Mastery of Design: The Jeweled Ivory Cup of King George IV

Ivory, Silver Gilt and Jeweled Cup
Belonged to King George IV
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Here’s one of the stars of The Royal Collection. This jeweled ivory cup is known by the curators of the collection as “The Brain,” since…well, it looks a bit like a brain. This was one of the many treasure collected by the oddly opulent King George IV whose taste for just about everything drained the Royal coffers.

Made in South Germany (or, some say, Austria), when the ceremonial cup was first purchased by George IV, it was a work of carved ivory mounted in gilt silver. As grand as it was, it wasn’t special enough for Georgie who had the emeralds, rubies and turquoises added just to make it a little shinier.

The carved, lobed ivory cup and cover is surmounted by a finial carved with a figure of Diana Goddess of the Hunt. She’s holding a spear and has her trusty hunting hound beside her. Sleeping hunters and animals (hares, hounds and boars) surround her and the reeded silver band.

The applied ivy leaves were mounted with the rubies, emeralds and turquoises which reflect the carved, high relief scenes around the sides of the cup. The bowl is supported on a stem carved as Hercules on a domed rocky base—surrounded by a silver-gilt border and similar rim of jeweled ivy leaves.

When the cup first arrived in England—long before being purchased by George IV (it changed hands several times before George got a hold of it), its appearance was so astounding that it was mentioned in the “Morning Post and Daily Advertiser” which noted:

RECENTLY brought from Vienna, and added to the Museum, an inconceivably beautiful effort of art.... consisting of a cup or vessel carved in ivory; the figure of Hercules dressed in the skin of the Nemean lion forms the handle or stem.

Object of the Day, Museum Edition: The Schindler Chatelaine, 1760

Enameled Gold Chatelaine
Part of a set by Philipp Ernst Schindler
1760
The Victoria & Albert Museum

While Eighteenth-Century Viennese goldsmiths were widely heralded for their exceptional gold boxes, they also produced a wide range of other luxury items which would have been found in Europe's most affluent households.

The lady of a fine house would always have had a superb chatelaine--a pin from which she could suspend a watch and other necessary household items.  Even cherished housekeepers would sometimes be gifted such extravagant items.  Take this glorious chatelaine, for example, which represents the best of the Viennese tradition of  enameled gold objects.

The Schindler Chatelaine, made by Philipp Ernst Schindler II, forms part of an exceptional set designed to neatly cater to the necessities of elegant life.  The set comprises an étui (or small case) with a knife, snuff spoon, toothpick and ear pick, watch and châtelaine (from which the watch hung) and a matching snuffbox. The chatelaine was worn at the waist either on a belt or apron.

Figure of the Day: Boy on a Snail, 1907

Boy on a Snail
Wiener Keramik
Austria, 1907
The Victoria & Albert Museum

1907 saw Austrian designer Michael Powolny create sketches for this earthenware and enamel figure of a boy on a snail. The modeling and production was completed at the factories of Wiener Keramik, known for their fine work in Vienna. The underside is marked with the monograms, “MP” and “WK.” Wiener Keramik was founded by Michael Powolny and Berthold Löffler in 1905. In 1919, the successful manufactory became known as Gmundner Keramik.

Art Nouveau, n'cest pas?

Gifts of Grandeur: The Eugène de Beauharnais Bonbonnière, 1809-1819

This and all related images from:
The Victoria & Albert Museum

This mighty fancy candy dish was made between 1809 and 1819. The portrait atop the lid depicts Eugène de Beauharnais, the stepson of Napoleon Bonaparte through his first wife Josephine. Eugène remained a staunch supporter of his step-father, engaging on the Emperor’s behalf in a number of notable battles. Eugène was viceroy of Italy for many years, but following the overthrow of Napoleon, he took refuge in Munich where he died at the age of 43.

The cameo that we see was carved by Giovanni Beltrami (1779-1854) who trained as a stone-cutter under the celebrated Giovanni Pichler. Beltrami was so skilled that he was said to be able to cut twenty figures on a single stone and is known to have created a miniature version of Leonardo da Vinci's Last Supper on a topaz. Beltrami was favored by a number of European monarchs, but none more so than the Empress of Austria, Elisabeth.

