Often a piece comes along that you feel in your heart is special and was kept untouched and loved for a reason. This brooch is one of those, not only for its pristine condition, but for the glorious sentiment between a mother and daughter.
This piece specifically states that it is a love token, an affectionate gift from the lady’s mother and we can take a lot in just from looking at it.
It is a quite heavy piece and solid, with feathered tableworked hair with three pearls on milk glass on the front, with a simple twist of hair under glass on the reverse. We could assume that the mother’s hair is on top and the daughter’s underneath, but this is merely speculation without any absolute fact. One of the dangers of analysing a piece is becoming emotionally attached to it and making grand statements, when there is no basis for it. In the gold work, we can see subtle heart and clover motifs worked into the Rococo lines, yet nothing overpowers the large hair memento inside.
By the 1860s, brooches worn at the neck were becoming larger in fashion, so this piece is quite obvious and proud for its time. There’s no enamel of which to speak, so the gold design itself does the talking for it. Post 1861, the focus on sentimental jewels had grown far larger than it was even previously (if you’ve been reading this site, they had been quite popular with a large industry for the previous 250 years), however, post Albert’s death and Victoria’s adoption of perpetual mourning, combined with the introduction of the allowance of cheaper alloys in jewellery from 1854, the vales of sentiment focused upon the woman in the Victorian household was not only mandatory, but it was financially possible to buy the paraphernalia.