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.

Figure of the Day: A West Pans Romantic Group, 1764-1770

Figural Group and Candle Holder
West Pans Factory
Scotland, 1764-1770
The Victoria & Albert Museum

A work of soft-paste porcelain, oil gilded, this figural group is the work of the West Pans Factory in Scotland.  It was made between 1764 and 1770.

The group depicts a pair of young lovers, under a wreathed, semi-circular arbor surrounded by blooming trees and roses.  The stems twist to form a handle and, at the top, is a convenient taper holder.  

Beautiful and functional, it's a perfect representation of the handsome work of Scottish porcelain factories of the middle-late Eighteenth Century.

The Victoria & Albert Museum

Unusual Artifacts: The Crichton Vinaigrette, 1885-1886

Unusual Artifacts: The Crichton Vinaigrette, 1885-1886

Vinaigrette
G.&M. Crichton
The Victoria & Albert Museum

A Vinaigrette was used to hold an aromatic substance. Usually, the vinaigrette was worn, suspended from a chain, cord or ribbon around the throat. Sometimes, it could take the form of a brooch or a hand-held ornament.

This example was made around 1886 in Scotland by the Edinburgh jewelery firm G&M Crichton who had earlier made quite a splash at the London Exhibition of 1872. While Crichton’s designs were praised overall at the exhibition, some critics felt that the Highland brooches were a bit too “extravagant” in detail.

When this brooch was made, Scotland and all things Scottish were quite fashionable due to the earlier poetry of Sir Walter Scott and the public admiration for the land shown by Queen Victoria and Prince Albert. Scottish pebble jewelry was quite in demand. While the majority of these Scottish agate pieces came back to England as souvenirs of Scotland, some examples were made in Birmingham to meet the high demand. Birmingham jewelers would mimic the style of the Scottish jewels, employing stones collected in Scotland.

This vinaigrette shows the variety of attractive stones native to Scotland. Citrines, amethysts, bloodstone, mottled jasper and banded agate are set into silver. The reverse is marked for G.&M. Crichton with hallmarks for 1885 to 1886.

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 Lucknow Throne, 1820

Lucknow Throne
1820
Robert Home
The Victoria & Albert Museum

Here, we see an Indian throne chair of wood, gilt brass and gilt gesso mounts, painted decoration and blue velvet upholstery. The chair dates to about 1820.

Known as the “Lucknow Throne Chair,” this chair is a rare surviving example of palace furniture from Lucknow in northern India. This opulent piece of furniture was a gift from Ghazi-ud-din Haidar, Nawab and King of Oudh (ruled 1814 to 1827), to Lord Amherst, the Governor-General of India which was given during Amherst's visit to Lucknow in 1827.

Though it was built to be used by an Indian ruler, the chair was actually designed by the celebrated Scottish artist Robert Home who was court painter at Lucknow. There, Home designed regalia, royal carriages, howdahs, barges and palace furnishings in the popular European fashions of the day. The typical British design of this piece is further adorned with the twin-fish badge of the rulers of Lucknow.

History's Runway: The Tartan Dress, 1845

Tartan Dress
Britain, 1845
The Victoria & Albert Museum

This smart dress is indicative of women’s fashions of the mid-to-late-1840s. Why tartan? Well, by this point, not only had Queen Victoria and Prince Albert become enchanted with Scotland, they had, in 1848, purchased a Royal residence in Aberdeenshire. By 1853, work had commenced on a new castle at Balmoral and fashionable London Society had turned their attention to all things Scottish in order to emulate the Queen and Prince Consort. This interest turned to a passion for plaid, and women and men alike draped themselves in colorful tartans. Furthermore, Walter Scott’s popular novels added fuel to the fire of Scotch love, helping to keep the fashion alive well into the 1850s.

This dress, made around 1845, features long, tight sleeves, a high, round neck and the long, pointed waistline which defined the 40s. A bold silk-satin in a tartan pattern dominates the garment which is accentuated with a front lace fastening.

Relying on the textile for color, the only trimmings on the gown are its handsome agate stud buttons mounted on black velvet bows above the wrists. Agate was considered a wholly Scottish stone and, at the time, the majority of Scottish jewels included agate on silver. The dress’ bodice is piped on all the main seams and is entirely lined with cotton. The bodice is boned and the skirt is lined with yellow and white fabric. The lining could be removed for washing. The present lining may actually not be original. Yellow chamois dress preservers, original to the gown, were installed in the armpits to absorb perspiration and to protect the silk-satin from staining.