This attractive vessel, in addition to the cameo features a base of pierced and chased gold, and, on the lid, a frame of  pearls, turquoise, agate, enamel, and glass.

Father Christmas Through the Ages: “A Merry Christmas to ‘Yon,’” 1910

The Victoria & Albert Museum

This Christmas postcard is gilded and embossed. The front depicts of Santa Claus in a red robe, as he stops outside of a house with a basket of dolls and toys. He also holds a doll and a toy trumpet.

The card is further adorned with a decorative border at the left side and top showing fir-tree branches adorned with candles and apples.

At the bottom are the words "A Merry Christmas to yon (sic)" in gilt letters. The card was made in Austria, possibly accounting for the misspelling of the English word, “you.”

Mastery of Design: The Schlichtegroll Necklace, 1855

Necklace from a parure
Vienna, c. 1855
The Victoria & Albert Museum

Austrian jeweler Schlichtegroll showed an impressive parure at Paris Universal Exhibition of 1855. The suite was purchased by the V&A after the exhibition as an example of a handsome and important-looking parure which was made inexpensively. The set includes a bracelet, brooch and earrings which were inspired by Seventeenth Century jewels. Schlichtegroll specifically designed the suite to be massed produced cheaply from parts which were interchangeable and standardized. 

It does look quite expensive, doesn’t it? It’s not junk, after all. Take a look at the necklace. It’s made of silver gilt, painted in imitation of enamel. The piece is set with almandine garnets, emeralds and green pastes, pearls and imitation pearls. So, there are some real gems, and some fakes, not unlike some of the less expensive jewels available today. It was meant for the merchant class who wanted to give the impression of being more prosperous than they really were—not quite aristocrats and not laborers. I think it serves its purpose quite handsomely and elegantly. 

Object of the Day, Museum Edition: A Mother of Pearl Veneered Desk Set, Austria, 1910

Desk Set
Vienna, 1910
The Victoria and Albert Museum

Today, we’ll be looking at objects which use mother-of-pearl. Mother-of-pearl has long been celebrated for its beauty and has been employed in all manner of art for centuries. This beautiful medium was never more popular than in the Victorian and Edwardian eras. Let’s begin by taking a look at a stunning suite of objects from the last gasp of the Edwardian era.

Here, we see a desk set from 1910 which was made in Vienna as designed by Josef Hoffmann, and manufactured by Wiener Werkstätte. The whole of the set is veneered in mother-of-pearl and ebony, with bases lined with black cloth, and other elements of leather, glass and silver plate.

The set consists of an inkstand, a candlestick, a penholder, a seal, and a card holder. The inkstand is rectangular, veneered with rectangular plaques of mother-of-pearl and inlaid with a horizontal stringing of ebony. It features hollowed-out areas to support the candlestick and penholder. The candlestick takes a similar rectangular shape. It, too, is veneered with rectangular plaques of mother-of-pearl, the whole length of which is inlaid with two vertical strings of ebony per side. The top offers a circular silver-plated inset to hold a candle.

The matching penholder is veneered with similar plaques of mother-of-pearl and strings of ebony with the top boasting a circular silver-plated inset to hold pens. Meanwhile, the seal of matching materials has a top with a square silver-plated inset. And, finally, the card holder is rectangular with one side higher than the other, the sides are veneered with rectangular plaques of mother-of-pearl, and inlaid with vertical stringing of ebony. The sloping top features a rectangular inlaid pocket of leather.

Small luxury objects such as this, veneered in mother-of-pearl, were produced in great numbers in Vienna in the Biedermeier period (1815-1840). About sixty years later, the designers of the Wiener Werkstätte Co. reintroduced the material, but the shape of the early Twentieth-Century pieces is squarer with more geometrical applied adornment. By 1912, sets such as this one sold for tremendous amounts of money.

