The concept of a 'Rebus' comes from the Latin phrase, 'non verbis sed rebus', meaning 'not by words but by things'. From this, you might be able to guess that rebuses are a kind of puzzle made from pictures and sometimes individual letters, instead of words. They are often engraved on the bezel of a ring, either on precious metals or gemstone, where the pictures and letters represent words or sounds which, when solved, spell out the name of the owner of the piece of jewelry. The most common examples of rebuses are signet rings, but they are also found on pendants, tokens, and other jewelry. In some cases the pictures have several interpretations or are hard to decipher, keeping the name of the owner an unsolved mystery.


Carnelian Georgian rebus intaglio from a seal, set in the 1970s into an 18-carat gold statement ring. The rebus creates the message: 'Time flies, but Friendship lasts’ - a lovely sentiment. Reading backward because it is for use on a wax seal: hourglass (time), flies, a cask of wine (a unit of measurement called a 'butt'), clasped hands (friendship), lasts

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A History of Rebus Puzzles


Rebus puzzles or pictogram/phonetogram puzzles have been around since ancient times but were particularly popular in the Middle Ages, used as a form of Heraldic expression to spell out surnames on things like coats of arms, banners, badges, etc. These puzzles ranged from the simple to the complex and specific. For example, the surname 'Salmon' was commonly depicted using an illustration of three salmon fish. In a similar way, the clergyman William Harrison adopted a motif of a hare in a sun. A more complex example is the rebus of Bishop Walter Lyhart of Norwich (d. 1472), depicting a stag (also called a hart) lying down (Ly) in a conventional representation of water (Walter).


Another historical example of rebus puzzles are the notes supposedly exchanged by Voltaire and Frederick the Great while at Sanssouci Palace. Frederick is reported to have sent a picture of two hands below the letter P, and then the number 100 below a picture of a handsaw, all followed by a question mark. In French, this would be 'deux mains (two hands) sous Pé (under P) à cent (100) sous scie (under handsaw). Solved, the sounds combine to make the question, 'Demain souper à Sanssouci?' (supper tomorrow at Sanssouci?). Voltaire supposedly replied with 'Ga!'. A big G and a small A, in French, 'Gé grand, A petit!' = J'ai grand appétit! (I have a big appetite/I'm very hungry!). These are a bit like modern-day dingbats.


Being such delightfully and secretively coded puzzles infused with such sentimentality, rebuses also appealed enormously to the sentimental Georgian and Victorian era inhabitants of Europe. Instead of bearing a coded version of the owner's surname, however, they often bore sentimental messages of love, friendship, or mourning.



Rebus Jewelry


On rebus signet rings the letters are often engraved backward because the ring would have been used to apply the wearer's personal mark to the sealing wax on a document. The seal declared the document to be official and legal, bearing the identification of the issuing authority or person.


Gold signet-ring with a circular bezel engraved with a rebus consisting of a cluster of hops and a tun, for the surname 'Hopton'. The inner face of the hoop is inscribed in black letter, 'AMOUR FAIT MOULT ARGENT FAIR TOUT' (Love does a lot, money does everything), England, early 16th century

© The Trustees of the British Museum



This gold signet ring with a circular bezel shows the letters 'wy' and 'ot' engraved on either side of a tree, perhaps an elm. The letter R is at the base of the tree. Possibly made for an R. Wylmot, England, c.1500-50

©Victoria and Albert Museum, London



A silver signet ring, the shoulders fluted with beaded edges, the circular bezel engraved with a rebus containing the letter 'U', a wing, and a cross or mast, c.1500-50. The solved word remains a mystery

©Victoria and Albert Museum, London



A gold signet ring, the oval bezel engraved with a hand holding a flower (possibly a sunflower), between 'T' and 'S', with a pearled border, c.1550-1600. If this is indeed a rebus, the solved word remains a mystery. If the flower is truly a sunflower it would have been a very recent introduction from the New World. Sunflower seeds were brought over from the Americas to Europe in the mid-16th century, with the first record of them being brought to England describing them as the 'Hearbe of the Sunne', ' greater than a greate Platter or Dishe' and coming in 'divers coulers'

©Victoria and Albert Museum, London



A gold signet ring, the oval bezel engraved with the letters A and R, with a raised hand between them. The hand may form part of a rebus on the owner's surname, possibly Palmer? c.1600-1650

©Victoria and Albert Museum, London



The inscription on this posy ring uses full words and pictograms in its message. In full, the message reads, 'Our (hands) and (hearts) with one consent Hath tied this (knot) till (death) prevent', where the words in brackets are represented by pictograms, England, 17th-18th century

© The Trustees of the British Museum



A Neoclassical rose-gold Rebus memorial ring, France, c.1770-1790. On the oblong octagonal bezel are two sections under curved glass panels. Below is a scene painted in grisaille on ivory depicting a young maiden standing next to an altar of love with turtle doves. In one hand, she holds a lover's crown of myrtle over the altar and with the other strokes a faithful dog standing at her feet. Above is a rebus in gold lettering made of fine gold wires set against a background of plaited brown hair. A lace-like frame surrounds the letters and symbols: 'J', 'E', an image of a glass, and 'L'. 'J' and 'E' spell 'je', a glass is 'verre' in French, and the letter L is for 'elle'. Together, these spell out: 'Je révère elle', meaning 'I revere/admire/adore her'

