of the pendant enhancing the aesthetic grace of this antique neck adornment. A delicate yellow gold loop is veiled by an enchanting platinum-topped marquise profile, matching the overall design of the pendant. The 19-inch long supporting chain is crafted in 18k white gold composed of interlocking ovular links and is secured by a spring-ring clasp.
The Art Nouveau movement influenced the jewelry design of most European countries in varying degrees. In England, the phenomenon of reaction against the past and its ‘stale’ traditions was embraced by the Arts & Crafts Movement and developed somewhat differently, although aiming at the same results: Jewels of artistic rather than intrinsic value and a ban on mechanization. The origins of the Arts & Crafts movement can be traced back to the mid nineteenth century when the first reactions to mass production made their appearance. John Ruskin set the tone of the movement and William Morris soon became its leader. The aim of the movement was to resuscitate the dead tradition of producing jewels designed and manufactured by the same artist. In spite of the amateurish approach to the production of pieces and the handling of materials used, the great strength of the jewels produced at the time was in the new and fundamental approach to design.
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