Whilst each piece in our collection is beautiful and unique, some hold remarkable history and provenance, tell intriguing stories, or feature particularly rare gemstones. We have delved into the details of some of these important pieces below.
Here at Berganza we are most privileged to have a collection of early jewellery, dating back to the Medieval era, and spanning centuries. Of these, several pieces have fascinating, and noteworthy histories, one of which is this exceptional garnet ring, created circa 1200 – 1400 AD.
This was a tumultuous, yet transformative time in English history, as Plantagenet kings oversaw the establishment of English as the primary language, and a distinct English culture evolved amongst a series of conflicts, including the Hundred Years War. It was this era that saw Geoffrey Chaucer pen his Canterbury Tales, the rebuilding of Westminster Abbey in the Gothic style, and the founding of Cambridge university.
It was against this backdrop, that this incredible garnet ring was created. Exceptional in its design, the ornate carvings to the shoulders reveal the high level of skill that this medieval goldsmith had acquired through honing his trade over many years. Displaying the finest of craftsmanship, this ring would have been a true mark of the wealth and status of its wearer. So who might this ring have once belonged to? There are several factors to consider when examining the provenance of this piece. First, the garnet itself.
A gem of the finest quality, it showcases a deep red hue with purple undertones that has been masterfully cut en cabochon, to make the most of its incredible colour. The octagonal shape the garnet has been cut into is most unusual, as in this era, cabochons were mostly seen in rounded or oval forms. Indeed, an extraordinary level of skill would have been required to cut this rare shape so finely.
Another impressive aspect of this garnet is its size. With an approximate weight of eight carats, this gem is simply exceptional. It is no surprise, therefore, that distinguished historian and Geological Consultant, Dr Ronald Bonewitz PhD, concluded that based on the garnet alone, this ring would have certainly been owned by a ‘noble or royal figure.’
This would not be the first instance in which garnets have been linked to royalty, as in the Medieval era, red garnet was specifically favoured by the nobility. Garnet was relatively rare at this time, with the famous Bohemian garnet deposits in central Europe not discovered until later, around 1500 AD. Garnets have long been considered to have held protective properties, shielding its wearer from harm. This may be one of the reasons why it was so favoured by many Saxon and Celtic kings, and according to Judeo-Christian tradition, this gem was worn by King Solomon when he went into battle!
This long standing tradition of garnets being worn by royalty continued throughout history, with many notable monarchs known to have worn them, including Mary, Queen of Scots, and also Queen Victoria.
This particular ring weighs 9.7g, and is a UK finger size P (US 7 ½ ), suggesting it would originally have been worn by a gentleman. Upon closer inspection by The British Museum, they also narrowed down the era in which this ring was likely created to the 14th century (1300-1400 AD). With all these facts in mind, who might the potential candidates have been when it comes to ownership?
The 14th century spanned the rule of five kings; Edward I, Edward II, Edward III, Richard II, and concluded with the coronation of Henry IV in 1399. It is certainly likely that this ring would have belonged to either one of these noblemen, or a member of their family or court.
This garnet ring was reputedly discovered in the Kingswood region of Hull, particularly apt, when one considers its potential ownership! It is known that in the Medieval era, the Kingswood region was a designated hunting ground of King Edward I and his courtiers. Perhaps this ring was lost during one of their hunts, where it lay, undiscovered, until the 1990s, when it was found by a metal detector, in the incredible condition it is in today.
Whilst we may never know the true history, or owner of this ring, one thing is for sure, pieces like this with such an interesting provenance, and historical connection, are rarely available to own.
This ring has been examined by both experts at the British Museum, and the York Museums Trust. Also accompanied by documentation from the Portable Antiquities Scheme, having been declared under reference YORYM-CD0BFB, and a geologic report from expert Dr Ronald Bonewitz, with regards to accompanying documentation, or expert opinions you may wish to come with a piece of this age, you will rarely find better.
