Victorian necklace cameo, circa 1860 – A Grand Tour masterpiece in gold

Magnificent Victorian cameo necklace, dating from around 1860, composed of twelve finely carved shell cameos, each offering a perspective on mythology and allegory. Linked by delicate 14-carat red gold chains, the cameos depict classical scenes—gods, muses, and nymphs—inspired by Greco-Roman traditions. Rich in symbolism, the detailed artistry evokes stories of love, quest, and divine encounters, each moment captured in luminous relief. Probably inspired by the Grand Tour, this piece reflects the cultural fascination of 19th-century travelers, combining romance, art, and history. A true timeless treasure, it offers a tangible link with an era enamored with beauty and classical antiquity.

Group of objects of antique jewelry
necklace

Condition
very good condition
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Country of origin
The origin of this piece of jewelry cannot be determined with certainty due to the absence of hallmarks. However, such pieces were commonly purchased in Italy from the 17th to the 19th century by travelers undertaking the Grand Tour. This traditional journey across Europe, undertaken by young wealthy men of the aristocracy and high society from the 17th to the early 19th century, had both an educational and cultural purpose: it offered travelers the second-hand to discover the art, architecture, and antiquities of Classical Antiquity and the Renaissance. Italy, renowned for its cultural treasures, was an essential destination, and many travelers brought back souvenirs such as jewelry, sculptures, and other objects as mementos of their journey.

Style
Victorian - Victorian decorative arts refer to the style of decorative arts of the Victorian era. This period is known for its eclectic revival and interpretation of historical styles, as well as for the introduction of intercultural influences from the Middle East and Asia into furniture, accessories, and interior decoration. Victorian design is widely perceived as having shown a regrettable excess of ornamentation. The Arts and Crafts movement, the aesthetic movement, the Anglo-Japanese style, and Art Nouveau all have their origins at the end of the Victorian era.
See also: Victorian
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Style specifics
The High Victorian period - Experts divide the reign of Queen Victoria, also called the Victorian era (1837 - 1901), into three periods of about twenty years each: the Romantic Victorian period (1837 - 1860), the High Victorian period (1860 - 1880), and the Late or Aesthetic Victorian period (1880 - 1901).

We consider this to be the High Victorian period.

This second Victorian period is famous for its sumptuous pieces set with pearls and diamonds (from South Africa). From around 1850, wealthy Englishmen reported the existence of jewelry from India and Japan, which greatly inspired the jewelers of this era. This period also corresponds to the death of King Albert, husband of Queen Victoria, which made mourning jewelry (set with heavy dark stones) the specific type of jewelry of this time.

Period
around 1860
Events and facts of this era, poetry of this era, fashion of this era.

Source of inspiration
Mythology

Themes
The shell cameos are described below in the same order as the numbered photographs, starting from the left and moving to the right.

cameo No. 01: Allegorical scene with armored figures and putto
Description of the scene: The first cameo depicts three nude figures. The central figure is a naked woman, standing, a shawl draped over her left shoulder. She stands with her feet turned to the right and looks to the left, toward a seated figure. Her right hand rests on a sword, while her left arm, raised above her head, holds a marquise-shaped shield visible from the inside.

To her left is a figure, probably male, recognizable by his helmet resembling that of Hermès, with a flat bird wing on the side. He gazes intently at the woman's face.

On the right, a putto stands, about the height of the woman. He is winged, carries a bow, and looks to the right.

Possible interpretation based on the attributes:

• The sword and shield held by the central figure may suggest a representation of Athena (Minerva in Roman mythology), known for her role as a warrior goddess and often depicted with similar attributes.
• The helmet worn by the seated figure, resembling that of Hermès (Mercury in Roman mythology) with a winged design, could indicate a role as messenger or protector.
• The putto with wings and a bow generally symbolizes love or innocence, often associated with Cupid or other playful and cherubic figures in classical and neoclassical art.

cameo No. 2: Mythological chase scene with a dragon-helmeted figure, a runner, and a man brandishing a trident
Description of the scene: In the second cameo, three figures are depicted in a dynamic, perhaps mythological, chase. The leftmost figure appears partially suspended in the air, wearing a helmet adorned with what looks like a dragon, looking in the same direction as the figure. With her right hand, she holds a spear pointed at the back of a fleeing female figure in the center. This central figure, probably female, is shown running to the right, her right arm bent upward. She glances over her shoulder at the figure behind her. To her right is the third figure, probably a man, also running to the right. He is seen from behind, holding a trident in his left hand, pointed diagonally upward, with no specific target in sight.

