Articles
Spotting Forgeries, Fakes and the History of Reproductions
Understanding forgeries in jewellery is often a difficult task which requires extensive knowledge of both the history of forgeries and the context of the relevant piece. As new technologies provide easier means of selling pieces without having the ability to touch and examine the piece, the ability to sell obvious forgeries is increased. Dealers are less accountable for their wares and the world market becomes populated with forgeries which pass through many hands.
Having said that, the most important aspect of mourning and sentimental jewellery is that they are personal and are unique to the person who created them. There is not one singular repository of information for every piece ever made and not every piece was created from a catalogue. The person who commissioned a piece may have chosen to go again popular fashion to construct a piece and infuse it with their own sense of personality and taste to make it individual for them.
The lack of comprehensive catalogue and the individual nature of mourning and sentimental jewellery means that evaluating pieces can be fraught with danger and modern day subjectivity. One important element of evaluating pieces is that the jewellery historian must not place modern values towards a piece in order to understand it and make a false assumption about its age. Also, more often than not, oddities exist which defy almost every form of convention. Style revivals with memento-mori symbolism, the difficulty of evaluating the artwork in a neoclassical piece (which is more akin to pure art evaluation) and justifying when a popular style dictates the piece are all perilous areas to grasp.
For this article, I will identify the various revival periods that led to pieces being considered faux; discuss how to spot the modern day forgery; and provide a brief history on reproductions. This article will be updated along with the rest of the site as pieces are added which provide examples and raise awareness of this very important area of collecting.
| Left: Neoclassical (late 18th century) Right: Gothic (first half 19th century) |
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Mourning and Sentimental Art Revivals
The different styles of jewellery, be they Baroque, Gothic, Rococo or Neo-Classical, all experienced periods of revival after they were first created, or were reproduced continuously since their inception. Of the most popular styles to be found in mourning and sentimental jewels, Gothic and Neo-Classical are the easiest to spot. With mourning jewellery being a rather modern invention (at least for the purposes of this website – post 16th century), they were original for their time and there is no trouble in matching a Gothic or Neo-Classical ring to its respective age. For the novice collector, these are good areas to begin the accumulation of knowledge. These styles were not reproduced at a later date; therefore, spotting forgeries of these pieces can be very easy. At the very least, if a piece is questionable, there is a safe basis for judging what it is.
| Left: 1740 Rococo ring with skull Right: Early 19th century ring with skull |
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The more prominent the art style and its effect on jewellery, the more simple it is to evaluate. However, Baroque- and Rococo-style pieces are more difficult to judge for two main reasons: their replication will bring in greater money; and these periods had Victorian revivals. While the 19th century saw a clash of revival styles and flourishes, Rococo styles were among the most popular. To a collector, however, the revival pieces will be obvious. Pure Rococo and Barque pieces are very different from anything produced in the 19th century, which used earlier flourishes to add to different jewellery. The original pieces are pure and ornate to their nature.
| Left: Late Victorian locket Right: Contemporary brooch |
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It is the periods in between the popular revival periods that are harder to define. Pieces from the early 19th century throughout the Regency era are embellished with geometric lines, oval and rectangular shapes, use stones for symbolism and highlight a completely new way of constructing pieces that can almost seem more mature than more later Victorian pieces. 1850-1880 can also be difficult to be exact with, as each year has its individual style. Following the 1860s, memorial jewellery became less prevalent, and styles lingered, handed down, and often no modern alternative was created. The Victorian Rococo flourishes gave way to more rigid symbolism and became smaller and more personal.
Dating pieces is made easier with experience. Mistakes are easy to make with the evaluation of pieces in interim periods, especially without the rapid change of fashion seen in the 18th and early 19th centuries. Identification of a piece is not a sign of forgery, of course. It is during these revival periods, when antique sensibilities are reused, that the line begins to blur on what is or is not original.