Read the full article
The cameo is defined as a gem, usually either a mineral or a shell, upon which a design has been carved in relief. Believed to have originated in Hellenistic Greece, during the third century BC, these miniature sculptures are thought to have been made with the primary purpose of personal adornment. The practice of mounting cameos in jewellery was continued by the Ancient Romans, in particular the Emperors and other high standing patricians, who could afford these jewels which served no other purpose than decoration.
After the fall of Rome the fashion for cameos went into a decline, until it was again revived during the Renaissance period, brought about by a keen interest in the ancient, and again in the Neoclassical revival of the eighteenth century, largely stimulated by the discoveries of the ancient Roman cities of Pompeii and Herculaneum.
In Victorian England cameo jewellery was particularly prized, due in part to the fact that the Queen owned and wore a number of cameo jewels. One example which can often be seen in official portraits is the Badge of the Order of Victoria and Albert, carved by Tommaso Saulini of Rome.
One of the top purveyors of Victorian cameos of the nineteenth century was John Brogden, and we are privileged to have acquired one of his exceptional cameo parures.
First apprenticed to a London watch and clockmaker with a workshop at Bridgewater Square, he became a partner with James William Garland in 1831. He was then a partner at the goldsmithing firm of Watherston and Brogden, located at 16 Henrietta Street in Covent Garden, taking full control of the business in 1864.
John Brogden became one of the premier dealers in cameo jewellery in London, setting both hardstone and shell cameos made by the best carvers in Italy. He was also a collector of antique cameos, at times lending pieces from his important collection to the South Kensington Museum (today the Victoria & Albert Museum). A number of cameo-set jewels made by Brogden are part of important museum collections today, including the Victoria & Albert Museum and The British Museum.
Brogden created jewels in various revivalist styles, most notably the Renaissance and Archaeological revival modes, the latter much inspired by the work of the famed Italian jeweller Castellani. Brodgen exhibited in the 1851 Great Exhibition in London, the 1855 Paris Exposition, and won a gold medal for his jewellery at the 1867 Paris Exposition.
The gold mounts in this parure are in the Greek revival style, indicated by the use of palmette plaques, an ancient Greek design element. The use of twisted wire, gold beading and fringe elements were typical of a more generalised Archeological revival style popular during the third quarter of the nineteenth century.
The subject of the cameos are also classical, depicting Selene, the Greco-Roman goddess of the moon, shown full-length riding a serpentine dragon in the brooch, and in profile wearing her crescent moon headdress in the earrings. The cameos are unsigned, as was common with those crafted from shell, however, Brogden very often set cameos by the famed carver Tommaso Saulini, and then after his death in 1864, his son Luigi. Thus it is quite possible that the cameos in the present set were made by Luigi Saulini, as the marks on the case allude to a date after the 1867 Exhibition.
An exceptional piece in every aspect, this cameo parure would make a fine addition to the discerning jewellery collector who covets quality, craftsmanship, and heritage.
"Blest be the art that can immortalize" - William Cowper
A true feat of craftsmanship, a fascinating piece of British history, and a tale of immense tragedy and true love. This ring holds a remarkable story which dates back to over 200 years ago.
Dated to circa 1818, this exquisite ring features a glass compartment containing braided human hair, protected by an oval old cut chrysoberyl to the left, and an oval old cut amethyst to the right. Hand-crafted out of a rich, buttery yellow gold, creating incredible intricate granular detail and a finely decorated gallery, this ring is certainly a labour of love.
Most significantly, clearly engraved to the bezel of the ring, it reads:
'Eliza Cheney Obt.16 May 1818 .32'
This piece is a mourning ring. These beautifully crafted pieces acted as visual reminders of loved ones passed, and prompted the wearer to live for the moment as life could be short. In many instances, hair from the deceased was incorporated into these designs, and they were often inscribed with the names and dates of the loved one.
After extensive research, I believe the deceased to be Elizabeth Cheney, formerly Elizabeth Ayre. Eliza, as she is referred to in the engraving, was born in 1786 in Leicestershire. More specifically, the small, quaint town of Gaddesby. Her youthful hair, delicately braided and protected for over 200 years lies behind the glass compartment of this ring.
