Historismus & Belle Epoque Schmuck
(1850-1915)
Jewellery in the second half of the 19th century, the period of so-called historicism, was formally characterised by an omnipresent return to past centuries. Imitations and combinations of the characteristic formal language of earlier eras characterise the designs of this period more than independent new designs and ornamentation. The Belle Époque was characterised by pomp, elegance and precious stone trimmings. Find out more "
The era of historicism: jewellery between recollection and industrialisation
Historicism, however, no longer drew solely on classical antiquity, but on all eras of the past up to the Gothic period, sometimes combining their stylistic features to create eclectic pieces of jewellery. Industrialisation in the second half of the 19th century also became increasingly relevant to jewellery production. As a result, machine-produced jewellery and silverware became affordable even for the lower social classes.
On the other hand, outstanding jewellers such as Louis Francois Cartier, who opened his Parisian shop in 1847, catered to the upscale demands of the affluent clientele.
Belle Époque: Exuberance and splendour
The years around 1900 have gone down in history as the "Belle Époque", the "beautiful era". This period of peace between the Franco-Prussian War and the First World War was characterised by exuberance and joie de vivre. People went to revues and plays and enjoyed the numerous occasions to celebrate life. Diamonds sparkled with the glow of crystal chandeliers. Jewellery designs were once again characterised by elegance and magnificent gemstones, with the so-called "garland style" or "Garland style" primarily inspired by the formal language of classicism and the Napoleonic Empire.