Due to their size and function, sentimental and memorial bracelets have varied in degrees of popularity over time. Unlike more personal forms of mourning jewellery (such as lockets), they are a public display of mourning and often a status symbol1.
Their function is defined by fashion, where it dictates, they become popular. The use of other materials, such as hairwork, and their size makes bracelets a type of jewellery that demand their own focus.
| Courtesy: | Barbara Robbins |
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Rather interesting for a bracelet, given its age and style, there’s no doubt as to its function as a clasp, or its beauty. This piece uncommonly uses turquoise as a surround for the crystal interior, and the typical gold cypher on top of hair. Turquoise wasn’t commonly used as a material until the early 19th century and bracelets are very uncommon for late 17th century pieces (the clasp even denotes late 18th / early 19th century influence), but a look to the reverse of this piece shows that there’s no change to the goldwork. However, the very embellished acorn design (another 19th century influence) in gold cypher is unusual for its popularity of the late 17th century early 18th century. Many questions arise, but what is without doubt is the sheer beauty of this piece and how marvellous it has stood the test of time.
| Courtesy: | Barbara Robbins |
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| Year: | 1783 |
| Dedication: | "R Legard. July 1783, ae 34." |
Popularity of the bracelet worked well with the neoclassical movement of the latter 18th Century. The size, and reliance on classical fashion, provided a good display for grand pieces upon the wrist. Above, the bracelet has a large hairwork panel inside clasp with the pearls delicately strung from the clasp. Pieces of this time housed wonderful hairwork panels, miniatures and neoclassical depictions. These ranged from mourning to sentimental, but are all equally grand.
| Courtesy: | Barbara Robbins |
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| Year: | c. 1780-90 |
| Dedication: | Angels Weep When Children Mourn |
Much the like piece before it, the neoclassical artwork in the clasp above replaces the hair panel, arguably one of the most special depictions of its form. The clasp is special because of its inscription; "Angels Weep When Children Mourn". This is not just exceptional artwork for its form, but also sentimental in its child dedication. Note the sepia art and how crisp it is. A piece like this is rare to be found in a bracelet clasp and even more so in its condition. Bracelet clasps from this era often have unique depictions, due to their grand nature (larger than a ring) and are more relative to a miniature than a smaller piece.
| Courtesy: | Sarah Nehama |
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| Year: | c.1780/90 |
Perhaps one of the most beautiful sentimental pieces ever conceived, this bracelet clasp is rich is affectionate symbolism and stunningly executed. The crown (immortality, triumph), burning hearts (one of the strongest symbols of love / marital love), the cypress (hope), unbroken column (eternity) are traditional symbols, with the two oddities being the serpent and the inscription. The snake is often a symbol of love, eternity and rebirth, however the serpent used in this instance may reflect the serpent in the garden of Eden, hence temptation, or in this case, the lack thereof. The collection of symbolism in this piece represent a powerful love statement that is rarely seen so strongly in sentimental items and the collection of imagery would have been the prerogative of the person who commissioned it. Its true nature, brings into question the statement of ‘In Spite of Envy’ which hints towards a powerful statement of just how strong the bond it between the two this was commissioned for. Though others are envious, this love bond will last for eternity. This is simply an assessment of the piece, however, as its true intention is lost with its original owners, who are the only ones to truly understand this piece. Its collection of symbolism is too strong to ignore, however. The intent of a piece should always be scrutinised, taking into account its time and place in history, its social values and its fashion. The double meaning of the symbolism and their Christian relevance is also of some importance to this piece, but the fire of its passion burns still today.
| Courtesy: | Barbara Robbins |
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| Year: | c. 1780-90 |
These bracelet claps are the absolute pinnacle of sentimental neoclassical symbolism. Rich in multilayered symbolism, they do away with typical convention and become pieces that are unique on their own merits. The Peacock (incorruptibility of flesh / immortality), dove (holy spirit), lamb (purity and innocence) and forget-me-nots are the most powerful symbols upon first glance. Added to this is the fine verre 覬omis矡nd opalescent enamel surrounds in the navette shape make these clasps a stunning pair.
| Courtesy: | Barbara Robbins |
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| Dedication: | Ann Read died 8th of March 1789 Aged 76 |
The sepia painting in the bracelet clasp above is much like this pendant found in the lockets section. When two pieces are so close in style, the same artist can be attributed to both pieces. The pendant is of a slightly higher quality, but the depictions, such as the position of the widow and the cherub, are almost identical. The largest difference in this piece is the change of the oak tree to the willow, which is more common for the time. As a bracelet clasp, with the pearl surround, this clasp is a wonderful example and a pearl string would accompany it nicely.