Eliza’s father was John Ayre of Gaddesby, the High Sheriff of Leicestershire, and her mother was Anne Ayre. She lived at Gaddesby Hall along with her siblings, and in 1811 at 25 years of age, married Edward Hawkins Cheney (1778-1848).
As I delved further into the history of this piece, I made the fascinating discovery that Eliza's husband and likely original owner of this ring, Edward, is in fact a significant figure in British History, famed for his crucial role in the Battle of Waterloo.
Colonel Cheney was the senior captain of the Royal Scots Greys, who commanded the regiment at Waterloo after the commanding officer was killed, and the two majors seriously wounded. He was executive commander of the battle, and during those hours, showed a defiant bravery and expert leadership.
In the midst of the chaos of the Battle of Waterloo on June 18th 1815, Cheney led four charges, and had four separate horses killed from beneath him. On the fifth horse who was injured, he led the surviving soldiers off the field of battle. The importance of Cheney’s role in the battle was recognised almost immediately afterwards by being awarded the rank of lieutenant-colonel. A sculpture by Joseph Gott was created in the event of Cheney's death, depicting the pivotal moment a horse was shot from beneath him. This imposing, dramatic sculpture was created to stand in Gaddesby Hall where Eliza and Edward lived, but in 1917, was moved to Gaddesby church, where it resides to this day.
Cheney spent his entire active service career with the Royal Scots Greys, but in 1818, he retired to half-pay. This was due to the death of Eliza, who on the 16th of May of that year, tragically passed away during the birth of their second son, who also did not survive. She was 32 years of age.
I believe this remarkable ring was commissioned and worn in her memory, by her grieving husband, Edward. The use of her hair ensures her essence is eternally held and immortalised. To further encapsulate the love between Eliza Ayre and Edward Cheney, the choice of gemstones featured in this ring may also hold significance. One could suggest that the 'C' in chrysoberyl and the 'A' in amethyst, was a conscious choice by Edward to symbolise the union of the lover's surnames, Cheney and Ayres.
A design driven by sentimentality and unconditional love, this ring truly honours Eliza's memory. Mourning rings were often created with the hope that their loved one will live on, not only during the lifetime of the grieving, but beyond. Here we are, over 200 years later, recognising their love, and remembering Eliza.
Berganza has acquired a remarkable piece of history, an Elizabethan intaglio ring thought to have been commissioned and owned by the 17th Earl of Oxford, Edward de Vere.
This important ring was discovered by a metal detector in 2018 near Hedingham Castle in Essex, the ancestral home of the Earls of Oxford, and is a most extraordinary find! Jewellery surviving from the Elizabethan era is rare today, and this is a particularly exceptional example. The ring features a carnelian intaglio with a male bust engraved in profile and it has been suggested that the engraving depicts de Vere himself, in the style of a Roman Emperor.
De Vere was a favourite courtier of Queen Elizabeth I and became Earl of Oxford and Lord High Chamberlain at the young age of twelve, upon the death of his father. He subsequently grew up in the household of the Queen’s Secretary of State, William Cecil, as a royal ward.
De Vere led a very colourful life, and was embroiled in many plots and scandals, gaining quite a reputation among his peers. He spent much time in Europe, particularly the Italian states, where this ring was thought to have been created in the latter half of the 16th century. De Vere was also credited with bringing back many luxury items to the English court, although his extravagant spending led to much financial distress. Despite this, he remained a favourite of the Queen, who gave him an annual allowance to live off.
Edward de Vere was also known for his literary and theatrical endeavours, and was particularly highly regarded as a poet of the court. His poetry and plays were widely commended, and he became a patron of the arts, commissioning many books and translations. It has since been suggested that de Vere was writing under the pseudonym ‘Shakespeare’, an idea known as the ‘Oxfordian theory of Shakespeare Authorship’. Some of the evidence which has been put forward in favour of this theory include many instances in Shakespeare’s plays which mirror people and events in de Vere’s life. This theory is still debated today.
