Gold Mary Medallion
When you search for a gold mary medallion, you are examining French pendants and charms spanning from 1890 to 1950.
Gold Mary Medallion
A gold mary medallion typically appears as an 18K yellow gold religious pendant or charm medal originating from France. These devotional pieces portray the Virgin Mary, the Madonna and Child, or Notre Dame of Lourdes in various miniature sculptural forms.
Most examples found in this selection date from the early twentieth century, specifically around 1910, alongside pieces stretching from 1890 into the mid-century decades of the 1940s and 1950.
The primary formats include oval medal pendants and charm necklaces designed to be worn close to the heart. Each piece carries devotional imagery cast, engraved, or enamelled by period workshops.
Materials and Techniques
Goldsmiths utilised 18K yellow gold, rose gold, and occasionally white gold to form the structural frames and medallions. These precious metals provide a warm foundation for the intricate religious imagery cast upon the surface.
Enamel work, particularly plique-à-jour, adds translucent colour to the backgrounds and robes, allowing light to pass through the composition. Artisans also incorporated mother of pearl backings, seed pearls, and small diamonds to enhance the visual depth of the devotional scenes.
Gold Mary Medallion Retail Price Guide 2026
Typical asking prices for gold mary medallion among the pieces listed under this phrase on Sellingantiques today, from the lower quarter to the upper quarter. They describe what is for sale here now, not the wider market.
The inventory concentrates heavily on French devotional pieces dated between 1890 and 1950.
Evaluating the Craftsmanship
The distinction between standard items and superior examples lies in the fineness of the metalwork and the complexity of the enamelling. Pieces featuring detailed plique-à-jour work demand higher technical skill from the workshop than simple stamped metal.
The clarity of the facial expressions on the Madonna and the precision of the engraved borders indicate the hand of a skilled medallist. Furthermore, the inclusion of carefully set seed pearls or mother of pearl panels elevates the overall refinement of the pendant.
Emile Monier·Pageli Perriat·Emile Dropsy·Augis Grun·Serraz
The Gold Mary Medallion Glossary
- Plique-a-Jour
- An enamelling technique where translucent enamel is fired without a backing metal, resembling miniature stained glass. This method allows light to illuminate the coloured portions of the pendant.
- Seed Pearl
- Very small natural pearls often set around the border of a religious medal. These delicate pearls add a soft luminance to the gold frame.
- Madonna and Child
- A traditional devotional subject depicting the Virgin Mary holding the infant Jesus. This motif appears frequently on French religious pendants from the late nineteenth and early twentieth centuries.
- Medallion
- A large metal coin-like pendant struck or cast with commemorative or religious imagery. They were commonly worn as personal talismans or devotional items on chains.
Gold Mary Medallion: Frequently Asked Questions
What periods do these medals come from?
The available selection spans from the late nineteenth century through to the mid-twentieth century. Most examples cluster around the nineteen-tens, reflecting French devotional jewellery production of that era.
Earlier pieces from 1890 tend to display deeper rose gold tones and hand-engraved details, while items from the 1930s and 1940s introduce different modernist influences to the traditional religious imagery.
How were these pendants worn originally?
These medallions were primarily worn suspended from delicate gold chains as personal necklaces. Owners kept them close as daily devotional objects or protective charms.
Many retain their original suspension loops, allowing them to be easily attached to modern chains or traditional charm bracelets.
How do I identify French pieces?
French origin is typically indicated by the stylistic conventions of the medallic art, the specific religious iconography of Notre Dame and Virgo Virginum, and the signatures of Parisian makers. The gold standard of 18K is also characteristic of French workshop production from this period.
Many medals bear the distinct stamp or signature of the artist on the face or reverse of the gold disc.