| Courtesy: | Barbara Robbins |
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| Country: | England |
| Year: | Early 19th C. |
If ever there was a set dedicated to the glorification of pearls, these would be it. The seed pearls combined with the pearls set into the memento enhance the sentimentality of the hair, as if the hair were the culmination of the strings of pearls leading into them.
| Year: | 1855 |
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Hairwork bracelets are more common in sentimental and mourning jewellery. As much as the clasp or goldwork in a bracelet, the hair itself is important. As a memento, entire families could have different hair woven into the band. Clasps differ greatly with these pieces, everything from early pieces having miniatures portraits to photography and more hairwork. In the above example, there are seven initials from the family members and with the hair in the band and inside the glass compartment, each individual is represented.
| Year: | c.1860 |
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There is an unusual amount of fine construction in this bracelet that sets it apart from more common pieces in its clasp and enamel work. The fine weave of the hair is a tribute to its manufacture as well. Using white and blue enamel and featuring a hinged (and marked) clasp, this piece show fine 19th century Rococo revival scrollwork and is a fine piece for its time.
| Courtesy: | Sarah Nehama |
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| Year: | c. 1870 |
Bracelets, like any other form of jewellery, can be highly personalised, be it with hairwork or gold. This piece comes with the story of being commissioned by a woman outside of Baltimore, MD to memorialise each of her seven relatives lost during the civil war. The seven panels have initials for each person lost, with the EH on the clasp being her own initials. While fitting in with the style of the time, this piece would have had its origins in a jeweller’s catalogue with the option for tailoring it to the patron. This level of personalising in a piece is very rare and quite sought after, as they are usually one of a kind. Enamel work in this time was quite prolific and the style of this piece with the late Victorian floral work make it a prime example of mainstream jewellery, as well as memorial jewellery.
| Year: | c. 1860-70 |
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Certain weaves in hair jewellery stretch to fit different sized areas (such as the neck or wrist). This seemingly small bracelet will stretch with its box-shaped weave to fit larger wrists. The clasp, though looking to be a locket, is fixed and decorated with Victorian neo-Rococo design.
| Year: | c. 1870 |
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Clasps can define the age of a piece or make it more desirable than another. Many hairwork bracelets have been destroyed over time in order for jewellers to retain the gold fittings and remake them into other bracelets. Above, the example has a twist clasp that is quite difficult to open.
| Year: | c. 1870 |
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A very humble piece, this bracelet is of a tough weave and has kept in magnificent condition. The hair is still supple and retains is full colour. The clasp itself is central clasped and shows some wonderful Rococo design.
| Year: | c. 1880 |
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Depending on the weave, hairwork can stretch to the size of the wearer. Turquoise beads and late 19th Century etching provide the flourishes to the above example. In its original size, the bracelet would hardly fit over a hand, but the piece can stretch to fit.
| Source: | Miller's |
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Bracelets complete an appropriate set of jewellery. The demi-parure to the left is an excellent example of its time. Circa 1860, the pearl and star motif is carried through each piece. The grand part of this set in undoubtedly the bracelet, which, due to its style, are still popular today. Despite the onyx and the pearls the piece has no definite mourning markings, hence their use in mainstream fashion and command a decent price.
Silver mourning bracelets were also constructed in the 1880s and 1890s. Much the same as gold bracelets, they carry through the mourning motifs and materials, such as pearls and enamel work. These bracelets are not as popular than their gold counterparts, but remain an item to look out for.
Because of their size, the depiction of bracelets (and other mourning jewellery) in artwork of its time is quite common. Late 18th and 19th Century portraits as well as 19th Century photography. Because of its popularity, some early American portraits have noticeable hairwork bracelets worn. Because of its popularity, jet is often seen in 19th Century photography with women in first stage mourning.
| Year: | c. 1880 |
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This pressed horn example is surrounded by the forget-me-not pattern, and is showing signs of discolouration and chipping. The forget-me-nots are upon each individual panel and the bracelet expands to fit over the hand.
| Year: | c. 1880 |
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The vulcanite bracelet has the same motif as the one above it, but has faded over time. The remarkable feature about this bracelet is its size and relief of the flowers. Due to its construction, the bracelet bends to wrap around the wrist, being carved from one piece.
Sentimental bracelets aren't as relevant in the modern world as they have been. The difficultly in wearing and the fragility of pieces make them better left for special occasions. Where lockets and rings are still being made, sentimental bracelets can be commissioned, but have largely been dropped from the mainstream.