Object of the Day, Museum Edition: Burns and Highland Mary, 1851

Burns and "Highland Mary"
Copeland & Sons, Ltd., 1851
Parian
Purchased by Queen Victoria
and Prince Albert at
The Dublin Exhibition, 1853
Also included were two glass
lamp shades.
The Royal Collection

Ye banks, and braes, and streams around 
The castle o' Montgomery! 
Green be your woods, and fair your flowers, 
Your waters never drumlie: 
There Simmer first unfauld her robes, 
And there the langest tarry; 
For there I took the last Farewell 
O' my sweet Highland Mary. 
--Robert Burns, 1792


With the rise of Parian ware, in the 1850’s, sculpture was becoming something that even the middle classes of Britain could afford. This unglazed biscuit mimicked the look of marble without the expense and was the perfect medium to create both original figures and reproductions of famous artwork.


Queen Victoria and Prince Albert—who had access to all the marbles in the world—were keen collectors of Parian figures because they liked the intimacy of the pieces and the feel of the medium. They allowed makers of Parian ware such as Copeland & Sons to create Parian reproductions of several of their most beloved full-scale marble figures so that others could also enjoy their beauty.

While at the Dublin Exhibition in 1853, Queen Victoria and Prince Albert purchased two Parian figural groups by Copeland & Sons with the intention of making them into lamp bases. This is one of the two groups. Created in 1851, the group depicts the poet Robert Burns with his lady-love, Mary Campbell, who as known as “Highland Mary.” Not only were Victoria and Albert drawn to the medium, they also liked the romantic subject matter—being as they were similarly in love. 

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.

Unusual Artifacts: The Lucknow Throne, 1820

Lucknow Throne
1820
Robert Home
The Victoria & Albert Museum

Here, we see an Indian throne chair of wood, gilt brass and gilt gesso mounts, painted decoration and blue velvet upholstery. The chair dates to about 1820.

Known as the “Lucknow Throne Chair,” this chair is a rare surviving example of palace furniture from Lucknow in northern India. This opulent piece of furniture was a gift from Ghazi-ud-din Haidar, Nawab and King of Oudh (ruled 1814 to 1827), to Lord Amherst, the Governor-General of India which was given during Amherst's visit to Lucknow in 1827.

Though it was built to be used by an Indian ruler, the chair was actually designed by the celebrated Scottish artist Robert Home who was court painter at Lucknow. There, Home designed regalia, royal carriages, howdahs, barges and palace furnishings in the popular European fashions of the day. The typical British design of this piece is further adorned with the twin-fish badge of the rulers of Lucknow.

Object of the Day, Museum Edition: Burns and Highland Mary, 1851

Burns and "Highland Mary"
Copeland & Sons, Ltd., 1851
Parian
Purchased by Queen Victoria
and Prince Albert at
The Dublin Exhibition, 1853
Also included were two glass
lamp shades.
The Royal Collection

Ye banks, and braes, and streams around 
The castle o' Montgomery! 
Green be your woods, and fair your flowers, 
Your waters never drumlie: 
There Simmer first unfauld her robes, 
And there the langest tarry; 
For there I took the last Farewell 
O' my sweet Highland Mary. 
--Robert Burns, 1792


With the rise of Parian ware, in the 1850’s, sculpture was becoming something that even the middle classes of Britain could afford. This unglazed biscuit mimicked the look of marble without the expense and was the perfect medium to create both original figures and reproductions of famous artwork.


Queen Victoria and Prince Albert—who had access to all the marbles in the world—were keen collectors of Parian figures because they liked the intimacy of the pieces and the feel of the medium. They allowed makers of Parian ware such as Copeland & Sons to create Parian reproductions of several of their most beloved full-scale marble figures so that others could also enjoy their beauty.

While at the Dublin Exhibition in 1853, Queen Victoria and Prince Albert purchased two Parian figural groups by Copeland & Sons with the intention of making them into lamp bases. This is one of the two groups. Created in 1851, the group depicts the poet Robert Burns with his lady-love, Mary Campbell, who as known as “Highland Mary.” Not only were Victoria and Albert drawn to the medium, they also liked the romantic subject matter—being as they were similarly in love. 

