Lockets and Pendants
In the same fashion as rings, lockets and pendants are important in their evolution and personal importance.
As relevant as rings, mourning and sentimental lockets and pendants can trace their roots back to the 16th Century and beyond. For the purposes of this website, the focus will be on post 15th Century jewellery, as it is the birth of the style which has become identifiable today.
A locket, being hidden is one of the most important devices in the growth of mourning jewellery. Despite the 16th Century use of the jewellery as more of a status symbol, lockets could be hidden and worn close to the heart. Pieces with the portrait of Charles I from 1649 and during the restoration period kept the loyal movement at the forefront of the wearer's mind during the period, and as the lockets were closed, loyalty was quite private.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
c. 1660-70 |
| Dedication: |
Charles II |
Not a mourning piece, but certainly sentimental, this portrait of Charles II is a symbol of dedication to the crown. The symbolism is wearing a locket over the heart makes this piece important in its sentimentality, as it isn't simply a portrait of Charles II. This could be displayed or hidden beneath clothes, as the surroundings permitted. Match the quality of the piece to the ring of Charles I and see the similarities between the two, specifically in the style of the portrait. Both of these pieces, though from different times, were created for the same purpose in their devotion, and both are ideal examples of their time.
The exquisite example below from 1703 has gold wire cipher, hair and silk underneath the Stuart crystal. The motifs of the cherubs and the skull and crossbones are common for this time, as well as the shape of the heart pendant.
This particular piece is said to have its origins in Spain or northern Italy (possibly Milan), however, its composition is consistent with pieces on the Continent and in the UK for its time. The regal nature of this piece, extenuated by the green and white enamel transcend the latter basis of symbolism and are used for the purpose of being opulent adornments to the hair memento underneath crystal. The fleur-de-lis pattern surrounding gives credence to the Continental flavour of the piece, but certainly the most extraordinary is the size, the use of the green enamel and the pearls which all indicate its source.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
1703 |
| Dedication: |
OB Decem 25, 1703, AEtat L (or S) uce, 1 year, 7 ,months |
Lockets and pendants have an intrinsic and important role to play in jewellery dating back to antiquity. Of course, the style of important jewellery conforms to popular art forms of its time and this piece shows the emergence of the heart shape motif in 18th century jewellery, a form that would grow in popularity and conform to many different art styles over the next two centuries. The shape is important as it is the heart and worn over the heart, a loving object shaped in the symbol of love and worn over what is considered the most sentimental of all areas on the body. This piece has two cherubs blowing the trumpet next to the skull, both used in popular symbolism of the time. Faceted crystal and the gold cypher prove the high quality of this piece and show its rarity.
The above example shares many similarities with a French memento mori ring found here in the detail to its back. Commonly, pieces with this detail to the reverse can be dated from 1700-1720, particularly as this fashion carried through with other jewellery of the time. The two cherubs holding a crown hint towards a possible royal connection.
During the latter 18th Century, neoclassicism in art and its permutation through society and fashion provided a good display for pendants. For more on miniatures and portraits, see the Miniatures section which talks more about the development of the style.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
1st Quarter 18th Century |
| Dedication: |
BF |
The rosette shape at the back of this piece is a common theme between the mid 17th and 18th centuries. This theme carries through with most forms of jewellery (rings, slides, pendants) and ran through both the Rococo and Baroque periods. One of the most important features is the angular crystal of this piece, which is something that developed around the turn of the 18th century; earlier pieces were more curved.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
c. 1760-70 |
| Dedication: |
Absent Not Forgotten |
Taking its style from the growing popularity of the heart shape, this gorgeous pendant exemplifies the style of its time. This is seen in its use of emeralds and the Rococo ribbon design around its edge – all set with white enamel (signifying purity, innocence and virginity). The Rococo styling lost its heavy embellishments post 1760 and left the soft, organic shapes, seen in the ribbon, that was consistent with rings and other jewellery of the time.
The bow motif is the most prominent feature of this wonderful pendant, as well as its wonderful use of emeralds. Look to the other bow pieces (and their relation to Rococo scrollwork) to see a wonderful evolution of the bow form. Notice the placement of the hair memento and its haphazard nature. A safe assumption would be that the hair had been adjusted over time by the removal of the glass or due to external interference or that the hair was replaced over time. Placement of hairwork in a piece of this high quality should be far more delicate, however, as these pieces are of a personal nature to the person(s) who commissioned them, such assumptions can remain only that (unless the piece shows obvious tampering).