Object of the Day, Museum Edition: The Russian Imperial Stickpin, 1890

Stickpin

Austria, 1890

The Victoria & Albert Museum

I like this. Here, we see a gold stick pin with a head enameled in red and set with rose-cut and brilliant-cut diamonds in the form of a Russian imperial crown above the monogram E

Made in Vienna around 1890 by an unknown jeweler, this stickpin was possibly made for Elizabeth Feodorovna (1864-1918), daughter of Louis IV, Grand Duke of Hesse and the Rhine. Elizabeth married the Grand Duke Serge of Russia (1857-1905) in 1884.

Gifts of Grandeur: The Eugène de Beauharnais Bonbonnière, 1809-1819

This and all related images from:
The Victoria & Albert Museum

This mighty fancy candy dish was made between 1809 and 1819. The portrait atop the lid depicts Eugène de Beauharnais, the stepson of Napoleon Bonaparte through his first wife Josephine. Eugène remained a staunch supporter of his step-father, engaging on the Emperor’s behalf in a number of notable battles. Eugène was viceroy of Italy for many years, but following the overthrow of Napoleon, he took refuge in Munich where he died at the age of 43.

The cameo that we see was carved by Giovanni Beltrami (1779-1854) who trained as a stone-cutter under the celebrated Giovanni Pichler. Beltrami was so skilled that he was said to be able to cut twenty figures on a single stone and is known to have created a miniature version of Leonardo da Vinci's Last Supper on a topaz. Beltrami was favored by a number of European monarchs, but none more so than the Empress of Austria, Elisabeth.

This attractive vessel, in addition to the cameo features a base of pierced and chased gold, and, on the lid, a frame of  pearls, turquoise, agate, enamel, and glass.

Objects of the Day: Restored Kasperl Puppets

Remember this set of vintage German Kasperle puppets? They were sad. They stank of cigarette smoke and had mostly lost their bodies. What little of their cloth trunks remained was rotting and torn. Still, I wanted them and knew that they could have a good life once again.

Many weeks later, my mother, father and I (though I didn’t really have much to add until the end) managed to reconstruct their bodies.

Don’t they look great? Frankly, they’re better appointed than they were originally. And, they seem quite pleased. 

Kasperle, the German Mr. Punch, has a handsome new coat with yellow accents and a kicky ruff. The wizard has been given a handsome new robe, gold trimmed cape, and “jeweled” hat. The grandmother looks quite lovely in her new gown with heart-shaped buttons and ribbon-trimmed apron. Even the witch and the devil got a makeover. The devil seems quite proud of his glittering cape, rhinestone buttons and handsome gloves. Meanwhile, the witch is dressed like Mrs. Roper!

Even the 1950s-era rubber Punch got a boost in his appearance with a new ruff, gold buttons and accents for his hump. 

All is well in puppet land.

Mastery of Design: The Schlichtegroll Necklace, 1855

Necklace from a parure
Vienna, c. 1855
The Victoria & Albert Museum

Austrian jeweler Schlichtegroll showed an impressive parure at Paris Universal Exhibition of 1855. The suite was purchased by the V&A after the exhibition as an example of a handsome and important-looking parure which was made inexpensively. The set includes a bracelet, brooch and earrings which were inspired by Seventeenth Century jewels. Schlichtegroll specifically designed the suite to be massed produced cheaply from parts which were interchangeable and standardized. 

It does look quite expensive, doesn’t it? It’s not junk, after all. Take a look at the necklace. It’s made of silver gilt, painted in imitation of enamel. The piece is set with almandine garnets, emeralds and green pastes, pearls and imitation pearls. So, there are some real gems, and some fakes, not unlike some of the less expensive jewels available today. It was meant for the merchant class who wanted to give the impression of being more prosperous than they really were—not quite aristocrats and not laborers. I think it serves its purpose quite handsomely and elegantly. 

Figure of the Day: Boy on a Snail, 1907

Boy on a Snail
Wiener Keramik
Austria, 1907
The Victoria & Albert Museum

1907 saw Austrian designer Michael Powolny create sketches for this earthenware and enamel figure of a boy on a snail. The modeling and production was completed at the factories of Wiener Keramik, known for their fine work in Vienna. The underside is marked with the monograms, “MP” and “WK.” Wiener Keramik was founded by Michael Powolny and Berthold Löffler in 1905. In 1919, the successful manufactory became known as Gmundner Keramik.
Art Nouveau, n'cest pas?