From Les Enluminures



A rebus ring of gold with a convexly curved glass bezel and a grain-set seed pearl border. Below is a rebus in silhouette, in fine yellow gold sheet with a patterned border on a background of black-brown hair, embroidered in parallel rows. The rebus consists of the letters 'JE', a musical score with a violin key and the note 'Re', as well as a glass, a wooden shoe, and the letter 'T'. The rebus can be deciphered as follows: Je, révére (the note 're' + a glass, which is 'verre' in French) sa beauté (the wooden shoe is a 'sabot' in French, and the letter 'T' pronounced in French is Té) = Je révére sa beauté (I admire her beauty). French (Paris), c.1782-1789 - From Rings: The Alice and Louis Koch Collection by Anna Beatriz Chadour, page 299



A rebus ring of gold with a convexly curved glass bezel in a rectangular shape with beveled corners. Below is a rebus in fine yellow gold sheet with a dotted border on a background of light-brown hair. The rebus consists of the capital letters '10', a glass, the capital letters 'TI', followed by a 'C' in cursive, 'VOUS', and a pair of billing doves. The number 10 is 'dix' in French, a glass is 'verre', TI is 'ti', C is pronounced 'ce', and VOUS is the final word. Together, the sounds combine to make: 'Divertissez vous' ('enjoy yourself' / 'amuse yourself'). The message is visually completed with the image of the pair of doves, which is one of the attributes of Venus and is used as a symbol of desire

From Rings: The Alice and Louis Koch Collection by Anna Beatriz Chadour, page 300



A rebus ring of gold with an upright rectangular bezel with beveled corners and a grain-set seed pearl border. Underneath a layer of convexly curved glass in fine gold sheet with a dotted border is a three-line sentimental rebus inscription reading, 'Du BIEN ME'. The rebus can be deciphered as follows: 'Du bien-aimé' ('from the beloved', or, 'belonging to the beloved), where M and E are pronounced separately in French to form the sound of the word 'aimé'. ) French, c.1780-1790 - From Rings: The Alice and Louis Koch Collection by Anna Beatriz Chadour, page 299



A fascinating French rebus love token ring, c.1780. The high carat gold shank supports a compartment set with a plaque of foiled cobalt blue glass. The plaque is surmounted by glass pearl letters 'ME', a sepia-inked 100, a glass pearl letter D, and a depiction of a tower, all under crystal. 'ME', when each letter is pronounced individually in French, sounds like the word 'Aimer', 100 (cent) sounds like 'sans', and the D and a tower (tour in French) together combine to made 'détour' - 'Aimer sans détour' (love without turning/to love directly) - From Rowan and Rowan



French Rebus ring c.1780. The message reads 'M Moi 100 CC'. M pronounced in French sounds like 'Aime', 100 is 'cent' which sounds like 'sans', and the letters 'C' and 'C' pronounced in French sound like 'cesser'. Together it reads 'aime moi sans cesser', 'love me without ceasing' or 'never stop loving me', and is set under rock crystal, the base behind the lettering a foiled blue glass

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French sentimental medal c.1900. The message reads 'M Moi 100 CC'. M pronounced in French sounds like 'Aime', 100 is 'cent' which sounds like 'sans', and the letters 'C' and 'C' pronounced in French sound like 'cesser'. Together it reads 'aime moi sans cesser', 'love me without ceasing' or 'never stop loving me'. The message frames a pansy, which sounds like the French word 'pense', meaning 'pense a moi' (think of me)

From @incroyables_et_merveilleux via Instagram



A rebus ring of red-gold supporting a diamond-shaped ring head made of silver with a red-gold layer. Seed pearls in silver grain settings form a double-row X-shape in the middle of the ringhead, resulting in four diamond-shaped gussets, each of which are adorned with a letter painted in gold on blue paper spelling out 'L M M E'. When each letter is pronounced individually in French it sounds like 'Elle aime aimer' (she loves to love). Above this is a transparent glass plate with beveled edges. French, c.1780

From Rings: The Alice and Louis Koch Collection by Anna Beatriz Chadour, page 299



French rebus ring c.1790 in gold with a lock of hair 'tied' with a gold bow under crystal. The letters, C and D, when said in French, are pronounced like the French word 'Cède', meaning 'to cede/to yield'

From Sarah Nehama (@sarahnehama) via Instagram and @reneeink via Instagram



Early Georgian Rebus ring with a curved blue Bristol glass plaque and over 4 carats of cushion/old cut diamonds - with the message LM lui ML or elle aime lui / lui aime elle (she loves him, he loves her)

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Antique French sentimental rebus brooch. At a first glance, it looks like a mourning piece for 2-4 people with their initials, but if you say the letters the way they’re pronounced in French, you have the phrase, 'Elle Sait Aimer', or in English, 'She Knows How to Love'

