Pavé Heart Ring 3-Pack
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    berganza.com
    Pendant brooch by Child & Child, English, circa 1900. A pendant/brooch in three detachable sections, the uppermost composed of an elongated octagon with inward bowed sides set with one central diamond in a collet setting with an approximate weight of 2.50 carats, flanked by trefoil forms set with six diamonds in bead settings with an approximate total weight of 1.20 carats, on a ground of pierced millegrained vertical bars, and encircled by a single scalloped border of twenty six diamonds in bead settings with an approximate total weight of 13.00 carats; the middle section composed of one central diamond in a collet setting with an approximate weight of 1.20 carats, on a ground of pierced millegrained horizontal bars, and encircled by a stylized laurel wreath set with eighteen diamonds in bead settings with an approximate total weight of 2.16 carats, surmounted with two diamonds in collet settings with an approximate total weight of 0.15 carats, and encircled by a further five diamonds in collet settings with an approximate total weight of 1.50 carats; the bottom section in the same format and settings as the middle with one central diamond at an approximate 0.45 carats, eighteen diamonds at an approximate 0.90 total carats, two diamonds at an approximate 0.10 total carats, and five diamonds at an approximate 0.50 total carats, and also with a pendant composed of one diamond in a collet setting with an approximate weight of 0.40 carats, above a bell form set with two diamonds in bead settings with an approximate total weight of 0.60 carats and with three diamonds in bead settings with an approximate total weight of 0.15 carats, above two more articulated links one composed of a diamond in a collet setting with an approximate weight of 0.25 carats, above one mounted in the same fashion with an approximate weight of 0.15 carats, all above and inverted tear shaped link set with two rose cut diamonds in bead settings with an approximate total weight of 0.03 carats; all set with cushion shaped old cut diamonds unless specified, millegrained throughout, and with a grand total of ninety three cushion shaped old cut diamonds with an approximate total weight of 25.20 carats, and two round rose cut diamonds with an approximate total weight of 0.03 carats, the reverses of the three sections each mounted with a hinged pin. This convertible pendant brooch dates from the Edwardian era, named for King Edward VII, eldest son of Queen Victoria, who ruled the United Kingdom from 1901 to 1910. High style jewels dating from this period, of which this piece is a superb example, share distinctive design, material, and technical features. The ‘Edwardian’ style is among the most popular in antique jewellery today. In terms of style, fine Edwardian jewellery is perhaps most characterized by its delicate femininity, with designs inspired directly from late eighteenth century French architecture and decorative arts. This fascination with the ancien régime, particularly the reign of Louis XVI, has its roots in mid-nineteenth century revivalism, this particular vein popularized by the Empress Eugénie’s romanticization of her ill-fated predecessor, Marie Antoinette. This alliance was no doubt in part propagandistic, intended to establish the legitimacy of Eugénie and Napoleon III by way of association with the French monarchy. Eugénie commissioned jewellery copied directly from Marie Antoinette’s alleged jewels, as well as jewels in the ‘style Louis XVI’. Brooches made by Baugrand for Eugénie in this mode were exhibited at the 1867 Paris Exhibition, which aided in spreading the style on the international level. Though not yet waning, the Louis XVI style was bolstered via the Paris Exhibition of 1889—the centennial of the outbreak of the French Revolution—where jewellers such as Boucheron exhibited designs under the same stylistic description. Around the same time as Edward’s ascension to the throne, the house of Cartier took up the Louis XVI style in earnest, putting their own distinctive spin on it. Jacques Cartier encouraged his designers to go out
  • Pendant brooch by Child & Child, English, circa 1900 from Berganza London Hatton Garden
    berganza.com
    Pendant brooch by Child & Child, English, circa 1900. A pendant/brooch in three detachable sections, the uppermost composed of an elongated octagon with inward bowed sides set with one central diamond in a collet setting with an approximate weight of 2.50 carats, flanked by trefoil forms set with six diamonds in bead settings with an approximate total weight of 1.20 carats, on a ground of pierced millegrained vertical bars, and encircled by a single scalloped border of twenty six diamonds in bead settings with an approximate total weight of 13.00 carats; the middle section composed of one central diamond in a collet setting with an approximate weight of 1.20 carats, on a ground of pierced millegrained horizontal bars, and encircled by a stylized laurel wreath set with eighteen diamonds in bead settings with an approximate total weight of 2.16 carats, surmounted with two diamonds in collet settings with an approximate total weight of 0.15 carats, and encircled by a further five diamonds in collet settings with an approximate total weight of 1.50 carats; the bottom section in the same format and settings as the middle with one central diamond at an approximate 0.45 carats, eighteen diamonds at an approximate 0.90 total carats, two diamonds at an approximate 0.10 total carats, and five diamonds at an approximate 0.50 total carats, and also with a pendant composed of one diamond in a collet setting with an approximate weight of 0.40 carats, above a bell form set with two diamonds in bead settings with an approximate total weight of 0.60 carats and with three diamonds in bead settings with an approximate total weight of 0.15 carats, above two more articulated links one composed of a diamond in a collet setting with an approximate weight of 0.25 carats, above one mounted in the same fashion with an approximate weight of 0.15 carats, all above and inverted tear shaped link set with two rose cut diamonds in bead settings with an approximate total weight of 0.03 carats; all set with cushion shaped old cut diamonds unless specified, millegrained throughout, and with a grand total of ninety three cushion shaped old cut diamonds with an approximate total weight of 25.20 carats, and two round rose cut diamonds with an approximate total weight of 0.03 carats, the reverses of the three sections each mounted with a hinged pin. This convertible pendant brooch dates from the Edwardian era, named for King Edward VII, eldest son of Queen Victoria, who ruled the United Kingdom from 1901 to 1910. High style jewels dating from this period, of which this piece is a superb example, share distinctive design, material, and technical features. The ‘Edwardian’ style is among the most popular in antique jewellery today. In terms of style, fine Edwardian jewellery is perhaps most characterized by its delicate femininity, with designs inspired directly from late eighteenth century French architecture and decorative arts. This fascination with the ancien régime, particularly the reign of Louis XVI, has its roots in mid-nineteenth century revivalism, this particular vein popularized by the Empress Eugénie’s romanticization of her ill-fated predecessor, Marie Antoinette. This alliance was no doubt in part propagandistic, intended to establish the legitimacy of Eugénie and Napoleon III by way of association with the French monarchy. Eugénie commissioned jewellery copied directly from Marie Antoinette’s alleged jewels, as well as jewels in the ‘style Louis XVI’. Brooches made by Baugrand for Eugénie in this mode were exhibited at the 1867 Paris Exhibition, which aided in spreading the style on the international level. Though not yet waning, the Louis XVI style was bolstered via the Paris Exhibition of 1889—the centennial of the outbreak of the French Revolution—where jewellers such as Boucheron exhibited designs under the same stylistic description. Around the same time as Edward’s ascension to the throne, the house of Cartier took up the Louis XVI style in earnest, putting their own distinctive spin on it. Jacques Cartier encouraged his designers to go out
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