• Μενταγιόν Πένθους Βικτωριανό XL σε Όνυξ Μαύρο και Ασήμι – 5 εκ / 21 γρ – Περίπου 1870 - Κρεμαστό κόσμημα

presenting a splendid and imposing original victorian-era locket photo holder, dating from the second half of the 19th century and a superb example of sentimental art and mourning jewelry. This piece stands out in the antique scene for its generous dimensions, for museum-grade craftsmanship, and for the exceptional condition of every original component. With its total height of five centimeters, including the upper suspension ring, it fully falls into the category of extra-large jewelry, true visually impactful pieces that at the time were worn by women of the upper middle class over the strict high-necked dresses, supported by long velvet ribbons or substantial silver chains.

The authenticity and the value of the item are confirmed above all by its constructive materials and by the perfect correspondence between its physical proportions. The main body is made of natural black onyx, a detail certified by the substantial weight of no less than twenty-one grams and by the typical chilliness that the hard stone transmits to the touch. This structure is completely non-magnetic and does not respond in the slightest to a magnet, thus excluding any ferrous alloy or later imitation in darkened metal. The considerable weight is a crucial indicator, because for a five-centimeter extra-large pendant, a weight of twenty-one grams confirms that it is solid natural stone, excluding lighter materials very common at the time such as vulcanite or jade, which would have weighed half for the same dimensions.

One aspect that makes this locket a true masterpiece is the extraordinarily fine and hollowed thickness of the onyx, obtained through a wholly manual lapidary work at very high risk of breakage. In the 19th century, craftsmen cut hard stone slabs using thin discs of iron constantly lubricated with water and abrasive emery powder. The inner cavity was then patiently carved layer by layer using tiny steel chisels and rotary points mounted on pedal lathes, a meticulous technique that left on the inner bottom microscopic parallel striations still visible when viewed against the light. Only after hours of finishing and manual polishing with leather and metallic oxides did the stone acquire that deep mirror-like luster that remains intact even today.

The elaborate central monogram, which elegantly weaves letters J and M, might at first glance recall a silver filigree due to its sinuous lines. In reality it is a different and even more complex goldsmithing technique for the era, namely a completely relief application cut, pierced, and subsequently engraved with foliate motifs on a solid silver plate. The secret of fixing this decoration is visible when looking inside the lid, where small silver pins protrude through it. 19th-century artisans, unable to rely on adhesives, drilled the onyx by hand with millimetric precision to insert and then rivet these tiny studs, facing the enormous risk of cracking the thin stone sheet just to guarantee eternal hold.

The interior of the locket houses a precious testimony to the strict social code linked to the mourning cult in the Victorian era. The compartment indeed preserves its original moiré purple silk lining, remarkably intact and without visible damage, topped by its rare original protective glass of the period, perfectly intact and still liftable to allow the housing of a photograph or keepsake. The whole is completed by the thin hand-shaped silver frame for freeze framing to follow the oval contour, on whose surface a gentle natural brown patina is visible, a characteristic time-based oxidation that attests to the authenticity of the ancient metal. According to the etiquette of the time, introduced with the example of Queen Victoria, purple silk and lavender were the only colors allowed exclusively during the middle mourning period, the final phase that followed months of total black and marked the gradual and measured return of the person to social life. Finding this internal apparatus so complete and preserved in its original luster and consistency is a rarity of great historical and collectible value.

What makes the ensemble a true collectible piece is the extraordinary preservation of the era’s most fragile and functional details. The original black velvet is still perfectly visible along the inner edge groove and works in synergy with the small metal locking notch. This combination allows the locket to close still flawlessly and hermetically, offering the classic secure snap of the era. The sturdy side hinge, structured with an interior brass pivot that shows its fascinating original golden reflections at the points of micro-wear of the patina, ensures smooth movement and perfect millimetric alignment of the two gemstone valves. The upper suspension ring in brushed metal is an original open ring that presents its characteristic unfused-to-view joint, a technique designed specifically to preserve the onyx from thermal shocks.

The overall condition is exceptional and free from breaks or structural defects. The onyx maintains a deep vitreous and mirrored luster on both the front and the smooth back; the hinge is solid and every original element remains splendidly intact. This is a unique opportunity to enrich a collection of historical jewelry with an authentic piece, rare for its size and extraordinarily preserved over time.