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A turban ornament with three foliate cluster panels centrally set with table-cut 'polki' diamonds, weighing a total of approximately 7.18 carats, within a surround of oval shaped spinels, weighing a total of approximately 144 carats, and full-cut diamonds, suspending a fringe of seventeen pearls from below, to the tapered aigrette 'kalgi' suspending a pearl; the reverse finely decorated in floral design cut work with meandering branches and flowers of pavé-set diamonds, joined by a link-chain set with diamonds. The aigrette is detachable and can be worn as a brooch or pendant, and the three foliate panels can be worn as a sarpatti turban jewel or as a choker necklace or longer-length necklace.



The Sarpech

Throughout Indian history turban ornaments were worn by kings and gods as crowning symbols of temporal power. Turban jewels evolved from simple strands of pearls or bands of gems and the ubiquitous heron's feather to elaborate confections of gemstones. They were particularly popular during the Mughal period, when they were emblems of imperial might and material wealth. In a relatively short span of time, the compact kalgi – the stylised feather crafted from gold and precious gems - became grander and grander to emerge as the 'sarpech' – an impressive combination of the kalgi and sarpatti the flat gem-set band. Even as late as the middle of the 20th century, turban ornaments were manufactured for a discerning clientele. Amalgamating a wide variety of influences, pieces were crafted that were increasingly flamboyant, soaring upwards in a blaze of sparkle and brilliance.

This impressive sarpech is of classical form, composed of three foliate cluster panels centrally set with table-cut 'polki' diamonds and oval spinels within an intricate surround of pave-set diamonds, a fringe of pearls and an exquisitely worked reverse. Although stylistically, the jewel is typical of the late Victorian and the Edwardian period, it was crafted by Indian goldsmiths and manufactured in the pachchikam technique.

Pachchikam was popular in Gujarat and Western India in the early 20th century. Its origins lie irrefutably in European design and manufacturing practice. Reluctant to completely abandon the time-tested, traditional kundan technique of setting whereby layers of narrow ribbons of pure gold (kundan) form a solid wedge around the gemstone, the craftsman has encased the large spinels in a simulated open-claw gold setting. The large number of claws ensured that the stones were firmly held in place. The reverse of the jewel is outstandingly beautiful. The metal sheet is pierced with an intricate floral design with meandering branches and flowers pavé-set with minuscule diamonds.

While the form is quintessentially Indian, the lacy foliate design is apparently of Victorian and Edwardian inspiration. The Victorian era was a 'romantic' period wherein an eclectic array of motifs was combined with elements of nature. In the subsequent Edwardian period lace was translated into gold, silver, platinum and gems. Intricate styling was the hallmark of jewelry styles and incorporated filigree, the use of coloured gemstones, diamonds and pearls. Jewellers experimented with metals other than gold, often using more than one colour in a piece of jewelry. The Indian goldsmith was conversant with European design and techniques and adept at replicating then when required to do so.)

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