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
c. 1780-90 |
| Dedication: |
Merit Claims Esteem |
The obvious continuity between this piece and the ‘Absent Not Forgotten’ piece goes without mention. Clear Rococo styling, softening to straighter edges and prominent text show in the ribbon edges. Most peculiar and exceptional to this piece is the tassels to the end of the Rococo bands; it is this and the style of the text which show it to be a little later than the former piece. They are very close in relation, especially in the white enamel (virginity, purity, innocence) and the heart shaped motif of the memento enclosure. A superb piece and exceptionally rare.
| Courtesy: |
Barbara Robbins |
| Country: |
France |
| Year: |
c. 1780-90 |
| Dedication: |
"Le Plus Loin Le Plus Serre" - "The further the distance the tighter the knot." |
Symbolism and beauty are two words to describe this French piece. The two birds (winged souls) tying together the knot of eternity and love as the ship is sailing away from the castle on top of a cliff face. The boat can be taken as a literal interpretation, or as the passage of a soul towards the afterlife. A very large pendant, this shows the scale of jewellery from the latter 18th Century and the development of affection and mourning as a social device to be displayed.
The Georgian heart is a popular motif of the late 18th Century and early 19th Century, as it was for the late 17th Century. Here, the use is for a love token and the above locket is one of the finest examples of its kind. Embellished with heavy gold work and leaf/vine/grape (Christian symbolism) design, the Regard stones set in an arc complement the piece, rather than become the main focus. The Regard stones (Ruby, Emerald, Garnet, Amethyst, Ruby, Diamond) are surrounded by the design, creating a love token that is a perfect example of its time.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
c. 1780-90 |
| Dedication: |
Rien Sans Amitie |
What more can be said about this piece other than its exquisite nature? This piece almost borders on the quality of royalty, and certainly, its symbolism and materials help that idea. Its use of blue enamel (considered royalty) and the rubies surrounding pearls, surrounding a cabochon garnet show the perfect higher class nature of this piece. It would have been well out of the reach of the general populace and the lower aristocracy. Another thing to consider is how it was worn; with the enamel on one side, it is clearly a sentimental piece, but on the other, it’s purely for show. If given as a token of affection or created out of affection, it tells a story about its wearer. The tree of life in sepia on the back is quite typical of the art form of the time (emerging neo-classicism within jewellery), though it shows the very subtle remnants of the Rococo style in its shape.
In the same style as the piece preceding it, this heart pendant is one of the most grand pieces of its kind. It is another fine example of how the heart motif was used, this time as a two-sided pendant. Two emeralds and the central ruby inside the forget-me-not design, combined with the fine wire goldwork throughout the piece show that no effort (or expense) was spared in creating this pendant.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
c. 1st Quarter 19th Century |
| Dedication: |
Nelson |
Horatio Nelson's death in 1805 during the Battle of Trafalgar was a landmark in the Nepolionic Wars and also for British society. With his growing legacy as a national hero, many items, from jewellery to household objects were created to commemorate him. Nelson mourning rings were created in limited number and as proof of the man's influence in British history, the rings have been replicated several times in recent history. This particular piece follows the style of others like it, bearing the name 'Nelson' on the back. However, there is a danger with analysing such a piece; the imagery (with the ship) does lend to being dedicated to Horatio Nelson and the piece does lend from the times, but there is the possibility of another dedication in the name 'Nelson'. The rendering itself is rather simplistic and naieve, however, the hairwork is quite finely styled.
Complementing the Regard piece above, this love token is more delicate and more personal in different ways.The hairwork inside the pendant is finely feathered and entwined with gold wire. This is a small piece, be more practical as it could be worn without the display of the piece above it. As a love symbol, the heart has always been a popular motif, one still used in lockets today.
With the face of a child and changes over its years, this locket/portrait raises many questions as to its history and origin. The face of the child conforms to the shape of the locket, showing that the body of the piece was built around the face; hence many conclusions can be drawn from this. Was the portrait influential enough to the wearer in order for them to commission the piece to be built in such an odd shape around the portrait? Was it a personal prerogative or a fashion conscious decision based upon the artistry of the piece? The answers to this are in the mind of the person who commissioned it, however, the fact remains that a locket was added to its reverse and that there was an attachment to the bottom of the piece.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
c. 1800 |
| Dedication: |
Jane Hornby Perkins died 3rd April. 1894 |
Another example of the heart motif used in late 18th Century / early 19th Century jewellery. This time, the inscription is a later addition, being in 1894. The piece itself is more commonly associated with the late Georgian period. Note the exceptional quality of this piece and how after the turn of the 19th Century, styles became more refined than their previous counterparts (shown above). Even the hairwork in this pendant is beautifully worked, being understated in its weave, but correct in its balance with the heart. Pearls surround the heart, a material that would become more popular in this time, for further examples in rings, view the 19th Century ring section.
