About 1725, Brazilian diamonds in large numbers were imported into Europe, and, during the course of the century, this stone became so popular that imitations were produced. The jewelry of this period seems to have been created to glorify and exploit the cutting of diamonds and other precious stones. The dense forms of Baroque jewelry were replaced by an entirely different conception, in which the design was to appear in gems alone, while the metal setting was concealed to the greatest extent possible. The greater lightness that resulted was increased by the large number of empty spaces in the composition as well as by its lack of symmetry in many cases. Wide choker necklaces with pendants were popular, and the stomacher brooch remained in style but in a lighter, airier form. The jeweled stems of the aigrette were often made so that they could sway back and forth in order to show off the sparkle of the diamonds that covered them. The brooch in the shape of a bouquet of flowers, comprising a variety of gems, became fashionable. As in the 17th century, both men and women wore jeweled buckles on their shoes.

A piece of jewelry that was widely used for daytime wear during this century was the chatelaine, on which, together with the watchcase, goldsmiths lavished some of their most highly refined work. The chatelaine was a pendant made of jointed, embossed gold components of different shapes and sizes, with scenes and designs in elaborate frames. It was fastened by means of a hook to the belt or waistcoat pocket, and from its protruding points hung decorative chains of various lengths, on which men fastened their watches, the keys for winding them, and other accessories. Women used the chatelaine to carry keys, scissors, and other objects.

During the last 30 years of the 18th century, the great sensation caused by the archaeological discoveries in Pompeii and Herculaneum caused art forms to turn toward Classical ideals of harmony and brought about a decisive change in European tastes and decorative forms. Curved lines no longer appeared in the ornamental repertoire, the new Neoclassical style being characterized by greater simplicity, together with severity of composition. Jewelry forms, too, were influenced by decorative motifs based on Greek and Roman models, and the cameo became fashionable once again.

An English pottery manufacturer, Josiah Wedgwood, made a big contribution to the popularization of the new jewelry forms. An expert technician, he produced reproductions of classic cameos, calling upon sculptors like John Flaxman to work with him on the execution of oval, round, and octagonal plaques with figures done in relief in a white paste on a light blue, green, black, or pink background. These plaques, framed in gold, were used for all sorts of jewelry—medallions, pins, pieces of diadems, belts, bracelets, and rings.

19th century

The Industrial Revolution destroyed forever the ancient role of jewelry as a symbol of social rank. The social evolution created a market for a vast quantity of jewelry at prices the middle class could afford, and so jewelry, too, succumbed to the machine. Hundreds of different components for ornaments were produced by machines, an electric gold-plating technique was invented, metal alloys were used in place of gold and silver, and the production of imitation stones increased in both quantity and quality. Despite the growing dominance of the machine, however, the goldsmiths’ technical ability remained at a high level.

The jewelry produced in the 19th century is characterized by a stylistic eclecticism that takes its inspiration from all past styles—Gothic, Renaissance, Greek, Etruscan, Roman, Rococo, Naturalistic, Moorish, and Indian, all tinged with the Sir Walter Scott–Lord Byron Romanticism of the period. The futility of transferring forms of artistic expression from an era in which they were the result of organic aesthetic development and of adopting them for objects that reflect only a gesture of romantic admiration is evident in the painting by Jacques-Louis David immortalizing Napoleon’s coronation ceremony in 1804. The painting provides documentation on the precious ornaments worn by the ladies who were present. In their jewelry, the conventional, rhetorical Empire style appears as a strict, uninspired interpretation of Classical motifs, a far cry from the exquisite Neoclassicism of the 18th century.

Besides mass production, the 19th century saw the establishment of large artistic commercial firms that produced high-quality jewelry suited to the requirements of the prosperous new bourgeois class. While always satisfying very high standards in regard to technique and materials, these firms tended, from the aesthetic point of view, to reflect the tastes of a bourgeois clientele, which are usually quite traditional.

The oldest of the firms was the one founded by Peter Carl Fabergé in St. Petersburg in 1870, which took over from the firm his father had started in 1842. Fabergé attained great renown at the Universal Exposition in Paris in 1900, where for the first time he put on display all the imperial Easter eggs that he had created, together with a selection of other “luxurious objects.” Fabergé used a greater variety of precious and semiprecious stones than almost any other jeweler in history. He had a strong preference for the Louis XVI style but also made numerous objects in the Italian Renaissance, Rococo, and medieval styles, as well as in the so-called old Russian style, which is a mixture of Byzantine and Baroque elements. Decoration with enameling, too, was one of the main specialties of the Fabergé firm.

In Paris in 1898 Alfred Cartier and his son Louis founded a jewelry firm of great refinement. The firm was distinguished for a production characterized by very fine settings, largely of platinum, which were designed so that only the precious stones, always selected from the very purest, were visible. At the beginning of the 20th century, Cartier was the most famous jeweler in the world, supplying jewels to the king of Portugal, the duke of Saxe-Coburg-Gotha, the grand dukes and princes of Russia, the prince of Wales, and other notables.

