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.

The Home Beautiful: King James II’s Coronation Cup, 1685

Cup and Cover
Made from Silver from the Coronation of James II, 1685
The Victoria & Albert Museum

We’ve seen a lot of Coronation Cups here at Stalking the Belle Époque from the commemorative cups in my own collection of Royal memorabilia to the similar items which are housed in the Royal Collection and the V&A, but we’ve never seen one like this.

This magnificent silver-gilt cup and cover were made from silver that was reclaimed from the precious metal which originally decorated the canopies used during King James II's coronation in 1685. After the ceremony, the silver was divided amongst the barons who carried the canopies which covered James II during the coronation.

Two of the barons (from the same family)--Cresheld Draper, MP for Winchelsea and Gawden Draper--combined their share of the coronati0n silver to make this commemorative cup which has been chased and engraved with stylized scenes from the coronation depicting, especially, the barons carrying one of the canopies. This was a clever way to commemorate the participation of the Draper family in the event.

The four figures carrying the canopy are rendered in the fashionable chinoiserie style. These figures are flat-chased on one side and commemorate the original use of the silver. The family’s coat of arms and an inscription in Latin explain the scene.

The Latin inscription reads “Hoc obtinui Ex in aug: Iac: 2.d Et Mar: Ap:23.85” which translates as “I obtained this from the Coronation of James II and Mary, April 23 1685.”

The Home Beautiful: A Magnificent Enameled Presentation Box and Champagne Flute 17th-20th C.

Champagne Glass and Presentation Case
Crown Copyright
The Royal Collection
via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II

Click on image for larger size.

From the Royal Collection, we have this silver and blue enamel Art Deco pentagonal presentation box.  The two hinged front doors open to reveal a magnificent champagne glass on a silver stand.  Across the bottom of both doors and the silver stand, gilt metal plaques boast a continuous inscription which reads:

THIS ANCIENT ENGLISH CHAMPAGNE GLASS, MADE IN THE REIGN OF

KING CHARLES II,

SHORTLY AFTER THE DISCOVERY OF THE SPARKLING WINE OF CHAMPAGNE BY DOM PIERRE PERRIGNON, AND BELIEVED TO BE

THE OLDEST DRINKING VESSEL OF ITS KIND IN EXISTANCE, WAS PRESENTED WIH HOMAGE AND RESPECT TO THEIR MAJESTIES KING

GEORGE V AND QUEEN MARY TO MARK THE MEMORABLE AND HAPPY OCCASION OF THE SILVER JUBILEE OF THEIR ACCESION TO THE THRONE 16TH MAY, 1935 BY THE WINE PRODUCERS AND PEOPLE OF CHAMPAGNE.

The entire box fits into a red leather carry case designed and made by Hermès.

This late seventeenth-century lobed drinking glass with splayed rim sits upon a baluster stem and a circular and spirally-molded foot.

As impressive as this important glass is, the Art Deco presentation case is equally important.

Enameler Jean Goulden (1878-1946) was commissioned to create the case by the large Champagne houses (Reims and Épernay), grape growers, cork makers and glass makers, after the ;eague had collectively purchased the champagne glass in London on November 6, 1934 from the collection of Grant R. Francis, who was known as one of the most important glass collectors of the twentieth century. 

Goulden's original designs for the casket exist in the collection of his son.  The artist had originally studied medecine and art in Paris before becoming a major-doctor during the first world war,  being stationed in Macedonia where he remained for some time as the guest of the monks' communities of the Mont of Athos.  There, he studied Byzantine enamels in the company of Paul Jouve (1880-1973). 

When Goulden returned to France, he joined Jean Dunard (1877-1942) who introduced him to the champlevé enameling technique.  Known for their fineness and rarity, Goulden's works are considered the best of the era and he is considered important in the development of the Art Deco style in the decorative arts.  His work is characterized by stong black lines and bright colors, and the use of a geometric or cubist style.

Precious Time: The Lilies Lantern Clock, 1650

Lantern Clock of Silver
David Bouquet, 1650
The Victoria & Albert Museum

Lantern clocks such as the one pictured here were first developed in England in the 1620s. The name “lantern” is thought to have come from the word “laton” - meaning brass - as most of these timepieces featured brass cases.

These clocks were always driven by weights and were made to stand on a bracket or to hang on the wall.