Mastery of Design: The Jeweled Ivory Cup of King George IV

Ivory, Silver Gilt and Jeweled Cup
Belonged to King George IV
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Here’s one of the stars of The Royal Collection. This jeweled ivory cup is known by the curators of the collection as “The Brain,” since…well, it looks a bit like a brain. This was one of the many treasure collected by the oddly opulent King George IV whose taste for just about everything drained the Royal coffers.

Made in South Germany (or, some say, Austria), when the ceremonial cup was first purchased by George IV, it was a work of carved ivory mounted in gilt silver. As grand as it was, it wasn’t special enough for Georgie who had the emeralds, rubies and turquoises added just to make it a little shinier.

The carved, lobed ivory cup and cover is surmounted by a finial carved with a figure of Diana Goddess of the Hunt. She’s holding a spear and has her trusty hunting hound beside her. Sleeping hunters and animals (hares, hounds and boars) surround her and the reeded silver band.

The applied ivy leaves were mounted with the rubies, emeralds and turquoises which reflect the carved, high relief scenes around the sides of the cup. The bowl is supported on a stem carved as Hercules on a domed rocky base—surrounded by a silver-gilt border and similar rim of jeweled ivy leaves.

When the cup first arrived in England—long before being purchased by George IV (it changed hands several times before George got a hold of it), its appearance was so astounding that it was mentioned in the “Morning Post and Daily Advertiser” which noted:

RECENTLY brought from Vienna, and added to the Museum, an inconceivably beautiful effort of art.... consisting of a cup or vessel carved in ivory; the figure of Hercules dressed in the skin of the Nemean lion forms the handle or stem.

Objects of the Day: A Set of German "Kasperle" Puppets

Because a thirty-eight year old man needs more puppet heads. That’s why. Oh, you didn’t ask. Nevertheless…

Remember this vintage puppet head which I saved from a warehouse in Britain? Well, because I think things with heads should have bodies, my parents were kind enough to give him a trunk.

So, of course, I needed more. They recently gifted me with this set of 1950s-era puppets from Germany. The set is complete, but in poor shape. The heads are in superb condition, but most of their wee puppet bodies are gone and what little remains stinks to the end of time of cigarette smoke.

Is it Mr. Punch? Is it Judy? Nope. Close, but no. We have here, Punch’s German (and Austrian) cousin Kasperle (also spelled Kasperl or Kasper, depending on the region). Kasperle, like Mr. Punch, developed from the Commedia dell’Arte character of Pulcinella. Kasperle was a slightly later adaptation, coming about in the mid Nineteenth Century. He looks quite a bit like Mr. Punch, but lacks our hero’s chin and exaggerated hump. 

Kasperle, is not married. Where Mr. Punch has Judy (until he whacks her), Kasperle is a single fellow. He does have a lady friend. She’s called Gretel. Gretel differs from Judy in almost every way. Whereas Judy antagonizes Mr. Punch for the most part and, in the end, feels his wrath, Gretel is Kasperle’s good friend and companion. Together, they fight evil (the Devil specifically) and authority—working as a team to outsmart their enemies. Our Mr. Punch is more independent and, with the exception of Dog Toby and occasionally Joey the Clown, is alone in his battle. But, we don’t have a Gretel in this set.

Who do we have?

Well, of course, there’s Kasperle with his crimson cap. He a little less grotesque than Mr. Punch, and, honestly, just a bit goofy looking.

Then, we have “The Grandmother.” Kasperle lives with his grandmother. She’s the one with the lavender bonnet. The grandmother character is the voice of reason and calm. She encourages Kasperle to fight the Devil and the crocodile, and when he wins, he returns home and Grandma gives him sausages. 

