journey to Italy and France, often lasting a couple of months, was nearly obligatory for young European aristocrats and more well-to-do citizens of the 18th and early 19th centuries. Viewed as an educational voyage, this “Grand Tour” was dedicated to the artistic treasures and ancient buildings of the two countries, the knowledge of which was considered proof of a good education and distinguished taste.
Pieces of jewellery acquired on this occasion remain our hobbyhorse. They were often gifts for those who remained at home or purchased as memorabilia of the experience. Worn with pride and a bit of sentimentality, they attest to the beauty of Italy, the knowledge of mythological materials and, not least, the good taste of their bearers.
In fact, the Italian artisans of the late 18th and 19th century responded quickly to the bulging wallets of wealthy visitors from the North. Specialised workshops in all parts of the country produced works of art whose quality and significance takes our breath away even today.
Micromosaics from the workshops of the Vatican captured the sights of Rome in miniature format long before the advent of photography. In Florence, floral marquetries were created from polished precious stones, the finesse of which is astonishing. Finally, finely engraved cameos and intaglios from the Bay of Naples continue to delight time and again. Made from natural materials such as the shells of sea snails or cut from the lava of Mount Vesuvius, these pieces are special mosaic stones in the history of jewellery.
All of these objects are made with a special love of detail and selected by us to that effect. They tell exciting stories and are witnesses to a period in which the ancient ideal of beauty as described by J.J. Winckelmann was decisive for one’s own life.