From Sarah Nehama (@sarahnehama) via Instagram



A rebus ring with a rectangular bezel with beveled corners in light blue enamel with a golden dotted border. In the enamel is a four-line rebus inscription in gold letters which reads: 'L fait mes d', followed by a gold Lilly below and to the right. Deciphered, the rebus reads: 'L' (which when pronounced in French sounds like the French word 'Elle'), fait mes d, and a Lilly (which in French is 'lis' or 'lys') = 'Elle fait me delices' ('She makes me happy'). French, late 18th century - From Rings: The Alice and Louis Koch Collection by Anna Beatriz Chadour, page 299



French rebus ring, c.1780. Gold letters on a background of hair: 'Elle seulle fait mon bonheur', where the 'L' makes the sound of the French word 'Elle' ('She alone makes me happy')

From @rowanandrowan via Instagram



French rebus ring, c.1800, in gold with a low-dome crystal which magnifies the contents inside. A true sentimental love token, this shows the flame (passion) on the hymeneal altar (marriage), draped with a garland of roses (love) on a background of hair. The enameled initials, L•H•R•E, when each letter is pronounced individually in French, make the message, 'Elle est Chère'- 'She is Dear'. The 'G' is presumably that initial of the giver or receiver of this ring - From Sarah Nehama (@sarahnehama) via Instagram



Gold hoop with beveled edge set with two enameled plaques. One bears a depiction of a pansy, evoking the French word 'pensée' or 'pense' - meaning thoughts, to think, or in this case, simply 'think'. The other plaque is inscribed 'A votre ami', meaning 'of your friend'. Between the plaques can be seen two small green glass stones. This would have been a romantic gift from a man to his love, c.1819-1838

©Victoria and Albert Museum, London



'Pense A Moi' (think of me) two-way swivel plaque ring made from 18-carat gold. On one side is a pansy and the words 'A MOI'. The other side is set with crystal vitrine (window), behind which is another pansy crafted from the beloved's hair. The plaque is set within a bezel that swivels north/south but inside that frame is an inner plaque that swivels east/west, c.1820

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A French antique regional Normandy ring dating to the 19th century. 18kt gold and enamel, depicting a pansy (which sounds like the French 'pensée') = pensée à moi (think of me)

From @antikdevotion via Instagram



A carnelian rebus intaglio, originally an antique Georgian fob but converted to a signet ring in a c.1900 14k gold mounting. In this rebus, the eye and the ear represent seeing and hearing, and the French words 'et ce taire' (roughly, 'and I hush up about it') create the message, 'I see and hear but keep it secret', perhaps used to seal important documents or letters of a clandestine nature, passed on in secret

From The Eden Collective via Etsy



A Victorian gentleman's fob with a rebus on 'Farewell', spelled out with the letters FARE and a depiction of a well below, all engraved on a deep orange Carnelian stone. The setting for the stone has curves and chasing, gold, late 1800s - Stacey Fay Designs



The middle ring is an intaglio rebus reading 'I hope you are well' (eye, anchor for hope, yew, are, well). The smaller intaglio rebus ring on the right reads 'Hand to Give, Heart to Forgive'

From @franziska_vintage_jewels via Instagram



A Victorian rebus intaglio seal fob. The seal matrix is hand-carved carnelian, and the rebus reads: 'I saw your friends who are all well'. Eye (I), Saw (saw), Ewer (your), Friends, Who, R (are), Well (well). The setting is 10K yellow gold in a ribbed pattern - From Caldwell's Miscellaneous Fancy Goods via RubyLane



A Victorian rebus puzzle intaglio wax seal fob depicting an eye (I), winged cherub/cupid holding a bow (love), and a yew tree (you) = I love you. The last photo shows the impression in play-doh, indicating what it would have looked like pushed into the wax seal of an amorous loveletter

Via Collectors Weekly



A Victorian rebus puzzle wax seal fob. The blue glass intaglio depicts an eye (I), maiden leaning on an anchor (hope), yew tree (you), the letter R (are), and a well (well) = I hope you are well

Via Collectors Weekly



An antique French silver charm. 'Ton' is under (sous) 'venir' = Ton Souvenir + fait battre mon coeur (heart). In English, this translates to 'remembering you makes my heart beat' or 'your memory makes my heart beat'. On the other side is a flower made up of the words espérance (hope), sante (health), succés (success), amour (love), félicite (felicity), constance (constance), jalousie (jealousy), fidélité (fidelity)

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Antique silver rebus pendant, France, c.1900. The message reads 'M Moi 100 CC'. M pronounced in French sounds like 'Aime', 100 is 'cent' which sounds like 'sans', and the letters 'C' and 'C' pronounced in French sound like 'cesser'. Together it reads 'aime moi sans cesser', 'love me without ceasing'

From @isabelle_subra_woolworth via Instagram



A rebus token for an abandoned child, amongst the artifacts left at the Foundling Hospital in London over the years. The heartbreaking rebus on this token shows a child in a Moses basket—a universal symbol for a child who was given up. The rebus shows an eye, W, an ant, the letters RE, and a leaf, spelling out 'I want relief' above the child's date of birth, asking the foundling hospital to relieve them of their child

© THE FOUNDLING MUSEUM




Here's a challenge for you: Can you help solve the rebus on this ring? No one has managed to decipher it yet. It's believed to be British, although that doesn't mean the message or name won't be French...


