Fit for a monarch
Platinum is one of the world’s rarest metals and fiendishly difficult to master. Sarah Royce-greensill looks back at its discovery and meets the jewellers brave enough to use it
IN the late 18th century, Louis XVI of France declared platinum ‘the only metal fit for kings’, after his royal goldsmith Marc-etienne Janety fashioned a platinum-and-glass sugar bowl now in the Metropolitan Museum of Art in New York, US. Janety was one of the first European silversmiths to master this mysterious metal. In doing so, he set in motion a trend for dazzling platinum designs that transformed the contents of jewellery boxes for centuries to come.
Not only is platinum one of the world’s rarest metals, it is also prized for its hardness, brilliance, malleability and resistance to oxidation and corrosion. Ancient Egyptians used platinum-laced gold in burial artefacts and pre-columbian civilisations worked with platinum alloys. But Spanish conquistadors regarded it as an impurity—naming it platina or ‘little silver’. In the 16th century, Italian scholar Julius Caesar Scaliger wrote about a new-found metal ‘which no fire nor any Spanish artifice has yet been able to liquefy’. In 1748, in his first observations of platinum, Spanish naval officer Antonio de Ulloa dismissed it as a hindrance that interfered with gold mining. Two years later, British scientist William Brownrigg’s detailed account of Colombian platinum samples led to its identification as a new chemical element.
Platinum’s high melting point—1,768˚c— limited its use for early Europeans. It wasn’t until researchers discovered, in the late 1700s, that its melting point could be lowered by fusing it with arsenic, that goldsmiths began to craft decorative platinum objects of unprecedented strength and durability. The invention of high-temperature blowtorches in the late 19th century made platinum more easily workable, a development that coincided with an influx of diamonds from newly discovered South African mines. Diamonds dazzled in finely wrought, ornate platinum designs, popularised by prestigious houses, such as Cartier, Chaumet and Boucheron.
It’s hardly surprising that some of the Crown Jewels were fashioned from platinum, including the Imperial State Crown—typically worn by the monarch when leaving Westminster Abbey after a coronation and at the State Opening of Parliament. Gold and silver also feature, as well 2,868 diamonds and 273 pearls (some of which are said to have belonged—sadly improbably—to Elizabeth I).
‘Platinum jewellery really took off in the late 19th and early 20th century,’ says Josh Collins, director of G. Collins & Sons. ‘Its malleability and incredible strength meant that jewellers could create intricate designs that were lacy and refined, yet also very durable: millegrained, delicate and diamondencrusted jewellery that complemented the extravagant fashion at the time.’
‘With platinum, goldsmiths were able to mimic the appearance of lace, craft fine and detailed bows and set diamonds in glittering and feminine designs,’ adds Mark Evans, managing director of antique jewellery specialist Bentley & Skinner. A floral platinum and diamond-set tiara (see page 200), of about 1905, is a perfect example. ‘The craftsmanship gives the piece a fluid and light appearance; despite having a combined weight of 50 carats of diamonds, it does not feel burdensome or heavy.’
The Art Deco period saw the platinum craze continue, its knife-edge sharpness perfect for the era’s precise, geometric designs. Tiffany & Co cemented its longevity with the Tiffany Setting engagement ring, featuring a fine platinum collet that allowed masses of light to flow through the diamond. Platinum became commonplace for engagement and wedding bands; the metal’s durability is ideal for daily wear.
‘Platinum is an amazing, incredibly hardwearing material—it’s an excellent choice when creating pieces to be worn every day,’ says London-based jeweller Liv Luttrell. ‘It has a subtle, slightly gunmetal tone in contrast to the brighter hue of 18-carat white gold. The weight and drama of a solid platinum ring can’t be beaten.’ Her Curved Forms ring sees a sculptural arch of hand-engraved recycled platinum paired with snow-set blue sapphires, a contemporary contrast between austere metal and sparkling stones.
Cassandra Goad also sets sapphires into platinum, together with rubies and diamonds —‘the Jubilee colours’. Her Toile d’araignée (cobweb) brooch perfectly illustrates the advantages of fine platinum settings: the marquise-cut diamonds seem to float in symmetrical, snowflake-like perfection.
For all its aesthetic and practical benefits, it is not without its drawbacks. ‘The hardness that platinum is prized for makes it a challenging, unyielding material to work with. Only the most experienced goldsmiths can master it and create the types of artful pieces seen in the early 20th century,’ says Mr Evans.
One modern goldsmith who has mastered the metal is Nikollë Radi. He combines satiny gold and gemstones with mesmerisingly intricate, geometric patterns crafted from fine platinum wires. Born in former Yugoslavia and raised in Croatia, Mr Radi was introduced to platinum when he moved to New York in 2006. ‘It was unlike any other metal I had worked with. The rare combination of strength, ductility and density allows extremely delicate and airy designs that simply aren’t feasible in any other material: gold is too brittle and silver lacks the strength,’ he reveals. ‘It’s not easy to work with and I found that an irresistible challenge. From the beginning, it demanded my respect. Its inherent characteristics dictated the design; we are partners in the work.’ An alchemist and mathematician as well as a jeweller, Mr Radi redefines the possibilities of platinum, in jewellery fit for a king or queen.
Platinum demanded my respect. Its characteristics dictated the design; we are partners