01
Hallmarks
- Hallmark official purity mark
- The set of official marks struck on gold or silver articles by a registered assay office to certify the metal's fineness. In Britain, a full hallmark comprises: the maker's mark, the standard mark (showing metal and purity), the assay office mark, and the date letter. British hallmarking has been compulsory since 1300 — the world's longest-running consumer protection law. The assay system makes British silver and gold some of the most precisely datable objects in antique collecting.
- Maker's mark sponsor's punch
- The punch identifying the maker or sponsor who submitted the piece for assay. In Britain, maker's marks take the form of initials in a distinctive cartouche (shield shape). The cartouche shape itself carries information — different shapes were used at different periods and assay offices. Maker's marks are registered at the assay office and can be looked up in published reference works (Jackson's Silver and Gold Marks of England, Scotland and Ireland).
- Date letter year cypher
- A letter of the alphabet struck on British gold and silver to indicate the year of assay. Each assay office runs its own letter series in a distinctive style — London uses a 20-letter sequence; Birmingham and Sheffield a 25-letter sequence. The combination of date letter and assay office mark allows the year of assay to be identified within one year. Date letter tables are published in standard references.
- Standard mark fineness mark
- The mark indicating the metal and its purity. For British gold: a crown (22-carat), crown with 750 (18-carat), 585 (14-carat). For sterling silver: the lion passant (a walking lion, 925/1000 fine). For Britannia silver (958/1000, 1697–1720 and optional thereafter): the figure of Britannia. The lion passant has been the sterling silver mark since 1544 — its consistent presence across centuries makes it one of the most recognisable marks in antique metalwork.
- Assay office mark town mark
- The mark identifying which assay office tested and marked the piece. London: a leopard's head (crowned until 1821, uncrowned from 1822). Birmingham: an anchor (in any orientation). Sheffield: a crown (until 1973), then a Yorkshire rose. Edinburgh: a castle. Chester, Dublin, Exeter, Glasgow, Newcastle, and Norwich offices are now closed but their marks appear on antique pieces. The assay office can indicate where a piece was made or simply where it was submitted for marking.
- Duty mark sovereign's head · 1784–1890
- The sovereign's profile struck on British gold and silver between 1784 and 1890, confirming that excise duty had been paid. The portrait follows the reigning monarch — George III (1784–1820), George IV (1820–1830), William IV (1830–1837), and Victoria (1837–1890). The duty mark's presence immediately brackets a piece's date to 1784–1890 — and the specific portrait narrows it further.
02
Gem settings
- Bezel setting rubover setting
- A metal collar or rim that surrounds the entire girdle of a stone, holding it securely. The bezel edge is rubbed over the stone's edge (hence "rubover"). Common from antiquity through the Georgian period and popular again in Arts & Crafts and later jewellery. The bezel protects the stone's edge but partially obscures it; low-profile stones suit bezel settings best.
- Collet setting tube setting
- A small metal tube or shaped band that holds a stone with its upper edge burnished over. A simplified bezel; used for smaller stones and those set partially enclosed. Common in Georgian and earlier jewellery — many Georgian diamond pieces combine collet-set stones in closed-back silver mounts, sometimes with foil behind the stone to enhance brilliance.
- Claw / Prong setting open setting
- Metal projections (claws or prongs) that grip the girdle of a stone while exposing maximum surface area to light. Enables a solitaire diamond to be seen from the side. The Tiffany six-prong setting (1886) standardised the solitaire engagement ring form. The claw setting became dominant for diamonds in the late 19th century; earlier pieces typically use collet or closed-back settings.
- Pavé setting paved with stones
- Stones set closely together with minimal metal visible, the surface appearing "paved." Each stone is held by tiny beads of metal raised from the setting surface. Common in antique jewellery for small diamonds, rubies, and sapphires as ground patterns behind larger stones. Antique pavé shows hand-worked beads rather than the machine-uniform pavé of modern production.
- Millegrain bead edge
- A decorative border of tiny metal beads applied along the edge of a setting using a rotating tool. Characteristic of Edwardian and Art Deco jewellery. Millegrain edging requires considerable skill to execute well; its quality is a good indicator of overall piece quality. The delicate, lacy appearance of fine Edwardian platinum millegrain work is immediately recognisable.