From @bellflowerbay via Instagram




Rebuses are a perfect example of the personal nature and value of jewelry, cleverly hiding or revealing all sorts of information about its owner. Far more than just being fashion statements or displays of wealth, antique jewelry is like these pieces are often a rich record of history, both general and personal, filled with sentimentality and significance.



For more rare Georgian and Victorian jewelry, follow Antique Animal Jewelry on Instagram.

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Portugal is a country with a historically huge trade route, and in the 17th and 18th centuries they had access to much of the world's gold and gemstones. As a result, Portugal's antique jewelry is quite astonishing. Breathtaking in their elaborate designs and opulent decoration, they are perhaps more colorful and more gem-abundant than any other nation's jewelry from that time.


18th-century Portuguese chrysoberyl demi-parure

From @antique_portuguese_jewelry via Instagram



A selection of incredible 18th-century Portuguese jewels - silver with topaz, chrysolite, and rock crystal

From Peter Szuhay



A Portuguese Rococo diamond demi-parure, c.1750-60, consisting of a large girandole pendant and a pair of pendeloque earrings, altogether set with 259 diamonds in a body of solid silver. Typical of the mid-Rococo period, the cuts range from deep rose-cuts for larger central stones to flat mirror-cuts in the scrollwork surround, to two table-cuts - From @heartofhearts.jewels via Instagram



18th-century orange foiled topaz triple drop pendant and a pair of earrings en suite, Portuguese, c.1760. The pendant and earrings are formed by an openwork foliate scroll cartouche centered by a principal lozenge shaped cluster, with graduated pear-shaped drops hung below, close-set in silver

Via S.J. Phillips



A selection of stunning antique Portuguese jewels - silver with topaz, chrysolite, and rock crystal

From @colonialdame via Instagram



18th-century Portuguese topaz demi-parure

From @antique_portuguese_jewelry via Instagram



A suite of 6 multi-colored gemstone and diamond brooches. Two large and one smaller sprays, two flower baskets, and one bow set with topaz, amethyst, and diamonds. c.1760

Photo from Sotheby's via theadventurine.com





A Very Brief History of Portugal


To understand a little bit more about why certain styles and motifs were popular in antique Portuguese jewelry, it is helpful to consider some of Portugal's history. Portugal was once part of what was known as the Iberian Peninsula, along with Spain and parts of France. The Iberian Peninsula was a mix of different religions including Christianity, Judaism, and Islam. The Muslim Caliphate of Cordoba dominated huge swathes of Iberia for hundreds of years while the kingdoms of the north were generally more Christian, though Christians and Jews were allowed to live in the Caliphate as part of a stratified society. The longstanding Islamic and Arabic influence on Iberian art, architecture, and design is evident in a lot of antique Iberian jewelry, even in pieces with Christian or Catholic motifs or symbols, and has played a significant role in shaping the character of Iberian jewelry.


A map of the Iberian Peninsula showing the Muslim Caliphate of Cordoba and the northern Christian Kingdoms, c.1000 - Via euratlas.net



By the 15th century, Catholicism had swept across Iberia, provoking wars and resulting in the creation of the Spanish Inquisition. Portugal and Spain became staunchly Catholic, and many reliquaries and jewelry featuring crosses and Catholic symbolism were created in abundance, though Moorish elements of design were still heavily present in these pieces.


Gold three-part openwork pendant ending in a cross. Each part is set with rose-cut diamonds in closed settings, Portugal, c.1650-1750. In the 17th century, new ways of cutting gems, particularly diamonds, led to a new style of jewelry throughout Europe, in which the gems themselves had greater prominence. This cross pendant, made from sheet gold cut in a delicate openwork pattern resembling filigree and set with facetted diamonds in raised settings, is typical of that trend.

©Victoria and Albert Museum, London



Gold and antique diamond cut late 17th-century Portuguese necklace

From @antique_portuguese_jewelry via Instagram



Gold pendant with reliefs under glass. On the reverse, the Annunciation and on the obverse the Holy Family, made in Portugal, 1700-1750

©Victoria and Albert Museum, London



Ornate Portuguese gold cross, c.1821-1855

From @antique_portuguese_jewelry via Instagram



After a period of expansion to the south in Iberia, the Kingdom of Portugal began establishing a vast colonial empire overseas. For a while, Portugal had many trading posts and colonies in both Asia and Africa, but when the English, French, and Dutch challenged their presence in these places and claimed many of them for themselves, Portugal focused their energies on Brazil. In 1500, a navigator landed in Brazil and laid claim to it in the name of King Manuel I of Portugal. (By this time Iberia had pretty much become only two kingdoms - Portugal, and Spain - and with both intent on expansion and colonization they agreed on a treaty whereby the world was divided in two by the Tordesillas Meridian line. All land discovered East of that meridian was to be the property of Portugal, and everything to the west of it went to Spain.) After several years of warfare with the Dutch, Portugal took control of Brazil. It was this access to Brazil and its precious materials that would change the possibilities of Portuguese jewelry forever.


