Lace Jewels
14K Victorian Essex Crystal Chamois Pendant
An exceptional Victorian c.1890–1900 Essex crystal pendant, featuring a Chamois (Rupicapra rupicapra) reverse carved beneath rock crystal, painted and backed with mother of pearl, and modelled in 14k gold.
An Essex crystal is formed from a domed rock crystal (quartz) cabochon that has been meticulously reverse carved and then painstakingly hand painted, creating the remarkable illusion of a three-dimensional miniature encapsulated within the cabochon. This demanding technique requires both skilled engraving and fine brushwork, and was highly prized during the Victorian period.
The Chamois (Rupicapra rupicapra) is a graceful mountain-dwelling species found across the European Alps and Carpathians, easily recognised by its slender build, ebony facial stripes, and the distinctive hooked horns carried by both males and females. Agile and sure-footed, the chamois was often admired in nineteenth-century natural history for its ability to navigate steep, rocky terrain with remarkable ease. Victorian illustrators frequently depicted it as a symbol of alpine wilderness and quiet resilience. Its appearance in an Essex crystal miniature reflects this fascination with finely observed wildlife, offering a rare and characterful subject within jewellery of the period.
It is important to note that this example is carved from genuine rock crystal quartz from the Victorian era, and is far more valuable and durable than the glass and later plastic imitations that flooded the market in the c.1920s.
It was originally a cufflink that has been expertly converted into a wearable pendant. It can be worn on its own or layered with other charms, and is offered in excellent condition.
This pendant would be a wonderful addition for antique lovers with an appreciation for highland wildlife, as it represents both exceptional craftsmanship and a tangible collectible of late 19th century history.
It measures 14.8mm x 21mm with bail, 14.8mm x 14.8mm without bail, and weighs 2.73 grams.
Note: Please note that as an Essex crystal contains a hand painted reverse intaglio, it is advisable that the piece does not get wet or exposed to water. It can be gently cleaned by wiping it down with a wrung out damp cloth.
About Essex Crystal - Reverse Crystal Intaglio
"A reverse crystal intaglio is a rock crystal cabochon with an intaglio carved into the flat back (instead of the top as done previously.) The intaglio was also painted realistically with oils so, that when viewed through the top, the image appears three-dimensional. Finally, the back was sealed in order to preserve the painted areas. The technique originated in Belgium c. 1860 and is attributed to an artist named Emile Marius Pradier. It is notable to mention that collectors of Mr. Pradier’s work occasionally find his signature on his earliest creations. This technique was popularized in England by Thomas Cook who made crystals for Lambeth & Co. The popularity of the genre encouraged Mr. Cook to train an apprentice, Thomas Bean, to assist in the process. Bean’s son and grandson carried on the tradition of reverse crystal intaglio production keeping the secrets of this mysterious process all in the family.
Production of a reverse crystal intaglio begins with the mining and cutting of fine rock crystal from Brazil or Madagascar. A well-formed cabochon is the key to a beautifully made reverse intaglio and the tedious process of hand polishing it to perfection had to be completed before the design work could begin. A watercolor rendering of the image was painted on the underside of the cabochon and an oil and diamond dust mixture was used along with up to 250 scribing tools to carve the design into the interior of the crystal “…the deeper the carving the more pronounced trompe l’oeil effect.”1 Once the carving was established the painting process began with extremely fine brushes and paint working in reverse to create incredibly detailed images.
The motifs most commonly found for men were sporting themes – horses, dogs, foxes and birds and for women – monograms, birds, insects (especially popular at this time because of the association with the Bonapartes and their bee emblem,) butterflies and flowers. Reverse crystal intaglios were set as stickpins, buttons, and studs, mounted on tie pins, cuff links, lockets and charms. Occasionally back-to-back mounted crystals resulted in an orb-like crystal with the image apparently “floating” in its center. This relatively secret process, with its techniques passed through family members, kept it exclusive and expectations of quality were very high. They remained in fashion until poorly made glass and plastic imitations flooded the market c. 1920s.
The ability to distinguish these fine crystals from those of lesser quality requires a trained eye and a magnification source such as a loupe. Checking from the side, you can observe the depth of the carving and the minute detail of the painting. The backing on the early crystals was gold foil, followed by etched mother-of-pearl and finally plain mother-of-pearl, this backing gives an indication of the crystal’s relative age. A well-designed and executed crystal can be more valuable than the setting in which it is mounted." - The entire above excerpt is provided by Antique Jewelry University / Lang Antiques. Click here for the page written by Lang Antiques about Reverse Crystal Intaglio.
Measurements - 14.8mm x 21mm with bail, 14.8mm x 14.8mm without bail
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