Ingrid Bergman's Victorian Pendant | Maker's Bench

 

The final pendant - how’s it made

How It’s Made

The Ingrid Bergman project was initially a huge challenge for us. The images from the film just did not provide enough information to re-create the pendant.

After hours and hours of research searching thru our books and on line - we found an amazing sample that just had to be part of the same production series. Below you will see a similar pendant that was produced in the mid 1860’s. Having this sample image to work with we were able to “see many of the details”.

Researching & Design Development:

Without this single image we would have been “making up” the design.

Without this single image we would have been “making up” the design.

Story boards or project art boards are a key part of the design process. These boards help us stay focused on the design of the project. And they keep the client well informed by communicating our direct and ideas. Below is our story board.

Story boards are an important part of the design process.

I knew from my historical research that jewelry from the Victorian time period, could be made in precious and/or in non-precious metals. Since the budget dictated the scope of work we decided to go with brass and to plate it with 18 kt gold.

Once the back plate was cut, we then cut and formed the top component of the pendant with hand tools. Soldering was fairly simple we used hard silver solder since there were going to be many levels of soldering on the construction of this pendant.

The borders of the pendant were hand formed from brass sheet. We had to get the exact curves to create the same look. It is a lot harder to copy a design then to create one from your mind. You have to be on the mark. If it doesn't match exactly the original piece it will not look like a recreated work.

We always check the progress and accuracy of the design against the original photographs.

The bail had to match exactly. It was after several attempts working with the hammer and the forming block that we finally achieved right curves.

Assembled pendant ready for details to be solder in place.

Brass balls are not available at the jewelry's supply store. So we made each and every one. Sorted them by size and carefully soldered them into place, using the same techniques from the Victorian times. (My eyesight will never be the same)

This was the most challenging part of the project, attempting the impossible soldering of tiny balls of brass.

This was the most challenging part of the project, attempting the impossible soldering of tiny balls of brass.

There were several discussions on how the leaves were originally made. They could have been enameled, a popular design element from this time period in jewelry or engraved metal. We decided to make them look like engraved metal in rose gold.

I have been carving wax since 1991. I love the medium, hard plastic like wax is my favorite. You can really get exactly what you want in the wax. Once cast, you can still make changes in the metal. But my philosophy is do all the work in wax it is a lot easier to carve wax them file metal.

With the casting and finishing process behind us, the rest of the project went smoothly. We soldered on the three leaves using extra soft solder. It was the last of the soldering we would do on this piece.

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The gown was being restored and prepped for a costume collection exhibit. My client wanted to see how the pendant would look. So in between soldering we tried the pendant on the bodice. It was better than we had hoped for. It was a perfect match for the size.

The gown was being restored and prepped for a costume collection exhibit. My client wanted to see how the pendant would look. So in between soldering we tried the pendant on the bodice. It was better than we had hoped for. It was a perfect match for the size.

We always keep the client in on the design process. Often with these complex designs once you go down a certain path there is really no going back, if you make a mistake in metal you are starting all over.

Next step was to ship the design to be plated in two tone gold..

Next step was to ship the design to be plated in two tone gold..

The final step in completing this piece would be the plating. We selected a rich 18 karat yellow for the pendant and rose gold for the leaves.