Mastery of Design: The Dame Joan Evans Aigrette, 1750-60

Aigrette
Portugal, 1750-60
From the Collection of Dame Joan Evans at
The Victoria & Albert Museum

This aigrette of silver-set chrysoberyls was designed to resemble a swirling spray with a single flower on a feathered scrolling stem. Made by an unknown jeweler in Portugal between 1750 and 1760, this aigrette is from the collection of Dame Joan Evans.

An aigrette, in jewelry, is so-called because of its resemblance to the feathers and plumes atop the head of an egret. These jewels are often meant to be worn as a turban ornament.  

This intricate, sparkling volute, however, wasn't likely intended for a turban, but rather served double-duty as a hair ornament and brooch to be worn on a lady's bodice. 

Mastery of Design: The Cecil Crofton Floral Chrysoberyl Brooch

Pin of Chrysoberyls
Portugal, 1770-80
The Victoria & Albert Museum

This jewel of chrysoberyls set in silver openwork features a floral spray in the center.  The piece was made as a brooch, but it has been used as a hair pin. 

Made in Portugal between 1770 and 1780, the gem is the work of an unknown artist.  It has long been a part of the Cecil Crofton Collection at the V&A.  

Saturday Sparkle: A Spanish Breast Ornament, Seventeenth Century

Breast Ornament
Spain, Portugal
Seventeenth Century
The Victoria & Albert Museum

By the Seventeenth Century, Spanish and Portuguese jewelers were beginning to match, and often rival, the works of the Italian, French and English jewelers whose works had long dominated the growing International market.

This can be seen in this pendant or breast ornament of three parts composed of table-cut diamonds set in scrolling, gold foliated openwork which comes from Spain about 1650-1690.

When originally produced, the ornament consisted solely of the middle section which appears to be a couple of decades earlier than the rest which was added later as styles became more ornate. Some believe that the additional work was made by a Portuguese jeweler who altered the piece after it had been exported. 

Mastery of Design: The Topaz Necklet, c. 1780

Necklet of White Topaz
Part of a Demi-Parure
Portugal, 1780-1800
The Victoria & Albert Museum

This necklace, made in Portugal between 1780 and 1800, features a symmetrical bow design from which five loops suspending an equally symmetrical bow and pendant hang.

The piece is typical of neo-classical Portuguese design. It is a portion of a “demi-parure” - a half set of jewels - which is comprised of a pair of long pendalogue earrings (long pear-shaped pendants hanging beneath bows).

The stones are white topaz which are set in silver to enhance their clarity. That this set remains as it is owes to the fact that the stones are topaz and not diamonds. Had they been diamonds, the set surely would have been ripped apart and reset several times over. 

Gifts of Grandeur: The Admiral Jervis Bonbonnière, 1785

Bonbonnière
Russia, 1785
The Victoria & Albert Museum

John, Regent of Portugal, presented this elegant Russian bonbonnière (candy box) to Admiral Sir John Jervis, 1st Earl of St Vincent (1734-1823). Jervis is famous for leading the British fleet to Lisbon in 1806 in a pre-emptive strike against French forces. Evidence suggests that the present Portuguese miniature of watercolor on ivory that is mounted in the center of the box is probably a replacement for a Russian miniature—perhaps an image of Catherine the Great. The present miniature depicts John VI of Portugal (1769-1826) who is shown wearing the Order of the Golden Fleece.

This gold bonbonnière has been enameled in translucent blue over an exquisite engine-turned ground which has been bordered by rose-cut diamonds. To further adorn the box, a guilloche of blue on an opaque white ground encloses enamel “pearls” (some of which are missing). These neatly off-set the entwined ribbons of rose-diamonds. An inner border of blue and white petals completes the design. 

Gifts of Grandeur: A Portuguese Dress Ornament, 1770

Bodice Ornament
The Victoria & Albert Museum

Here’s a pretty, little thing. This bodice ornament of a bow and a symmetrical arrangement of flowers is made up of large golden-yellow topazes (sometimes described as “sherry topaz”) and a mixture of colorless topazes and rock crystal. The colorless topazes have a slight pink tinge which sets them apart from the crystal.

A huge export of topaz from the Portuguese territory of Brazil in the Eighteenth Century gave rise to increased use of the stone in Britain. However, it is possible that this ornament was made in Portugal. 

Mastery of Design: A Portuguese Ruby Pendant, 18th C.

Pendant
Portugal, Eighteenth Century
The Victoria & Albert Museum

This pendant shimmers with diamond sparks. The true stars of the show, however, are the rubies set in gold and silver openwork. Made in Portugal in the Eighteenth Century, this jewel was likely originally a brooch. A bow has been applied to the front of the suspension loop at a later date.

Mastery of Design: The Dame Joan Evans Aigrette, 1750-60

Aigrette
Portugal, 1750-60
From the Collection of Dame Joan Evans at
The Victoria & Albert Museum

This aigrette of silver-set chrysoberyls was designed to resemble a swirling spray with a single flower on a feathered scrolling stem. Made by an unknown jeweler in Portugal between 1750 and 1760, this aigrette is from the collection of Dame Joan Evans.

