Diamond aigrette, 1750s

Decorated to the centre with a crenelated building under siege, encircled by foliate sprays with plume surmount and tassel pendants, set with foil back rose diamonds, later brooch fitting to reverse, associated 18th century case, four small rose diamonds deficient, one diamond paste replacement.

By family tradition the aigrette was made for Lady Emma Hamilton, mistress to Lord Nelson.

Mounted in silver and gold, later double brooch pin fitting to reverse and adaptations to the reverse, with traces of lead solder commensurate with age and wear, one stone later replaced to middle of one plume and another stone later replaced near base of one plume, four small rose diamond points deficient. One stone drop from right hand plume later replaced with white zircon. Diamonds bright and lively, foil in good to fair condition, commensurate with age and wear.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Please note that colour, clarity and weight of gemstones are statements of opinion only and not statements of fact by Sotheby's. We do not guarantee, and are not responsible for any certificate from a gemological laboratory that may accompany the property. We do not guarantee that watches are in working order. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue, in particular to the Notice regarding the treatment and condition of gemstones.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The current Aigrette is unusual for its depiction of a crenelated building under siege, and is probably a depiction of the sack of Constantinople in 1204, which marked the culmination of the Fourth Crusade. It was to mark the end of the schism between the Western and Eastern Churches, which had begun with the massacre of the Roman Catholic inhabitants of Constantinople by the Eastern Orthodox population in 1182 and marked a great turning point in Medieval history by the Crusaders’ decision to attack the world’s largest Christian city. Ultimately it was to significantly reduce the power of the Byzantium Empire and was to accelerate the final collapse of Christendom in the East and the rise of Islam.

Byzantium has always held an allure for the West, a vestige of the Roman Empire and city of great wealth and culture during the Dark Ages. During the 18^th Century this Turkish fascination manifested itself throughout the Decorative Arts.

Both Wolfgang Amadeus Mozart Turkish themed opera Il Seraglio which premiered on the 16 July 1782 at the Burgtheater, Vienna and Mozarts 3^rd movement Rondo alla turca (Turkish March) from his Piano Sonata No. 11 were both highly acclaimed at the time.

The Honourable Charles Hamilton, 9th son and 14th child of the 6th Earl of Abercorn, built a garden folly in the form of a Turkish tent in the 1750s, within the famous landscape gardens he created during the 1738 to 1773, at Panishill Park Cobham. While in 1718 Sir Robert Walpole’s sister, Lady Dorothy Walpole, Vicountess Townsend, 1686-1726, was depicted by the Irish painter Charles Jarvas in a Turkish habit and turban, standing in a landscape filled with Turkish tents. This painting would have been familiar to fashionable 18^th century society when it was hung in the Great Parlour of Strawberry Hill in Twickenham, the famous Gothic revival villa built by her nephew Horace Walpole, where it can be seen to this day.

The aigrette would have been the perfect accompaniment to fix to a Turban whose iconography would have been understood within fashionable circles of the time.