- Closed-back setting Georgian foil-back
- A setting in which the back of the stone is fully enclosed by a metal plate or foil. Universally used in Georgian jewellery — the foil behind the stone enhanced colour and brilliance in candlelight. Foil colours were chosen to complement the stone: silver for diamonds (to maintain cold brilliance), gold for warm-toned gems, coloured foil for coloured stones. Closed-back pieces should never be cleaned with water.
03
Gem cuts
- Rose cut c. 1520 – 1900
- A flat-based, dome-topped cut with triangular facets arranged in one or two rows, typically 6 or 12 facets. Developed in the 16th century and widely used through the 18th century. The rose cut was ideal for hand-cutting and suited closed-back settings. Its low profile and flat base make it identifiable from the side. An important indicator of Georgian and earlier jewellery; rose cuts are increasingly favoured by contemporary collectors.
- Old mine cut c. 1750 – 1900
- An early brilliant cut with a square or cushion outline, high crown, large culet (flat facet at the bottom), small table, and 58 facets. Produced by hand or early mechanical means. The large culet creates a distinctive "open" appearance when viewed face-up. Old mine cuts are associated with Georgian and Victorian diamond jewellery; their soft, gentle brilliance differs markedly from modern cuts.
- Old European cut c. 1870 – 1930
- The precursor to the modern round brilliant, produced on mechanical bruting machines from the 1870s. Round outline, high crown, deep pavilion, large culet, and 58 facets. The standard diamond cut in fine jewellery from approximately 1890–1930; virtually all Edwardian and Art Deco diamonds are old European cuts. Distinguished from the modern brilliant by its smaller table, higher crown, and larger culet.
- Table cut c. 1400 – 1700
- The earliest faceted gem cut — a flat octagonal table (large top facet) with a simple girdle and small culet. Common from the 15th through 17th centuries in European jewellery. Table-cut stones in a setting are a strong indicator of pre-1700 date. The simplicity of the cut maximises the stone's visible surface area.
- Briolette drop-shaped pendant cut
- A teardrop-shaped gem covered entirely with triangular facets, suspended from a wire or cap fitting through a drilled hole at the top. Used in Mughal Indian jewellery and popular in Victorian and Edwardian pendant designs. Briolette drops of diamond, rock crystal, or coloured stones appear as earring pendants and necklace elements.
- Cabochon polished dome · no facets
- A gem polished to a smooth domed surface without faceting — the oldest form of gem shaping. Used for opaque or translucent stones (turquoise, coral, opal, moonstone, star sapphires, star rubies). Star stones (showing asterism — a six-rayed star) must be cut cabochon to display the effect. En cabochon is the French term for a round, non-faceted gem.
04
Periods & styles
- Georgian 1714 – 1837
- Jewellery from the reigns of George I through William IV. Characterised by closed-back settings, rose-cut and table-cut stones, paste (glass) imitations, seed pearl work, hairwork, and memorial pieces. Gold was typically yellow or pinchbeck for everyday jewellery; silver settings were standard for diamond pieces. The romantic and sentimental themes of the period — hearts, bows, serpents, clasped hands — are characteristic.
- Early Victorian 1837 – 1860
- Romanticism and naturalism: flowers, leaves, birds, and bows in yellow gold, often set with seed pearls, turquoise, coral, or carbuncle garnets. Sentimental jewellery — lockets containing hair, mourning jewellery in jet or black enamel, acrostic rings (where gem initials spell words like "DEAREST") — was fashionable throughout. The Gothic Revival influenced architectural brooch designs.
- Edwardian c. 1900 – 1915
- A period characterised by platinum settings (newly available in quantity), old European-cut diamonds, delicate millegrain edgework, lacy open-work designs, and pale colour combinations — diamonds, pearls, pale sapphires. Garlands, bows, and ribbon motifs are characteristic; the style is sometimes called "garland style" or Belle Époque. Leading houses: Cartier, Chaumet, Fabergé.
- Art Nouveau c. 1890 – 1910
- Organic, flowing forms inspired by nature — dragonflies, orchids, peacocks, female figures with flowing hair. Unusual materials: plique-à-jour enamel (translucent cells without backing), carved horn, ivory, and semi-precious stones favoured over diamonds. René Lalique in Paris was the greatest exponent; in England, the Arts & Crafts movement produced related but more rectilinear work.