Maps of the Iberian Peninsula from the years 1200, 1400, and 1800 - Via euratlas.net


Gold


Throughout the 17th century in Portugal both gold and diamonds were scarce. In fact, they were so rare that the King of Portugal at the time, Peter II (a.k.a Dom Pedro II), issued a law restricting the wearing of jewelry to only 'persons of quality'. However, three years later a group of colonial Brazilian explorers known as Bandeirantes discovered a vast deposit of gold along the Rio das Velhas, then a Portuguese colony, now known as the state of Minas Gerais (General Mines). Crowds in Lisbon gathered to celebrate the arrival of 514 kilos of gold in 1699.


Greatly excited by what they had found, the Portuguese colonists rapidly built settlements near the gold regions in southeastern Brazil. By the 1720s, the world's first great gold rush had begun. In Lisbon, the Royal Family collected one-fifth of the gold mined in Brazil, raising them to a position of extreme wealth and prestige. By the 18th century, around 80% of Europe's gold originated in Brazil. Jewelry from this period often emphasized gold over gemstones, with hugely opulent and ornate gold openwork designs.


Late 17th-century rose-cut diamond and gold sequilé pendent - a term for a style of lozenge pendant with various mobile drops, usually in gold and diamonds, which became part of traditional Portuguese jewelry

From @antique_portuguese_jewelry via Instagram



Portuguese large gold brooch/pendant set with rose-cut diamonds, c.1680

From Peter Szuhay



A pendant or breast ornament of three parts composed of table-cut diamonds set in scrolling, gold foliated openwork, Iberia, late 17th century - ©Victoria and Albert Museum, London



Rose diamond and gold matched pendant brooch, c.1720

Photo from Sotheby's via theadventurine.com



A pair of early 18th century Portuguese high-carat gold and diamond girandole earrings, c.1700-1730s. Characterized by its fine chiseled workmanship, foliate ornamentation, rose-cut diamonds set in conical rub-over settings, and triangular tips, jewelry of this type represented an age of lavishness and pomp in Portugal. With its emphasis of gold over gemstones, jewelry like this is indicative of the height of gold production in Portuguese history - From @heartofhearts.jewels via Instagram



Left: Late 17th century Portuguese diamond and gold earrings. Right: Portuguese gold and diamond earrings hallmarked reg. 1783 - From @antique_portuguese_jewelry via Instagram



18th-century Iberian earrings and bodice ornament, in solid high karat gold and set with vivid Columbian emeralds. The ear wires of the pendants are original large forward catch hoops

From @heartofhearts.jewels via Instagram



Early 19th-century Portuguese gold earrings

From @antique_portuguese_jewelry via Instagram





Rare Relics


Although there are many accounts of the impressiveness of Portuguese jewelry in the 17th and early 18th centuries, there are very few pieces from this time still around today. This is because, on November 1st, 1755, a massive earthquake struck Lisbon followed by a tsunami and a fire, resulting in the near-total destruction of the city. Much of the jewelry in the capital was destroyed, but some few pieces and pieces from surrounding Portugal have survived, alongside accounts and drawings.


"The spectacle was magnificent and as the Portuguese nobility have a great passion for gold, precious stones and flowers to ornament their hair, the ladies' balcony presented a sumptuous sight"

- A French traveler in Portugal, 1725



Left and middle: A large 18th-century Portuguese Rococo hair jewel, c.1760-70, bearing a multi-gem polychrome flowerhead design, with a large center of imperial topaz framed by twelve petals, each set with garnet and quartz of varying triangular, trapezoidal, and square table-cuts. Hairpins were extremely popular in Portugal even while the rest of Europe favored head coverings like caps and bonnets, since the jewels sparkled so magnificently in the beautiful dark hair of Portuguese women. Right: similar Portuguese hair jewels from A Joalharia em Portugal 1750-1825 by Gonçalo de Vasconcelos e Sousa (top left), The SJ Phillips Collection of Jewels of Portugal by Diana Scarisbrick (bottom left), and Five Centuries of Jewellery: National Museum of Ancient Art, Lisbon by Leonor d’Orey (right)

From @heartofhearts.jewels via Instagram



When Portugal was being rebuilt, jewelry was generally understood to be a central part of repairing the economy, and extra streets in Lisbon were exclusively given to goldsmiths and jewelers to practice their art. They would work on the streets and prospective buyers could wander between the sellers to assess the pieces, bringing the jewelry trade back to life in Portugal.




Silver & Gemstones


Silver


Ironically, because of the huge rush for gold in Brazil in the 1720s and 30s, the gold deposits were significantly depleted after 1740 and the Portuguese had to turn to other materials for their jewelry. This means that a great deal of the Portuguese jewelry made after 1750, except for some rings, used silver instead of gold. Many of the emerging gemstone-set Portuguese pieces were therefore modeled in silver.


Pendant of rose-cut diamonds and pink foiled topazes set in silver, in two parts, made in Portugal, c.1750

©Victoria and Albert Museum, London



Diamonds


This discovery of gold in Brazil pre-dated the discovery of diamonds, for which mining would not begin until 1723. But begin it did, and soon Portugal had access to what would become known as the largest diamond source in the world. Before this, almost all of the world's diamonds came from India and a smaller quantity from Borneo. For comparison, Indian production was thought at this time to be around a few thousand carats a year, while yearly production in Brazil in the 1700s reached almost ten times that.


