Unusual Artifacts: The Angel Chalice, c. 1905

"The Angel Chalice"
Phoebe and Ramsay Traquair with J.M. Talbot
Scotland, 1905
This and all related images from:
The Victoria & Albert Museum

Made in Edinburgh, Scotland around 1905, this cup is constructed of an abalone shell mounted in silver and decorated with enamel. A pierced silver foliate border adorns the rim of the cup which is supported on three, sculptural wires which terminate in moonstone mounts at the rim. Mounts of enamel mimicking cabochon-cut gems adorn the junctions of the supporting wire frames which hold enamel paintings of angels with musical instruments. The monogram “PT” is visible on one of these three triangular panels.

This chalice is the work of Edinburgh artist and jeweler Phoebe Traquair (1852-1936) whose celebrated enamel work is praised to this day. Phoebe’s husband, Ramsay, assisted on the design and the physical work was carried out by their frequent assistant J.M. Talbot. It’s the first, and finest, of a series of five chalices set with shells designed by Ramsay and Phoebe Traquair, and crafted by Talbot.

Unfolding Pictures: The Sleeping Beauty Fan, 1888

The Sleeping Beauty Fan
Phoebe Traquair
Scotland, 1888
The Victoria & Albert Museum

By the 1880’s, hand fans were still fashionable, but they weren’t the social requirement that they were for ladies of the early Nineteenth Century. Fans continued to be made in huge numbers, and, varying materials and quality. Even by the end of the century, many ladies felt that their ensemble was incomplete without this comforting accessory.

Artists working in the then-growing Arts and Crafts style were always looking for new surfaces to adorn, and saw the fan leaf as unexplored territory for their stylistic movement. Among the most prolific of the Scottish Arts and Crafts designers was Phoebe Traquair (1852-1936) who is often considered the leader of the style in Scotland.

We’ve had a look at some of Traquair’s jewelry designs, and, they’re quite impressive. So, I thought it might be nice to look at a fan which features her painting. This fan leaf by Traquair depicts the story of the “Sleeping Beauty” and is distinguished by the artist’s celebrated dream-like style.

The silk leaf is painted with watercolors only on the obverse, with the reverse of the fan left natural. The Sleeping Beauty is being approached by Cupid as adolescent Pans cavort around her. The fanciful scene is typical of Traquair’s work. 

The fan itself, made in Edinburgh, features ivory sticks and guards. 

Unusual Artifacts: The Angel Chalice, c. 1905

"The Angel Chalice"
Phoebe and Ramsay Traquair with J.M. Talbot
Scotland, 1905
This and all related images from:
The Victoria & Albert Museum

Made in Edinburgh, Scotland around 1905, this cup is constructed of an abalone shell mounted in silver and decorated with enamel. A pierced silver foliate border adorns the rim of the cup which is supported on three, sculptural wires which terminate in moonstone mounts at the rim. Mounts of enamel mimicking cabochon-cut gems adorn the junctions of the supporting wire frames which hold enamel paintings of angels with musical instruments. The monogram “PT” is visible on one of these three triangular panels.

This chalice is the work of Edinburgh artist and jeweler Phoebe Traquair (1852-1936) whose celebrated enamel work is praised to this day. Phoebe’s husband, Ramsay, assisted on the design and the physical work was carried out by their frequent assistant J.M. Talbot. It’s the first, and finest, of a series of five chalices set with shells designed by Ramsay and Phoebe Traquair, and crafted by Talbot.

Mastery of Design: Cupid the Earth Upholder, 1902

Cupid the Earth Upholder
Phoebe Traquair
Scotland, 1902
The Victoria & Albert Museum

Scotland’s Phoebe Traquair, in addition to her famed enamel work, also created beautiful works of embroidery, murals and illuminated manuscripts. However, her jewelry work seems to be the best medium for her brilliant spirit. Phoebe created vivid foiled enamel scenes in unusual settings—mostly devoted to mythical or spiritual subjects. Influenced by medieval and Renaissance examples, Traquair’s jewelry, triptychs, caskets and mounted cups and covers owe much to pieces from the Fifteenth and Sixteenth Centuries. This pendant shows Phoebe’s preferred style. Entitled “Cupid the Earth Upholder,” the piece consists of enameled gold which has been set with colored and foiled glass. The central portion depicts a kneeling Cupid holding a globe. The greens and blues especially pop against the copper beneath the enamel. It is signed and dated 1902 and was made in Edinburgh. 

