International Antique Jewelers Association

Technically complex and stunningly beautiful, cannetille used hair thin gold wire to create jewelry. Cannetille was created by Georgian jewelers to address the exorbitant price of gold after the Napoleonic Wars in Europe. Not only was gold expensive in the early 1800’s but it was also hard to find. Creative jewelry makers coiled and layered gold wire into elaborate, three-dimensional jewels with sculptural elements that made these lightweight pieces look substantial and important, while using very little metal. Cannetille faded from favor when new gold discoveries were made in California and Australia during the 1840s making the metal more readily available and with more favorable prices.

Georgian era 18-karat gold cannetille earrings, courtesy Macklowe Gallery ().

During the early 20th century turquoise was a particularly popular gemstone. It was also mixed with other colored gemstones such as sapphire and amethyst, or other faceted gemstones creating a juxtaposition of smooth and textured stones that gave pieces a more avant-garde look for the times. Its popularity subsided a bit during the middle of the 1900s but came roaring back into style during the 1960s and 1970s with the rise of boho chic. Turquoise marries well with the earthy tones and textures that are part of the boho DNA. Add some sparkling diamonds and luxurious gold for the rich hippie chic style that was everywhere in the late 1960s and early 1970s.

Turquoise, diamond, 18-karat gold and platinum earrings, signed David Webb, circa 1970s, courtesy JS Fearnley ().

Recognized as one of the 20th century’s most influential jewelry designers, Suzanne Belperron remains a bit of an enigma. Fiercely private, almost secretive, her talent was undeniable. Part of the genius of Belperron is that her work looks as contemporary today as when it was first produced. After graduating from the Besançon Ecole des Beaux Arts in 1919, Belperron moved to Paris, where she was hired by the Maison Boivin as a model-maker and designer. After several years at Boivin, Belperron was offered a position by Bernard Herz, a high-end gem and pearl dealer. She was hired to design exclusively under his company name, B. Herz, and was given free rein to design as she pleased. During her career Belperron challenged traditional thinking about what jewelry should look like and how it is made. She created large-scale, curvaceous and voluptuous pieces that are as stylish now as when they were first made.

Diamond, 3.69-carat ruby, 18-karat gold and platinum tourbillon ring, Suzanne Belperron, circa 1945, courtesy Pat Saling.

The sparkle of pristine colorless diamonds has dazzled us for decades — the pinnacle of beauty, glamour and success. But move over white diamonds, there’s a new kid on the block whose popularity is surging: Brown diamonds. Diamond powerhouse De Beers, is getting behind these earthy hued gems, with a mighty marketing campaign meant to bring a new awareness to these sparklers, that the firm has dubbed Desert diamonds. These warm hued gems range in color from a light bubbly champagne to a deep rich cognac and everything in between. While these tawny toned gems have all the sparkle of a colorless diamond, they also have a soft, romanticism and uniqueness to them that is appealing to a new generation of diamond enthusiasts. This is good news for vintage old cut diamonds, many of which have a tint of champagne that make them appear to be a warm white, glowing from within like candlelight, not enough to be fully considered brown, but enough to be noticeably colored.

5.01-carat natural fancy deep brown yellow diamond, white diamond and 18-karat gold ring, signed Chaumet, courtesy Kathryn Bonanno. Light brown, 2.57-carat emerald cut diamond, yellow and blue sapphires and 18-karat white gold ring, courtesy Miller. Old cut fancy deep brownish yellow diamond, 11.15-carats, white diamond and 18-karat yellow gold ring, courtesy Hancocks. Pear-shaped, 10.01-carat brown diamond and 18-karat rose gold ring, courtesy Eclat.

One of the best kept secrets in the jewelry world is the work of Andre Vassort, who often created jewels for Van Cleef & Arpels, Mauboussin and Boucheron among others. He opened Atelier Vassort in Paris in December of 1955 and quickly earned a stellar reputation for his superb craftsmanship and artistry, that included intricate goldwork. Vassort created jewels for celebrities and royalty including the coronation crown for Empress Farah of Iran. He had one of the largest jewelry making shops in Paris, closing it in 1990 and leaving behind a legacy of beauty and glamour.

Diamond and 18-karat gold ring by Andre Vassort for Van Cleef & Arpels, courtesy Pat Saling.