This clock is exceptional in that it is the only known lantern clock with a silver, and not brass, case. The dial plate, chapter ring, alarm disc, side doors and pierced silver gallery are all comprised  of silver. Because of the unusual medium, we can only assume that this clock was a special commission for a wealthy patron from David Bouquet, a French immigrant who was admitted to the Blacksmiths' Company in 1628.  Bouquet joined the Clockmakers' Company as a founding member in 1632.  He was known for his fine engraving—work which we can see nicely here.  The front of the clock is engraved with pinks, tulips, lilies and other flowers.  Meanwhile,  above, an openwork gallery is surmounted by pierced floral crestings with vases at the corners.

The clock dates to about 1650.

Object of the Day, Museum Edition: A Sheffield Silver Salver, 18th Century

Click on image to enlarge.

Silver Salver
Sheffield, 1740-1780
The Victoria & Albert Museum

In the Eighteenth Century, small silver salvers (wee trays with no handles) were used for a variety of purposes such as presenting a glass or small object to the master of the house. However, by the mid Eighteenth Century, salvers were mostly used to carry letters, cards or newspapers. For a servant to hand something directly to the master of the house was considered very bad form, so, the silver salver served as a handy go-between.

Salvers were usually round or slightly oval. Every so often, they were made in a square or polygonal form, often with rounded corners. They, more often than not, featured little silver feeties upon which the tray could rest when left upon a flat surface such as a center table or sideboard.

This circular example with three feet is made in Sheffield plate—coated with silver on both sides, but with the upper layer being thicker to better withstand the wear that the top of the object would receive. Furthermore, thicker silver on the top surface allowed sufficient material for a coat of arms or monogram to be engraved without exposing the base metal of the copper core. Such salvers were typically engraved. This one, for example, has been adorned with a coat of arms and branches of laurel and palm. This salver is an excellent example of the type of salvers made in Sheffield between 1740 and 1780.

Mastery of Design: The Dame Joan Evans Rock Crystal Pendant, 1650-75

Pendant of Enameled Silver and Foiled Crystal Pendant
1650-1675
The Victoria & Albert Museum

This handsome pendant from the important collection of jewels amassed by Dame Joan Evans is composed of rock crystal triplets (two layers of stone with a layer of red-colored foil material between), rock crystal and glass.  The stones are set in enameled silver.

The piece was made in Western Europe between 1650 and 1675.  

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: A Doll's Earrings, 1690-1700

Earrings made for the Lady Clapham Doll
England, 1690-1700
The Victoria & Albert Museum

This set of mismatched earrings belonged to a doll.  The Lady Clapham doll--the be exact.  The Lord and Lady Clapham Dolls were made in the Seventeenth Century for the Cockerell Family--descendants of the famed diarist Samuel Pepys (1633-1703) who first recorded Mr. Punch's presence in Covent Garden.


The dolls were outfitted with complete wardrobes and furnishings befitting full-size nobility.  Among Lady Clapham's accessories were these earrings.  The stud is made of brass and backed in silver while the more formal drop is a paste set in a silver mount.

History's Runway: A Silver Tobacco Box, 17th C.

Silver Tobacco Box, c. 1655
The Victoria & Albert Museum

Western Europeans were introduced to tobacco in the Sixteenth Century when the herb was brought from the Americas.  From about 1570, tobacco was highly prized for both its alleged medicinal and obvious narcotic qualities.  By the 1630s, tobacco use was accepted (for men) as a fashionable habit for all classes though the cost was rather prohibitive for those without extra spending money.  For centuries, tobacco was chewed or smoked in a pipe, or combined with other herbs or spices to create snuff which was inhaled through the nostrils. 

Given the cost of tobacco, it was only fitting that special containers would be created for it, especially ones meant to appeal to wealthy tobacco users.  A precious tobacco box was quite the fashionable accessory.  This silver tobacco box is an excellent example of that trend.  Made around 1655, it was intended for personal use, its slightly-domed oval lid engraved with heraldic ornament—namely the crest of the Wayte Family from the Isle of Wight. It is further adorned with a cabled wire ornament at the rim and base. The back bears the inscription: “JW / 1680 / R W Jan 1st / 789.”  Though the inscription was finished in 1680 (the date of presentation), the hallmark for the creation of the box indicates 1655-1656.