We have the Wizard. I wasn’t quite sure who this character was at first since he’s just a head with a scary beard. At first, equating the set to Punch and Judy terms, I concluded he was the Doctor. But, then, after awhile—without knowing for real—that he was a wizard. As it turns out, I was correct. The Wizard is a traditional part of the Kasperle plays. He’s a character of infinite power, but only uses said power for good. He is patient and kind with Kasperle and is given to overdramatic displays. 

On the other hand (ha!), we have the Witch. The Witch is Kasperle’s enemy. She casts spells on the other characters, usually turning them into chickens. Furthermore, she seems motivated by a desire to steal the Grandmother’s cake. That’s terrible! 

And, of course, we have the Devil. He’s exactly what he seems. 

Overall, Kasperle plays seem to be more sedate than Punch and Judy plays. There’s some slapsticking here and there, but it’s not the wild free-for-all that one gets with Punchinello. These days, these puppets are mostly used to retell fairy tales.

You may wonder what will happen to these heads and their remaining bits of body. Well, they’re going to get a new life and new bodies thanks to my mother and father. The heads have been cleaned (they’re in excellent shape) and new bodies and costumes are being constructed as we speak. They’re going to be quite smart looking! I will make sure to share the finished puppets with you.

Mastery of Design: The Schindler Chatelaine, 1760

Enameled Gold Chatelaine
Part of a set by Philipp Ernst Schindler
1760
The Victoria & Albert Museum

While Eighteenth-Century Viennese goldsmiths were widely heralded for their exceptional gold boxes, they also produced a wide range of other luxury items which would have been found in Europe's most affluent households.

The lady of a fine house would always have had a superb chatelaine--a pin from which she could suspend a watch and other necessary household items.  Even cherished housekeepers would sometimes be gifted such extravagant items.  Take this glorious chatelaine, for example, which represents the best of the Viennese tradition of  enameled gold objects.

The Schindler Chatelaine, made by Philipp Ernst Schindler II, forms part of an exceptional set designed to neatly cater to the necessities of elegant life.  The set comprises an étui (or small case) with a knife, snuff spoon, toothpick and ear pick, watch and châtelaine (from which the watch hung) and a matching snuffbox. The chatelaine was worn at the waist either on a belt or apron.

Mastery of Design: The Lamb of God Pendant, 1650-1700

Reliquary Pendant
1650-1700
The Victoria & Albert Museum

Pendants like the one we see here were usually made to be suspended from a rosary. These Seventeenth Century pendants  were typically made of horn and glass or rock crystal and served as reliquaries to contain relics of martyr saints as well as a piece of wax labelled "Agnus Dei" (meaning "Lamb of God", or Christ). These pendants were considered to have amuletic powers that could protect the wearer from harm.

This example is made from a paschal candle blessed by the Pope after the Agnus Dei prayer.
A double-sided pendant made of horn, it is set in the front behind glass with a verre eglomisé (reverse painted glass) plaque, depicting the Virgin Mary. Set into the back are small relics and pieces of paschal candle, labeled "Santa Martyr" (martyr saint) and "Agnus Dei" (lamb of God).

The piece was assembled in Salzburg, Austria with the plaque made in Italy between 1650 and 1700.

The Home Beautiful: The Haschka Grand Piano, 1815-20

Piano with Scene of Samson and the Lion
Vienna, 1815-20
The Victoria & Albert Museum

Around 1800, Viennese pianos were among the most prized—celebrated for their delicate tone and ease of playing. These pianos were often outfitted, as this one is, with a number of pedals which were designed to create special musical effects such as drums and bells. This example was made between 1815 and 1820 by Georg Haschka (1772-1828)—proprietor of a small workshop in Vienna. Interestingly, this piano was owned by Sir William Quiller Orchardson R.A. (1832-1910), an eminent Scottish painter, who depicted it in his painting, “A Tender Chord.”

The instrument is housed in a pinewood case which is veneered with mahogany on the outside and satinwood on the inside. It features gilt highlighting and ormolu mounts and pedals as well as a painted lid and name-board which illustrates a scene of Samson and the Lion.

The piano is marked, “Georg Haschka in Wien George Hashka in Vienna.”