| Notice the skull on this ring: painted on top of the hairwork in a style reminiscent of the early 18th century but clearly in a first-quarter 19th century style |
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The 19th century was the most retroactive culture where memorial and sentimental symbolism was concerned. There were revivals of memento-mori symbolism (two notable times and throughout the century) that can fool people into mistaking the provenance of a piece. The problem with memento-mori symbolism is that the symbols are timeless. The skull and crossbones have been used for various reasons throughout history, be it from a personal standpoint, a warning, a status symbol of the 16th and 17th centuries or to represent a society. It is often hard to identify the use of the skull in these instances: in the early 19th century, a great deal of skull symbolism was used in jewellery, which was then mixed with 19th century symbolism. Skulls were painted on top of rings; this style culminated around the middle of the century. By the 1870s, there was another revival of the symbolism in jewellery (especially prevalent in fashionable gentlemen’s accessories)1. When a skull is used in jewellery throughout this period, one must identify its origins. Stylistically speaking, they are usually in conjunction with the fashionable style of the time, so dating is rarely an issue; however, much concern has been given to some pieces being direct forgeries. In order to determine if these pieces are forgeries, one first needs to think of how these pieces were developed at the time of their construction. Were they used in a revival period? Were they a symbol of a society and not memorial or sentimental at all? Was it a personal matter of the individual who commissioned it in order to reflect mortality? The pieces that can be identified are honest to their nature.
Were there complete 19th century reproductions of 16th-18th century pieces? Of course, the development of the exact forgery is not a new concept: as it happens now, it happened then. But whereas now the culture of the collector has developed, 19th century reproductions would be based upon historically important or opulent pieces that could generate a heavy price or be fashionably desirable. The point of replicating a small, personal and unfashionable mourning piece would not be worth the price of the gold or effort to do it at the time.
Were there complete 19th century reproductions of 16th-18th century pieces? Of course, the development of the exact forgery is not a new concept, as it happens now, it happened then. But whereas now the culture of the collector has developed, 19th century reproductions would be based upon historically important or opulent pieces that could generate a heavy price or be fashionably desirable. The point of replicating a small, personal and unfashionable mourning piece would not be worth the price of the gold or effort to do it at the time.
| Left: Original early 18th century crystal with modern band Right: Late 18th century cameo in 19th century ring |
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Marriages provide the most common identification problems with jewellery. Many 16th and 17th century pieces were added to with 19th century embellishments, but more often than not, the central jewel is consistent. This is across the board with jewellery and not simply relegated to mourning or sentimental pieces. A piece may be added to in order to be worn with current fashion or in order to enhance its sentimentality to the wearer, and often these additions do not detract from the price, but add another level of mystery to a piece.
Mourning jewellery is unique in that an entire family can be held inside a ring or bracelet. A piece constructed in 1780 can have a lifespan of 100 years and be dated in 1870; this is not unusual. As pieces pass through the hands of family members, they are added to, hair mementos may be taken out and replaced, new inscriptions added on the back. Identifying these pieces can be very difficult and require the collector to make a leap of faith in understanding the history of the piece. They are also difficult for dealers to part with, as many people may assume that they are forgeries.
How to Spot the Forgery
There are many tell-tale signs of a forgery. By “forgery”, I mean a piece that was constructed in order to dupe the collector into buying what they perceive to be an authentic piece. However, by gaining knowledge (through this website and other sources) about styles, art and fashion that are relevant to mourning and sentimental history, the collector will soon be able to analyse and judge a wide variety of pieces.
While a general knowledge of different styles and periods is necessary before analysing pieces, the construction of jewellery is the area where a true forgery may be spotted, or at least its provenance called into doubt.
Gold Content
Gold and silver were marked with the same standard until 1798, when the introduction of 18 carat gold required standard gold marking. However, 22 carat was stamped with the same marks as sterling silver until 1844. The demand for cheaper gold watch cases in America saw 9, 12 and 15 carat added to the marks in 1854. This means that by 1854, there were marks for 9, 12, 15, 18 and 22 carat. 14 carat was introduced in 1932, replacing 15 and 12 carat, creating the current four standards: 9, 14, 18 and 22.
Gold marking is a difficult standard to follow, as (pre 1906) some countries did not stamp and quite often, pieces are unstamped regardless of territory. Most commonly, the US used 10K, 14K and 18K marks; many memorial pieces were 9 carat, given their popularity and ubiquitous nature post 1854. In Europe, marks are generally for the fineness of the metal and the following carat indicators are not exactly accurate representations of the numbers: 750 / 18 carat, 375 / 9 carat and 625 / 15 carat.
Pinchbeck, a form of brass (an alloy of copper and zinc) is a very popular material used in mourning pieces from the middle of the 19th century. Be sure that when buying a piece it is not for its gold content in these cases. Often, the clasps are marked, with other fittings pinchbeck.