In the United States in 1851 Charles Lewis Tiffany (father of Louis Comfort Tiffany, one of the most original of the Art Nouveau artist-craftsmen) began producing silverware according to English “sterling” standards in New York City. In 1886 he introduced the Tiffany setting, a special type of fork for the setting of diamonds. Among his clients was U.S. Pres. Abraham Lincoln.

Other high-quality jewelry firms founded in the 19th century were Van Cleef & Arpels in Paris, Bulgari in Rome, Asprey & Company in London, Black, Starr & Frost in New York City, and Patek Philippe in Geneva.

The development of the movement called Art Nouveau at the end of the 19th century represented a reaction against the imitation of ancient styles and the emphasis given, in the creation of jewelry, to precious stones. The material used for Art Nouveau jewelry was prized not for its intrinsic value but for its ability to render a design or to carry out chromatic effects. The new jewelry was made from any material that would best express the new symbolic or decorative ideas. Vegetable and animal components, together with the feminine figure, formed the basis for compositions made of flowing lines of rich plastic and chromatic effect and antistructural, dynamic design on a high artistic level.

In Paris, through the works he presented at the Salon du Champ de Mars in 1895, René Lalique (1860–1945) achieved a position of European renown and importance. Lalique personified the Art Nouveau jeweler-artist, his works providing evidence of such highly personal taste that they can be compared to Renaissance jewels. They lean toward a symbolism carried out by the use of milky or watery blue-green colours; of stones such as the opal; of disquieting animals such as the snake, the owl, the octopus, and the bat; and of feminine figures, usually enigmatic, mysterious, and dreamy. Enamel, ivory, vitreous paste, and engraved glass were often used by Lalique to obtain pictorial and plastic effects in his jewels.

Unlike Lalique, the jewelers Georges Fouquet (1858–1929) and Henri Vever (1854–1942) expressed themselves through more synthetic geometric forms. The pendant representing a butterfly by Fouquet and the bracelet and ring for the actress Sarah Bernhardt (both in the Périnet Collection, Paris) show a carefully thought-out stylization.

The Czechoslovak graphic designer Alphonse Mucha (1860–1939), who worked in Paris, created a number of jewelry designs, transferring his brilliant talent as an illustrator to precious stones and metals.

In the United States the floral style in jewelry found one of its most highly personal interpreters in Louis Comfort Tiffany (1848–1933), one of the greatest of all American designers. In the creation of jewelry he expressed himself at first by transferring to Art Nouveau forms the colourful Asian and Byzantine style that so fascinated him. Later he adopted Lalique’s French Symbolism, on which he set his own stylistic mark. His development of the richly coloured, iridescent Favrile glass created an international sensation.

20th century

The Art Nouveau movement came to an end at the beginning of World War I. The years that followed the war’s end seethed with new excitement. In this new phase, the stylistic trends—particularly the nonfigurative—that began to emerge in the most advanced jewelry creations were closely linked to those of painting and sculpture. Cubism, Futurism, the abstraction of Piet Mondrian and other artists of the De Stijl group, Paul Klee’s paintings, and above all the Bauhaus school (which aimed at integrating artistic disciplines with one another and with industrial techniques) provided a basis for the new forms used in avant-garde jewelry.

Compositions were based mainly on the interplay of geometric forms. Like Art Nouveau jewelry, creations of the Art Deco movement (named for the art displayed at the 1925 Paris exposition) used materials suitable for expressing the new stylistic language. Preference was given to the smooth, polished, satined surfaces of precious metals or even of steel. Diamonds and other precious stones were used sparingly, functioning largely as chromatic accents. In the same piece of jewelry, coral could be combined with diamonds, regardless of the great difference in intrinsic value, because their sole purpose was to satisfy the aesthetic requirements of the nonfigurative styles.

During this period there were outstanding artist-jewelers such as Raymond Templier, Jean Fouquet, and René Robert in France, H.G. Murphy in England, and Wiwen Nilsson in Sweden.

Later, artists of great international renown devoted some of their creative efforts to the art of jewelry. Some—such as Georges Braque, Jean Cocteau, Max Ernst, Jean Arp, Man Ray, Salvador Dalí, Yves Tanguy, and Jean Dubuffet—designed jewelry, while others—including Pablo Picasso, Alexander Calder, Alberto Giacometti, Gio Pomodoro—designed and made jewels.

One of the most recent developments in modern mass-produced jewelry is the use of plastic. This material, as well as providing colour, can have mineral fragments or dust embedded in it or can be used in combination with more or less valuable metals, producing pieces of jewelry whose composition may call for considerable effort and which may be of much interest.