Mastery of Design: The Jane Morris Topaz Brooch, 1820-30

Topaz Brooch
1820-1830
The Victoria & Albert Museum

This topaz brooch originally belonged to Mrs. Jane Morris (“Janey, as she was known”), the wife of the artist, designer and socialist William Morris.  Janey was often painted by the artist Dante Gabriel Rossetti (with whom, it is thought, that she shared a romantic entanglement).  Many of the gorgeous jewels which lined Janey’s jewel box were actually given to her by Rossetti--including this topaz brooch which was bequeathed to the V&A by her daughter, Miss  May Morris in 1938.

This topaz brooch in a gold filigree frame was made in Europe between 1820 and 1830.  

Mastery of Design: The Countess Gautier Brooch, 1830

Brooch, 1830
The Victoria & Albert Museum

Here, we see a beautiful brooch of gold set with an emerald, turquoises and topazes in the form of a basket of flowers. Though the maker’s mark is unidentifiable, a Paris warranty mark for 1819-38 is clearly seen.

Jewelry of the 1830s often represented Naturalistic themes. As the V&A’s curators puts it, “A love of nature was one of the most universal and respected sentiments in the 19th century.” This Naturalistic theme was influenced by the Romantic movement and the revived Rococo style.

This is a transitional design. Until about 1830, such designs were delicately stylized, but later, more exact representations of flowers, leaves, fruit and insects became the basis for more elaborate pieces. 

History's Runway: The Cory Head Ornament, 1835

Ornament
England, 1835
The Victoria & Albert Museum

Click on image for detail.

This headpiece of gold, from the magnificent collection of Lady Cory, is set with amethysts, topazes, pearls, coral, turquoises and garnets. It was made in England in 1835.


The design takes the form of a trail of flowers, in three pieces, connected by rings and showcases the jewels that were most popular in the 1830s.

Mastery of Design: The Dame Joan Evans Swiss Topaz Necklace, 1835

Mastery of Design: The Dame Joan Evans Swiss Topaz Necklace, 1835

Necklace
Switzerland, c. 1835
The Victoria & Albert Museum

Beginning in the 1830s, the jewelry trade saw a greater consumer demand as more people were able to afford gems and jewels. Traditional techniques such as casting, chasing and engraving were still employed in the most high-end pieces, however, into the 1850s, newer industrial methods were used to make less expensive products for a growing mass market.

Here, we see a piece made for the mass market using machines.  This necklace was created by pressing the gold into the required shape using a die-stamping machine.  The flatted gold was rolled a machine into a very thin sheet which could be stamped to make multiple standard components. Even the collets were stamped on—allowing the setting of gemstones to be completed quicker.

After being assembled from pre-made pieces, the gold was enameled and set with pink-foiled topazes.  This necklace was made in Switzerland between 1835 and 1840.  It was once part of the impressive collection of jewels amassed by Dame Joan Evans.

Mastery of Design: The David Thomas Necklace and Chain, 1967-8

Pendant/Brooch and Chain
David Thomas, 1967-8
The Victoria & Albert Museum

In 1960s London, fashions were changing in dynamic and dramatic new ways. This contemporary style found its way to the world of jewelry as well and launched a visual philosophy amongst modern jewelers which focused on asymmetrical contours, splintered surfaces, textured gold and unusual gemstones often left rough or in crystal form.

One of the most prominent proponents of this new London style was David Thomas (born 1938).  Thomas studied at Twickenham School of Art and the Royal College of Art, and was one of the several innovative young jewelers who were included in the “International Exhibition of Modern Jewellery 1890-1961”held at Goldsmiths' Hall in 1961.

This magnificent necklace was commissioned from him by the celebrated model Ann Mollo, who is pictured wearing this pendant as a brooch in her portrait of 1969 by photographer Michael Seymour in the collection of the National Portrait Gallery.

We can see Thomas’ aesthetic with this pendant with a raised central cluster of irregular topaz crystals.  From these radiate individually-applied gold wires, some with granular decoration, which are scattered among narrow rectangular garnets.

On the back of the pendant is a hook to attach the chain, and, also, a pin allowing the piece to be worn as a brooch. The chain is comprised of long alternating links in two distinct patterns.

Mastery of Design: A Gift to Queen Mary from the Royal Household, 1928

Crown Copyright
The Royal Collection
Via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II

Click on Image to Enlage

Made by Ovchinnikov of St Petersburg this box of enamel, gold, topaz, sapphires, and was presented to  Queen Mary, consort of King George V, King of the United Kingdom (1867-1953), from the Royal Household on her May 26, 1928.

The square circular lilac guilloché enamel box's raised inset cover is mounted with a faceted blue topaz.  The neck of cream guilloché enamel, and shoulders are mounted in colored gold with chased floral swags. The illusion of pendants of enamels is heightened from raised set diamonds and surrounding cabochon sapphires.