Unusual Artifacts: The Angel Chalice, c. 1905

"The Angel Chalice"
Phoebe and Ramsay Traquair with J.M. Talbot
Scotland, 1905
This and all related images from:
The Victoria & Albert Museum

Made in Edinburgh, Scotland around 1905, this cup is constructed of an abalone shell mounted in silver and decorated with enamel. A pierced silver foliate border adorns the rim of the cup which is supported on three, sculptural wires which terminate in moonstone mounts at the rim. Mounts of enamel mimicking cabochon-cut gems adorn the junctions of the supporting wire frames which hold enamel paintings of angels with musical instruments. The monogram “PT” is visible on one of these three triangular panels.

This chalice is the work of Edinburgh artist and jeweler Phoebe Traquair (1852-1936) whose celebrated enamel work is praised to this day. Phoebe’s husband, Ramsay, assisted on the design and the physical work was carried out by their frequent assistant J.M. Talbot. It’s the first, and finest, of a series of five chalices set with shells designed by Ramsay and Phoebe Traquair, and crafted by Talbot.

Unfolding Pictures: The Sleeping Beauty Fan, 1888

The Sleeping Beauty Fan
Phoebe Traquair
Scotland, 1888
The Victoria & Albert Museum

By the 1880’s, hand fans were still fashionable, but they weren’t the social requirement that they were for ladies of the early Nineteenth Century. Fans continued to be made in huge numbers, and, varying materials and quality. Even by the end of the century, many ladies felt that their ensemble was incomplete without this comforting accessory.

Artists working in the then-growing Arts and Crafts style were always looking for new surfaces to adorn, and saw the fan leaf as unexplored territory for their stylistic movement. Among the most prolific of the Scottish Arts and Crafts designers was Phoebe Traquair (1852-1936) who is often considered the leader of the style in Scotland.

We’ve had a look at some of Traquair’s jewelry designs, and, they’re quite impressive. So, I thought it might be nice to look at a fan which features her painting. This fan leaf by Traquair depicts the story of the “Sleeping Beauty” and is distinguished by the artist’s celebrated dream-like style.

The silk leaf is painted with watercolors only on the obverse, with the reverse of the fan left natural. The Sleeping Beauty is being approached by Cupid as adolescent Pans cavort around her. The fanciful scene is typical of Traquair’s work. 

The fan itself, made in Edinburgh, features ivory sticks and guards. 

Mastery of Design: The Persephone Chalice, 1914-15

Chalice
Phone Anna Traquair
1914-1915
The Victoria & Albert Museum

Typically, one uses the word chalice to refer to a footed wine cup which is used in the performance of a mass. However, the term is loosely used when describing any sort of decorative or ceremonial cup.

This chalice is made of an emu egg which has been divided to become both a cup and a cover. Made between 1914 and 1915, this chalice draws upon centuries of inspiration and nods at similar cups made of exotic and natural materials (often set in gold and mounted with jewels) which were constructed during the Renaissance.

The enamel plaques which have been fitted to the piece illustrate the classical myth of of Persephone, the daughter of the harvest goddess, Ceres, who was carried off by Pluto, the King of the Underworld, after he became overwhelmed by her beauty.

The enamel plaques are the work of Scottish genius Phoebe Anna Traquair whose exceptional pieces we’ve studied before. Traquair has backed the enamel pieces with foil on copper so as to better reflect light through them. The remainder is adorned with scenes of nature and grotesque bird-like beasts. The whole is surmounted by a green stone finial.