General Information:
- Total Carat Weight: 4.33 ctw
- Precious Metal Weight: 0.418 ozt
- Precious Metal Material: Silver; likely 0.835-0.925
- Dimensions: 52.84 x 32.13 x 13.35 mm (2.08 x 1.26 x 0.53 inches)
- Weight: An exact and impressive 13.00 grams
- Markings: Unmarked, which is typical and to be expected of this era
- Era: The primary brooch began life as either a stomacher component or bodice ornament, and dates to between the 1740s and most likely the 1770s, although it is possible that it dates as late as 1800. The central opal component is a 19th or 20th century historic addition, replacing another, original Rose Cut diamond centerpiece that is now lost to time. The brooch fitting to the reverse dates to circa 1915-1920, and was affixed to make the jewel more fashionably wearable in keeping with the times.
Specifications:
- Center Stone Type: Opal
- Center Stone Count: One (1)
- Center Stone Dimensions: Approximately 8.50 x 8.70 mm, measured within mounting as setting permits
- Center Carat Weight: 1.82 ct by formula per the specific gravity of opal
- Center Stone Shape: Circular Cabochon Cut
- Center Stone Color: Light to sky blue body color with wonderful color play; flashes of vivid teal, violet, lime green and light yellow-orange with orange-peach glow when backlit
- Center Stone Clarity: Vitreous, semi-translucent
- Center Stone Notes: Please kindly note that the opal is a later addition to the piece, and appears to have crazing or a hairline visible to the reverse. The shop sought separate expert opinions on this opal's origins: one stated that it is a lab grown opal, and the other stated that it is natural. Both grown and naturally occuring opals are identical in their chemical composition and atomic makeup. Lab opals may be more porous with lower density, though are produced under the ideal conditions and care of scientific innovation.
- Side Stone Type: Diamond
- Side Stone Count: Thirty-Five (35)
- Side Stone Dimensions and Carat Weights: All diamonds total 2.51 ctw and range in size from 0.82 mm to 5.53 mm; see breakdown below:
- 5.02 x 4.15 mm = 0.19 ct
- 4.26 x 4.25 mm = 0.22 ct
- 4.90 x 4.19 mm = 0.27 ct
- 4.50 x 4.08 mm = 0.22 ct
- 4.80 x 4.02 mm = 0.20 ct
- 5.32 x 4.76 mm = 0.32 ct
- 4.05 x 2.91 mm = 0.12 ct
- 5.32 x 4.11 mm = 0.20 ct
- 5.53 x 3.65 mm = 0.20 ct
- 3.67 x 2.83 mm = 0.12 ct
- 2.29 x 1.78 mm = 0.05 ct
- 2.05 x 1.48 mm = 0.03 ct
- 1.88 x 1.72 mm = 0.03 ct
- 2.08 x 1.82 mm = 0.04 ct
- 1.52 x 1.20 mm = 0.02 ct
- 1.56 x 1.35 mm = 0.02 ct
- 1.46 x 1.15 mm = 0.01 ct
- 1.40 x 1.12 mm = 0.01 ct
- 1.80 x 1.37 mm = 0.02 ct
- 1.46 x 1.08 mm = 0.01 ct
- 1.25 x 1.13 mm = 0.01 ct
- 1.30 x 1.10 mm = 0.01 ct
- 1.15 x 0.96 mm = 0.01 ct
- 1.50 x 1.30 mm = 0.02 ct
- 1.20 x 1.10 mm = 0.01 ct
- 1.65 x 1.60 mm = 0.02 ct
- 1.93 x 1.63 mm = 0.02 ct
- 1.32 x 1.16 mm = 0.01 ct
- 1.39 x 0.82 mm = 0.01 ct
- 1.79 x 1.55 mm = 0.02 ct
- 1.19 x 1.18 mm = 0.01 ct
- 1.15 x 1.01 mm = 0.01 ct
- 1.61 x 1.50 mm = 0.02 ct
- 1.90 x 1.30 mm = 0.02 ct
- 1.57 x 1.26 mm = 0.01 ct
- Side Stone Shape: Circular, Oval and Modified Pear Rose Cut to Senaille Cut
- Side Stone Color and Clarity: Impossible to accurately determine given the closed back and foiled settings of the diamonds. However, no carbon inclusions are visible to the eye or under 10x magnification. All diamonds produce a warm, patinaed chromatic effect, varying in depth depending on size and faceting style.