We rarely acquire a piece so historically connected and in such remarkable, museum quality condition.
‘Alas for fayte’ – three short words which immortalise a fourteenth century love affair between John of Gaunt, 1st Duke of Lancaster, and his mistress, Katherine Swynford, inscribed for posterity to the inner band of a sapphire posy ring. Typically a band of gold with a small inscription, beginning in the medieval period, posy rings were exchanged between lovers and friends. Set with a central sapphire cabochon (likely brought to Britain via the Silk Road), and richly ornamented with carved flowers and foliage, the Duchess of Lancaster posy ring is an unparalleled example of medieval jewellery. The main intrigue of the piece however, is the story behind it – the cryptic inscription, an ironic comment on an illicit love affair.
One of the richest men of his day and third son to King Edward III of England, John of Gaunt was born in Ghent in 1340. At the age of nineteen, he married his third cousin, Blanche of Lancaster, and was subsequently titled ‘Duke of Lancaster’ following the death of his father-in-law in 1361. In this position, he owned extensive lands across England and France, which earned him a handsome income of between £8,000 and £10,000 a year. Following Blanche’s death in 1369, John married Infanta Constance of Castile and thereafter made an unsuccessful attempt to secure the throne of Castile. This coincided with the arrival of Katherine Swynford, the daughter of an ordinary knight who was employed in the household as a governess. Shortly thereafter, Katherine and John entered into an extra-marital love-affair that would produce four children.
Whilst his marriages to Blanche and Constance were for monetary gain and political advancement, John of Gaunt’s relationship with Katherine appears to have been for love and he is known to have showered her with gifts and adoration. However, unfavourable public opinion meant that the affair was halted at some point in the 1380s.
As the saying goes, true love endures, and contrary to the advice of his peers, John married Katherine at Lincoln Cathedral in 1396 – two years after the death of Constance, his second wife. The fourteenth century writer, Thomas Walsingham commented ‘everyone was amazed at the miracle of this event since the fortune of such a woman in no way matched a magnate of such exalted birth.’ The marriage legitimised Katherine and John’s issue, who thereafter bore the surname ‘Beaufort’. Illustrious descendants of the couple include George Washington, James Monroe, Alfred Lord Tenyson and HRH Elizabeth II.
With Katherine by his side, John of Gaunt died from natural causes at Leicester Castle in 1399. She died some four years later, then in her early fifties.
The ring lives on as a rare survival of medieval craftsmanship, to tell a story of unending love.
This amethyst memorial ring is an incredible piece of English history created in memory of the Right Honourable George Grenville (British Prime Minister, 1763-1765).
George Grenville was a prominent British Whig statesman during the reign of King George III. Educated at Eton, Christ Church and Oxford University, he led a distinguished political career, which included holding the positions of Treasurer of the Navy, Leader of the Commons, Northern Secretary, First Lord of the Admiralty, and ultimately, Prime Minister. He is perhaps best known for the Stamp Act of 1765 on the American colonies which, due to major opposition there, played a part in provoking the revolution. He was one of five brothers, all of whom became MPs, as did his sons, George and William.
Setting aside the historical importance of the man it commemorates, this ring is a rare piece of Georgian craftsmanship in excellent condition. Due to the large size and quality of the ring it may well have been commissioned as a commemorative piece to be worn by his son, William Grenville, who also went on to serve as Prime Minister from 1806 to 1807.
In 2013 this incredible piece won Country Life- LAPADA Object of the Year competition as voted for by the British people.
At Berganza we are most privileged to hold some of the finest and most sought after of gems. From Kashmir sapphires, to pigeon blood rubies, we deal in rarities.
One of our most exceptional gems is a natural no oil Colombian emerald weighing an impressive 9.65 carats!
