Antique Collector's Glossary

A mixture of two or more metals. In antique jewelry, often refers to the base metal underneath plating.

A style popular in the 1920s-1930s. Characterized by geometric lines, symmetry, strong contrast (e.g., onyx and diamonds), and machine-age aesthetics.

A style from the 1890s-1910s. Characterized by flowing curves, asymmetrical designs, and frequent use of natural motifs like insects, flowers, and nymphs.

An early synthetic plastic. Authentic vintage Bakelite emits a specific chemical smell when rubbed to generate heat and is highly collectible.

Common metals other than gold, silver, or platinum (e.g., copper, zinc, nickel), often used as the core for plated jewelry.

A setting where the gem is completely encircled by a metal rim. More secure than prong settings and common in earlier jewelry.

An early simple catch for brooches, shaped like a 'C' with no safety lock. Often indicates a piece predates 1900.

A gemstone cut that is polished and rounded with no facets. Common in opals, turquoise, and 'Jelly Belly' jewelry.

A technique of detailing the front surface of metal with tools to create a pattern by indentation (metal is moved, not removed).

A close-fitting necklace (14-16 inches). Popularized by Queen Alexandra in the late 19th century; iconic of the Belle Époque.

Jewelry made from non-precious materials (alloys, glass, rhinestones). While materials are inexpensive, design and craftsmanship can be exceptional (e.g., Trifari, Coro).

Crescent-shaped jewelry symbolizing the goddess Diana. Very popular in late Victorian and Edwardian periods as brooches or hair ornaments.

A matching set of two pieces of jewelry, typically 'necklace + earrings' or 'brooch + earrings'.

Coating a metal surface with a thin layer of gold or silver using electrolysis. Common marks: EP or EPNS.

A process of fusing glass powder to metal. Guillaché Enamel involves translucent enamel over an engraved metal pattern.

Cutting grooves into metal with a sharp tool to create a design. Unlike chasing, engraving removes material.

Delicate jewelry work made with twisted threads of metal/wire, resembling lace. Popular in Edwardian and Art Deco periods.

Placing a metal foil behind a gem or rhinestone to enhance reflection and brightness. Common in Georgian and Victorian jewelry.

Marked like '1/20 12K GF'. Gold is mechanically bonded to base metal under heat/pressure. Must be at least 1/20th gold by weight. Much more durable than plating.

A very thin layer of gold deposited on a surface via electroplating. Wears off relatively easily.

Official marks stamped on precious metal objects to certify standard of purity, origin, year, and maker.

A finish imitating Asian lacquer. Often used on metal settings for black jewelry to make rhinestones appear darker and deeper.

A transparent thermoplastic acrylic popular post-WWII. Used famously in Trifari's 'Jelly Belly' pieces.

Pyrite or iron pyrite, facetted to imitate diamonds and set into silver. Common in 'Thai Silver' style designs.

Italian technique creating scenes or patterns using tiny tesserae (glass pieces).

Decoration consisting of a row of tiny beads along the edge of a piece of jewelry. A hallmark of Art Deco style.

A full set of matching jewelry with three or more pieces (e.g., necklace, bracelet, earrings, brooch).

High-lead glass with high refractive index used to simulate gemstones/diamonds. Antique Paste often features hand-cutting rivaling real gems.

The soft sheen/color that develops on metal (especially silver) over time due to age and oxidation. Considered the 'soul' of antiques; avoid over-polishing.

Setting small stones very close together like paving stones, showing very little metal, to create a continuous surface of sparkle.

Metalworking where a design is hammered from the reverse side to create a raised relief on the front. Common in silver holloware and cuffs.

Originally quartz crystals from the Rhine river; now refers to artificial crystal/glass used in jewelry.

Signature Buccellati technique. Hand-engraving thousands of parallel lines on metal to create a silk-like sheen.

Similar to Gold Filled (mechanical bonding), but the gold layer is often thinner. Common in late 19th-century watch cases and spectacles.

A metal finish that produces a soft, matte, pearly luster (like satin) rather than a bright mirror shine.

Jewelry bearing the maker's mark or signature (e.g., Trifari, Coro). Signed pieces are generally more collectible than unsigned ones.

Standard silver alloy of 92.5% silver. British hallmark is the Lion Passant; American often stamped 'STERLING'.

A tube-shaped safety catch for brooches that slides open/shut like a trombone slide. Characteristic of pre-1940s European jewelry.

Metalwork imitating tulle lace. Craftsmen pierce hexagonal holes in gold sheet to create a honeycomb mesh; requires extreme precision.

Silver (usually Sterling) plated with gold. More valuable than base metal plating and hypoallergenic due to the silver core.