The owner of this box would have carried it in his pocket.  Due to this practice, the corded molding has been worn away.  

Mastery of Design: "The Queen of Transylvania" Tiara, 1958

Costume Tiara
Cecil Beaton, 1958
The Victoria & Albert Museum

This costume tiara was made for the character of the  “Queen of Transylvania” (as played by Margaret Halstan) in the London production of the musical “My Fair Lady,” at the Theatre Royal, Drury Lane.  The show opened on April 30, 1958.

Based on George Bernard Shaw's play “Pygmalion,” the music for the famous musical was composed by Frederick Lowe, and the book and lyrics were by Alan Jay Lerner. The production was directed by Moss Hart (husband of my dear Kitty Carlisle Hart), the sets were designed by Oliver Smith, and the costumes were designed by the celebrated photographer Cecil Beaton.

The production starred Julie Andrews as Eliza Dolittle and Rex Harrison as Henry Higgins.

This bears a label for Margaret Halstan, who played the Queen throughout most of the London run for My Fair Lady. This is one of several tiaras designed for Halstan for the production.  Photographs from the show indicate different sixed crowns of different weights, allowing the actress flexibility in what she wore each night.  A silversmith made the tiaras, set with fine pastes, based on Beaton’s detailed designs.  

To Serve and Project: The Diana Coral Spoon, 1530-40

The Victoria & Albert Museum

This outstanding spoon features a silver-gilt bowl and a handle which has been formed from a branch of red coral. The bowl of the spoon bears an unidentified shield of arms, a coronet (probably of a Duke), initials, and adornment with elaborate scrolling patterns. The gilt bottom of the handle is decorated with classical heads in low relief. These busts represent the goddess Diana, identified by a crescent moon, her symbol, above.

Most likely, this was once part of a set, but after nearly five hundred years, it’s impossible to tell whether it paired with a knife or fork, or whether it was part of an impressive cutlery set. According to the V&A, “a similar coral-handled spoon, together with a matching knife and fork, was purchased around 1579 by the Elector Augustus of Saxony, who had one of the largest-known collections of coral-handled cutlery.”

Coral was prized for its beauty, but it was also believed to possess protective properties, such as the power to ward off evil magic. In the Sixteenth Century, for coral to be used in cutlery shows not only the desire for something beautiful, but perhaps a wish to be protected from malevolent forces which might have poisoned the food.

Though most coral pieces were made in Italy, this spoon appears to have been made in Germany.

The Home Beautiful: King William III's Rock Crystal Chandelier, c. 1690

Rock Crystal Chandelier
Hampton Court Palace
c. 1690
Crown Copyright
The Royal Collection
via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II

Click on image for larger size.

King William III (most probably) acquired this chandelier during the renovation and redecoration of Hampton Court Palace in the 1690s.  The monumental fixture is built on a frame of silver which is entirely concealed by strings of rock crystal beads (affixed by lead), massive pendants and carved marigolds.  Pearls are interspersed amongst the crystals.  Surmounted by an enormous rock crystal crown, the twelve-candle chandelier is decidedly impressive.

Originally, it's thought, the chandelier was hung in the dining room of Hampton Court Palace.  According to the Royal Collection Trust, "It may possibly be that seen and recorded by Celia Fiennes on her visit to the palace in 1697, as a, 'Chrystal Branch for candles', hanging in the dining room."

Gifts of Grandeur: King George V's Tortoiseshell Box, c. 1910

Box of Tortoiseshell, silver gilt and a rose-cut diamond.
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

When we think about the Royal Collection, especially from the period after the reign of Edward VII, those familiar with the provenance of most of the pieces therein, immediately think of Queen Mary, the ultimate collector.  However, Mary wasn't the only crowned head from 1910-1936 with an eye for attractive objects.  Her husband, King George V also had a knack for collecting handsome antiquities, treasures, and contemporary works.

This masculine box of tortoiseshell, gilt silver and a single rose-cut diamond dates to the early Twentieth Century and was made specifically for His Majesty George V and fits perfectly with his personal collection of simple, elegant pieces.  The polished lid is rimmed with gilt mounts set with a relief of berried laurels.  When the lid is removed, the gilded interior shows an engraved, crowned cypher--GVR.