When it comes to jewelry with a joyful, optimistic feeling blossoming with color, Fred, the Paris-based heritage jeweler takes top honors. Inspired by the sun and sea, with a passion for pearls and a mission to make jewelry part of everyday life, Fred Samuel opened his jewelry business in Paris in 1936, when he was 28 years old. Fred opened his first eponymous store on Rue Royale in Paris, describing himself as a “contemporary creative jeweler” with his business card stating “Fred Samuel , the modern jewelry designer.” Fred wanted his jewelry to have a sense of motion and joyfulness, ready to be worn as a part of daily life. For more about Fred, read our blog “Fred: The Sunshine Jeweler”: https://iaja.com/2025/10/22/fred-the-sunshine-jeweler/

Diamond and 18-karat gold brooch, signed Fred, circa 1970s, courtesy Miller;
Diamond, mother-of-pearl and 18-karat gold ring, signed Fred, circa 1970s, courtesy Berganza; Diamond, onyx and 18-karat gold earrings, signed Fred, circa 1970s, courtesy Galerie Montaigne.

Best known for his revivalist jewels, John Brogden was an important British goldsmith during the Victorian era. Hailing from a family of jewelers, Brogden was highly skilled in the art of granulation and filigree. His work was filled with historic influences and fine details, winning him a gold medal for jewelry at the Paris International Exhibition in 1867. His firm closed in 1884, when he passed away. Today, his jewelry is collected for its incredible workmanship and detailed designs.

Victorian 18-karat gold and enamel brooch, depicting an allegory of love, by John Brogden, in original case, courtesy 21st Century Jewels.

Every so often a jewelry collector comes along who assembles an epic collection, that not only showcases the sparkle and glamour that jewelry dreams are made of, but also tells the story of the collector. That is the tale of Radiance and Reverie: Jewels from the Collection of Neil Lane, an exhibition at the Toledo Museum of Art, running now through January 18, 2026. The exhibition is accompanied by a book of the same name, written by Emily Stoehrer and Diane Wright, that catalogs the collection. Published by Rizzoli Electa, the 320 page tome is packed with images and details about each piece as well as stories about Lane as a collector and essays from jewelry experts, Marion Fasel and Claudine Seroussi Bretagne, who explore different aspects of the collection. An additional essay by Mayukh Sen, discusses Hollywood culture. Read our blog “Radiance and Reverie: Jewels from the Collection of Neil Lane”: https://iaja.com/2025/10/22/radiance-and-reverie-jewels-from-the-collection-of-neil-lane/

Castellani (Italian, 1814–1930). Quatrefoil brooch, mid- to late19th century. Gold, enamel, ruby, pearl, and sapphire, 2 1/16 × 2 1/16 in. (5.24 × 5.24 cm). Collection of Neil Lane. Photograph © Lendon Flanagan.

An artist in his heart and soul, Louis Comfort Tiffany, was an established painter and glassmaker prior to becoming the first design director of his family’s business Tiffany & Co. in 1902, when his father, Charles Lewis Tiffany, passed away. Widely considered to be one of the most prominent American artists of the late 19th and early 20th centuries, LCT, as he was nicknamed, came to fame through his stained glass lamps and windows known as Tiffany Glass. However, he also created furniture, textiles and jewelry. Find out more about LCT in our blog, “Louis Comfort Tiffany: Visionary Artist”: https://iaja.com/2025/09/17/louis-comfort-tiffany-visionary-artist/

Louis Comfort Tiffany by Joaquín Sorolla, 1911, oil on canvas, Hispanic Society of America, New York, public domain, courtesy WikiCommons.

During the 1920s and 1930s when cocktails were scandalous and life was glamorous, cocktail watches were the epitome of chic. Dressing up to go out was expected and women wore opulent accessories with luxurious clothes. Cocktail watches were very popular with starlets of the silver screen and socialites alike, which helped these timepieces earn their place in every woman’s jewelry box. During the 1940s cocktail watches remained popular despite a slump in production due to World War II, when everything centered around the war effort. The 1950s saw a rise in cocktail culture with cocktail parties a favored form of socializing, leading the cocktail watch to become an even more important part of evening wear jewelry. For more on cocktail watches, read our blog “Cocktail Watches: A Celebration of Glamour”: https://iaja.com/2025/10/08/cocktail-watches-a-celebration-of-glamour/

Art Deco diamond and platinum cocktail watch, Peri, courtesy Jewelry World; Retro diamond, ruby, platinum and 18-karat gold watch, circa 1940s, courtesy Paul Fisher.