Scandinavian Chain Necklaces

This sophisticated extra-long necklace by Gerda Lyngaard for Monies features an important, dimensional shape with geometric oval flat link elements in gold foil-coated metal, contras...

This vintage 18 karat gold necklace is elegantly crafted from interlocking gold rings, each smoothly connected in an overlapping pattern, creating a fluid and seamless design. The co...

Gold Plated Heart Necklace White Diamond White Pearl Victorian Style Designer: J DAUPHIN Length: 28 inches White diamonds hold significant spiritual meaning by embodying purity,...

This silver choker necklace is constructed with a series of linked, heart-shaped silver segments, each adorned with a dove-blue chalcedony cabochon. The chalcedony stones display a s...

This silver chan is so typical 70s. Its chain is made of 18 twisted silver plates that connected with round links. The design is simple but at the same time gives life to the necklac...

A simple and so Northern European necklace. Just oval silver links linked together to make a necklace to be worn anyway and everywhere, Man or woman, it will fit This is a cool item...

This long, thick and heavy (153 grams) chain is a modern piece of art. The silver smith (R Waterval at Atelje Borgila in Stockholm Sweden) has played with the design and twisted the ...

This necklace is made out of patterned silver plates that are linked together. The necklace closes easily with a fold-over lock. The silver presents a bright color and the openwork pattern of the plates resembles something that would adorn a piece of jewelery from the Viking Age. Do you know that Claës Giertta...

An 18 Karat gold necklace with super cute locket. Enamel with a finely painted heavenly angel surrounded by a frame of pearls. Made and signed by Gustaf Dahlgren...

This necklace is made with sterling silver rectangles which are tightly linked together. The silver presents a bright white color and the links create a pattern that almost looks lik...

Silver and approx 85ct rock crystal. Signed and dated 1937. The pendant is 6,7 cm long on a 59 cm long chain. Wiwen Nilsson (1897-1974) - An Art Deco Silversmith in the Age of Modernism. Wiwen Nilsson was born in Copenhagen, Denmark in 1897. Born as Karl Edvin, but since he did not like his christening name, he was, within the family, called Wiwen. He was the son of Karolina and Anders and grew up with his sister Edith. In 1897 the family moves to Lund, Sweden when the father takes over the gold and silversmith company J.P. Hasselgren & Son. In 1906, Wiwen began at Katedralsskolan in Lund and finished school when he graduated fifth grade in 1912. It was common to continue up to sixth grade and then high school, but Wiwen who does not thrive in a school environment wants to become a pianist or aviator instead. However, as the father is a recognized jeweler and court supplier, the son's career is already marked. Instead, he embarks on an educational journey with the goal Königliche Zeichenakademie in Hanau am Main, Germany. The school is Germany's oldest and most prestigious goldsmith's school. Wiwen enrolled on the fourth of August in 1913 and studied drawing, workshop work, engraving and hammering work. The education comes to an abrupt end with the outbreak of the First World War in 1914, and he instead continues his education in his father's workshop, where he stays until 1919. He does, however, make two breaks, the first quarter of 1917 he enrolled at the Technical Society's School in Copenhagen where he studied modeling, among other things, and in 1917-1918 he did his military service in Stockholm. In 1919 he applied for and received his companion letter, at the same time he received the Swedish Craft Organization's large medal in silver for his professionalism. In 1920 he is again at the school in Hanau, Germany where he stays until 1921 and practices with the jewelry company Chr. Kissling also in Hanau. At school, he mainly studies drawing and chiseling, a type of relief technique that was very popular during the 17th century. Wiwen is driven by his own design language and thinks that the prevailing technique under the influence of Danish designers is a setback in the development of chiseling. During his time in Hanau, he visits several arts and craft exhibitions and comes into contact with the Wiener Werkstätte and the Wiener Werkbund, among others. At the same time as he is studying, he writes travel stories where it emerges that he believes that Sweden's conservatism inhibits the development of arts and crafts, something he himself wants to change. Back in Sweden in 1921, he was appointed the company's artistic designer. In 1923, the company participates in the Gothenburg exhibition, but here Wiwen receives devastating criticism. His creations are considered ugly and meaningless, a critic writes that it is a typical case of poor material sense. In 1924, Wiwen Nilsson travels to Paris. Just like in Hanau, he studies chiseling, silver, drawing and modeling at the Académie de la Grande Chaumiére (now Académie Charpentier). One of France's foremost art schools where, among others, Siri Derkert (1888-1973) and Bror Hjorth (1894-1968) have also studied. In Paris he became acquainted with Georg Jensen (1866-1935), in whose workshop he chiseled for a period. He also meets and hangs out frequently with Jules Schyl (1893-1977) and Gösta Adrian-Nilsson, GAN (1884-1965). The meeting with GAN becomes extremely important and came to influence and refine Wiwen's own design language and together they hold a joint exhibition in 1925 in Lund. From 1925 until the end of the 1920s, Wiwen Nilsson produces a large amount of church silver. He designs and manufactures for, among others, Allhelgonakyrkan in Lund, Knästorps and Tottarps kyrka in Skåne. In total, Wiwen's workshop manufactures 677 objects for churches, of which 483 are found in churches within the diocese of Lund and 194 in other Swedish churches. Some are also sent internationally to the Church of Sweden in Paris, Berlin, Copenhagen and churches in West Germany, Iceland and to Zululand in South Africa. His church silver unmistakably bears the same design language as his profane works. All with the same angular but harmonized and modernist shapes, not infrequently his vessels like jugs and lid boxes are often hexagonal or octagonal. In 1925 he participated in the Exposition Internationale des Arts Décoratifs et Industriels à Paris (World Exhibition) where he received a gold medal in Class 10, the category for crafts and art industry in metal. Other exhibitors included C.G. Hallbergs Guldsmeds AB and Jacob Ängman...

This sterling silver necklace has a distinct, very large heart-shaped pendant and a ring and bar chain. The silver heart has a rather slim appearance and each bar measures 3,5 cm. I...