The Story:
Remarkable in beauty and singularity, this historic jewel is over 270 years old, hails from 18th century Western Europe, and is a relatively rare survivor of its type currently available on the market. Whips and whorls of stylized blooms, elongated leaves and budding flora comprise the body of the piece, which is crafted entirely in silver and outfitted with three dozen gems. The spread of hand cut diamonds are mounted within a mix of crimped, cut-down collets and burnished, rub-over settings, their pinched prongs drawing the eye inward to highlight the diamonds' visual depth. The piece's silver composition and the traces of gold wash to its reverse, as well as its more substantial silhouette altogether indicate that it is presumed German in origin, possibly Flemish; French variants were typically high karat gold, while Italian and Iberian variants featured less precise rub-over gemstone settings.
Embodying the intersection of both Baroque and Rococo tenets, this piece illustrates an interesting dichotomy of control and release. Baroque design was influenced by Neoclassical values, and evolved as something of a spatio-experiential and aesthetic representation of the Church's unrelenting authority over all areas of politics and culture. Yet, scientific breakthroughs were occurring, the abundance of aristocratic life dominated top tastes, and as such, Baroque design displayed an unbalanced marriage of Neoclassical power and order to exaggerated dynamism celebrating the sensuousness of secular living. The Baroque aesthetic emphasized ensemblematic clustering of elements, an intentional departure from the rigid structure of Neoclassicism. Likewise, Baroque design prized the artful and invitational drama produced by lighting, color and lively views and changing vistas.
Evolving further from Baroque design was High Baroque, or Rococo design. While similar to Baroque in many respects, Rococo may be identified by an even more pronounced rejection of the regimented aestheticism of the Church and Neoclassicism in favor of the wild thrill of laic follies. Rococo works were heavily decorative, often designed to be 'read between the lines', and delighted in playfully alluding to 'indecent' desires of the flesh. The asymmetrical frills, sinuous trims and profligate garlands of Rococo design sought to corrupt the sobriety of religious influence by engaging viewers' senses through visual pleasure. It was during the rise of Rococo that 'Giardinetti' jewelry became particularly popular as wearable illustrations of this attraction to and beauty of the unrefined ways of nature. The jewel at hand is imbued with the very same sentiment, crafted as a device of adornment and display of wealth.
This piece was originally either a stomacher component or a bodice ornament, both serving as formal embellishments of a lady's bodice. Stomachers are inverted triangular shaped accessory designed to span approximately from the breast to the navel so as to cover the undergarments and/or lacings that would otherwise be exposed. Stomachers have their roots in the Renaissance, and were fabric panels often enhanced with embroidery. During the 18th century, the wealthy had these panels extravagantly bedecked with gems, sewn directly onto the panels themselves. Eventually tastes shifted toward a preference for these gemmy additions to be removable, and therefore, versatile across different gowns, looks and occasions. As such, the term 'stomacher' took on fresh meaning with time, and evolved into a broochlike clip spanning the length of the bodice and made up of multiple hinged components that tapered to a flirtatious point. By the end of the Georgian period, these fell out of fashion, and were often disassembled and enjoyed as separate brooches, reimagined as pendants, or the like. Such is the case with this featured piece.
Today, this jewel exists as a sizable brooch, though to the knowing eye, its scale, silhouette specificity of design are elegant winks to its former life as a portion of a bodice accessory. The central bezel opal and silver ray surround appear to have been added at some point in the piece's history. Should the opal be earth-mined, it is likely that this focalpoint was added sometime near the end of the 19th century, when the copious grandeur of the Belle Époque was en vogue. However, should the opal be grown, then it is likely that this centerpiece was added after the mid-1960s, when opals were first produced in labs.
A note about foiled diamonds: The diamond is closed back and appears to be foiled. Foiling was a clever trick of the trade in which slips of foil were carefully placed in the cupped setting beneath the semi-translucent gemstones of choice, achieving a stunning glimmer in low candlelight which reflected the fire flames in dazzling brilliance. The effect of foil backing is characteristic of Georgian and early to mid Victorian jewelry, as it created a hypnotic twinkle under historic candlelit lighting conditions, prior to the invention of electricity.
One must keep in mind that the original owner for whom this cross was originally crafted did not occupy the kind of lifestyle or perform the same tasks we do today. This being the case, this foiled diamond relic was simply never intended or designed to withstand today's living. So, while this foiled jewelry is especially alluring attribute for collectors, they are quite vulnerable to water damage if even slightly wet. Water causes foil to discolor and darken, to somewhat dissolve, and it can get trapped between the stone and the setting. Thus, to prolong the life of secondhand jewelry, it should not be worn during physical activities and buyers should be mindful of condition notes and any presence of treatment-specific care.
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