Our Heritage pieces are truly one-of-a-kind treasures, each one carefully curated for its exceptional craftsmanship, provenance, and character. These pieces are selected with meticulous attention to detail, ensuring they embody the timeless elegance and cultural richness that define our collection. Because every Heritage item is unique, only a single piece is available, making each acquisition a rare and meaningful addition to any collection.
Each Heritage item is entirely handcrafted using centuries-old techniques that are deeply rooted in India’s rich jewellery traditions. Every piece is thoroughly inspected and expertly fitted by us to ensure it meets the standards of contemporary wear. Together with the client, we review whether any custom adjustments are desired, ensuring the piece aligns perfectly with modern comfort while preserving its historical integrity.
Heritage pieces are delicate and need to be handled with care. Please store your jewellery in the supplied pouches and cases, to prevent them from scratching.
Please avoid contact with water, perfume, other liquids or strong substances.
When not worn, we strongly advise jewellery from our Collections to be stored in the supplied pouch and cases. With the exception of enamelled surfaces, your jewellery can be cleaned with a soft toothbrush and soft jewellery polishing cloth. Avoid any soap
Items featuring waxed cotton cord should be kept away from water and other strong substances.
In our workshop we have a team of specialists who are experts in any restauration, restringing, stone setting or restauration challenge. Please contact concierge@vangelderjewellery.com for a consultation
North India, 19th century
Width: 5,6cm
SKU: 517
A gold broche/pendant set with a miniature painting (company school) on ivory depicting Humayons Temple in Dehli.
Sultan Humayun was the second ruler during the Mughal empire. Humayun's Tomb was ordered to built by his widow Hamida Banu Begum in 1565 and completed around 1572. The building has several jālī screens. Even multiple frames with different patterns of jālī in one screen.
This building shows typical elements of the Mughal mausolea, which were interpreted for the first time in this size for a tombe. The placement of the mausoleum in a square walled garden, the remarkable symmetry of the building and garden, the use of red sand stone and white marble as building material. None of these elements were new to the architectural traditions in India and Central Asia, but the combination in one complex was an innovation of the Mughal. All later tomb monuments, including the Taj Mahal, are built after the example of this one.
During the 18th and 19th centuries, the British employed Indian artists to illustrate the manners and customs of India and to record scenes of monuments, deities, festivals and occupations. These works later became known as ‘company paintings’ because they were created by Indian artists employed by members of the British East India Company. These company paintings were mostly on paper, but sometimes on ivory, especially those form Delhi. Company paintings are nowadays also used as historical documentation of origins of people, monuments and their surroundings of India. Because through these paintings we are able to have a glimpse of India through Indian eyes of the 1800s.
Literature
Untracht Oppi, Traditional Jewelry of India p 379-380