An aigrette, in jewelry, is so-called because of its resemblance to the feathers and plumes atop the head of an egret. These jewels are often meant to be worn as a turban ornament.  

This intricate, sparkling volute, however, wasn't likely intended for a turban, but rather served double-duty as a hair ornament and brooch to be worn on a lady's bodice.

Mastery of Design: The Topaz Necklet, c. 1780

Necklet of White Topaz
Part of a Demi-Parure
Portugal, 1780-1800
The Victoria & Albert Museum

This necklace, made in Portugal between 1780 and 1800, features a symmetrical bow design from which five loops suspending an equally symmetrical bow and pendant hang.

The piece is typical of neo-classical Portuguese design. It is a portion of a “demi-parure” - a half set of jewels - which is comprised of a pair of long pendalogue earrings (long pear-shaped pendants hanging beneath bows).

The stones are white topaz which are set in silver to enhance their clarity. That this set remains as it is owes to the fact that the stones are topaz and not diamonds. Had they been diamonds, the set surely would have been ripped apart and reset several times over. 

Mastery of Design: The Cecil Crofton Floral Chrysoberyl Brooch

Pin of Chrysoberyls
Portugal, 1770-80
The Victoria & Albert Museum

This jewel of chrysoberyls set in silver openwork features a floral spray in the center.  The piece was made as a brooch, but it has been used as a hair pin. 

Made in Portugal between 1770 and 1780, the gem is the work of an unknown artist.  It has long been a part of the Cecil Crofton Collection at the V&A. 

Gifts of Grandeur: A Portuguese Dress Ornament, 1770

Bodice Ornament
The Victoria & Albert Museum

Here’s a pretty, little thing. This bodice ornament of a bow and a symmetrical arrangement of flowers is made up of large golden-yellow topazes (sometimes described as “sherry topaz”) and a mixture of colorless topazes and rock crystal. The colorless topazes have a slight pink tinge which sets them apart from the crystal.


A huge export of topaz from the Portuguese territory of Brazil in the Eighteenth Century gave rise to increased use of the stone in Britain. However, it is possible that this ornament was made in Portugal.

Saturday Sparkle: A Spanish Breast Ornament, Seventeenth Century

Breast Ornament
Spain, Portugal
Seventeenth Century
The Victoria & Albert Museum

By the Seventeenth Century, Spanish and Portuguese jewelers were beginning to match, and often rival, the works of the Italian, French and English jewelers whose works had long dominated the growing International market.

This can be seen in this pendant or breast ornament of three parts composed of table-cut diamonds set in scrolling, gold foliated openwork which comes from Spain about 1650-1690.

When originally produced, the ornament consisted solely of the middle section which appears to be a couple of decades earlier than the rest which was added later as styles became more ornate. Some believe that the additional work was made by a Portuguese jeweler who altered the piece after it had been exported.

Gifts of Grandeur: The Admiral Jervis Bonbonnière, 1785

Bonbonnière
Russia, 1785
The Victoria & Albert Museum

John, Regent of Portugal, presented this elegant Russian bonbonnière (candy box) to Admiral Sir John Jervis, 1st Earl of St Vincent (1734-1823). Jervis is famous for leading the British fleet to Lisbon in 1806 in a pre-emptive strike against French forces. Evidence suggests that the present Portuguese miniature of watercolor on ivory that is mounted in the center of the box is probably a replacement for a Russian miniature—perhaps an image of Catherine the Great. The present miniature depicts John VI of Portugal (1769-1826) who is shown wearing the Order of the Golden Fleece.

This gold bonbonnière has been enameled in translucent blue over an exquisite engine-turned ground which has been bordered by rose-cut diamonds. To further adorn the box, a guilloche of blue on an opaque white ground encloses enamel “pearls” (some of which are missing). These neatly off-set the entwined ribbons of rose-diamonds. An inner border of blue and white petals completes the design.

Object of the Day: An Antique Gilt Bronze Chandelier

Crystal chandeliers come in many styles, shapes and materials. Craftsman from Portugal and Spain created a variety of unique gilt bronze fixtures, borrowing from popular Belle Époque French trends.

This gleaming chandelier most likely heralds from Portugal and dates to the 1920’s. Defined by curved arms which end in volutes at both ends, an ornate crown which creates a cage-like “vase” at the top, and a heavily carved base and finial, this chandelier was found in a local antique store stripped of its many crystals. With the crystals replaced, it now proudly lights my study.

The odds of finding a bronze chandelier with all of its original prisms are rather slim. However, you can purchase fixtures such as this one and dress them however you wish. Here, I’ve opted for long crystal spears and “angel-shape” prisms which complement the florid, natural lines of the piece. Prisms can be purchased online or from a local lighting store, offering you a wide selection of sizes and shapes.

Portuguese designers relied heavily on winding, uninterrupted lines and showed magnificent skill in metalwork. There’s something innately organic about these pieces—at once speaking of elegance and the gracefulness of the outside world.