In Portuguese jewelry, this new influx of diamonds is evident from the change in jewelry from artistic and highly skilled metalwork in gold or silver to pieces completely encrusted in Brazilian diamonds and other Brazilian gemstones. Floral as well as sacred motifs were popular tastes of the time.


18th-century diamond girandole earrings fit for a Queen. Portuguese silver earrings lavishly set with rose-cut diamonds in a floral design. From the collection of Américo Barreto, the internationally famous 20th-century Portuguese jewelry collector and dealer. These earrings employ a design favored by European courts, where the central bow has been replaced by a bouquet

From Inez Stodel Antique Jewellery



Antique Portuguese diamond, silver, and gold earrings, one c.1888-1938, the other early 19th century

From @antique_portuguese_jewelry via Instagram



Two pairs of 18th/19th-century Portuguese diamond cornucopia earrings ( 1 | 2 )

From @antique_portuguese_jewelry via Instagram



Rose-cut diamond, silver, and gold earrings from the first half of the 19th century

From @antique_portuguese_jewelry via Instagram



Pendant of diamond sparks and rubies set in gold and silver openwork; a bow applied to the front of the suspension loop, probably Portugal, 18th century

©Victoria and Albert Museum, London



Mid-18th century Portuguese demi-parure in gold and silver set with rose-cut diamonds

Photo: Carlos Pombo Monteiro © Arquidiocese de Evora / Fundacao Eugenio de Almeida via www.ruigalopim.com





Chrysoberyl & Topaz


Of all the colored gemstones, perhaps the most iconically associated with Portuguese jewelry of the 18th and 19th centuries are Chrysoberyl and Topaz. These gemstones were very rare and highly prized throughout the Georgian and Victorian eras across Europe, but Portugal had convenient access to them in impressively large quantities from the Minas Gerais mines in Brazil, so of course, they showed this off by coating jewelry in them. In the capital, gemstones were set in the latest artistic trends from Europe.


Pair of earrings set with chrysoberyls in silver openwork, with bow tops and long drops, probably Portugal, late 18th century - ©Victoria and Albert Museum, London



Iberian 18th century chrysolite openwork cluster drop earrings, c.1770 & c.1780

Via S.J. Phillips



18th-century Portuguese chrysoberyl earrings ( 1 | 2 )

From @antique_portuguese_jewelry via Instagram



18th-century Chrysoberyl girandole earrings

From @antique_portuguese_jewelry via Instagram



18th-century chrysoberyl earrings and necklace

From @antique_portuguese_jewelry via Instagram



Late 18th-century Portuguese earrings, set with natural chrysoberyls in a flower cluster formation, all within foiled closed-back silver settings. According to Daniela Mascetti in her book, Earrings: From Antiquity to the Present, rounded loops at the tip of ear wires was a common feature in 18th-century earrings, which served a duo function of preventing the earrings from tipping forward when worn (thus preserving a “straight” hang), and, in the case of heavy pendeloque and girandoles, allowing the wearer to tie a ribbon to the loops and over the head to ease the weight on the earlobes

From @heartofhearts.jewels via Instagram



Brooch, chrysoberyls set in silver openwork in the form of a bouquet, probably Portugal, late 18th century

©Victoria and Albert Museum, London



18th-century Portuguese chrysolite spray brooch

Via S.J. Phillips



An aigrette of chrysoberyls set in silver, in the form of a spray with a single flower and feathered scrolling stem, Portugal, c.1750-1760 - ©Victoria and Albert Museum, London



Three 18th-century Portuguese pendants - silver set with chrysolite, all c.1760

From Peter Szuhay



Bodice ornament and earrings, chrysoberyls set in silver, with stylized flowers and leaves, and five pendants, made in Portugal, c.1760

©Victoria and Albert Museum, London



Demi-parure. Gold, silver, and close-set chrysoberyls, Portugal, last quarter 18th century

From the S.J Phillips collection via Bejeweled Mag



18th-century chrysoberyl necklace

From @antique_portuguese_jewelry via Instagram



Two Portuguese chrysoberyl necklaces, both 18th century ( 1 | 2 )

From @antique_portuguese_jewelry via Instagram



18th-century chrysolite flower and bow pendant necklace, Portuguese c.1770. Openwork design centered by a principal triple looped ribbon tied bow, each loop centered by a flower and stem, suspending a smaller ribbon bow and pear-shaped flowerhead below, on a necklace alternating stylized bows and marquise clusters, close-set in silver with shaped loop terminals to fit a ribbon back

Via S.J. Phillips



Jewel of chrysoberyls set in silver openwork with a flower spray in the center. Made as a brooch or hairpin, probably in Portugal, c.1770-80

©Victoria and Albert Museum, London



A late 18th-century Portuguese pendant set with 91 natural chrysoberyls of varying old cushion cuts in a cluster form with radiating panels interspaced between foliate motifs, and with gold beaded embellishments throughout. Oval jewels of this type are typically found today with later-added 19th or 20th-century brooch attachments but were originally dress or hair jewels. This piece can be reliably dated to the last quarter of the 18th century, due to the gold beaded trims throughout, which is a design feature that emerged c.1775 and was popular until about c.1800