Possible interpretation based on the attributes:

• The helmet adorned with a dragon, present on the leftmost figure, could suggest a warrior or a powerful deity associated with strength or ferocity. This detail, less frequent in classical iconography, may be inspired by mythological tales featuring dragons or martial figures.
• The spear held by the leftmost figure and the fleeing posture of the central woman may indicate a scene of pursuit, perhaps a story involving a hunt, a chase, or a capture.
• The trident in the hand of the rightmost character is generally associated with Poseidon (Neptune in Roman mythology) but may also be a general symbol of power over water or authority.

cameo no. 03: Allegorical scene with a helmeted character holding a caduceus above a seated woman
Description of the scene: In the third cameo, two characters are depicted in a composed, perhaps symbolic, arrangement. The character on the left stands, facing right, wearing a helmet and a skirt reaching his knees. His left arm is gracefully extended halfway behind his back, while his right arm is raised, holding a staff above the head of the seated character. This staff resembles a caduceus (a rod entwined by two snakes). The seated character, turned to the left, appears to be an unclothed woman. She is seated against or beneath what looks like a tree stump, adding a natural element to the scene.

Possible interpretation based on the attributes:

• The caduceus held by the standing character is a traditional attribute of Hermès (Mercury in Roman mythology), often symbolizing peace, guidance, and communication. This suggests that the standing character could represent Hermès or an allegorical figure with a similar role.
• The female figure seated against a tree stump could symbolize nature or connection to the earth, suggesting an allegorical representation of education, contemplation, or grounding.
• The combination of Hermès (a god known for guiding souls and facilitating communication) with a figure closely linked to nature could imply a theme of guidance, wisdom, or balance between humanity and nature.

cameo no. 04: Seated woman with veil, winged child with serpent, and flying putto
Scene description: In the fourth cameo, three characters are arranged in a detailed natural setting. On the right, a nude woman sits with her legs crossed, her back leaning to the right. Her right arm is stretched across her torso, holding a veil near her left shoulder. This veil falls behind her left arm, goes down her left thigh, and disappears between her legs. She seems to be sitting on or leaning against a tree stump that rises above her, with leaves extending over her head. Beneath her, a bird is visible—perhaps resembling a crow or a small eagle, although it is not clearly identifiable.

To the left of the woman stands a winged child, set on the ground, holding what appears to be a creature similar to a serpent or a dragon, though it is wingless. Above this standing child, a smaller winged putto flies, a bow in hand, adding a playful touch to the scene.

Possible interpretation based on the attributes:

• The seated woman with a veil and the tree, combined with her serene posture, could represent a nature deity or an allegorical figure linked to contemplation or wisdom, perhaps symbolizing peace or harmony with nature.
• The winged child holding a serpent or dragon-like creature could suggest protection or control over natural forces or dangers, symbolizing a guardian role or a victory over chaos.
• The flying putto with a bow often represents innocence, love, or Cupid, which could imply an allegorical link with love, protection, or the generosity of nature.

cameo no. 05: Bound man and woman running with a veil
Scene description: In the fifth cameo, two characters are depicted in an intimate and fluid scene. On the left, a man is seated or crouching, turned to the right. He appears immersed up to his ankles, with a draped cloth over his left shoulder and around his waist. His left hand is modestly placed in front of his lower body, his arm bent downward and his forearm stretched horizontally toward the second character.

The second figure is a nude woman on the ground, seemingly running toward the man. A veil undulates around her waist, starting from the lower right, passing in front of her, and descending to the right. Her right arm is slightly raised above the man's head, while her left arm is at mid-height, slightly inclined backward.

Possible interpretation based on the attributes:

• The man partially immersed in water could suggest a connection with water deities or mythological figures associated with water, such as Poseidon or perhaps Nérée, both known for their links to aquatic environments.
• The nude female figure with the floating veil, running toward him, could symbolize a nymph or a sea spirit, characters often seen in mythological scenes representing encounters between gods and mortals or mystical beings in nature.
• The dynamic pose, with the veil floating around her and the man's outstretched gesture toward her, suggests a scene of attraction, approach, or perhaps a mythological pursuit, a common theme in neoclassical interpretations.

cameo No. 06: Man and woman seated with a shepherd's staff and a child holding a mask
Scene description: In the sixth cameo, three figures are arranged in a peaceful, perhaps allegorical, scene under a tree. On the left, a man is seated, turned to the left, under a tree, a shepherd's staff lying on the ground in front of him. He appears almost naked, wrapped only in a cloth. His right arm is bent across his chest, his hand resting near his heart without any apparent gesture of holding it. His left hand grasps the right hand of the figure seated to his right.

The figure on the right is a nude woman, also seated and turned to the left. She modestly holds a veil in front of the lower part of her body, gripping or perhaps restraining the hand of the figure on the left—it's not exactly clear. Her left arm is lowered behind her back, holding another shepherd's staff that rises near her head.

Between these two figures, in the background, stands a child looking at them. Unusually, his right arm bears a second face, perhaps resembling a mask, adding a touch of mystery to the scene.

