Nineteenth-Century Bifacial Watch Fob - Bronze - Bas-Relief Sculpture with a Putto and a Sphinx - Pendant - Exclusive

By style, construction features, and technical choices, the object is attributable to the British goldsmithing workshop of the late-Georgian / early Victorian era (Birmingham or London area), chronologically placeable between 1820 and 1850.

SCULPTURAL ARCHITECTURE AND BIFACE STRUCTURE:
The pendant’s handle is configured as a complex openwork bas-relief sculpture depicting a Neoclassical Revival mythological subject, deeply influenced by the archaeological taste spread by Grand Tour travel: a winged putto (Cupid) playing the lyre, seated on the back of a majestic winged sphinx.
A peculiar feature of the manufacture lies in the entirely two-faced, round, mirror-like structure: the entire figurative composition is not a unilateral bas-relief or a hollow shell printed on a single side, but is reproduced as a mirror image on both faces. Front and back retain the same plastic precision, anatomical definition of the curls, feathering of the wings, and finish of the details.
Iconographically, the subject embodies the classical allegory of "Love and Art (Cupid with the lyre) conquering and mastering Strength Brutal and the Enigma (the Sphinx)."

HISTORICAL PROFILE OF THE OWNER:
Based on the absence of a private heraldic seal and the complexity of the theme, this piece likely belonged to a high-society dandy or a cultivated young gentleman of the era. As men’s fashion in the nineteenth century grew severe and dark, the watch fob represented the only true jewel permitted to display one’s status and cultural level stemming from classical studies and Grand Tour travels.

ANALYSIS OF MICRO-ENGRAVINGS AND TECHNICAL DETAILS:
The piece employs the so-called "faux swivel" type, in which the structural frame was made fixed to give stability to the two-faced sculptural apparatus. The executional complexity becomes evident upon macroscopic inspection of the interspaces:
* Bullet-point internal burin finish: The inner metal walls, visible through the sculpture’s openings, are entirely embossed and finished with meticulous stippling done by hand.
* Guilloché engraving: The background enclosed by the polished scrolls of the lower frame shows a dense, geometric micro-waved pattern in the guilloché style, coordinated with very fine vertical hatchings beneath the putto’s belly.
These microscopic treatments attest to an elite manufacture executed on commission to generate sophisticated light-refraction contrasts and to enhance the glossy volumes in relief.

THE STONE AND THE DYNAMIC SLANTING FEATURE:
The base houses a thick slab of opaque glass paste in the famous Robin’s Egg Blue hue, the noblest and most sought-after shade in Victorian jewelry. Under bright light, the characteristic concentric swirl marks of era casting are clearly visible.
The stone presents an intentional smooth lower dome that confers a captivating rocking effect, akin to a tumbler or roly-poly. When placed upright on a smooth surface, the pendant sways and tilts gracefully without ever tipping, perfectly balanced by its 17.5 g weight.
This dynamic explains the absence of an heraldic inscription on the gem’s bottom: the surface was deliberately polished and left smooth by the artisan to allow fluid, frictionless movement on a table, while protecting the material from early wear or chipping. An exquisite engineering finesse of the period, conceived both as a tabletop distraction during writing and as an active protective system for the gem itself on the desk.
* Era: 19th Century (circa 1820-1850).
* Attribution: British goldsmithing workshop (Birmingham / London).
* Manufacture: Symmetrical bifacial openwork sculpture, mirrored.
* Craft: Original gilding, geometric guilloché engravings, burin relief.
* Materials: Bronze/antique gilt brass alloy, Robin’s Egg Blue glass paste.
* Total weight: 17.5 grams (exceptionally dense and solid for the type).
* Condition: Excellent structural state. Retains original gilding with consistent, soft wear on the reliefs on both sides. Internal crevices show natural green oxidation deposits (verdigris), an excellent patinated indicator of historical authenticity. Glass paste is perfectly intact, free of chips or fractures.
A lot of high-collection status and documented aesthetic rarity, ideal for collectors or to be converted into an exclusive pendant statement for antique chains and bracelets.