| Courtesy: |
Barbara Robbins |
| Dedication: |
Tho Seddon died July 1 1776 AE 49 / Virtue Lives Beyond The Grave |
| Year: |
c. 1776 |
Formerly a brooch, the above converted pendant has very a simple sepia painting, which can be due to its small size, but the message of it is still quite powerful. Inscriptions painted in sepia pieces are as important as the depictions themselves, often being quite diverse from piece to piece. For a growing listing of memorial inscriptions, go to the symbolism section.
| Courtesy: |
Barbara Robbins |
| Dedication: |
To bliss / There's rest in Heaven |
| Year: |
c. 1770-90 |
There is fine shading in the 'To Bliss' piece above, and high quality work that continues to the formal weave of the hair on the back of the pendant. The expression upon the widow's face is one of genuine sadness, as is the cherub's face above her. The dead tree branch (mortality) and the oak tree (strength, honour) - judging by the acorns, are not the normal symbolism seen in pieces like this. The unique nature behind these unique late 17th Century pieces is due to the cost / request of their original commission and the prerogative of the artist. Any piece with this level of quality should be looked out for at any chance.
A neoclassical sentimental image showing a lady (shepherdess) in classical dress with a crook and two lambs writing the initials of ‘TK’ upon the tree. On the reverse are the initials ‘TK’ in seed pearls. The shepherdess with lamb(s) is usually indicative of children and is carried across sentimental and mourning tokens. Note the fine sepia tones and the attention to detail in this piece.
| Courtesy: |
Barbara Robbins |
| Dedication: |
EM / In memory of my dear and amiable friend |
| Year: |
c. 1800 |
The hairwork in this piece and the piece below are quite reminiscent of each other. Where the other is a love token, this one is quite a delicate token to a departed friend and the colours are quite soft for a memorial piece. Its stylised willow and sheaves (aged) as well as the beautifully rendered urn make it quite a unique and expensive piece for its time.
| Country: |
France |
| Year: |
c. 1800 |
Love tokens in pendants are important due to their size and relevance. Above, the French piece from around 1800 contains wonderful symbolism that is a good example of its time. Two love birds, a picture frame and roses with the writing 'Belle d'Amour' in gold with hair underneath enforce a powerful sentiment. Its size, around five centimeters in height, makes it impractical for wearing, but ideal for display.
Larger pendants began to be phased out by the 1830s and 40s, most notably due to the introduction of photography, but changing fashion also facilitated this.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
c.1800 |
|
This beautiful sentimental pendant houses the initials and hair of both lovers, tied in a bow with pearls.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
c.1800 |
|
This urn piece shows many of the same characteristics of other pieces from its time however, it is a locket and, of course, shaped like an urn. The use of the garnets and pearls is quite exceptional in the ribbon motif, making this piece a wonderful example of its time.
A very colourful and impressive piece, this pendant was created for an event or public / large memorial. Souvenir jewellery as often constructed for different purposes. In mourning, pieces were created in large quantities and sold / distributed among the public. For events, however, such as the Great Exhibition, simple and cheap jewellery was created and distributed for those who could not afford expensive pieces and to commemorate the event. This piece has the cypress (hope) and the female looking off longingly. The compartment at the back is also an usual feature, as is the paste surround and bow top. For a souvenir item, this is off a very fine quality.
This piece raises many questions about its origin. Painted with a paper background and in a very naive style, it’s a reflection on how neoclassical art had progressed in the 19th century. The hairwork on the back shows lovely skill to the piece, but shows a style not used when the form of memorial art on the reverse side was popular. This shows the piece is from a later time than it seems to be. Though the art is simplistic in its form, the lady pointing out to sea with the ship sailing away is still a delightful flourish to a depiction that could have been generic.