The Home Beautiful: A Silver Snuff Grater, 1700

Silver Snuff Box with Built-in Steel Grater, 1700
Made in Britain
The Victoria & Albert Museum

A box with a hinged lid and two compartments, this snuff grater was designed to hold a block of compressed powdered snuff in the smaller compartment while the larger compartment, fitted with a perforated grater, would have held the grated snuff powder. The lid was made to close very tightly—an essential state for keeping snuff dry and sniff-able. 

Boy, but that just sounds like terrible stuff.  Nevertheless, it was quite popular and it made for some attractive containers and tools like this one.  The lid of this grater is engraved with the monogram “HE” for the Edmonds family of Yorkshire, and with the family crest of a three-masted ship in full sail.  It was made around 1700.

Oddly enough, snuff, and tobacco in general, was thought to have some handy medicinal uses.  Aside from being addictive and completely ruining one’s nasal respiration, I can’t see what else it could do.  But, again…we do have some lovely containers left behind from this revolting habit.  

After a Fashion: A Silver and Gemstone Buckle and Belt Tag, 1905

Silver and Gemstone Buckle
and Belt Tag, 1905
This and all images courtesy of:
The Victoria & Albert Museum

This silver buckle and belt tag are decorated with enamel and set with moonstones, amethysts and chalcedony. The silver is adorned with cast roundels of stags and birds.

Henry Wilson, an architect, sculptor, metalworker and jeweler, is the artistic genius behind this magnificent, yet practical, work of art. Wilson was considered one of the most accomplished of all Arts and Crafts jewelers. He was so well-respected, a fellow artist-jeweler once wrote to him: “I simply can't understand how you can do such wonderful work. Apart altogether from the beauty of the designs and colour, the making of the things beats everything.”

Wilson’s great influence in the Arts and Crafts movement was his championing of the showcasing of the simple polished stone. This, he felt preserved the stone’s, as he put it, “mysterious magical quality.”

Unusual Artifacts: A Silver Rattle, 1901

Baby's Rattle
Sterling Silver and Bone
Saunders and Shepherd
Birmingham, England, 1901
The Victoria & Albert Museum

Silver rattles are still being given as special gifts—a lasting way to mark the birth of a child, and something which can be passed through generations. The practice of presenting a newborn with a silver rattle dates to the early days of the Victorian era, a time when children were especially revered and doted-upon.

This example dates to the end of Queen Victoria’s reign (and life), 1901, and the start of the brief reign of her eldest son, King Edward VII. Though many styles were changing during this period, this rattle looks as if it could have been made in 1837 and adheres to a traditional style which was expected for such gifts.

Unlike the silver rattles given as gifts today, the sterling rattles of the Nineteenth and early Twentieth Centuries were actually intended to be used by the baby. Let’s examine this one more closely. The silver rattle is mounted with a teething ring of bone at one end while the other side is fitted with a loop for a ribbon, and terminates in a whistle. The bulbous central section is decorated with scrolling ornament and hung with six, enclosed, cone-shaped bells. Above this, two more bulbous tiers are mounted, each of these hung with three similar bells with two below.

The little object would have provided quite a lot of hours of entertainment for a baby who could make it rattle, ring and whistle. Furthermore, the bone teething ring would have helped junior work his teeth through his gums. But, there’s also another aspect of this rattle which isn’t immediately apparent or remembered.

As I mentioned, this a period during which children and babies were especially romanticized. The infant mortality rate, at the start of Queen Victoria’s reign, was much higher than at the end of it. During this time, anything that could be done to ensure the long life of a child was going to be employed. Superstitions and what we now refer to as “Sympathetic Magic” were big parts of this philosophy. Even the smallest detail might have had some importance. For example, the fact that the teething ring portion of the rattle is made of bone is not just a matter of practicality and availability of the medium. The use of animal bone was thought to confer the strength of the animal to the child—a strength which would be employed to fight pain and illness. Sometimes teething rings were made of red or white coral—or both—in order to symbolize the battle between the flesh and the bone which was inherent to teething. But, also, the use of coral would have imbued the child with the power of the ocean.

This may sound very quaint and silly. But, think about it. Even as recently as 1901, such superstitions came to play. And, if you think about it, humans are, by their very nature, still a species which relies quite a lot on “magic” and assigns significant power to the unknown. The rattle is marked “CS” with a six-point star. It is also stamped “FS/ anchor/ lion/ b” and “Made by Saunders & Shepherd.” It was assayed in Birmingham, England as sterling silver; marked 1901.

