Victorian 1870 Etruscan Revival Enamel Star Bracelet in 15kt Gold with Diamonds

Exceptional Victorian Etruscan Revival bracelet. This is a beautiful elegant bracelet created in England during the Victorian Era (1837-1901), back the 1880. The fabulous bangle bra...

Georgian antique cluster earrings. Exceptional antique pair, created in England during the Georgian period, circa 1785. These diamonds cluster earrings was carefully crafted in soli...

Egyptian-Etruscan revival scarab beetles festoon necklace This is a gorgeous festoon dangle-drop necklace, created in England during the Victorian period, back in the 1870. The fabu...

Italian Etruscan revival locked. This is a gorgeous antique medallion-locket created in Italy in the 19th century, circa 1870. The locket has been made up in an oval shape in the Etruscan revival style and carefully crafted in 18kt gilded brass with high polished finish. The medallion locket is decorated with the inlaid portrait of an ancient Etruscan queen, which is dressed with colorful robes, crowned with a diadem and wearing earrings accented with two rose cut diamonds. The profile of the queen is fully decorated with the difficult polychrome enamel technique, called Peinture sur émail. It is fitted with a three-barrels hinge with a snap lock to open and close and a ring bale to wear in a chain. The craftsmanship of this one-of-a-kind piece of jewelry, is exceptional and well done, and surely this will be a great conversation piece. Country: Europe, Italy. Period & Style: Etruscan Revival 1870. Diamonds: Mount in inlaid settings, with 2 European rose cut diamond, 0.07 carat, white colorless F/G color, VS/SI clarity. Weight: 26.95 Grams, (17.30 Dwt). Measurements: 31 mm by 52 mm by 6 mm (1.22 x 2.05 x 0.24 Inches). Hallmarks: Unmarked as usual. Peinture sur émail technique Peinture sur émail is a French type of painting with enamels. It was developed at the end of the 15th century in Limoges, France. In this technique, a slightly convex, metal plate is covered with a fondant of uniform color which was fired to produce a vitreous base for the drawing. On this, the artist starts applying color after color in thin layers onto the base color with a paintbrush. It is vital that one starts with the colors of the highest flowing temperature to avoid the diffusing of colors at a later stage. Between every step, the intermediate depiction needed to be fired in the oven to fixate the colors, sometimes up to 20 rounds of heating are needed for the final result. In this manner, one was able to rival the oil painters of the day and artists such as Leonard Limousin were in high regard, often even employed by the patrons of the arts. Needless to say, that this type of enameling was no longer in the realm of goldsmiths but belonged to those with exceptional drawing skills. At the end of the 16th century the abundance of workshops that produced these artifacts – these could be a meter high – created a decline in craftsmanship which is usually associated with popular cultures. Like Castellani rescued the micro mosaics from general decline by giving it a new impulse so did Jean Toutin from Blois, France give a new incentive to painted enamel in the early 17th century by introducing miniature paintings on enamel of high quality. In Geneva, Switzerland, there was a culture of painting enamels from the late 15th century as well, but the industry only really started to flourish mid-17th century. They specialized in portraits as in scenery images which soon attracted the attention of customers from all over Europe and beyond. Famous Genevan names of the day were Jean Petitot, Jean Etienne Liotard...