“Gold has a long history as a material of beauty and artistry, but it is also a material of power and bloodshed, with emotional as well as financial value.” It is difficult to separate those seemingly opposing viewpoints. 

This conflict could also explain why some jewelry collectors have a mixed reaction to seeing and wearing gold. Regardless of our feelings about it, we’ll be drawn to it. “There’s nothing quite like it on the planet.” 

During the pandemic, clients found solace in gold’s durability and intrinsic sentimental value. 

Despite the fact that gold is now trading at more than $1,850 per ounce, up from $1,260 just five years ago — “Some of my earliest gold pieces have increased in value over six times, just in gold value alone,” Ms. Eddy said — she described a trend toward larger, bolder pieces, a style for which she is known. 

“People are not afraid to showcase their personalities, invite some joy into their life, and celebrate themselves,” she said, referring to the recent forced restraints. Gold has always been one of man’s natural desires to covet.”

Museums have also catered to the preferences of the public. “People just can’t get enough of it,” said Jeannine Falino, a New York-based curator who has organized several exhibitions centered on jewelry and the decorative arts, including “Gilded New York” at the Museum of the City of New York in 2013 and “Realms of Gold” at the Museum of Fine Arts, Boston in 1989. 

Gold-centric exhibitions in New York over the last 30 years have included the Met’s “Jewelry: The Body Transformed” in 2018; “Gold” at the American Museum of Natural History in 2006; and the traveling show “Gold of the Nomads: Scythian Treasures from Ancient Ukraine” at the Brooklyn Museum of Art in 2001. 

Museums have also catered to the preferences of the public. “People just can’t get enough of it,” said Jeannine Falino, a New York-based curator who has organized several exhibitions centered on jewelry and the decorative arts, including “Gilded New York” at the Museum of the City of New York in 2013 and “Realms of Gold” at the Museum of Fine Arts, Boston in 1989. 

Gold-centric exhibitions in New York over the last 30 years have included the Met’s “Jewelry: The Body Transformed” in 2018; “Gold” at the American Museum of Natural History in 2006; and the traveling show “Gold of the Nomads: Scythian Treasures from Ancient Ukraine” at the Brooklyn Museum of Art in 2001.

Visits to Yale’s “Gold in America” exhibition, which includes Mr. Flynn’s vessel, appear to provide the same level of luxury contact high as watching HBO’s “The Gilded Age” or Netflix’s “Bridgerton.” The show, which runs through July 10, has been advertised as representing two years of research as it collectively traces the role of gold in American culture over 400 years. 

For centuries, gold has fuelled wars, avarice, love, passion, conquest, and technology.

“I realised gold intersected with three moments of the life cycle: birth, courtship, and death,” Mr. Gordon said of his selections, which included a toy whistle dangling coral charms (a baby gift created by noted silversmith Daniel Christian Fueter in the 1760s), an 18-karat gold Tiffany & Company coffee service from 1910, and a 1960s charm bracelet. “As a result, the exhibition is really about the stories of the people who owned and engaged with the material.” These are objects of profound sentimental value, rare and beautiful, but they are also extensions of the kind of iniquitous world that drove commerce from the 17th to the 19th centuries and continues to this day.”

Even as some jewellery collectors and museum visitors remain enthralled by gold, many recognise the environmental and sociopolitical problems associated with gold mining.

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