There are several factors which go into the prestige and value of an emerald; the first is origin. Emeralds from the old mines of Colombia are famed for being of the finest quality, known for their rich and saturated green hue, and superior clarity. First mined on an industrial scale by the Spanish in 1538, they were traded for precious metals with European and Asian clients, thus bringing this most exquisite of gems to international renown. These old mines have long since been exhausted, with these emeralds having decorated not only Incan emperors but also European royalty.
Another aspect which determines value is whether an emerald has been treated, as is true of the vast majority of emeralds on today’s market. Untreated emeralds, and even ones with minor clarity enhancement are exceptionally rare, and are valued accordingly. A naturally more included gemstone, emeralds are often referred to as the 'garden stone' and are a softer gem, measuring 7.5-8 on the Mohs scale. These factors mean that when cutting and faceting an emerald, a certain amount of oil is required in order to ensure the process runs smoothly. As such, it is quite common for this oil to penetrate any inclusions within the stone, thus improving its colour, and/or clarity. Therefore, for an emerald to be determined as having no oil in its inclusions is remarkably rare, and an indicator of it being a gem of the finest quality.
The Colombian emerald in this ring weighs an incredible 9.65 carats, and having no oil, you will rarely come across a more impressive emerald. Emeralds such as this are highly sought after by both collectors, and investors.
Child & Child were an English jewellers, established in 1880 by brothers Walter and Harold Child. Their partnership came to an end in 1899, after which point Harold Child operated the business alone until 1915 when he passed away and the business closed its doors. They are particularly known for their enamelled Art Nouveau jewels, as well as for their platinum designs, for which they were awarded a Royal Warrant from Queen Alexandra. Other royal patrons included Queen Victoria, King Edward VII and King George V.
This convertible pendant brooch was created between 1901 and 1910, under the watchful eye of Harold Child. High jewels dating from the Edwardian era, of which this piece is a superb example, share distinctive design, material, and technical features. In terms of style, fine Edwardian jewellery is perhaps most characterised by its delicate femininity, with pretty designs inspired directly from late eighteenth century French architecture and decorative arts. This fascination with the ‘Ancien Régime’, particularly the reign of Louis XVI, has its roots in mid-nineteenth century revivalism.
What further distinguishes high-end Edwardian era jewels is a refined selection of materials, namely a preference for all things white—diamonds, pearls, and platinum. By the turn of the century diamonds and pearls were already firmly established as the king and queen of gems, however platinum was just making its widespread entrance onto the jewellery stage.
Some of the most impressive examples of jewellery from this period display new piercing techniques made possible by the strength of platinum, with various intricate openwork designs seen, including platinum lace and millegrain. The result of these innovations was craftsmanship of unsurpassed delicacy, rarely, if ever replicated today.
This incredible piece ingeniously transforms into a selection of brooches and can also be worn as a pendant. Accompanied by a luxurious fitted box, the design, craftsmanship and presentation are second to none and harks back to an era of luxury, elegance and refined beauty.
Alfred Menu, born in 1828, was a prolific bijoutier and excellent craftsman who had been apprenticed to Louis Benoist in 1840, before he spent eight years with Marret & Jarry. Menu's beautifully-finished gold pieces were often inspired by architectural motifs and designs of the Renaissance, with revival styles proving fashionable in France throughout the mid-late nineteenth century.
Often commissioned by Frédéric Boucheron to produce gold jewellery, this bracelet demonstrates the high calibre of craftsmanship Menu had perfected. It features four large plaques with intricately carved goldwork over the top of a dark blue guilloché enamel, which exhibit incredibly detailed images; a winged cherub on the back of a dragon, a winged cherub sat on the back of a hound, a cherub sat astride a mythical winged beast and a cherub sat on the head of a dolphin. Four smaller plaques all depict heads of mythical creatures, true to the style that Menu was so well known for.
Signed 'Fic BOUCHERON PARIS' for Frédéric Boucheron, and with Menu’s maker’s mark, this bracelet represents the coming together of the finest creative and technical minds in the industry to create a magically mythical piece.