Pendant in the shape of a cross known as “mistralienne”. This model appeared at the end of the 19th century, embodying what might be called the “Provençal revival” instigated by Frédéric Mistral (1830-1914). This Nobel Prize winner in Literature (in 1904) was indeed particularly attached to his region and eager to recover, in his native land, the regional identity of times past. He would write: “to raise up, to revive in Provence […]; to stir this renaissance through the restoration of the country’s natural and historic language […]; to bring provençal back into vogue through the breath and flame of divine poetry.”
Pendant in the shape of a cross, situated at the meeting point between two models. Indeed, its shape clearly refers to the “Marie-Antoinette” cross, which was nonetheless surmounted and supported on the chain by a bow, an element absent on our cross. These crosses are characterised at their centre by a rounded form, created by the arrangement of the stones in relation to one another.
Large Saint-Lô cross accompanied by its neck chain. This jewel was mainly worn in Lower Normandy. Very widespread in the 18th century, this cross continued to be produced in the 19th century. Craftsmen of the second half of the 19th century, keen to reproduce models similar to those of the previous century, painted a small black dot on the back of the stones to give them an older appearance. This detail therefore allows us to date our cross to the second half of the 19th century.
Small pendant in the form of a Provençal “butterfly cross,” composed of four rhinestones and a movable drop-shaped element surrounded by silver scrolling foliage.
The Holy Spirit motif depicts a bird of paradise whose beak is invariably turned downward. The presence of a bow at the top of the jewel is also characteristic of Norman production. Our pendant is adorned with rhinestones of varying sizes; the largest are set on the bird’s wings, body, and at the center of the bow.
Charming gold cross decorated with interlacing oak leaves in relief and set with six small pearls.
An elegant oval miniature attributed to Robert Field (1769–1819), depicting a bust-length portrait of an admiral in his blue uniform, adorned with epaulettes and gold embroidery. The sitter is shown in three-quarter view against a delicately shaded blue background, highlighting the refined features of his face.
The composition highlights a miniature under glass representing a cherub dressed in antique style, accompanied by a dove, symbol of love and purity.
The finesse of the decor, combined with the softness of the subject, gives this piece a romantic character typical of the 19th century.
750 yellow gold cross set with twelve garnets.