| Courtesy: |
Barbara Robbins |
| Year: |
1824 |
| Dedication: |
24th Jan 1825 / 10th August 1824 |
Though simple in its humble tying of the hairwork inside the crystal, this heart pendant holds two dedications and is quite a unique piece. Even by this time, the heart motif was still popular in jewellery for this time, as a love sentiment, a heart was worn over the heart. Pieces of this period fall in between the heavier gold and enamel pieces of the 1830s and 40s, which would continue on, and come after the heavy neoclassical presentation pieces on the latter 18th Century. The period between 1800 and 1830 is one that shows a true elegant design flowing through pendants, lockets and rings of its time.
| Year: |
1830 |
| Dedication: |
William Edwin Brooks, April 26 |
During the 1830s and 40s, styles were defined by their large gold scrollwork and the introduction of motifs that are more common with the mid to latter 19th Century. The above example shows a maltese cross from 1830, which is a leap from the pendants of the 1820s. It should be noted that just because smaller pieces were created during the 1830s, it by no means was a clear change, smaller pieces were still made in conjunction with the larger pendants of earlier times, it was that the pendants began to lose their popularity that the smaller pieces take prominence.
| Country: |
England |
| Year: |
c. 1830 |
Dating from around 1830, this small piece with typical scrollwork around the edges and neo Gothic type in black enamel contains a glass panel with white hair and gold underneath glass. This piece is quite small, with a diameter of 1.5cm.
| Courtesy: |
Barbara Robbins |
| Year: |
2nd February, 1834 |
| Dedication: |
Rt. Honble (Honorable) W. Geo Monckton Arundell, Viscount Galway, obt. 2nd February, 1834, AET 51 |
Following the 19th Century Rococo revival, this piece from 1834 is a superb example of a fashionable mourning piece. The flowing Rococo lines and diamond forget-me-not gives an organic feel to the heavy black enamel. For an 1830s piece, it contends with the Gothic revival that was popular of the times and is aesthetically quite pleasing. As a locket, it is also functional and wearable.
Seed pearls spelling out names, words and initials are the more delicate rarities of hairwork jewellery (note the ‘Sarah’ brooch in the Brooches section). This delicate pendant with its filigree edging shows a high level of quality from the mid 19th Century. Being double sided, it reflects the quality (and size) of earlier pendants, which had become increasingly smaller by this time.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
1849 |
| Dedication: |
My Olive Branches |
This wonderful locket has a personal inscription and some gorgeous hairwork inside. The piece itself is rather humble in its construction, but this makes it a very unique piece.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
Mid 19th Century |
The hairwork in this piece is simplistically installed and tied together, however, no expense has was spared in its construction. The turquoise lends itself to third stage mourning, and the floral, forget-me-not motif lends to this. The shape and size denote a mid 19th century age, coming at a time when pieces were becoming smaller, etched and more ornate.
| Year: |
June 2nd 1851 - June 28th 1867 |
| Courtesy: |
Sarah Nehama |
| Dedication: |
Clara Elizabeth |
Photography still exists in lockets and pendants today, making it one of the most resilient forms of change ever applied to memorial jewellery. More can be found in the PhotogrAphy section, however, the change that came about in jewellery to adapt to this new technology changed the face of sentimental jewellery. Pieces became smaller to accommodate imagery and the use of hairwork began to decline in the latter 19th Century. This particular piece shows exceptional engraving and a perfect balance between the photograph on the front and the hairwork on the back. Being a pendant, this takes its precedence from the turn of the century pendants which had open faces and hairwork (often miniatures with hairwork reverses).
Research
This particular piece has a significant history. Owner and collector Sarah Nehama has researched the history of this piece and below is the product of this effort - click the number for corresponding imagery:
1. A copy of the death certificate for Clara Wilkinson. Cause of death listed as phthysis pulmonalis, or tuberculosis.
2. 3. 4. 5. Four pages of Franklin family genealogy showing the relation to Benjamin Franklin through Clara's maternal line.
6. A postcard from 1880 showing the entrance to the Old Granary Burial Ground in Boston, site of Benjamin Franklin's parents tomb.
7. A postcard from 1906 showing the tomb of Josiah and Abiah Franklin, parents of B. Franklin in the Old Granary Burial Ground.
8. Detail of of Melksham, Wiltshire, England, pertaining to Matthew Wilkinson, Clara's father.
9. 10. Two pictures of a stained glass window from All Saint's Parish Church, West Lavington, Wiltshire, UK, commemorating Clara's parents. Her father was the vicar of this church when Clara died.
