Antique Cufflinks: Objects of Adornment

Larter blue enamel and gold cufflinks, circa 1930.

Antique Cufflinks: Objects of Adornment

In several earlier posts, I discussed the artistry and history of antique cufflinks. This month's note is about cufflinks as objects of personal adornment. These three factors - Artistry, History and Adornment - in large part explain the irresistible attraction of antique cufflinks. Together they constitute the "AHA Effect."

The reasons individuals wear antique cufflinks are many. At the most rudimentary level cufflinks are functional - they hold a shirt cuff together. Beyond the utilitarian, a wearer may select a pair of antique cufflinks because he/she wishes to enjoy a miniature work of art and literally keep it close at hand. Another wearer may be motivated by a sense of history. While others may aspire to a public display of wealth.

Fortuitously, the designs of antique cufflinks are as diverse as the motives of those who wear them. The period from 1880 to 1950 saw the creation of cufflinks in many distinct styles, ranging from Victorian to Art Nouveau, Edwardian to Art Deco. Among antique cufflinks there is something to suit almost any taste.

This point is better illustrated with photographs than words. Below is a sampling of fine antique cufflinks from the 1890s until the 1940s. These cufflinks would beautifully adorn any cuff.

Striking guilloche enamel cufflinks with translucent purple enamel over an engine turned pattern of radiating ovals. A nice example of the beautifully crafted, bold designs created by Carrington & Co. during the 1920s and 1930s. Crafted in 14kt gold, circa 1930.

Beautifully designed platinum and gold cufflinks with intricately engraved centers and platinum borders with Greek key accents. These elegant cufflinks were created around 1910 by one of the founding firm's of the American jewelry industry, Durand & Company.

A menagerie of mythological creatures and exotic animals inhabit antique cufflinks. These cufflinks feature a roaring lion with striking eagle-like features. Crafted in 14kt gold, circa 1910.

An exuberant pair of Art Deco cufflinks with radiant sunburst centers and black enamel accents. Engraved yellow and white gold borders complement the design with bold Art Deco motifs. Crafted in 14kt white and yellow gold, circa 1925.

Wonderful white-on-white cufflinks featuring mother of pearl centers surrounded by elegantly scrolling white gold borders with a small pearl in the center. Crafted in 14kt gold , circa 1920.

The elegance of the Edwardian era sparkles in these platinum and diamond cufflinks. The soft engraving of the platinum shimmers like watered silk. Crafted in platinum and 14kt gold, circa 1910.

Beautifully crafted gold cufflinks in the Arts & Crafts style from Carrington & Co. The hand-hammered gold surfaces shimmer like sunlight sparkling on a gently rippling pool of water. Crafted in 14kt gold, circa 1900.

Late Victorian cufflinks with dramatic winged scarabs. A wonderful example of Egyptian Revival design from of the late 1800s. Antique cufflinks often reflect an enthusiasm to past periods and ancient civilizations. Created by Sloan & Co. in 14kt gold, circa 1890

The curving, intertwining lines of ancient Celtic design inspired beautiful cuff jewels during the 19th century Celtic Revival. Another example, of the late Victorian interest in ancient cultures. These finely crafted cufflinks were created by George O. Street in 14kt gold, circa 1900.

Beautiful Tiffany Art Nouveau cufflinks featuring Old European Cut diamonds and blue Sapphires set amid flowing, intertwining curves. Crafted in 18kt gold, circa 1900.

The above and many other fine cufflinks from the past can be
found in the Antique Cufflink Gallery.

George O. Street Cufflinks

George W. Street, circa 1900

A great variety of fine cufflinks were created in the decades near 1900. Styles ranged from Victorian to Art Nouveau, Arts and Crafts to Art Deco. One of the firms contributing to the melange of miniature cuff masterpieces was George O. Street & Sons.

In 1837 George Street established one of the first jewelry manufacturers in the United States. Located in lower Manhattan the firm created gold rings, seals, watch fobs and other jewels for the carriage-trade jewelers of the day, including Tiffany & Company. In 1892 George Street retired to the family manse in Great Barrington, Massachusetts and passed leadership of the firm to his son George W. Street (pictured above). The firm remained in business until about 1950. Of particular interest are the beautiful gold cufflinks created under the leadership of the founder's son in the years around 1900.

George O. Street Celtic Revival cufflinks, circa 1900.

George O. Street cufflinks are miniature works of art finely crafted in gold. The firm's artists and craftsmen excelled at exploiting golds sculptural potential, creating gold cufflinks with dramatic shapes, intricate designs, and subtle textures. The gold was an integral part of the design - not just a bright setting for gemstones or a shiny surface to be elaborately engraved.

The above Celtic Revival cufflinks featuring intricately interwoven knotwork (plaits) are a wonderful example. The endless knots fill the inner borders of the cufflinks and encircle raised oblong centers of brightly polished gold. The subtle texture of the plaits and the natural patina of the precious metal throw the design into dramatic relief. Crafted in 14kt gold, circa 1900.

George O. Street Art Nouveau Cufflinks, circa 1900

The Puritan settlers of the New Haven Colony were among the Street family's ancestors. No doubt their rigid sense of probity would have been offended by these Art Nouveau cufflinks created 250 years later by George O. Street & Sons. America had come a long way since the 1600s.

Close-up of "Nymph in Waves" cufflink.

Ocean nymphs enveloped in crashing waves and frothy seas were a classic Art Nouveau theme. Sometimes referred to as "Nymph in the Waves" or on the west coast "Surfs up, Nude", the risque scene was favored by makers and wearers of gentlemen's jewelry and accesories. These dramatic cufflinks beautifully illustrate the firm's ability to work with gold to create richly detailed miniature works of sculpture. The result is astounding when you consider that the cufflinks measure less than an inch across.

George O. Street Onyx and Gold Cufflinks, circa 1900

An example of the free flowing, organic forms of American Art Nouveau, the above cufflinks mysteriously glow with dark Onyx centers surrounded by undulating, spiraling gold borders. The upper surface of the gold is engraved with a subtle bark or snakeskin-like pattern. The contrast between the dark Onyx and warmth of the gold is heightened by the natural patination of the gold. For some reason, these cufflinks always remind me of a dark night sky lit by a few sparkling stars.

American Art Nouveau design was strongly influenced by Louis Comfort Tiffany, son of the founder of Tiffany & Company (another firm founded in 1837). George O. Street & Sons was a provider of gold rings and other jewels to Tiffany & Company. Although Tiffany & Company created its own cufflinks, the firm also retailed cufflinks from other noted makers of the day - including Carrington and Krementz. I suspect that George O. Street & Sons also provided cufflinks to Tiffany & Company. An interesting area of further research is the shared history of the two firms and possible interactions between the sons of the founders.

Reverse of George O. Street Cufflinks, circa 1900

George O. Street & Sons created beautiful jewelry and cufflinks from 1837 to about 1950. During that period the maker's mark of the firm was an "S" encircled in an oval. Found on the reverse of the cufflinks, the maker's mark preceded, or sometimes split, the gold purity mark.

George Street Maker's Mark.

To view these and other elegant cufflinks from the past,
please visit our 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.