The artistic jewels of Carlo Giuliano are extremely rare and sought after as preeminent examples of the archaeological revivalist styles of 19th century jewelry. Born in Naples in 1831, Giuliano’s years as an young jeweler are shrouded in legend including a possible apprenticeship with the Castellani family, another highly regarded name in 19^th-century revivalist jewelry. While the link between Giuliano and Castellani is not confirmed, it is likely that they knew of each other’s work, especially after Alessandro Castellani and Giuliano both moved to London in the 1860s.

Once in London, Giuliano established his workshop on Frith Street and began selling his jewels to noted retailers including Harry Emmanuel, Robert Phillips, CF Hancock and Hunt & Roskell. After years of success for his workshop, including jewels of his being displayed at the 1867 Exposition Universelle in Paris, Giuliano opened his own shop in 1874 on Picadilly Circus. Giuliano’s work grew in popularity, attracting the interest of a royal clientele including Queen Victoria, King Edward VII, Queen Alexandra, and Empress Victoria of Prussia.

In contrast to the more historically faithful style of Castellani, Giuliano excelled in a looser approach with more casual reinterpretations of ancient themes. As archeological jewelry began to wane in fashion, Giuliano turned his attention to Renaissance-inspired designs for which he became most celebrated. Delicate enamel in richly saturated colors, openwork frames, unusual stone combinations including semi-precious gemstones and small pearl adornments characterize Giuliano’s neo-Renaissance designs.

Interest in Giuliano’s work at this time extended beyond his royal patronage to Pre-Raphaelite artists drawn to the jeweler’s intense color, complex compositions and abundant detail.
Collaborations with artists Charles de Sousy Rickets and Edward Burne-Jones include intricate designs for pendants and brooches executed by Giuliano. In turn, Giuliano’s jewels served as inspiration and reference for jewels included in Pre-Raphaelite works of art.

Lot 62, a Giuliano Antique Multi-Gem and Enamel Necklace, exemplifies the work of Guiliano at the pinnacle of his career at the end of the 19th century. A skilled use of polychrome enamel with small dots of contrasting colors decorates the already enameled white, green and black florets throughout the necklace, accented with kite-shaped amethyst and citrine drops interspersed with alternating amethysts and aquamarines. Inspired by the 1500s and created in the 1800s, the present lot offers proof of Guiliano’s lasting importance in jewelry design history as this desirable necklace remains just as captivating to the modern jewelry collector as it did to the original owner over 140 years ago.