From @heartofhearts.jewels via Instagram



A late 18th-century Portuguese pendant, set with 65 mixed cut chrysoberyls. The radial half-dome cluster form, with cut-down collet bezeling in silver and a charming beaded trim in gold, is a well-documented and recognized Portuguese design, generally dated by museums and scholars to around the last quarter of the 18th century. This pendant was formerly a brooch and at some point in its ownership the original silver back was replaced with a solid gold one, along with new brooch fittings

From @heartofhearts.jewels via Instagram



Left: a striking c.1770 Portuguese chrysoberyl brooch in the form of a phoenix with wings spread, pavé-set with 153 chrysoberyls in a frame of silver with a ruby eye. Nearly all bird jewels of this type in the museum are identified as hair jewels, suggesting this brooch was once also intended for the hair. Right: similar Portuguese chrysoberyl brooches from S.J. Phillips Collection of Jewels of Portugal by Diana Scarisbrick and lot 191 'Important Jewelry' 10 September 2017 Leslie Hindman

Via @heartofhearts.jewels on Instagram



Brooches in the form of a winged insect. Silver, closed-back, set with yellow chrysoberyls, Portugal, late 18th century - ( 1 | 2 ) - © The Trustees of the British Museum



18th-century Portuguese chrysoberyl and silver ring

From @antique_portuguese_jewelry via Instagram



Portuguese cluster rings from the last quarter of the 18th century, gold and chrysoberyls

From Five Centuries of Jewellery: National Museum of Ancient Art, Lisbon by Leonor d’Orey



Three Portuguese chrysolite rings, gold with beaded decoration, 1770 & 1780

From Peter Szuhay



A ring of silver close-set with white and golden topazes, chrysoberyls, and rock crystals, Portugal, late 18th century - From the S.J Phillips collection via Bejeweled Mag



Antique Portuguese gold navette shaped ring set with a large chrysoberyl in the center, surrounded by smaller rock crystals and a charming beaded trim in gold

Antique Animal Jewelry



Late 18th-century Portuguese cluster ring, pavé-set with natural chrysoberyl, with a later 19.2k gold shank in a period-appropriate style. The circular ring head was originally a dress ornament, hair jewel, or button. The present ring’s cluster arrangement, a classic ‘target’ with a central gem enveloped by two concentric halos, is the most common and popular 18th-century cluster design on ring heads in Europe

From @heartofhearts.jewels via Instagram



A large c.1780-1800 Portuguese ring set with chrysoberyls in closed-back foiled collets, with a later 18k gold replacement shank in the 18th-century style. This ring is quintessentially neoclassical in shape and form. Substantial, plaque-like rings emerged throughout Europe c.1770, replacing dainty Rococo designs and resulting in the production of large-scale rings in Portugal, with chrysoberyl-set marquise or pointed oval shapes being the most common. This particular ring is unusual because the octagonal design with a halo and three central stones is very French in nature, but has been set with Portuguese chrysoberyl instead of the usual diamonds, pearls, or pastes on enamel or glass

From @heartofhearts.jewels via Instagram



An antique Portuguese octagonal ring set with chrysoberyls

Antique Animal Jewelry



A 19th-century Portuguese necklace, set with chrysoberyl and pink topaz in the 18th-century Rococo taste, complete with cut-down collet settings, closed-back foiling, and ‘black dots'. Typical of most jewelry made in Portugal after 1750, the setting is entirely silver. The floral roundels of this piece mirror Rococo hair or dress jewels, with characteristically Portuguese pointed petals. By repute, this necklace was formerly in the collection of the Teatro Nacional de São Carlos, worn by sopranos during performances

From @heartofhearts.jewels via Instagram



18th century foiled orange topaz and chrysolite bow pendant and pair of earrings, Portuguese c.1770. The pendant has a double ribbon tied bow formed by two looped lines of topaz and chrysolites, surmounted by a topaz in a chrysolite border cluster, suspending a principal cluster drop with a central topaz and a two-row border of chrysolites and topaz. The earrings are similar with topaz drops in a chrysolite border suspended from triple loop ribbon tops in both stones, close-set in silver

Via S.J. Phillips



18th-century golden-orange topaz girandole pendant-brooches, Portuguese, c.1760

Via S.J. Phillips



Pair of 18th century foiled orange topaz triple drop pendant earrings, Portuguese c.1770. Designed as crossed foliate branches with a flowerhead to the upper middle, suspending graduated pear-shaped cluster drops, close-set in silver - Via S.J. Phillips



Portuguese foiled topaz demi-parure from the second half of the 18th-century

From @antique_portuguese_jewelry via Instagram



Left and Middle: A Portuguese Rococo girandole pendant in the favored Rococo pastel tones, c.1760-70, set with 60 Brazilian ‘imperial’ topaz and five color-foiled amethysts/quartz. The pendant’s shape and form is one of the most recognizable Portuguese designs from the mid-18th century, with a flowerhead finial, curving foliate body, and three tear-shaped cluster-form drops. Right: similar topaz girandoles from Five Centuries of Jewellery: National Museum of Ancient Art, Lisbon by Leonor d’Orey

From @heartofhearts.jewels via Instagram



Antique Portuguese topaz and silver earrings, 18th-century

From @antique_portuguese_jewelry via Instagram



18th-century golden-orange topaz tiara, Portuguese c.1760. Three sections form an undulating line of graduating topaz, supporting at each peak are fan-shaped foliate clusters, close-set in silver

