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Rene Lalique 1903 Aquamarine Enamel 18K Gold Antique Four Dragonflies Necklace (source)

Gold pendant in the form of a peacock displaying, decorated with plique-à-jour enamel and set with rose- and brilliant-cut diamonds, opals and emeralds. With an opal drop. Signed with the maker's initials. (source)

Purple Spotted Swallowtail (Graphium weiskei) by Gan, Cheongweei

Satyr Tragopan (Tragopan satyra) by Aseem Kothiala

Lepanthes telipogoniflora by LG Leo

Malabar Parakeet (Psittacula columboides) by Raghavendra Pai

Cithaerias pireta by Pavel Kirillov

This brooch combines the 'wavy line' and the inspiration of flowers and insects - all typical features of Art Nouveau jewellery. It was acquired by the Museum directly from the Salon de la Société des Artistes in Paris in 1901. The Director of the V&A at the time commented on its relevance to art and design students 'as illustrating modern techniques in adapting various materials to new developments of ornamental design'. (source)

The inro is a container made up of tiers. Japanese men used them because the traditional Japanese garment, the kimono, had no pockets. From the late 1500s onwards, Japanese men wore the inro suspended from their sash by a silk cord and a netsuke (toggle). They originally used it to hold their seal and ink or a supply of medicines. However, it rapidly became a costly fashion accessory of little or no practical use. Most inro are rectangular with gently curving sides. Lacquer was most commonly used in the manufacture of inro since it was highly suitable for storing medicines. Lacquer is the sap from the tree Rhus verniciflua that grows mainly in East Asia. After processing, it is applied in many thin layers to a base material. The craft of lacquering, as well as making inro bodies, is highly complex, time-consuming and expensive. In this example, the black lacquer is inlaid with tiny pieces of gold foil and shell in intricate patterns. In this technique known as aogai (‘blue-green shell’), a highly iridescent shell is used. The pieces are grouped in shades of blue, green, pink and violet, resulting in a rich, colourful effect. This inro is decorated with a peacock and peahen in a distinctive design closely based on one in the Ehon tsuhoshi (Picture book on various subjects). This was first published in 1729 and illustrated by Tachibana Morikuni. (source)

Black-billed Mountain (Toucan Andigena nigrirostris) by W. Gareth Rasberry

Treasure flower (Gazania rigens) by Екатерина Салимова

Blue-banded Pitta (Erythropitta arquata) by Shigui Huang

Fulgorid Hopper (Penthicodes farinosa) by Bernard DUPONT

The vivid colours of this brooch reflect the preference for brightly hued stones and enamel found in both Arts and Crafts and Art Nouveau jewels. It was made by the New York firm of Marcus & Co., which was one of America’s most important producers of fine Art Nouveau jewellery. The firm was founded by William Marcus, whose father Herman had worked with Charles Tiffany. Herman Marcus joined his son’s business around 1900, bringing with him an interest in European art and design which inspired a range of Art Nouveau jewels. (source)

Leafhopper (Apogonalia stalii) by Zygy

Old World Swallowtail (Papilio machaon) by Zeynel Cebeci