- Art Deco c. 1920 – 1940
- Geometric, architectural designs in platinum with calibré-cut coloured stones and large white diamonds. Characteristic colour combinations: black and white (onyx and diamond), blue and white (sapphire and diamond), red and black (ruby, coral, and onyx). Egyptian Revival motifs (following the 1922 Tutankhamun discovery) appeared briefly. Leading houses: Cartier, Van Cleef & Arpels, Boucheron, Mauboussin.
05
Metals & materials
- Gold carat gold purity
- A measure of gold purity — the number of parts gold per 24. 24-carat is pure gold; 22-carat (91.7%) is the traditional British standard for gold jewellery; 18-carat (75%) is standard in European fine jewellery; 14-carat (58.5%) is common in American pieces. The alloy composition affects colour: copper additions produce rose gold; silver or palladium additions produce white gold.
- Pinchbeck gold substitute · c. 1720 – 1850
- An alloy of approximately 83% copper and 17% zinc developed by clockmaker Christopher Pinchbeck around 1720 to imitate gold. Used widely for affordable decorative jewellery in the 18th and early 19th centuries. Pinchbeck tarnishes slowly and resembles 15-carat gold in colour. Distinguished from gold by acid testing, touchstone, or XRF analysis — and by its slightly greenish undertone compared to gold's warmth.
- Sterling silver 925 fine silver
- Silver of at least 92.5% purity — the British sterling standard maintained since the 12th century. Marked with the lion passant in Britain. Sterling silver is harder than fine silver (999) and better suited to jewellery and tableware. The slightly blue-white colour of sterling silver is distinctive from the whiter tone of Britannia silver (958 fine).
- Platinum c. 1900 – present
- The densest naturally occurring metal, ideal for jewellery from approximately 1900 when refining became practical. Platinum is twice as strong as gold, resisting wear and allowing settings to be made lighter and more delicate while maintaining security. Essential for Edwardian and Art Deco diamond jewellery. Early platinum jewellery (pre-1939) was not hallmarked in Britain — making other dating methods important.
- Niello black sulphide inlay
- A black compound of silver, copper, and lead sulphides inlaid into engraved metal to create contrasting black and silver patterns. Used in Byzantine, Russian (cigarette cases, belt fittings), and Indian jewellery. The surface is engraved, filled with niello powder, fired, and ground flush. Russian niello work of the 19th century is a major collecting specialty.
06
General terms
- Parure matching suite · full set
- A complete matching set of jewellery: necklace, earrings, brooch, and bracelet — and sometimes a tiara or hair ornament — all in the same design, stone, and metal. Grand parures were fashionable in the Georgian and early Victorian periods for court and formal occasions. A demi-parure is a partial set, typically necklace and earrings, or brooch and earrings.
- Provenance ownership history
- The documented chain of ownership from the piece's creation to the present. Royal or aristocratic provenance — a piece made for or worn by a named historical figure — commands significant premiums. Auction house ownership histories (from published catalogues) provide the most useful provenance documentation.
- Hallmarking assay process
- The process of submitting a gold or silver article to a registered assay office for testing and marking. The assay office tests the metal's fineness, strikes the appropriate marks, and returns the piece. In Britain, submitting an article for hallmarking has been the maker's legal obligation since 1300. Articles sold as gold or silver without hallmarks are illegal to sell in the UK above minimum weight thresholds.
- Acrostic jewellery sentimental spelling
- Jewellery in which the first letters of the set stones spell a word or name — REGARD (Ruby, Emerald, Garnet, Amethyst, Ruby, Diamond), DEAREST, or LOVE were common examples. Popular in the early Victorian period as sentimental gifts. Identifying the stones and reading their initials in sequence reveals the intended message. A charming category for collectors who enjoy the historical and personal dimension of jewellery.
- Mourning jewellery memorial pieces · c. 1700 – 1900
- Jewellery made to commemorate the death of a loved one. Early Georgian mourning pieces incorporate hairwork under glass; later examples use jet (or glass imitating jet), black enamel on gold, and sometimes miniature portraits. Queen Victoria's prolonged mourning after Prince Albert's death (1861) made mourning jewellery widely fashionable. Genuine Victorian jet from Whitby, Yorkshire is warm to the touch and lightweight — distinguishing it from cold, heavy glass imitations.