How to Make a Victorian Pendant
Our First Replica Jewelry Project
The Ingrid Bergman pendant project was initially a huge challenge for us. The photos from the film did not provide enough visual details to recreate the pendant. I firmly believe if I can not draw it I can not make it!
After seemingly endless hours of searching online - we finally found two pendants that showed the top design details.
We believed that these could have part of the same jewelry production series. The details were just too close. These pendants were produced in the mid 1860’s. It was a beginning to figuring out what this pendant really looked like.
Left: our sketch. Right: image taken from the client’s photograph.
Research & Design Development
Storyboards or project art boards are a key part of the design process.
Our story boards become the focal point for the design team’s communication. Storyboards help keep the client in the loop and well informed by communicating directly with the visuals to review design direction.
I knew from my 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. We also discussed whether or not the leaves were enameled or metal. We decided they were mostly likely engraved and a contrasting metal color. The leaves were plated in 14kt gold rose gold while the remaining pendant was to be plated in 18kt gold.
Story boards are an important part of the design process.
Fabrication
With the drawing complete - it was time to cut the brass plates.
Measure twice - cut once!
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.
This was the most challenging part of the project, attempting the impossible soldering of tiny balls of brass.
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)
“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.”
Wax Carving - A lost artform
I have been carving wax since 1991. I consider carving wax a lost art and that I am grateful I know how to carve wax.
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.
The gown was being restored and prepped for the next 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.
Here is the pendant right before we shipped it out for plating.
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. Wise words - measure twice - cut once.
Not knowing the exact color of the metal - we selected a rich 18 karat yellow for the pendant and rose gold for the leaves.
Studio image of the victorian pendant. Image by: Kathleen Lynagh
Once the project was completed the pendant and costume were sent to Florida for an exhibit. Select the link below to see it on exhibit.
Updated: May 2024
