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19th Century Bacchante Maiden, Goddess of Wine Shell Cameo, 14K Gold Frame on Hold NWS 1 -1397 ~ Expertly carved in high relief, with magnificent details, this cameo of a Bacchante Maiden is a fine specimen of the Victorian passion for cameos at its peak of popularity. Nineteenth century American tourists, making the "grand Tour" of Europe, avidly sought these world renowned Italian cameos. They wanted to bring home jewelry that would inspire admiration and envy from women who couldn't afford such finery. The cameo can be viewed as a Victorian status symbol, a momento that affirmed you had the money and the leisure time to travel overseas. Remember, this was the Victorian era, when international travel was expensive, and not conceivable for "the working classes". Queen Elizabeth I enjoyed wearing cameos, and Catherine the Great maintained an impressive collection of them. Queen Victoria's fondness for cameos further inspired women everywhere. ~ Cameos have been carved for many centuries, but starting in the 17th century, cameos began to focus on classical or mythological themes. This cameo depicts a Bacchante Maiden, follower of Dionysus (Bacchus), the God of wine and fertility. In her hair are garlands of grape leaves and vines. A single bunch of grapes, like a crown, adorns the top of her head, while 2 more are depicted at the nape of her neck. The grapevine continues down her back, then up and across her shoulder. ~ One unusual aspect of this cameo is that the Maiden has her back to the viewer. She is seen in profile, glancing casually to her right. Most cameos show the subject from the front or the side, but much less frequently from the back. ~ Her profile is depicted in the early, classical tradition with a straight, "Roman" nose. Curls of hair spill onto her bare shoulder, with curls carved in profusion around her face. A few errant tendrils have escaped her upswept hair and can be seen, ever so faintly, at the back of her head. ~ Her toga is gathered in a knot at her shoulder, while drapes of the fabric can be seen beneath the grapevine that frames her neckline. ~ This cameo has been carved from shell, with the lighter color at the top. The expert carver worked his way deeper into the layers of the shell, gradually revealing more amber shades of the material. This was intentional and was used to add emphasis to the scene. In this cameo, a pale blush of amber color can be seen in the design on her right shoulder. ~ This cameo has been set into a rotating, swivel frame. The back was designed to hold a lock of hair or other Victorian momento. Thus, the owner had two brooches in one. The back is currently empty. I don't know if it ever contained anything. ~ The outer frame consists of 14k (or higher grade) solid gold (not plated). It has a cartouche at both the top and bottom of the frame. ~ The inner frame may be sterling silver, bezel set into what appears to be gold plated silver. Its outer edge bears the popular rope-twisted wire embellishment. I don't know if this is gold or not.
~ Measures 1 5/8" high and slightly over 1 3/8" wide. c. 1830-50, in excellent condition. There is evidence of chipping in the upper left hand side of the background that could only have been done while the cameo was outside of its setting. This may indicate that it was reduced to fit a smaller setting, and if so, it was done well over a century ago. The cameo itself is perfect, no chips, no scratches, no repairs. Research: Cameos, Classical to Costume, by Monica Lynn Clements and Patricia Rosser Clements. Cameos, Old and New, by Anna Miller. Cameos, A Pocket Guide, Clements & Clements. Price = $1,750.00on Hold b 1, vict 2, people |
