Gifts of Grandeur: The Salting Salamander, 16th C.

The Salting Salamander
Europe, Sixteenth Century
The Victoria & Albert Museum

A large Baroque pearl forms the body of this salamander. Jewelers have always appreciated the irregularity of the baroque pearl which affords a chance to be creative. Renaissance jewelers especially enjoyed the challenge of taking the natural shape of the pearl and forcing it into the very controlled compositions of the era. 

Made in the Sixteenth Century, this European pendant, known as the Salting Salamander, was treasured not only for its beauty, but also for its symbolic meaning. Since antiquity, salamanders were thought to be impervious to fire. Aristotle and Pliny actually claimed that a salamander had the power to extinguish flames. Within time, the salamander became a symbol of fire itself and was often used to communicate ardent passion. It’s likely this pendant served as a token of affection.

The pendant, hung with a pearl, is meant to be viewed from all sides and represents a salamander in three dimensions.  A table-cut emerald is set at the creature's head and the whole is adorned with fine enamel work.

Its last owner, George Salting, bequeathed the piece to the V&A in 1910. 

Gifts of Grandeur: A Jewel and Enamel Pendant, 1680-1700

Pendant
Late Seventeenth Century
The Victoria & Albert Museum

Here we see something quite special. This enamelled gold openwork lozenge pendant is set with sapphires, rubies, emeralds and rose-cut diamonds. The reverse of the pendant is adorned with a depiction of a bowl of fruit in painted enamel. 

This masterpiece was made in Western Europe in the late Seventeenth Century and came to the V&A at the bequest of Dame Joan Evans who left most of her impressive collection of jewels to the museum.

History's Runway: A Jewel and Enamel Pendant, 1680-1700

Pendant
Late Seventeenth Century
The Victoria & Albert Museum

Here we see something quite special. This enamelled gold openwork lozenge pendant is set with sapphires, rubies, emeralds and rose-cut diamonds. The reverse of the pendant is adorned with a depiction of a bowl of fruit in painted enamel. 

This masterpiece was made in Western Europe in the late Seventeenth Century and came to the V&A at the bequest of Dame Joan Evans who left most of her impressive collection of jewels to the museum.

Precious Time: A Skarral & Co Watch and Pair Case, 1650-1800

Watch
Case and Pair Case, c. 1650
Movement by Skarral of London, c. 1800
Matching bow brooch, now missing.
This and all related images from:
The Victoria & Albert Museum

Little is known about this watch and pair case of enameled and engraved gold. Clearly, it has been altered over time. The case was made in around 1650. We’re not sure where or by whom. It’s believed that the case once hung as a pendant from a bow-shaped pin. The present movement was installed into the case in 1800 by Skarral & Co. of London. At that time, the watch was adapted and the bow replaced.

Mastery of Design: The Canary Giardinetti, 1730-1760

Giardinetti Ring
1730-1760
The Victoria & Albert Museum

Since the weather, for most of us, has turned chilly, I thought that today we should look at objects which brought to mind the colors and warmth of spring. What better than a giardinetti (little garden) ring? Such jewels were quite fashionable during the first three quarters of the Eighteenth Century. 

This one, made somewhere in Europe between 1730 and 1760, boasts a gold openwork bezel styled as a flower. The ring is set with a table-cut yellow diamond surrounded by rubies and emeralds. Chased scrolling adorns the openwork shoulders—each of which is set with a twinkling brilliant-cut diamond. 

Gifts of Grandeur: The Salting Salamander, 16th C.

The Salting Salamander
Europe, Sixteenth Century
The Victoria & Albert Museum

A large Baroque pearl forms the body of this salamander. Jewelers have always appreciated the irregularity of the baroque pearl which affords a chance to be creative. Renaissance jewelers especially enjoyed the challenge of taking the natural shape of the pearl and forcing it into the very controlled compositions of the era. 

Made in the Sixteenth Century, this European pendant, known as the Salting Salamander, was treasured not only for its beauty, but also for its symbolic meaning. Since antiquity, salamanders were thought to be impervious to fire. Aristotle and Pliny actually claimed that a salamander had the power to extinguish flames. Within time, the salamander became a symbol of fire itself and was often used to communicate ardent passion. It’s likely this pendant served as a token of affection.

The pendant, hung with a pearl, is meant to be viewed from all sides and represents a salamander in three dimensions.  A table-cut emerald is set at the creature's head and the whole is adorned with fine enamel work.

Its last owner, George Salting, bequeathed the piece to the V&A in 1910. 

Precious Time: A Skarral & Co Watch and Pair Case, 1650-1800

Watch
Case and Pair Case, c. 1650
Movement by Skarral of London, c. 1800
Matching bow brooch, now missing.
This and all related images from:
The Victoria & Albert Museum

Little is known about this watch and pair case of enameled and engraved gold. Clearly, it has been altered over time. The case was made in around 1650. We’re not sure where or by whom. It’s believed that the case once hung as a pendant from a bow-shaped pin. The present movement was installed into the case in 1800 by Skarral & Co. of London. At that time, the watch was adapted and the bow replaced.

Mastery of Design: The Dame Joan Evans Scent Flask, 1650-1700

Click image to enlarge.

Scent Flask
Europe, 1650-1700
The Victoria & Albert Museum

From the collection of Dame Joan Evans, now at the Victoria & Albert Museum, we have this gold scent flask in the shape of a double gourd.

Made to hold fragrance, the flask was worn, suspended on a ribbon or chain, around the neck, allowing an olfactory distraction from the inevitable stink of any city in the late Seventeenth or early Eighteenth Centuries. The maker of the piece is unknown. We can only guess that it was made in Western Europe—based on stylistic cues. 

Mastery of Design: The Hildburgh Cupids Locket, 1880

Locket
Europe, 1880
Pearls, Gold and enamel plaque
The Victoria & Albert Museum

In the Nineteenth Century, cupids, flowers, hands, anchors, knots, musical instruments and nesting birds were all symbols of love.  So, it’s only natural that these symbols would be popular themes for the jewelry which was so frequently given as a token of affection.

This locket was made in Western Europe around 1880.  It’s a work of gold and pearls set with an enamel plaque showing happy putti enjoying what appears to be a nice picnic.  I don’t know, really, but that’s what I like to think because that sounds pleasant to me.  A pleasing turquoise enamel border surrounds the scene.  

Gifts of Grandeur: A Jewel and Enamel Pendant, 1680-1700

Pendant
Late Seventeenth Century
The Victoria & Albert Museum

Here we see something quite special. This enamelled gold openwork lozenge pendant is set with sapphires, rubies, emeralds and rose-cut diamonds. The reverse of the pendant is adorned with a depiction of a bowl of fruit in painted enamel.

This masterpiece was made in Western Europe in the late Seventeenth Century and came to the V&A at the bequest of Dame Joan Evans who left most of her impressive collection of jewels to the museum.