Via S.J. Phillips



18th-century gold, silver, diamond, and golden topaz Portuguese necklace

Published in S.J. Philips Collection of Jewels of Portugal by Diana Scarisbrick

From @antique_portuguese_jewelry via Instagram



This bodice ornament is composed of a bow and a symmetrical arrangement of flowers. The large colored stones are golden-yellow topaz, also known as 'sherry topaz'. The colorless stones are a mix of topaz and rock crystals. The colorless topazes have a slight pink tinge. All set in silver, made in Portugal, c.1770

©Victoria and Albert Museum, London



Portuguese pendant, c.1750, with foiled pink topaz, quartz, and rose-cut diamonds in a mature mid-18th century Rococo style with chiseled and chased floral and foliate scrolls, the openwork two-sectioned body in silver and rose gold. During the 18th century, pendants of this type would have been worn high on the neck with a ribbon, or mounted as the centerpiece of a larger necklace, and paired with matching earrings of the same type. The thinly faceted rose cuts found throughout this pendant were popularly used on jewels made in France and Portugal during the 1750s

From @heartofhearts.jewels via Instagram



Part of a stomacher, set with citrines and yellow topazes set in silver, made in Portugal, c.1750

©Victoria and Albert Museum, London



Stomacher (devant de corsage), late 18th century. Made from silver, gold, diamonds, and foiled golden and tawny-colored topazes, all in closed settings

From the S.J. Phillips Collection of Jewels of Portugal via Sotheby's



Antique Portuguese flower brooches. From left to right: foiled topaz and white paste, garnet and topaz, chrysanthemum with orange-foiled topaz, all set in silver, c.1750 & c.1760

Via S.J. Phillips



Antique Portuguese topaz and silver earrings from the second half of the 18th century

From @antique_portuguese_jewelry via Instagram



A late 18th-century Portuguese flower-head hair jewel converted to a pendant with an additional circular gold bail. Collet and pavé set with foiled-back pink topaz in a cluster formation surrounding a central garnet. In their original forms, flower-head jewels would have been mounted en-tremblant on springs extending from a longer hairpin - From @heartofhearts.jewels via Instagram



Left and Middle: Portuguese earrings from the second half of the 18th century, The S.J. Phillips Collection of Jewels of Portugal by Diana Scarisbrick. Right: An assortment of Portuguese earrings from the second half of the 18th century, Five Centuries of Jewellery: National Museum of Ancient Art, Lisbon by Leonor d'Orey





Other Gemstones


White Topaz, Quartz, and Beryl were also popular gemstones of the time, alongside Emeralds, Amethysts, Rubies, and gemstone imitations like Pastes, all of which were popular across Europe.


A c.1775-1800 Portuguese brooch with ‘minas novas’, featuring a three-tiered cluster framed by an openwork bow-tie and laurel garlands, together forming a composite shape of a heart. Thirty-nine of the gems test as near-colorless topaz, while the other nineteen are quartz crystal. While most mid-18th century Portuguese jewels featuring Brazillian gems favor vibrant color pairings, jewels set with near-colorless ‘minas novas’ came in fashion during the last quarter of the 18th century, in part influenced by lighter neoclassical trends that demanded elegance and reserve

From @heartofhearts.jewels via Instagram



A necklace set with white topaz in silver openwork with a long pendant. The strictly symmetrical bow, from which hang five loops suspending an equally symmetrical bow and pendant, is a characteristic neo-classical Portuguese design of the late 18th and early 19th centuries, Portugal, 1780-1800

©Victoria and Albert Museum, London



Pair of earrings with white topaz set in silver openwork shaped as pendants suspended from a complex bow. These earrings form part of a demi-parure with the necklace above and are a characteristic neo-classical Portuguese design of the late 18th and early 19th centuries, made in Portugal, c.1780-1800

©Victoria and Albert Museum, London



Pair of earrings, foiled colorless crystals set in silver openwork, Portugal, late 18th century

©Victoria and Albert Museum, London



A pendant of pastes (glass) set in silver in the form of an openwork bow with flowers, and with a pendant dove, made in Portugal, c.1750 - ©Victoria and Albert Museum, London



A late 18th-century Portuguese ‘minas novas’ hair jewel, converted to a pendant, c.1775-1800. Striking starburst form set with foiled quartz of varying circular, square, trapezoidal, and triangular cuts. The gems all bear a black dot to enhance their visual depth and to imitate the deep well-like pavilions of old-cut diamonds. While most mid-18th century Portuguese jewels featuring Brazillian gems favor juxtapositions of color, jewels set with near-colorless ‘minas novas’ came in fashion during the last quarter of the 18th century, in part influenced by lighter neoclassical trends that demanded elegance and reserve

From @heartofhearts.jewels via Instagram



Large pendant with a crowned monogram, Iberian, late 17th century. Gold, silver, emerald, and diamond pendant centered on a monogram: AOTL, the initials of the motto or name of the owner, within a diamond border amidst foliage surmounted by a crown with symbolic orb and cross

From the S.J. Phillips Collection of Jewels of Portugal via Sotheby's