Hallmarks
Hallmarking is the best standard to identify a piece, but unfortunately (although mostly illegal), jewellers are known to falsely stamp pieces. Hallmarking is the process of stamping precious metals, as they are intended to be stamped by the Assay Office to guarantee purity of the piece. When collecting, it is necessary to bring a hallmarking book along to assist with the identification of pieces, as the listings are so vast that there is no way to fully comprehend each and every stamp. Recommended is Jackson’s Hallmarks, and excellent and conveniently sized reference book for transport and identification. Hallmarks are the most honest way to find the maker and year a piece was created, with both gold and silver. Earlier pieces do not have hallmarks with which to guide the collector, but 19th century pieces are easy to identify. Be sure hallmarks match and that they are honest to the piece. Many pieces have been falsely stamped in recent years to give a piece provenance, but can often be false. Check the marks have consistent wear with the piece and that the year / maker and any tax or import marks match.
Conflicting Styles
If a piece has conflicting styles, such as an enamelled skull with an art deco shank or if a piece were a crystal in silver with marcasite, one must consider that there is a degree of mystery about it. On the more positive side, the real odd piece are full of questions and can be very rewarding to research. On the negative side, they are more often than not forgeries with inept construction. Conflicting style is more prevalent in modern pieces where the aim is to reap the rewards of the forgery. 19th century conflicts of style in forgeries are harder to discern, as they may have an honest pedigree with conflicting styles being part of a piece’s aesthetic.
Solder Marks
Solder marks are a good sign of repair work or change in a piece. The biggest problem with earlier pieces is that they have been converted from one type to another, such as brooch to ring. Solder marks are good ways of spotting changes to pieces and one can often find a good continuity to the life of a piece if studied correctly. These may be as small as the change of a brooch clasp or as large as the conversion of a ring.
| Left: Convex original glass Right: Replacement bevelled glass |
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Plastic or Odd Materials and Repairs
Use of plastic or materials that are not developed in the contemporary time frame of a piece are obvious things to look out for. There is quite a culture of ‘doctoring’ pieces by removing scratched or worn glass compartments and replacing them with plastic (or glass). Remember to test if you are unsure, but usually unnecessary bevelling and flat pieces of glass or plastic may take the place of an elegant Neo-Classical curve to a brooch, pendant or ring.
Enamel work is also a popular aspect of repairing. Spotted enamelwork (mismatching) or a piece looking just far too clean for its age raise many questions. Be careful with anything that seems too perfect and remember that most pieces have lived many hundreds of years.
Also, materials often dictate their times; some older materials were in fashion at later dates (such as silver and marcasite).
Different Metals
Metal mismatching in jewellery is used for effect or not at all. When a piece, such as a pendant and chatelaine combination, does not match, or a ring has an odd shank and bezel, one must wonder why these pieces are mismatched with their metal work. Often they are marriages of pieces and there is a culture of constructing greater pieces from lesser in order to gain more money for them.
Contemporary Piece Matching
Always match a piece that you are looking at to another. Be it from books, a collection, museum or even this website, find a reference point of the piece in order to properly justify what it is. If a piece does not match with others that it is trying to emulate, then one must wonder why and see if it is a later piece or an oddity for its time.
Symbolism
Conflicting symbolism is a big problem. It is also hard to identify, as different cultures used symbolism at earlier periods than others. French pieces may have a higher quality and propensity for delicate symbolism and in the 18th century mix popular 19th century motifs with contemporary ones. People who commission pieces may have put in antique or unfashionable symbolism, so judging by symbolism alone can be difficult. However, when a piece does have obvious conflicting symbolism, these can be easy to spot. Usually memento-mori replicas can be spotted because of overly detailed skulls.
As can be seen in this article, there are many reasons for a piece to not conform to a particular style or period from which it came. However, this does not necessarily mean it is a deliberate forgery, and could instead be the result of a piece being handed down in one family and added to throughout the years, or the updating of pieces to reflect new fashions and sensibilities. Having said that, the collector must always keep a questioning mind when examining pieces and ensure that the story to be read in a piece is an authentic one. This means examining a piece’s construction, any marks present and any signs of a marriage of two pieces. A good knowledge of the different art styles and periods relating to sentimental and mourning jewellery also aids this process. Armed with this knowledge, the collector will be able to discern quality pieces from those which are of lesser quality.