Unusual Artifacts: The Crichton Vinaigrette, 1885-1886

Vinaigrette
G.&M. Crichton
The Victoria & Albert Museum

A Vinaigrette was used to hold an aromatic substance. Usually, the vinaigrette was worn, suspended from a chain, cord or ribbon around the throat. Sometimes, it could take the form of a brooch or a hand-held ornament.

This example was made around 1886 in Scotland by the Edinburgh jewelery firm G&M Crichton who had earlier made quite a splash at the London Exhibition of 1872. While Crichton’s designs were praised overall at the exhibition, some critics felt that the Highland brooches were a bit too “extravagant” in detail.

When this brooch was made, Scotland and all things Scottish were quite fashionable due to the earlier poetry of Sir Walter Scott and the public admiration for the land shown by Queen Victoria and Prince Albert. Scottish pebble jewelry was quite in demand. While the majority of these Scottish agate pieces came back to England as souvenirs of Scotland, some examples were made in Birmingham to meet the high demand. Birmingham jewelers would mimic the style of the Scottish jewels, employing stones collected in Scotland.

This vinaigrette shows the variety of attractive stones native to Scotland. Citrines, amethysts, bloodstone, mottled jasper and banded agate are set into silver. The reverse is marked for G.&M. Crichton with hallmarks for 1885 to 1886.

Unusual Artifacts: Cast of the Skull of King Robert the Bruce, 1819

Cast of the Skull of King
Robert I (the Bruce)
William Scouler, 1819
The Royal Collection

Scottish King Robert I (known as Robert the Bruce) began life as Robert Bruce, Earl of Carrick. Robert was initially a staunch supporter of English King Edward I. However, due to a rather complicated series of decisions, he switched his allegiance to the Scots. But, he had some difficulty there, too. So, he murdered his remaining Scottish rival, John Comyn, in 1306 and claimed the throne of Scotland as his own (his argument was that he was the great-great-grandson of Scottish King David I). Few agreed—at the time—with Robert the Bruce’s usurping of the throne, but nonetheless, he was crowned at Scone.


The Bruce then proceeded to fight—well, everyone. He fought the Scots, he fought the English and he killed a lot of people. After booting most of the English out of Scotland, Robert had become such a pest that King Edward III, in 1328, finally gave in and agreed that Robert was the King of Scotland, and that his heirs would remain royal. Fair enough. It didn’t last. But, it satisfied Robert for awhile. He died in 1329 and was buried in the crypt at Dunfermline Abbey.

Robert the Bruce lay quite peacefully—for the first time ever, really—for just about five centuries before the Abbey’s great tower collapsed in 1818. Well, this didn’t do good things to the abbey’s foundation and a lot of deceased folks had to be disinterred. That’s never fun. Among them was our friend Robert I. Understandably, people were quite chuffed to stumble upon good ol’ Bruce and took a great deal of time studying what was left of him—measuring him, and taking plaster casts of his various remaining parts. Here’s his skull! To be accurate, this is a plaster cast of his skull which was completed by William Scouler in 1819. The cast was rather cleverly displayed on this jaunty red-velvet-covered stand atop a rosewood plinth with brass inlay. The plinth also doubles as a convenient storage container. The plaque reads: Cast in plaster by Wm Scouler 1819. Interred 1329. Re-interred 1819.

As the inscription would have us believe, Robert the Bruce was, in fact, re-interred at the Abbey. But, not before much rejoicing and Scottish patriotism. He’s remained relatively trouble-free since 1819.

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. 

The Home Beautiful: the Newhaven Fishers Comports, c. 1870

Molded Glass Compote
John Ford, c. 1870
This and all related images from:
The Victoria and Albert Museum

This pair of glass comports (compotes) feature dishes which are supported by molded male and female figures which appear to be based on photographs of the famed Newhaven fisher folk from the area near Edinburgh, Scotland. Photographers Hill and Adamson published a series of photos of the Newhaven fishers in the 1870s which garnered much public attention.

The glasswork is the work of one John Ford who molded the figures. The pair once belonged to Barbara Morris who had long worked in the V&A's Circulation Department. The V&A describes Morris as, “a pioneer in the study of Victorian and Edwardian Decorative Arts” and as an avid collector of glass and ceramics of the period. 

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.

