Marcus Tempus
Whimsical, collectible and beautifully crafted, this Vintage 9ct Gold Carousel Horse Watch Fob, made in London during the 1950s, is a delightful celebration of traditional British goldsmithing. Inspired by the elegance and nostalgia of classic fairground carousels, it is a charming piece that perfectly captures the playful spirit of mid-century jewellery design.
Expertly crafted in 9ct yellow gold, the finely sculpted carousel horse stands proudly upon an ornate decorative platform, featuring graceful scrollwork and beautifully modelled details throughout. Every element has been carefully finished, creating a miniature work of art that showcases the quality of British craftsmanship from the period.
Originally designed as a watch fob, this versatile piece can also be worn as an elegant pendant on a favourite gold chain, making it an ideal addition to both vintage jewellery collections and everyday wear. Its distinctive design is sure to appeal to collectors, equestrian enthusiasts and anyone who appreciates unusual gold jewellery with character and history.
Whether worn as a unique pendant or treasured as a collectible keepsake, this delightful carousel horse offers timeless charm and a wonderful connection to London's rich jewellery-making heritage.
Carefully selected for the Vintage Jewellery Collection by Marcus Tempus, this one-of-a-kind piece celebrates craftsmanship, nostalgia and enduring British design.
Travel Through Time
Edwardian jewellery belongs to an age of elegance, optimism and graceful refinement. Designers used platinum to create airy settings that allowed diamonds and pearls to appear almost suspended against the skin.
Bows, ribbons, wreaths and garlands gave jewellery a softness inspired by lace, embroidery and eighteenth-century courtly ornament. The result was jewellery that looked delicate while demanding remarkable technical skill.
London & Paris, 1908
Platinum transformed diamonds, pearls and coloured gemstones into lace-like compositions filled with light.Edwardian jewellery may contain extremely fine platinum work, delicate milgrain, natural pearls, foil-backed stones or historic repairs. Avoid knocks, chemicals and unnecessary pressure around pierced settings.
Details to Discover
Pierced platinum and fine wirework allowed jewellers to create intricate, open designs that felt lighter than earlier jewellery.
Ribbons, swags, wreaths and bow motifs reflected the romantic neoclassical style associated with Edwardian and Belle Époque design.
Minute beaded edges softened the outlines of platinum settings, adding texture while helping diamonds remain the visual focus.
A Palette of Light
Platinum’s strength allowed settings to become finer, lighter and more open while securely holding diamonds and gemstones.
Old European, old mine, rose and small single-cut diamonds brought a distinctive hand-cut brilliance to Edwardian designs.
Natural pearls were especially prized and often paired with diamonds in necklaces, brooches, pendants and delicate garland jewels.
Sapphire, ruby, emerald, opal and other coloured stones could introduce restrained colour within predominantly white platinum jewellery.
Marcus Tempus Heritage Jewellery
Antique jewellery may show gentle wear, earlier resizing, replaced components or historic restoration. These details form part of its journey and are considered carefully during assessment.
We examine the condition of the setting, gemstones and principal components before an Edwardian or Belle Époque piece is offered for sale.
Dates and period descriptions are based on design, construction, materials, hallmarks and available evidence. Where an exact production date cannot be confirmed, we use the most appropriate period or style attribution.
Ask About This Piece →Questions & Answers
Edwardian jewellery generally refers to jewellery associated with the reign of King Edward VII and the years immediately surrounding it, approximately 1901 to 1915. In France, much of the overlapping design period is known as the Belle Époque.
Typical clues include delicate platinum construction, pierced openwork, milgrain edges, old-cut diamonds and motifs such as bows, garlands, ribbons and floral swags. Hallmarks and construction should always be considered alongside the design.
Diamonds and natural pearls were especially important. Sapphire, ruby, emerald and opal were also used to introduce carefully judged colour within predominantly white platinum designs.
The piece should be professionally assessed before cleaning. Fine platinum work, natural pearls, foil-backed stones, historic repairs and delicate milgrain may be unsuitable for ultrasonic or steam cleaning.
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