Mastery of Design: A Toadstone Ring, 1500-1600

Toadstone Ring
Germany, 1500-1600
The Victoria & Albert Museum

What is toadstone? During the Medieval and Renaissance eras, the stone was thought to have literally come from the head of a toad. That’s a lot of toads popping things out of their little skulls. As it turns out, toadstone has nothing to do with toads. It is, actually, the fossilized tooth of a fish—equally strange.

In the Thirteenth through Seventeenth Centuries, toadstones were assigned mystical properties—specifically thought to protect the wearer from being poisoned or getting kidney disease. Well, that’s oddly specific.

So powerful was the stone that it was said to give off heat when in the presence of poison and that, should the wearer be bitten, it could ward off snake venom. Furthermore, it was thought that toadstone could protect a pregnant woman from the fairies and demons which would want to steal the newly born child and switch it out for a changeling.

Here’s an interesting example of a toadstone ring. This, like most such rings, comes from Germany and dates to sometime between 1500 and 1600. The silver ring features a crown-shaped bezel which holds the toadstone. The shoulders of the ring are engraved with vines and flowers.

Toadstone is also known as “crapaudine” or “crappot”—charming names, which, oddly enough were assigned to it because of its rusty brown color. The proper name is “Lepidotes.”

Object of the Day, Museum Edition: A Frog Scent Case, 17th C.

Silver Gilt Scent Case
German, Seventeenth Century
The Victoria & Albert Museum

This silver-gilt scent case was made in Germany in the Seventeenth Century. As you can see, it’s created in the shape of a frog on a leaf. Such a case would have been worn or carried on the person to keep a pleasant aroma at hand at all times during periods when cities and towns didn’t smell so very good.  This one, for example, would have been worn from a chain or ribbon, suspended around the neck, or hung from a matching pin or brooch.  A sponge, fabric or porous material soaked with scent or pot pourri would have been contained in the case and the aroma would have escape through the pierced backing.

The owner and maker of this handsome figure are unknown, but it’s a lovely example of German silver work of the early 1600s. 

Unusual Artifacts: Wedding Favors, 1854

Click image to enlarge.
Wedding Favors
England, c. 1854
The Victoria & Albert Museum

The tradition of handing out wedding favors, especially to those who participated in the wedding party, goes back centuries. The origin of this custom is difficult to trace as it is not unique to any one culture.

Some of the most famous wedding favors are those which were presented at the 1840 marriage of Queen Victoria and Prince Albert. “The Times” reported that white favors were given out at the lavish nuptials:

Every lady exhibited a white favour, some of which were admirable specimens of refined taste. They were of all sizes, many of white satin riband, tied up into bows and mixed with layers of rich silver lace. Others merely of riband intermixed with sprigs of orange flower blossom.

While the custom of orange blossoms at a wedding pre-dates Victoria’s wedding considerably and actually arose in Asia, the interest in the blooms was rejuvenated after that Royal wedding. After witnessing the gorgeous orange blossoms at Queen Victoria’s wedding, many brides wished to have similar favors and turned to more permanent imitation blossoms.

Take, for example, this pair of wedding favor froms an 1854 union. The orange blossoms on these favors are made of cloth and feature silvered paper leaves and trimmings of cream silk satin ribbon. These items are associated with the wedding of Elizabeth Wroughton Richards to the Reverend Andrew Nugee on August 8, 1854.

Mastery of Design: A Silver Brooch Set with Pastes, 1740-1750

Brooch
Silver and Pastes
1740-1750
The Victoria & Albert Museum

Grand brooches such as this one became all the more fashionable in the Eighteenth Century.  The development of the brilliant cut  brought about a revolution is jewelry design which focused on dense grouping of faceted stones which would catch the candlelight in alluring ways.

While precious stones always remained the basis for the most desirable jewels, the imitation jewelry industry also flourished during this period, providing more economical pieces set with paste stones (glass).  

Here we see such a piece of costume jewelry, made between 1740 and 1750 in Western Europe.  The silver, floral-themed brooch is set with deep orange pastes meant to imitate citrine.  Three large, pear-shaped drops offer a bit of drama to the piece.

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The Victoria & Albert Museum