Young and beautiful. And yet so old.
Wonderful modern gold ring with an intaglio of classicism, around 1800
The enthusiasm for the art, culture and history of antiquity comes to us again and again in history in great waves. The Italian Renaissance of the 15th century is famous, in which the study of the ancient architectural ruins of Rome first gave people a sense of a break with antiquity. In Florence and Rome, people eagerly collected everything that could be learned about their own past, noting the painful loss of so much knowledge and art. In other periods like in the Middle Ages as well as later in the Baroque, artists, writers, architects referred to the models of antiquity and studied the available works. In the late 18th century, however, and then in the age of Napoleon, antiquity acquired a significance for the whole of life that once again went beyond the previous enthusiasm. The first steps towards this new style turned against the serene, yet almost uncontrollable forms of the Rococo. Strict geometries and an out-of-time coolness were to replace the dim darkness of the boudoirs. With Napoleon, Emperor of Europe, the new art of classicism then spread across the entire continent. Romantically, one looked back and tried to bring the time of the Caesars, as whose successor Napoleon naturally saw himself, back to life in his own time. The yellow gold ring here sets an intaglio portrait from this period. The young man, cut in the style of antique republican cameos, gazes to the left. A headband tames the short-cut curls. The portrait is elegant in its slightly reduced form, the beauty of the sitter clearly confronts us. But who is depicted here? A hero? An emperor's son? We don't know - but the piece invites us to think about it for ourselves. Who would you like to wear on your finger? The intaglio in amethyst glass was made in the 1800s. The ring rail was probably renewed in the 1960s or 1970s. It is in first-class condition and a fine testimony to the antiquity enthusiasm of classicism.
"Georgian Paste" are hand-cut glass pastes which were often used for jewelry in the 18th century. As a substitute for diamonds and other gemstones, they were by no means considered inferior: rather, they were loved for their bright radiance, for which the pastes were often placed in the jewels with a foil. For this purpose, a silver foil was placed behind the pastes in order to increase their radiance. But glass pastes were also often used for sanded gemstones, as coloured stones were much more difficult to obtain than today with our globalised markets.
We want you to be 100% satisfied! For that reason, we examine, describe and photograph all of our jewellery with the utmost care.
You can rely on our years of experience in the trade and our expertise as a professional art historians for reviews of the antique jewellery. As a member of various trader organisations and the British Society of Jewellery Historians, we remain committed to the highest possible degree of accuracy. In our descriptions, we always also indicate any signs of age and defects and never hide them in our photos – this saves you from any unpleasant surprises when your package arrives.
Should you for some reason not be satisfied, please don’t hesitate to contact us so that we can begin to find a solution together. In any case, you can return any article within 30 days and we will refund the full purchase price.
We want you to be 100% satisfied! That’s why we examine, describe and photograph all our jewellery with the utmost care.
If for any reason you are still not satisfied, contact us and we will find a mutual solution immediately. Regardless, you can return any item within 30 days and we will refund you the full purchase price.