Mastery of Design: Queen Victoria’s 1842 Christmas Brooch

Princess Victoria Brooch
Presented to Queen Victoria on Christmas, 1842
Designed by Prince Albert
Crafted by William Essex after William Ross, miniaturist
Enamel, Gold, Diamonds, Rubies, Sapphires, Emeralds, &
Topazes
The Royal Collection

To celebrate Christmas with his wife and their first child, Princess Victoria, Prince Albert designed a beautiful enamel and jeweled brooch for Queen Victoria. Inspired by a painting by Raphael, the prince envisioned an angel with sparkling wings and the face of their infant daughter.


Jeweler William Essex was commissioned to create the brooch to Prince Albert’s specifications. For Princess Victoria’s enameled, cherubic face, Essex used as his model a miniature painting of the child princess by William Ross. The resulting brooch of enamel, gold, sapphires, rubies, emeralds, diamonds and topazes shows the young Princess as a putti draped in a regal blue robe. In her tiny hands, she clutches a cross of diamonds and rubies.

Queen Victoria was—rightfully—thrilled with the brooch and wrote in her journal, “The workmanship and design are quite exquisite, and dear Albert was so pleased at my delight over it, it’s having been entirely his own idea and taste.”

History's Runway: The David Thomas Topaz and Garnet Pendant, 1967

Pendant/Brooch
David Thomas, 1967
The Victoria & Albert Museum

As fashions changed in the 1960s, jewelry designers played with conventional and traditional forms to make unusual pieces which were meant to be wearable art. London was a center for such designers and David Thomas (born 1938) was among the leaders of this new approach to jewelry design.

Here we see an example of Thomas’ cutting-edge work. This pendant (can also be worn as a brooch) features a raised central cluster of irregular topaz crystals. From these, individually-applied gold wires radiate--some of these are adorned with a granular decoration. These are peppered with narrow, rectangular garnets.

Mastery of Design: The Gilbert Trophy Snuffbox, 19th C.

Bloodstone and varicolored gold snuffbox set with diamonds, rubies, emeralds,
sapphires, and topaz.
The Gilbert Collection
German, 1800-1900
This and all related images from:
The Victoria & Albert Museum

This rectangular snuffbox is comprised of six panels of bloodstone encrusted with martial and musical trophies in diamonds, rubies, emerald, sapphires, and topazes mounted in varicolored gold.  It is also chased with flowers, foliage and ribbons, and features an elaborately jeweled floral thumbpiece set with a central emerald.

Part of the impressive Gilbert Collection at the V&A, this box was made in Germany between 1800 and 1900.

Mastery of Design: The Topaz Necklet, c. 1780

Necklet of White Topaz
Part of a Demi-Parure
Portugal, 1780-1800
The Victoria & Albert Museum

This necklace, made in Portugal between 1780 and 1800, features a symmetrical bow design from which five loops suspending an equally symmetrical bow and pendant hang.

The piece is typical of neo-classical Portuguese design. It is a portion of a “demi-parure” - a half set of jewels - which is comprised of a pair of long pendalogue earrings (long pear-shaped pendants hanging beneath bows).

The stones are white topaz which are set in silver to enhance their clarity. That this set remains as it is owes to the fact that the stones are topaz and not diamonds. Had they been diamonds, the set surely would have been ripped apart and reset several times over. 

Mastery of Design: The Dame Joan Evans Order of Santiago, 18th C.

The Order of Santiago
From the Collection of Dame Joan Evans
The Victoria & Albert Museum

Made in the Eighteenth Century, this pendant badge represents the Order of Santiago. The spokes of the badge are set with white topaz in gold and the sword cross consists of lush garnets. 


From the collection of Dame Joan Evans, this badge is quite rare. The Order of Santiago is the senior of the four Spanish Military orders.

Gifts of Grandeur: A Portuguese Dress Ornament, 1770

Bodice Ornament
The Victoria & Albert Museum

Here’s a pretty, little thing. This bodice ornament of a bow and a symmetrical arrangement of flowers is made up of large golden-yellow topazes (sometimes described as “sherry topaz”) and a mixture of colorless topazes and rock crystal. The colorless topazes have a slight pink tinge which sets them apart from the crystal.

A huge export of topaz from the Portuguese territory of Brazil in the Eighteenth Century gave rise to increased use of the stone in Britain. However, it is possible that this ornament was made in Portugal. 

History's Runway: The Cory Head Ornament, 1835

Ornament
England, 1835
The Victoria & Albert Museum

Click on image for detail.

This headpiece of gold, from the magnificent collection of Lady Cory, is set with amethysts, topazes, pearls, coral, turquoises and garnets. It was made in England in 1835.


The design takes the form of a trail of flowers, in three pieces, connected by rings and showcases the jewels that were most popular in the 1830s.

Object of the Day, Museum Edition: A Mid-Nineteenth Scarf Ring

The Victoria & Albert Museum

This luxurious scarf ring, intended to secure a scarf to an outfit, was made in the Mid Nineteenth Century in Central Europe. A work of enameled gold, it is set with a step cut colorless topaz.