Possible interpretation based on the attributes:

• The presence of a shepherd's staff near both the man and the woman may suggest a pastoral or allegorical theme, perhaps symbolizing guidance, peace, or simplicity, as shepherds are often associated with these virtues.
• The seated man and woman, who share a connecting hand gesture, may represent a bond, partnership, or unity—a common theme in classical and neoclassical art.
• The child holding a mask or secondary face could symbolize innocence or duality, introducing an element of intrigue or hidden identity in the cameo. This detail could represent an allegory of revelation or inner personality, especially when associated with pastoral elements.

cameo No. 07: Running women and Cupid floating with a bow
Scene description: In the seventh cameo, three figures are depicted in motion. The leftmost and tallest figure is a woman wearing a skirt, running to the left while glancing over her shoulder. She extends her left arm toward the head of the rightmost figure. The latter appears to be a nude woman, partially draped in a veil floating behind her as she also runs to the left. The rightmost figure is about three-quarters the size of the taller figure on the left, suggesting a secondary role in the scene.

Above the head of the rightmost figure and aligned with that of the tallest figure, a winged Cupid floats in the air. He holds a bow and a balanced arrow, aiming at the tallest, leftmost figure, as he flies from right to left across the scene.

Possible interpretation based on the attributes:

• The woman running furthest to the left and looking back with an outstretched arm could symbolize escape, pursuit, or connection, perhaps representing a chase or mythological interaction.
• The smaller, veiled figure following her could suggest a secondary companion or rival, perhaps symbolic, in the scene, evoking themes of pursuit or partnership.
• Cupid with a bow and arrow, aiming at the largest figure, suggests a theme of love, attraction, or desire, frequently seen in classical and neoclassical art as a representation of Cupid's influence on human affairs.

cameo No. 08: Aquatic scene with a woman on a dolphin, a figure rising up, and a woman standing with a bird above
Description of the scene: In the eighth cameo, three characters appear in what seems to be an aquatic setting. In the center is a nude woman, draped in a veil, crouching on a dolphin. The woman and the dolphin are turned to the left, suggesting movement in that direction.

To the left, a figure (man or woman) is visible from the waist to the ground, slightly leaning to the left and seeming to lift something from the water. This figure appears nude, as their navel is visible, although their chest is hidden by their raised left arm stretched diagonally.

To the right, a topless woman stands, partially immersed, her body slightly turned to the left while her head is turned to the right. Only her left arm is visible, bent above her head, her left hand resting on her head. Above this figure at the far right, a bird is in flight, positioned at mid-height of the central woman's head, flying from the upper right corner to the lower left corner.

Possible interpretation based on the attributes:

• The central woman on a dolphin recalls the imagery of Amphitrite (the wife of Poseidon) or Venus (Aphrodite), who is often depicted with sea creatures, especially dolphins, symbolizing beauty, love, and the sea.
• The figure rising up could represent Triton or a similar aquatic deity, generally depicted as helping or lifting marine elements in classical representations.
• The gesture of the woman furthest to the right, with her hand on her head and her body partially turned, could signify contemplation or seduction, common in representations of nymphs or goddesses in marine settings.

cameo No. 09: Winged woman fleeing and bearded man rising with a sword
Scene description: In the ninth cameo, two characters are depicted in a dynamic, perhaps dramatic, scene. On the left, a woman seems to be running to the left, perhaps fleeing, her head turned to look over her shoulder. Instead of arms, she has wings attached to her torso at shoulder height, which are angled upwards, adding an ethereal or divine dimension.

On the right, a bearded man is partially rising from a sitting or lying position, his back turned to the left, watching the fleeing woman. He is naked, with a veil covering one leg. Standing up, he is in the process of drawing a sword from its sheath. His position suggests he is getting up from a bed or a structure adorned with draperies, perhaps under a canopy, giving the impression of a setting associated with rest or vulnerability.

Possible interpretation based on attributes:

• The woman with wings instead of arms could symbolize Iris (the messenger of the gods, often winged) or represent a soul in flight, perhaps inspired by themes of escape or transformation.
• The bearded man drawing a sword while rising from a bed suggests a moment of awakening, preparation, or imminent action, potentially linking him to a figure such as Zeus or Jupiter, who are often depicted as bearded and powerful.

cameo No. 10: Woman with torch at the altar, reclining figure and standing figure with raised hands
Scene description: In the tenth cameo, three characters are arranged around a column-shaped structure, at the far left, which appears to be an altar or pillar from which flames and smoke rise. Immediately to the right of this (perhaps sacrificial) column stands a naked woman, her body turned to the left, but her head turned to the right. A veil covers her head and modestly drapes her body. She holds a lit torch in her right hand, as if to light or tend the fire of the column.

