Dorrie Nossiter 1893-1977

A distinctive and inspiring maker from the Arts and Crafts period

Dorrie Nossiter was an Arts and Crafts jewellery maker known for her exquisite naturalistic form jewellery. Born in Birmingham in 1893, she attended the city’s Municipal School of Art from 1910 to 1914, where she studied freehand drawing, geometrical drawing, memory drawing of a plant form and model drawing.

After living in Birmingham Nossiter moved with her family to Dorset, where she found inspiration in the colourful abundance of the garden. Described by her niece Jeanne Bryson as "Hydrangeas of all colours with borders backed of roses, delphiniums, flox, lupin, margaritas and michaelmas daisies. In the greenhouse a riot of coloured begonias as big as plates, the autumn dahlias, chrysanthemums and all bulbs in the spring".

She later relocated to London, where the majority of her jewellery was created. Moving to Twickenham and then later moving to Hampstead Heath. A lot of Nossiter's pieces came from this era of her life, with jewellery boxes bearing her address. Nossiter often exhibited her pieces at various galleries in London and retail outlets with other female artists who showed various wares.

She spent her final years in Sunbury-on-Thames, passing away in 1977.

Working across several decades, Nossiter produced a broad range of jewellery, with her distinctive style becoming increasingly confident and expressive. Her designs typically featured clusters of vibrant gemstones such as moonstones, garnets, peridots, citrines and aquamarines arranged in flowing, asymmetrical compositions that reflected the beauty of nature. These were set within finely wrought metalwork of scrolling vines, tendrils and floral forms, all reflecting the Arts and Crafts ethos of celebrating handmade artistry and the natural world.

By naming her pieces with titles such as “Prelude to Adventure” and “The Heavenly Twins”, Nossiter imbued each creation with narrative depth. These poetic names hint at the imaginative world behind her designs, giving every item a strong sense of individuality and character. She was not only a designer but a storyteller, her jewellery a vehicle for personal expression and emotional resonance. Nossiter also only worked with two setters for her jewellery, the King brothers, keeping a sense of continuity through her work especially in motifs like leaves which can differ drastically.

Despite the uniqueness of her work, Nossiter seldom marked her jewellery. This anonymity has led to her pieces being frequently misattributed, particularly to Sibyl Dunlop, another prominent maker of the time. While there are superficial similarities as both women shared a fondness for cabochon gemstones and naturalistic motifs, Nossiter’s work is generally more whimsical and asymmetrical, favouring a looser, more organic approach. Where Dunlop often pursued symmetry and balance, Nossiter embraced spontaneity and movement.

As a woman working in the early 20th-century jewellery world, Nossiter’s voice was quiet but unmistakably strong. In a field still largely dominated by male designers and commercial workshops, she created a distinct identity rooted in colour, creativity and individuality. Her eye for nature and creative designs contributed to a body of work that feels as fresh and expressive today as it did nearly a century ago.

Although relatively under-recognised in her lifetime, Nossiter’s work has gained increasing attention in recent years. Collectors now prize her jewellery not only for its rarity and craftsmanship but for its unmistakable personal charm. Each piece is a small, wearable artwork, a vibrant reminder of the beauty to be found in both nature and imagination.