Such rings were both practical and beautiful. As women’s fashion often incorporated various shawls and scarves, a scarf ring served to keep these items neatly in place and arranged in any number of specific ways dictated by the changing fashions of the time.

Furthermore, a scarf ring would have been a suitable token of affection offered during a courtship—not as serious as a finger ring, but more permanent than flowers. 

Gifts of Grandeur: An Engraved Fob Seal, 1815-1820

Fob Seal
1815-1820
Chased and engraved gold and topaz/
The Victoria & Albert Museum

Known as a fob seal, this would been attached to a gentleman’s watch chain, usually worn just below the waist, suspended from a small pocket in the trousers known as a “fob.”


While decidedly decorative, seals were the height of functionality, used to impress designs on sealing wax. This particular seal by an unknown maker dates between 1815 and 1820 and features a “swiveling” seal of a three-sided topaz which has been engraved with a scene of burning ships, billowing plumes of smoke, at the 1805 Battle of Trafalgar--when the Nelson led the British to defeat the French.

The engraving bears the inscription “ENGLAND EXPECTS THAT EVERY MAN THIS DAY WILL DO HIS DUTY” in reverse so that, when impressed into the wax, they would read correctly. The setting is adorned with beautifully chased scrolls and flowers indicative of the Rococo Revival of the early Nineteenth Century.

Mastery of Design: Queen Victoria’s 1842 Christmas Brooch

Princess Victoria Brooch
Presented to Queen Victoria on Christmas, 1842
Designed by Prince Albert
Crafted by William Essex after William Ross, miniaturist
Enamel, Gold, Diamonds, Rubies, Sapphires, Emeralds, &
Topazes
The Royal Collection

To celebrate Christmas with his wife and their first child, Princess Victoria, Prince Albert designed a beautiful enamel and jeweled brooch for Queen Victoria. Inspired by a painting by Raphael, the prince envisioned an angel with sparkling wings and the face of their infant daughter.


Jeweler William Essex was commissioned to create the brooch to Prince Albert’s specifications. For Princess Victoria’s enameled, cherubic face, Essex used as his model a miniature painting of the child princess by William Ross. The resulting brooch of enamel, gold, sapphires, rubies, emeralds, diamonds and topazes shows the young Princess as a putti draped in a regal blue robe. In her tiny hands, she clutches a cross of diamonds and rubies.

Queen Victoria was—rightfully—thrilled with the brooch and wrote in her journal, “The workmanship and design are quite exquisite, and dear Albert was so pleased at my delight over it, it’s having been entirely his own idea and taste.”

Mastery of Design: The Caswell Garnet Brooch, c. 1860

Brooch
England, 1860s
The Victoria & Albert Museum

You couldn’t find a brooch which better summed up the designs of the 1860s. This gold brooch is set cabochon cut garnets and topazes upon a central, raised shield. The foliate portion of the brooch is expertly hand-chased.

Though it’s not marked, we know that the piece originated in Britain and was made around 1860. 

Mastery of Design: The Townshend Pink Topaz, 1800-69

Rose Topaz Surrounded by 34 Rose-Cut Diamonds
From the Collection of Reverend Townshend,
The Victoria & Albert Museum

Here’s another gem from the collection of Reverend Chauncy Hare Townshend, a cleric and poet, at the V&A. Included in Townshend’s collection are many specimens from the collection of Henry Philip Hope whose assortment of diamonds included the famed Hope Diamond. 


Townshend bequeathed his collection to the V&A in 1869 when the museum was still known as “The South Kensington Museum.” The unusual gems were, in large part, set into rings. This ring features a deep rose pink faceted oblong topaz bordered by thirty-four rose cut diamonds set in silver on an openwork mount. Topaz exhibits a variety of colors. Most common are blue, yellow and brown, however, in rare cases the stone can be found naturally in pink and orange.

Mastery of Design: The Dame Joan Evans Order of Santiago, 18th C.

The Order of Santiago
From the Collection of Dame Joan Evans
The Victoria & Albert Museum

Made in the Eighteenth Century, this pendant badge represents the Order of Santiago. The spokes of the badge are set with white topaz in gold and the sword cross consists of lush garnets. 


From the collection of Dame Joan Evans, this badge is quite rare. The Order of Santiago is the senior of the four Spanish Military orders.

Mastery of Design: The Topaz Necklet, c. 1780

Necklet of White Topaz
Part of a Demi-Parure
Portugal, 1780-1800
The Victoria & Albert Museum

This necklace, made in Portugal between 1780 and 1800, features a symmetrical bow design from which five loops suspending an equally symmetrical bow and pendant hang.

The piece is typical of neo-classical Portuguese design. It is a portion of a “demi-parure” - a half set of jewels - which is comprised of a pair of long pendalogue earrings (long pear-shaped pendants hanging beneath bows).

The stones are white topaz which are set in silver to enhance their clarity. That this set remains as it is owes to the fact that the stones are topaz and not diamonds. Had they been diamonds, the set surely would have been ripped apart and reset several times over.