By the mid 19th Century, the common shape of lockets begins to take form. Pieces like this are still in use today, but this example is largely untouched. The buckle motif as well as the bold 'In Memory Of' decorates the front with gold etching of the buckle on the back. The machine work along the outer casing also matches pieces constructed in the 1830s/40s. This piece has another example of where the portraits from pendants went - inside the locket. Underneath the glass on the left hand side is a painting of a gentleman, rather than a lock of hair or a photograph.
The Swiss and German hairworking industries produced remarkable three dimensional hairwork and memorial art, as the above example shows. From Switzerland, the style of the hairwork is different than the conventional hair art of its time. The locket itself is built around the hair art and serves the purpose of displaying it, rather than being hidden away. Due to the larger size of the hair, it isn't hidden away, but worn for display outwardly in a glass compartment. There are four different kinds of hair in this locket, all woven around wire in organic designs.
Typical of the second half of the 19th Century, jet and its imitation lockets varied in different degrees of carving, while some had inlay, others would remain plain. Above, the locket in inlaid with seed pearls in a wheat and cross motif. On the back is a glass compartment which likely would have contained hair.
| Courtesy: |
Barbara Robbins |
| Year: |
June 27th 1870 Aged 17 |
| Dedication: |
DWS Fell Asleep June 27th 1870 Aged 17 |
This marvellous pendant is a perfect blend of carved jet and hairwork, with a marvellous sentiment that is uncommon with jewellery for its time. The inscription denotes a heavily personal influence. Notice the fine curling to the tableworked hair and the inclusion of the gold cypher; the result is a phenomenally individual pendant which is individual in its monogram and a beautifully constructed piece.
Still popular today, lockets of this sort represent a wearable, personal and important type of mourning jewellery. The smaller size of the locket adds to its wearability, it doesn't need to be displayed and can hold photographs or hair. 'In Memory Of' becomes the more common memoriam of latter 19th Century pieces and can be found etched or written in enamel on various lockets. There is a clear continuity with the piece above and the piece from 1840-50 earlier referenced. The earlier machine work along the casing is gone in favour of more latter 19th Century etching design and the enamel work is more delicate in style.
From the 1890s onwards, pendants that held photographs become more common as love tokens, leading into the first world war. Bold statements have been removed to purely contain the image of the loved one, with the only symbolism being the heart. On this piece, a cameo of a female and forget-me-nots is on the reverse. This piece is a wearable, personal memento and displays the more practical nature of sentimental jewellery leading into the 20th Century.
Lockets in the 20th Century are still produced widely. Love hearts and oval shapes are still popular, though the symbolism is largely removed. Previous to the first world war, lockets that copied styles of the 1830s and 40s (with the heavy gold edging detail) were popular, housing photographs (sometimes coloured). Their quality was poor, but were cheaply made and quite popular for their time. Latter 20th Century lockets are numerous and don't follow an evolving trend like earlier pieces. Worn on bracelets and necklaces, they will continue to be produced as long as sentimentality exists in popular culture.
“HM” in diamonds. Blue enamel. Fine portraiture. To the trained eye, these things tell a story. Mallett of Bath created this piece and the fact that the maker assigns his name to it (and such a maker of pedigree) is a testament to the quality of the piece, which takes its style from other popular pieces of its time but adds embellishments that raise it to an entirely new level of fine jewellery. Firstly, the style is post 1880 English, a time when jewellery was worn more prominently and remerging from a period of very static style. Materials were used to their full effect, such as diamonds, Art Nouveau and the Arts and Crafts movement were combating revival styles with very natural and organic shapes. This piece shows that style from the late 19th century at its pinnacle, with the diamonds embellishing the initials as well as the necklace loop. The enamel exquisite and means the loved one was considered royalty. On its reverse this piece has the fine miniature, with the head depicted in the clouds. This miniature is detailed in the fashion of the Edwardian era, dating this piece of c.1910, equivocally making the style set in its age. Clouds are a fine contribution to this piece, putting it within the realm of mourning, as the child has departed. Being a memorial, this entire piece is timeless in its beauty and aesthetical quality.
This piece takes its conventions from late 18th century French pieces, but is an example of the post Edwardian neoclassical revival. Using faux pearls and painted on shell, this piece symbolises cherubs in the piece and the identification of cupid (by the bow) only lead to the conclusion of it being a love token. The pleasant look upon her face helps to confirm this. This piece is in the direction of love and its guide. The neoclassical temple in the background is a common feature of these neoclassical revival pieces, as it is a strong symbol of neoclassical art. Mostly constructed in quantities, pieces like these are still found quite readily today.
