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Anchor Jewellery
The anchor as a jewellery motif for hope and steadfastness: its early Christian roots, the Faith, Hope and Charity trio, the naval fouled anchor and sweetheart brooches.
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14 articles
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Three eye motifs in jewellery: the late-Georgian lover's eye miniature, the Eye of Providence, and the protective 'evil eye' amulet as it reached Western Europe.
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How the 19th-century 'language of flowers', from Charlotte de la Tour's 1819 dictionary to Kate Greenaway's of 1884, gave coded meanings to the flowers in sentimental jewellery.
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The small blue forget-me-not as a 19th-century symbol of remembrance and lasting affection, the legends behind its name, and its common form as clustered turquoise cabochons.
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The clasped-hand fede ring from Roman times onward, the Claddagh ring of Galway and the Richard Joyce tradition, and hand brooches and amulets in 19th-century jewellery.
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The heart in jewellery from 1700 to 1950: crowned hearts, Scottish luckenbooth brooches, Sacred Heart pendants, padlock-and-key pendants, Claddagh rings and wartime sweetheart brooches.
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The horseshoe as a Victorian and Edwardian good-luck motif in brooches and stickpins: the folklore behind it, the orientation dispute, sporting jewellery and wedding gifts.
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Insect jewellery from the Napoleonic bee to Victorian diamond flies and Lalique's Dragonfly Woman: naturalistic and Art Nouveau traditions, scarabs and real beetle wings.
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Ivy as a jewellery motif for fidelity and lasting attachment, from Bacchic wreaths and archaeological revival gold to Victorian vine borders, jet leaves and mourning brooches.
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The true love knot in Georgian and Victorian jewellery: ribbon bows and Sévigné brooches, the Hercules knot, knots worked in hair, and Celtic-revival interlace.
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Why the snake, often shown biting its own tail, stood for eternal love in 19th-century jewellery - from Queen Victoria's 1839 emerald snake ring to Lalique's serpents.
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Star and crescent-moon motifs in jewellery: Diana's crescent, Nelson's Ottoman chelengk, Empress Elisabeth's diamond stars and the late-Victorian diamond crescent brooch.
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The oak and acorn as jewellery motifs for strength, endurance and growth, from Charles II's Royal Oak and Heart of Oak to Victorian acorn drops and finials.
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The swallow as a jewellery motif for safe return, loyalty and reunion, drawn from its seasonal migration: sailors' lore, Victorian swallow brooches and 1920s-30s marcasite swallows.