Gifts of Grandeur: The Crichton Vinaigrette, c. 1885

Vinaigrette
G. & M. Crichton
Scotland, c. 1885
The Victoria & Albert Museum

The Edinburgh jewelry firm of G. & M. Crichton, at the London Exhibition of 1872, was given a fair amount of praise for their work in general. However, their highland shoulder brooches and works which used wholly Scottish materials, were granted the greatest raves. By the 1880s, thanks in large part to the poems and novels of Sir Walter Scott and the loyalty of Queen Victoria and the late Prince Consort, Scotland was a popular tourist spot. Some of the most fashionable souvenirs to be taken home from Scotland were the examples of “pebble” jewelry which were produced by local workmasters.

Here’s an example of the sort of wares produced by G. & M. Crichton using local materials. This vinaigrette (a small vessel used to hold scent or smelling salts used to combat the pervasive foul city smells of the Nineteenth Century) is constructed of silver set with citrines, amethysts, bloodstone, mottled jasper and banded agate. Signed “G. & M. Crichton” it also is marked with Edinburgh hallmarks for 1885-1886.   The vinaigrette was praised by critics for its handsome design and the use of the large, faceted citrine in the cap of the vessel.  

Object of the Day: Singer Sewing Machines Presents “Edinburgh”

Click image to see an old lady.

This card is another of the varied series of informational trade cards which were issued by Singer Sewing Machines in the late Nineteenth and early Twentieth Centuries. Beyond the usual collectible trade cards, these strove to be educational as well as attractive—so much so that the advertising references to Singer were kept to a minimum. Singer issued cards about places around the world, famous and historical people, flowers, wonders of the world, animals and plants among other subjects. This particular one, copyrighted 1894, tells us about Edinburgh, Scotland. Instead of overtly singing the praises of Singer, it subtly shows us some Scotch girls engaged in their needlework, conveniently using a singer sewing machine.

The reverse reads (and, I’m not going to reproduce this in all caps as it really is):
EDINBURGH.

The capital of Scotland and county town of the Shire of Midlothian,
is situated in 55° 57’ North Latitiude, and 8° 11’ West Longitude.
By rail, it is 393 miles North North-West of London and 47 ½ miles
East of Glasgow. Edinburgh occupies a peculiarly high place in the
regard of the civilized world, and draws to herself the devoted attachment
of Scotsmen, partly on account of the charm of her situation, but even more so
by reason of the many tragic events of Scottish history enacted within her walls,
which have been made of world-wide interest by the genius of her great
townsman, Sir Walter Scott. Edinburgh is particularly noted for the high order
of its educational universities, libraries and museums. This picture represents what are
called “Newhaven Fish-wives,;” that is fisherwomen of Newhaven, a fishing village
within three miles of Edinburgh. The woman standing to the right of the machine and
behind the baskets wears the costume of a married woman; and the woman to the left
of the machine wears the costume of an unmarried woman; while as may be seen
the operator at the machine is an old lady.
________________________________
THE SINGER MANUFACTURING CO. 

Well—that was perhaps the most tragically dull description of Edinburgh I’ve ever read. It’s perhaps one of the dullest descriptions of anything I’ve ever read! But, thank God they decided to remind us that the operator of the machine was an “old lady.” That’s a relief!

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.

History's Runway: The Tartan Dress, 1845

Tartan Dress
Britain, 1845
The Victoria & Albert Museum

This smart dress is indicative of women’s fashions of the mid-to-late-1840s. Why tartan? Well, by this point, not only had Queen Victoria and Prince Albert become enchanted with Scotland, they had, in 1848, purchased a Royal residence in Aberdeenshire. By 1853, work had commenced on a new castle at Balmoral and fashionable London Society had turned their attention to all things Scottish in order to emulate the Queen and Prince Consort. This interest turned to a passion for plaid, and women and men alike draped themselves in colorful tartans. Furthermore, Walter Scott’s popular novels added fuel to the fire of Scotch love, helping to keep the fashion alive well into the 1850s.

This dress, made around 1845, features long, tight sleeves, a high, round neck and the long, pointed waistline which defined the 40s. A bold silk-satin in a tartan pattern dominates the garment which is accentuated with a front lace fastening.

Relying on the textile for color, the only trimmings on the gown are its handsome agate stud buttons mounted on black velvet bows above the wrists. Agate was considered a wholly Scottish stone and, at the time, the majority of Scottish jewels included agate on silver. The dress’ bodice is piped on all the main seams and is entirely lined with cotton. The bodice is boned and the skirt is lined with yellow and white fabric. The lining could be removed for washing. The present lining may actually not be original. Yellow chamois dress preservers, original to the gown, were installed in the armpits to absorb perspiration and to protect the silk-satin from staining.