Ingrid Bergman’s Victorian Pendant | At the Maker’s Bench

The Ingrid Bergman project was initially a huge challenge for us. We were lucky to find such great samples from our resources so we could create this story board.

Typically we use story boards to develop a project. Having this on display in the studio keeps the research present.

I knew from my historical research that jewelry from the Victorian time period, could be made in precious and/or in non-precious metals. Since the budget dictated the scope of work we decided to go with brass and to plate it to look like gold.

Once the back plate was cut, we then cut and formed the top component of the pendant with hand tools. Soldering was fairly simple we used hard silver solder since there were going to be many levels of soldering on the construction of this pendant.

Bergman 060 Bergman 061

The borders of the pendant were hand formed from brass sheet. We had to get the exact curves to create the same look. It is a lot harder to copy a design then to create one from your mind. You have to be on the mark. If it doesn’t match exactly the original piece it will not look like a recreated work.

We always check the progress and accuracy of the design against the original photographs.

The bail had to match exactly. It was after several attempts working with the hammer and the forming block that we finally achieved right curves.

Assembled pendant ready for details to be solder in place.

Brass balls are not available at the jewelry’s supply store. So we made each and every one. Sorted them by size and carefully soldered them into place, using the same techniques from the Victorian times. (My eyesight will never be the same)

Assembled pendant ready for details to be solder in place.
This was the most challenging part of the project, attempting the impossible soldering of tiny balls of brass.
Kathleen Lynagh Designs
We cut square tubing so the balls would have a place to rest and provide a connection for the soldering of the two sections together.
Kathleen Lynagh Designs
We were on track with the design
Small pieces
Each element had to be soldered in place

There were several discussions on how the leaves were constructed. They could have been enameled, a popular design element from this time period in jewelry. We decided to make them rose gold.

I have been carving wax since 1991. I love the medium, hard plastic like wax is my favorite. You can really get exactly what you want in the wax. Once cast, you can still make changes in the metal. But my philosophy is do all the work in wax it is a lot easier to carve wax them file metal.

With the casting and finishing process behind us, the rest of the project went smoothly. We soldered on the three leaves using extra soft solder. It was the last of the soldering we would do on this piece.

Just checking the bail and how it would hang on the costume

We always keep the client in on the design process. Often with these complex designs once you go down a certain path there is really no going back, if you make a mistake in metal you are starting all over.

The gown was being restored and prepped for a costume collection exhibit. My client wanted to see how the pendant would look. So in between soldering we tried the pendant on the bodice. It was better than we had hoped for. It was a perfect match.

Cleaning and giving the final texture was all we needed to do.
Kathleen Lynagh Designs
All of the elements are in place, next step get it ready for plating.

We had selected a rich 18 karat yellow and rose gold finish to complete our Victorian re-creative pendant.

Click here to see the final Completed Project.


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