American Art Nouveau Cufflinks

Art Nouveau Cufflinks, circa 1900

In the decade before 1900 exceptional artist jewelers sought a break with the traditions of the past. Finding inspiration in nature, distant cultures, and their own fertile imaginations, these innovative jewelers created stunning jewels that were known collectively as the "Art Nouveau."

Different nations contributed unique interpretations to the Art Nouveau style. In France artists like Rene Lalique created jewels with fantastic woman-insect hybrids and other exotic forms. In Germany the new art found expression in the sinuous, tendril-like curves of the Jugendstil ("youth style"). And in Great Britain Art Nouveau jewels and objects reflecting elements of Celtic and Arts & Crafts design were created by Archibald Knox for Liberty & Co.

Krementz Art Nouveau Cufflinks, circa 1900

In America jewelry and cufflink makers were quick to follow the emerging fashions in Europe. Krementz & Company was an early adopter of the the Art Nouveau style. The above Krementz cufflinks recall the flowing curves of the German Jugenstil and the dramatic illustrations of the British artist Aubrey Beardsley. At the top of this note is a beautiful pair of Link & Angell cufflinks likely inspired by the exotic Art Nouveau jewels created in France and the posters of Alphonse Mucha. The face and cascading hair of the woman are enveloped in the narcotic vapors of a poppy flower - a classic Art Nouveau motif.

Tiffany & Co. Sapphire and Diamond Cufflinks circa 1900

However, Amercian Art Nouveau cufflinks did not just imitate of the latest European fashions. A unique style of Art Nouveau emerged in the United States. Louis Comfort Tiffany (son of the founder of Tiffany & Company) was a leading proponent of Art Nouveau design. Inspired by trips to Europe and participation in international exhibitions, he contributed a distinct American Art Nouveau style - one emphasizing nature and the imagination.

The above cufflinks created by Tiffany & Company are a wonderful example. The flowing, rich curves and organic forms of the cufflinks have the appearance of seaweed or aquatic plants floating serenely in the water. Voluptuous, flowing curves and tight swirls are emblematic of American Art Nouveau design.

George Street Onyx and Gold Cufflinks, circa 1900

A second pair of American Art Nouveau cufflinks featuring gently flowing borders with tight swirls. The gold borders are subtly textured to create a vine-like, or possibly reptilian, appearance. The swirls at each corner are reminiscent of shimmering stars on a slightly overcast or foggy night. The overall organic shape and drama of the borders is heightened by black Onyx centers and the natural patination of the gold. Created by George O. Street & Sons in 14kt gold, circa 1900.

Tiffany's work with art glass undoubtedly influenced his approach to Art Nouveau design. Indeed, the design of many American Art Nouveau jewels show a strong affinity with the voluptuous curves and curls that Tiffany created in glass. The Favrile glass punch bowl exhibited by Tiffany at the Paris Exposition Universelle in 1900 is a wonderful example.

The affinity between the jewels and the art glass of the period is not surprising. One of the tenets of Art Nouveau design was to create a unified environment in which all elements - architecture, furniture, decoration, objets d'art and jewelry - followed consistent design principles and themes. A movement away from the cluttered eclecticism of the Victorian era.

To view these and other elegant cufflinks from the past,
please visit the Antique Cufflink Gallery.

Curvaceous Cufflinks

Sapphire and entwined heart cufflinks, circa 1900.

In the years around 1900 cufflinks and jewelry took a new turn. In fact, cufflink designs took a great many turns as fin de siecle jewelers and jewelry lovers embraced sinuous, intertwining curves. The dramatic whiplash curves of Art Nouveau designs, the intricate interwoven curves of ancient Celtic art, and sinuous serpents and flowering vines can all be found embellishing cufflinks of the period. A few of these curvaceous cufflinks are illustrated below.

Late Victorian serpent and vine cufflinks.

Sinuous entwined snakes and clematis vines decorate these late Victorian cufflinks. The Victorians loved jewels with hidden message and secret meanings. Intertwined or coiled snakes were considered a symbol of good fortune and eternal love. Clematis was a symbol for ingenuity. Perhaps the secret message of these cufflinks is that a long relationship or marriage takes both luck and ingenuity. Crafted in 14kt gold by Krementz & Company, circa 1890.

Celtic Revival cufflinks crafted in 14kt gold.

In addition to nature - snakes and vines - Victorian jewelers also drew inspiration from ancient civilizations and past cultures. Often sparked by archaeological discoveries, the Victorians enjoyed a seemingly endless parade of Egyptian, Classic, Etruscan, Roman, Viking, Celtic, Gothic, Medieval and Renaissance Revivals.

In the 1890s Archibald Knox working with Liberty & Company drew upon the intricate curvilinear designs of ancient Ireland. Knox's work inspired other designers and blossomed into the Celtic Revival. Beautiful jewels and objects were inspired by the interlaced motifs of the ancient Celts. The cufflinks illustrated above are a wonderful example. Crafted in 14kt gold by George Street & Sons, circa 1900.

Krementz & C0. Art Nouveau cufflinks.

Art Nouveau design could be described as curves unbound. While Art Nouveau jewelers also found inspiration in the sinuous forms of nature, they added imagination and fantasy to create never-before-seen jewels. The bold, exotic curves of Art Nouveau jewels are less restrained and more free flowing than in jewels of the late Victorian period.

The above cufflinks, created by Krementz & Co. around 1900, illustrate the new taste for dramatic curves and asymmetric design. Krementz was one of the leaders in introducing Art Nouveau design to the United States. You can find more about Krementz and the Art Nouveau in my earlier post Art Nouveau Cufflinks

To view these and other cufflinks from the past,
please visit our Antique Cufflinks Gallery.

George Street Celtic Revival cufflinks, circa 1900.

The Celtic Revival

In the late 1800s there was a renewed interest in the arts and ornament of ancient Ireland. Jewelry makers and designers of the era adopted the intertwining, flowing lines of Celtic design. These finely crafted gold cufflinks are a wonderful example.

Celtic Revival cufflinks, circa 1900.

Beautifully crafted in 14kt gold, the cufflinks were created by George Street & Sons, jewelry makers based in New York. George Street & Sons specialized in richly crafted gentleman's jewelry, including cufflinks, watch fobs and signet rings. The firm was particularly adept at using the sculptural qualities of fine gold to create flowing, richly detailed jewels.

Celtic Revival gold and citrine brooch, circa 1875.

Interest in the arts and ornament of ancient Ireland initially arose in the mid 1800s with the work of Irish antiquarian/artist George Petrie and the discovery of the Royal Tara brooch in 1850. Unfortunately, this initial wave of the Celtic Revival was submerged by the tsunami of Revival styles (Greek, Etruscan Egyptian, Renaissance, etc...) embraced by the mid Victorians.

In the late 1890s, Archibald Knox reignited the fervor for Celtic design. Working as a designer with Liberty and Co., Knox created the popular Cymric and Tudric lines decorated with sinuous, interlaced curves. The George Street cufflinks illustrated in this note are an example of this second wave of the Celtic Revival.