Father Christmas Through the Ages: “A Merry Christmas to ‘Yon,’” 1910

The Victoria & Albert Museum

This Christmas postcard is gilded and embossed. The front depicts of Santa Claus in a red robe, as he stops outside of a house with a basket of dolls and toys. He also holds a doll and a toy trumpet.

The card is further adorned with a decorative border at the left side and top showing fir-tree branches adorned with candles and apples.

At the bottom are the words "A Merry Christmas to yon (sic)" in gilt letters. The card was made in Austria, possibly accounting for the misspelling of the English word, “you.”

Gifts of Grandeur: The Eugène de Beauharnais Bonbonnière, 1809-1819

This and all related images from:
The Victoria & Albert Museum

This mighty fancy candy dish was made between 1809 and 1819. The portrait atop the lid depicts Eugène de Beauharnais, the stepson of Napoleon Bonaparte through his first wife Josephine. Eugène remained a staunch supporter of his step-father, engaging on the Emperor’s behalf in a number of notable battles. Eugène was viceroy of Italy for many years, but following the overthrow of Napoleon, he took refuge in Munich where he died at the age of 43.

The cameo that we see was carved by Giovanni Beltrami (1779-1854) who trained as a stone-cutter under the celebrated Giovanni Pichler. Beltrami was so skilled that he was said to be able to cut twenty figures on a single stone and is known to have created a miniature version of Leonardo da Vinci's Last Supper on a topaz. Beltrami was favored by a number of European monarchs, but none more so than the Empress of Austria, Elisabeth.

This attractive vessel, in addition to the cameo features a base of pierced and chased gold, and, on the lid, a frame of  pearls, turquoise, agate, enamel, and glass.

Obscure Book of the Day: Emperor Franz Josef and Empress Elizabeth

The twenty-fourth in the “Royal Romances: The Love Affairs that Shaped History” tells the tale of Austrian Emperor Franz Josef and his wife/cousin, the Empress Elisabeth. Their story is…well…ummm…not too pleasant.


Let’s start at the beginning (sort of). Franz Josef I was born in 1830 in the Schönbrunn Palace (which I best know, really, in the context of Britain’s Queen Mary who was a guest there a few times) in Vienna. Franz was the oldest son of Archduke Franz Karl (the youngest son of Holy Roman Emperor Francis II), and Princess Sophie of Bavaria.

Now, what else was going on in Austria-Hungary at the time? Anyone remember the Emperor Ferdinand? He was considered, for lack of a better term, “weak minded.” And, to be honest, the Archduke Franz Karl was considered rather lazy and shy. So, a lot fell on Franz Josef’s shoulders very early in his life. Of course, his mother, Sophie, was incredibly overbearing, and as soon as Franz Josef was old enough, all he heard was, and I paraphrase, “Get married would ya? Look how pretty your cousins are!” Sophie wanted heirs and she wanted them NOW. Franz Josef’s mother favored her sister’s eldest daughter as the best bride for her son, you know, as one does. But, Franz considered the younger of his cousins, Elisabeth, to be the more attractive. Sophie—she was not pleased. Elisabeth of Bavaria was not considered gentile enough for court life. However, she relented and Franz Josef and Elisabeth married.

(By the way, I have had to retype the name Josef each time now. After 37 years of writing my own name, I naturally go for the “ph.” Long live the digraph!)

So, Franz Josef and Elizabeth marry, and, they don’t really get along. It seems Sophie was right, Elisabeth was not cut out for court life. Lots of arguments ensued. Then, they lost a child. They, would later lose their only son to a reported, but questioned, “suicide.” Elisabeth grew distant and spent as little time at home as possible, focusing on her great passion for fashion. And, then, to top it all off, the Empress Elisabeth was stabbed to death in 1898 by an Italian anarchist, Luigi Lucheni. And, that was that.

Later, Franz Josef claimed that, “"You will never know how much I loved this woman." I don’t think anyone really believed it, but that’s what he supposedly claimed after Elizabeth’s assassination.

And, so, let’s take a look at the book…