Edwardian 10k-14k 21.22 CTW Amethyst & Pearl Fleur-de-Lis Jabot Pin


Edwardian 10k-14k 21.22 CTW Amethyst & Pearl Fleur-de-Lis Jabot Pin

Valued at$765.00
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General Information:

  • Total Carat Weight: 21.22 ctw
  • Precious Metal Weight: 4.44 dwt
  • Precious Metal Material: Stamped for 9k yellow gold, but tests a bit higher: the amethysts' frames test as 13-14k warm yellow gold and the stem/rear supports test as 10-12k rosy gold
  • Dimensions: This pin measures 75.13 mm (2.96 inches) long when closed/fastened. The stem alone measures 69.59 mm long.
  • Weight: A wonderfully hefty 6.89 grams
  • Markings: The gold frame of the male end amethyst is stamped with "9C", which indicates its standardized gold purity, as well as its region of origin and the date range from which it hails. 9k gold was the prolific choice for jewelry around the turn of the century, especially in the United Kingdom.
  • Era: The particular gold fineness used to craft this piece, and the jabot design itself speak to its origins in the late Edwardian to early Art Deco era, circa 1915-1920.


  • Center Stone Type: Amethyst
  • Center Stone Count: Two (2)
  • Center Stone Dimensions and Carat Weights: 
    • 15.12 x 15.84 x 6.26 mm = 10.69 ct
    • 15.08 x 15.64 x 6.18 mm = 10.39 ct
      Together, 21.08 ctw
  • Center Stone Shape: Hand-carved triangular three-dimensional forms (bulbous, not flat on one side like cabochons)
  • Center Stone Color: Purple with whitish milky natural inclusions
  • Center Stone Clarity: Semi-translucent to semi-opaque 
  • Side Stone Type: Seed Pearl
  • Side Stone Count: Sixteen (16)
  • Side Stone Dimensions and Carat Weights: 
    • 2 pearls are 1.8 x 1.20 mm on average =  0.019 ct each; 0.038 ctw
    • 14 pearls are 1.12 x 0.90 mm on average =  0.007 ct each; 0.098 ctw
      Altogether, 0.136 ctw
  • Side Stone Shape: Halved/split
  • Side Stone Color: White with subtly warm-silvery orient
  • Side Stone Clarity: Fair to good luster

    The Story:

    Crafted during the transitional Edwardian years, this brooch is characterized by its mirrored appearance and double-sided fastening system. This style pin is known as a jabot pin, a term that derives from mid-17th century fashion describing the ornamental fabric at the neckline of a man garment that is often pleated or ruffled. Originally, such brooches served a functional purpose, as they were used to secure the ruffled neck piece in place. After the 17th century, they fell out of fashion for the most part until the 20th century.

    By 1900, they resurfaced to secure capes and capes and capelets, and by the 1920s and 1930s, jabots surged in popularity. But particular thanks is owed to the influential designs of famed jewelry house Cartier, whose 1927 designs for jabots spearheaded new interest in the jewels. During the Art Deco period, jabots were pinned horizontally across collar points and in front of the collar band, an orientation that meant the stem was hidden beneath the fabric. When worn this way, the effect was a “floating” matched, jeweled pair of ends on both collar points. A hallmark of late 19th to early 20th century design was the honing of the functional arts, a tenet beautifully embodied in the resurgence of jabot pins. 

    Just like stick pins, these brooch styles were popular amongst both men and women during the first quarter and a half of the 20th century, contrary to the common misperception that brooches were exclusively a woman’s accessory. Rather, such glittering embellishments were badges of status, and enhanced and added variety to one’s wardrobe by stylishly securing cravats, ascots, coats, capes and lapels on menswear and womenswear. As time went on, the look of jabots were creatively reimagined to an asymmetrical vertical orientation, meant to be worn on one lapel or the other. Regardless or symmetry of orientation, the jabot's defining characteristic of duality ensured that any kind of jabot could be worn as a single ornament or 'split' so as to be worn as two separate jewels.

    This brooch is wonderfully weighty, celebrating easy curvatures and boasting a more feminine design than many later jabots of the Deco movement. Both ends feature a matched pair of hefty amethysts notable for their dense, earthy opacity, their internal swirls of natural color zoning, and their dimensionality, all of which reveal the gemstones' organic origins. In delicate sophistication, these softly arched amethysts are framed with a smooth gold bezel, granting refinement to the untamed purple galaxies encapsulated within both stones. Indeed, the visual balance of Mother Nature's whims and the thoughtful linework of the artist's touch enliven the piece with the very best of Edwardian design; the brevity of the Edwardian period can be appreciated for its recollection of Art Nouveau's ode to nature and its nod forward to the careful geometries of the Art Deco movement. 

    Like all historic jewelry, every shape, form, gemstone choice, and color are intentional and supply rich meanings beyond mere materiality:

    • The fleur-de-lis is a symbol of French royalty and as well as a symbol of the Holy Trinity, of perfect unity and purity. Thus, the fleur-de-lis has become associated with partnership, of dedicated affection and growth. When jewelry exhibits a duo of symbols-- in this case the mirrored nature of the brooch's design-- the security of partnership is honored, as the use of pairs speaks to the notions of chosen affection, unity and undying devotion.
    • The amethysts' triangular silhouettes evoke the support and fortitude of the related architectural arch. This motif can, most interestingly, be visually read as both a 'void' that is itself a threshold to opportunity (open door) as well as a 'solid' that is itself the very substance of strength (bulwark).
    • Amethysts are believed to encourage higher spirituality, clarify thinking and sharpen intuition.
      • Amethysts are declared the 12th and final gemstone of the foundation of the New Jerusalem as described by John's vision written in the book of Revelation in the Bible (Revelation 21).
      • The Hebrew word for amethyst is achlamah (אַחְלָמָה), which translates to mean "dream-stone", as it was thought to induce insightful dreams and holy rest. Amethysts are the third stone of the third row of the High Priest’s breastplate as outlined in Exodus 28:19 and Exodus 39:12).
      • Amethysts also represent the Israelite tribe of Issachar (יִשָּׂשכָר‎), whose men were perceptive of the signs of the times, and who led with wisdom, knowing exactly what the nation should do in times of conflict (1 Chronicles 12). Rabbinic literature teaches that this was comprised primarily of scholars, suggesting again, the notable prudence of the Issacharites.
      • In ancient Greek mythology and belief, amethysts (αμέθυστος) kept their wearers clear minded and quick-witted, as the stone was thought to be a preventative of drunkenness when kept in the mouth or on the body while imbibing.
    • Amethyst was deeply prized by the ancient Egyptians as an emblem of divinity. Therefore, it was commonly carved into amulets designed to safeguard the wearer against harm and misfortune, and was also used as something of a wearable prayer of protection.
    • Amethyst is the February birthstone, and was once considered just as valuable as the sapphire, ruby and emeralds alike. 

    In sum, this jewel supplies its wearer with symbolic meaning that emphatically, perhaps even prophetically, supplements its utilitarian purpose. 

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