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Lot Essay
The Giuliano firm was established by Naples-born Carlo Giuliano (circa 1831 - 1895). He trained with the famous Roman jeweller Castellani, who specialised in the Archaeological Revival style. In his early years, Giuliano also worked in this style: a beautiful example is a parure of myrtle leaves and berries entirely made of gold (illustrated in Geoffrey C. Munn, Tiaras: A History of Splendour, Woodbridge 2001, plate 215). In 1860, Carlo Giuliano moved to London in order to manage a branch of the Castellani business.
Evidence is scarce regarding the foundation of the Giuliano business, but it is only natural that Giuliano, a talented goldsmith and jeweller, wanted to distinguish himself from his master. Giuliano's first mark was, significantly, extremely similar to that of Castellani, two intertwined Cs, only distinguishable by a small line to transform the second 'C' into a 'G'. In 1863, Giuliano registered his own mark,'C.G' in captitals, which was in use until his death in 1895 and with which the present suite is signed. The early pieces in the Archaeological style by Giuliano were often thought to be by Castellani - on account of the almost identical mark. However, Giuliano very soon developed a style of his own and, at least in fashionable London, Giuliano was to eclipse his master in popularity.
Carlo Giuliano was succeeded by his gifted son Arthur Alphonse (circa 1864 - 1914). His death, however, caused the firm to close down, marking an end to some fifty-five years of art jewellery-making so characteristic and remarkable in style as well as quality that the appreciative observer simply cannot resist these jewels' allure.
The Giulianos favoured delicate and intricate, often enamelled jewellery rather than the generally heavier and more substantial gold jewellery of the Archaeological style. The present suite is a typical example of Giuliano's love for black and white enamel work only sparsely embellished with diamonds and pearls. Such pieces were very much sought after at the time, and remain so to this day. The emphasis on the elaborate enamelling, and the use of gemstones chosen not for their commercial value but for their decorative properties place this suite firmly in the tradition of artist jewellery.
The enamelling technique is strongly reminiscent of 17th century French black (or sometimes blue) and white enamel work, which is attributed to Jean Toutin (1578 - 1644) and which is also called 'painted enamel'. It was originally used to decorate watch-cases and lockets and involves the application of enamel with a brush. Several layers of enamel are applied, varying in colour to produce the design. Each layer has to be fused and polished before the next layer is applied, which also has to have a lower melting point than the previous layer in order to prevent the colours from mixing during the firing process.
The delicacy of both the gold and the enamel work as well as the use of only small diamonds and seed-pearls perfectly reflect and enhance the femininity and grace of the woman wearing these splendid jewels. Without any doubt Giuliano has succeeded in that '[the jeweller's] object will be to produce the largest amount of beauty in the most limited space possible under the circumstances' (Carlo Giuliano, 'The Art of the Jeweller' in The Journal of the Society of Arts, March 1889).
Cf. Geoffrey C. Munn, Castellani and Giuliano: Revivalist Jewellers of the Nineteenth Century, p. 80 and Charlotte Gere and Geoffrey C. Munn, Pre-Raphaelite to Arts and Crafts Jewellery, Woodbridge 1996, p. 72 who ascribe the design to Indian work. The necklace shown there was sold at Christie's London, 26 November 2003, lot 24.
Evidence is scarce regarding the foundation of the Giuliano business, but it is only natural that Giuliano, a talented goldsmith and jeweller, wanted to distinguish himself from his master. Giuliano's first mark was, significantly, extremely similar to that of Castellani, two intertwined Cs, only distinguishable by a small line to transform the second 'C' into a 'G'. In 1863, Giuliano registered his own mark,'C.G' in captitals, which was in use until his death in 1895 and with which the present suite is signed. The early pieces in the Archaeological style by Giuliano were often thought to be by Castellani - on account of the almost identical mark. However, Giuliano very soon developed a style of his own and, at least in fashionable London, Giuliano was to eclipse his master in popularity.
Carlo Giuliano was succeeded by his gifted son Arthur Alphonse (circa 1864 - 1914). His death, however, caused the firm to close down, marking an end to some fifty-five years of art jewellery-making so characteristic and remarkable in style as well as quality that the appreciative observer simply cannot resist these jewels' allure.
The Giulianos favoured delicate and intricate, often enamelled jewellery rather than the generally heavier and more substantial gold jewellery of the Archaeological style. The present suite is a typical example of Giuliano's love for black and white enamel work only sparsely embellished with diamonds and pearls. Such pieces were very much sought after at the time, and remain so to this day. The emphasis on the elaborate enamelling, and the use of gemstones chosen not for their commercial value but for their decorative properties place this suite firmly in the tradition of artist jewellery.
The enamelling technique is strongly reminiscent of 17th century French black (or sometimes blue) and white enamel work, which is attributed to Jean Toutin (1578 - 1644) and which is also called 'painted enamel'. It was originally used to decorate watch-cases and lockets and involves the application of enamel with a brush. Several layers of enamel are applied, varying in colour to produce the design. Each layer has to be fused and polished before the next layer is applied, which also has to have a lower melting point than the previous layer in order to prevent the colours from mixing during the firing process.
The delicacy of both the gold and the enamel work as well as the use of only small diamonds and seed-pearls perfectly reflect and enhance the femininity and grace of the woman wearing these splendid jewels. Without any doubt Giuliano has succeeded in that '[the jeweller's] object will be to produce the largest amount of beauty in the most limited space possible under the circumstances' (Carlo Giuliano, 'The Art of the Jeweller' in The Journal of the Society of Arts, March 1889).
Cf. Geoffrey C. Munn, Castellani and Giuliano: Revivalist Jewellers of the Nineteenth Century, p. 80 and Charlotte Gere and Geoffrey C. Munn, Pre-Raphaelite to Arts and Crafts Jewellery, Woodbridge 1996, p. 72 who ascribe the design to Indian work. The necklace shown there was sold at Christie's London, 26 November 2003, lot 24.