To the right, two other figures are arranged vertically. The lower figure is a clothed woman, half-reclining, her back turned to the right and her legs stretched out to the left. Her right hand is raised upwards in a gesture of supplication, like that of a beggar asking for help.

Above her, aligned with her head, is the third figure, a woman standing or walking. She looks to the left, her back turned to the right, naked except for a veil that modestly covers her. Her arms are raised, which could be a protective or comforting gesture towards the flames, but it could also imply a mystical or protective action.

Possible interpretation based on attributes:

• The column with flames and the woman with a torch suggest an offering or sacrificial act, perhaps evoking themes of devotion, purification, or ritual.
• The reclining figure with a supplicating hand gesture may represent submission, need, or prayer, while her gaze directed at the standing figure implies a narrative connection or supplication.
• The standing figure, with raised hands, perhaps warming herself or making mystical gestures, adds a sense of ritual or invocation, and her nudity under the veil suggests themes of purity or exposure to divine forces.

cameo No. 11: Man walking with a bow, a bird at his feet, and a draped canopy
Scene description: In the eleventh cameo, an isolated figure, probably a man dressed in a short skirt, is depicted walking to the left. Both arms hang down, a bow being loosely held in his left hand, not in a resting position. His right hand is open, palm facing up, as if making a subtle offering or a gesture of openness.

At the lower left of the cameo, slightly behind or beside his right foot, there is a bird with outstretched wings. Its body is turned to the left, but its head turns toward the man, as if to greet or accompany him. To the left of the man, a quiver rests near his feet, slightly beyond the middle of the lower right edge of the cameo. Above and to the right of the scene, a canopy or drapery is suspended from a diagonal rod, adding an ornamental or ceremonial touch to the background.

Possible interpretation based on the attributes:

• The association of the bow, quiver, and bird could evoke a hunter or archer, possibly linked to Apollo, the god associated with archery, prophecy, and music. Apollo is often depicted with a bow and accompanied by birds, symbols of divine protection.
• The palm facing upward and the attentive posture of the bird could represent themes of guidance, trust, or divine mission, common attributes in classical and neoclassical representations of journeys or mythological tasks.
• The draped canopy at the top right adds a touch of ceremony or reverence, perhaps suggesting a sacred or ritual context for the man's journey or purpose.

cameo No. 12: Seated woman with crescent moon and standing figure offering a hare
Scene description: In the twelfth cameo, two figures are depicted in a scene suggesting interaction and perhaps an offering. On the left, a seated woman, her back slightly turned to the left, is sitting under a tree. She wears a garment and wears a crescent moon atop her head, the points of the moon facing upward, symbolizing a connection to the night or lunar qualities.

The figure on the right is a nude individual, standing in a relaxed posture, right leg bent forward, in a casual stance. He leans on a large staff with his right arm, his back slightly turned to the right, adding a grounded presence to the scene. The two figures look at each other, indicating a moment of communication or exchange.

The standing figure appears to offer a small animal – probably a hare or rabbit – held by its hind legs in his left hand. The animal is held at mid-height, in front of the face of the seated figure, as if being offered to her.

Possible interpretation based on the attributes:

• The seated woman with a crescent moon on her head could represent Diana (Artemis in Greek mythology), goddess of the moon, the hunt, and animals. The crescent moon is a well-known attribute of Diana, often depicted in wooded settings.
• The hare or rabbit, often associated with fertility, abundance, and the moon, aligns with themes related to Diana, as she is known for protecting wildlife and overseeing the cycles of nature.
• The standing figure, offering the hare, could symbolize a mortal, a nature spirit, or a companion figure, presenting a tribute or engaging in a symbolic act of reverence toward the lunar deity.

Material 14K
red gold (tested by touchstone)
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Technique
The cameo is a method of sculpture, or a piece of jewelry or container made in this way. It features a relief image (positive). There are three main materials for sculpture in cameo: shells or agate (called hardstone cameo) and glass. Cameos can be made by placing a carved relief, such as a portrait, on a background of contrasting color. This is called assembled cameo. It is also possible to carve a cameo directly into a material with integrated layers or bands, such as banded agate or layered glass, where the different layers display different colors. Dyes are sometimes used to enhance these colors. Cameos are often worn as jewelry. Cameos of great fineness were made in Greece as early as the 6th century BC. They were very popular in ancient Rome, and one of the most famous stone cameos from this period is the Gemma Claudia, made for Emperor Claudius. This technique has since experienced periodic revivals, notably at the beginning of the Renaissance, and then in the 17th, 18th, and 19th centuries.

Characteristics
No trace.
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Dimensions
each cameo approximately 3.10 cm (1.22 in) x 2.50 cm (0.98 in), total necklace length 49.00 cm (19.29 in)
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Weight
77.10 grams (49.58 dwt)

Adin