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Victorian Pyrite Crescent Moon Brooch

$375.00
About Details History
With its high metallic luster and warm, brassy-yellow color, iron pyrite is often better known by its nickname, "fool's gold." Commonly mistaken in early America for the real thing, John Smith actually sent home an entire boatload of pyrite thinking he had found gold while searching for a waterway to the Pacific Ocean. If you can't tell the difference by eye, you can figure out it which is which by striking the material with a metal implement. Gold is malleable and deforms under pressure while pyrite - derived from the Greek term for "fire" - produces sparks when struck. This Victorian crescent moon brooch is made in silver and set with slabs of fool's gold. 

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  • Materials: silver, iron pyrite
  • Age: c.1890
  • Condition: Very good - some spots of rust
  • Size: 1 3/8" diameter
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VICTORIAN (1837 - 1901) The Western world was thoroughly transformed during Queen Victoria’s epically long reign. New technology, urbanization, and industrialization created a middle class flush with disposable income, and for the first time, jewelry was mass-produced to sell to everyone. The Victorians were avid consumers and novelty-seekers, especially when it came to fashion, and numerous fads came and went throughout the 19th century. In jewelry, whatever fashion choices Queen V. made reverberated throughout the kingdom. The Romantic period reflected the queen’s legendary love for her husband, Albert. Jewelry from this period featured joyful designs like flowers, hearts, and birds, all which often had symbolic meaning. The queen’s betrothal ring was made in the shape of a snake, which stood for love, fidelity, and eternity. The exuberant tone shifted after Prince Albert passed away in 1861, marking the beginning of the Grand Period. Black jewelry became de rigeur as the Queen and her subjects entered “mourning,” which at the time represented not just an emotional state, as we conceive of it today, but a specific manner of conduct and dress. She wore the color black for the remainder of her life, and we see lots of black onyx, enamel, jet, and gutta percha in the jewelry from this time. Finally, during the late Victorian period, which transitioned along with a rapidly changing world into the “Aesthetic Movemement”, there was a return to organic and whimsical motifs: serpents, crescent moons, animals, and Japonaisserie designed for the more liberated “Gibson Girl”. During the second half of the 19th century, America entered the global jewelry market, with Tiffany and Co. leading the way. Lapidaries continued to perfect their techniques, and the old European cut emerged toward the end of the Victorian period. The discovery of rich diamond mines in South Africa made the colorless stones more accessible than ever before.
less
more

About Details History
With its high metallic luster and warm, brassy-yellow color, iron pyrite is often better known by its nickname, "fool's gold." Commonly mistaken in early America for the real thing, John Smith actually sent home an entire boatload of pyrite thinking he had found gold while searching for a waterway to the Pacific Ocean. If you can't tell the difference by eye, you can figure out it which is which by striking the material with a metal implement. Gold is malleable and deforms under pressure while pyrite - derived from the Greek term for "fire" - produces sparks when struck. This Victorian crescent moon brooch is made in silver and set with slabs of fool's gold. 

less
more

  • Materials: silver, iron pyrite
  • Age: c.1890
  • Condition: Very good - some spots of rust
  • Size: 1 3/8" diameter
less
more
VICTORIAN (1837 - 1901) The Western world was thoroughly transformed during Queen Victoria’s epically long reign. New technology, urbanization, and industrialization created a middle class flush with disposable income, and for the first time, jewelry was mass-produced to sell to everyone. The Victorians were avid consumers and novelty-seekers, especially when it came to fashion, and numerous fads came and went throughout the 19th century. In jewelry, whatever fashion choices Queen V. made reverberated throughout the kingdom. The Romantic period reflected the queen’s legendary love for her husband, Albert. Jewelry from this period featured joyful designs like flowers, hearts, and birds, all which often had symbolic meaning. The queen’s betrothal ring was made in the shape of a snake, which stood for love, fidelity, and eternity. The exuberant tone shifted after Prince Albert passed away in 1861, marking the beginning of the Grand Period. Black jewelry became de rigeur as the Queen and her subjects entered “mourning,” which at the time represented not just an emotional state, as we conceive of it today, but a specific manner of conduct and dress. She wore the color black for the remainder of her life, and we see lots of black onyx, enamel, jet, and gutta percha in the jewelry from this time. Finally, during the late Victorian period, which transitioned along with a rapidly changing world into the “Aesthetic Movemement”, there was a return to organic and whimsical motifs: serpents, crescent moons, animals, and Japonaisserie designed for the more liberated “Gibson Girl”. During the second half of the 19th century, America entered the global jewelry market, with Tiffany and Co. leading the way. Lapidaries continued to perfect their techniques, and the old European cut emerged toward the end of the Victorian period. The discovery of rich diamond mines in South Africa made the colorless stones more accessible than ever before.
less
more