Precious Time: A Cabinet Clock from Augsburg, 1700-1725

Cabinet Clock
1700-1725
Augsburg (Made)
Meissen (Tea Set, Made)
This and all related images courtesy of
The Victoria & Albert Museum

This artful arrangement of wood, boulle marquetry, tortoiseshell, silver, silver-gilt, inlaid mother-of-pearl, ivory, enamel, brass, pietre dure, faceted garnets, turquoise, micromosaic, velvet, porcelain, mirrored glass, gilt bronze, and oil paint on copper sheeting makes for one very involved, brilliant timepiece.


This monumental cabinet clock comes from Augsburg. Both Augsburg and Nuremberg were hubs of important clock making from the 1650 through 1750. Master craftsmen from a variety of media would join forces to create majestic and unusual cases for the clock. This, surely, is one of the finest examples of their capabilities.

Truly extraordinary, this cabinet clock is comprises of nearly twenty costly different materials. Coupled with the high cost of labor for such a piece, surely this was a royal or, at least, noble commission. We don’t know for whom the clock was originally produced, however, the curators at the V&A have determined that this was the same clock that once belonged to Lord Rosebery, British Prime Minister from 1894-5, as evidenced by photographs of the Lord from that time period (see the black and white picture detail below).

Though the clock is certainly interesting in all that’s apparent, from the little Buddha figures to the impressive inlay-work, it also contains some hidden treasures which aren’t immediately seen. For example, a neatly in-set drawer contains a Meissen tea set in a pattern which matches the clock as well as a silver picture frame.

This was a gift to the V&A from Sir Arthur Gilbert and his wife Rosalinde—two of the world's foremost decorative arts collectors, and was included in their 1996 bequest of silver, mosaics, enameled portrait miniatures and gold boxes.

History's Runway: An Enamel and Ruby Bow, circa 1600

Bow
Enamel, Rubies, Pearl, Gold
1600-1660
The Victoria and Albert Museum

Little is known about this beautiful little bow. It was made somewhere in Europe between 1600 and 1660. A masterpiece of enamel work, the bow is beautiful from both sides. The front of the piece is set with sparking rubies in gold mounts while the reverse is hand-painted with enamel flowers.

Throughout its life the bow has been worn as both a pendant and a brooch. The dangling pearl at the bottom may be a later addition. 

After a Fashion: An Enamel and Diamond Necklace 1660-1900

Enamel and Diamond Bow Necklace
with Pearls and a Large Sapphire Drop
1660-1900
Western Europe
The Victoria & Albert Museum

This necklace was over two hundred years in the making. The centerpiece of the gorgeous work is a bow of turquoise, opaque enamel, set with diamonds. This was made in Western Europe around 1660 and was acquired by Lady Alma-Tameda. This enamel and diamond brooch was adapted into a necklace in 1800. The chain consists of alternating enamel bows of white, black and blue, backed in yellow gold. Near 1900, the pearl and large sapphire drop was added to the central bow along with two mounted enamel pieces in a floral design.


The floral pieces, as well as the necklace as a whole, insist on maintaining an organic feel. Therefore, the sapphire drop mimics the natural shape of the Baroque pearls and the diamonds—even the later additions—are table-cut so as to rely on their own inherent sparkle as opposed to overworked faceting.

Sculpture of the Day: A Lion After Landseer, 1874

Paperweight
The Victoria & Albert Museum

Among the most famous public sculptures in Britain are the lions at the base of Nelson’s Column in Trafalgar Square which were designed by Sir Edwin Landseer. Those celebrated lions have inspired multiple works of art including this handsome paperweight of blue pressed glass.

The lion was created through a new technique of press-molding glass with the aid of a hand-operated machine. This technique—developed originally in the U.S. in the 1820s--made the mid-to-late Nineteenth Century the beginning of true mass production of pressed glass in the U.K..

This beautiful piece heralds from John Derbyshire's Regent Flint Glass Works at Salford, Manchester. The concern was not long-lived, however, during its few years of production it manufactured some of the most sought-after paperweights in Britain. The best known of the collection is this lion. Others which were inspired by Landseer also proved to be big sellers. These included based on the master’s paintings of a greyhound and a collie.

Joy in Miniature: The Lord Clapham Doll Chair, 1690-1700

Dolls Chair, 1690-1700
This and all images courtesy of:
The Victoria & Albert Museum
Museum of Childhood

At first glance at the photo, you’d think this was a full-size Seventeenth Century chair, but on closer inspection you can see that the scale isn’t quite right for a human. This miniature chair was made for the “Lord Clapham Doll,” which is part of the Victoria and Albert Museum’s collection in the Museum of Childhood.

This tiny chair of wood and cane is in the popular style of the period 1690-1700. The caning in the seats and the pattern of crosses which has been incised in the upper surface of the seat frame are identical to full-size chairs made in the same period—showing that this was made by a professional chair-maker using conventional construction methods.

In order to provide fairness to both genders, the “Lady Clapham” doll sits on a similarly-styled chair. For a doll’s chair or any miniature to survive this long is quite exceptional. As I pointed out, the scale is slightly different from the real thingf. The curators of the V&A explain, “The proportions of the chair are slightly different from full-sized chairs, and not quite to scale with the dolls, because the dolls' feet do not touch the ground.” I don’t know if that’s because dolls don’t like their feet touching the ground or if it’s just the way it worked out.

Gratuitous Bertie Dog Picture: Guerrilla My Dreams

"Let's just wait until he departs and we'll see if this guerrilla left any bananas behind."

Original Painting:

The Guerrilla's Departure

Creator: Sir David Wilkie (1785-1841) (artist)

Creation Date: 

Signed and dated 1828

Materials and techniques: 

Oil on canvas

Acquirer: George IV, King of the United Kingdom (1762-1830)

Provenance: 

Purchased by George IV

Crown Copyright

The Royal Collection

via The Royal Collection Trust

Image courtesy of Her Majesty Queen Elizabeth II.

To learn more about this painting by Sir David Wilkie, visit its official entry in the Royal Collection.  

You, too, could have a cup of tea with Bertie. Or, you could wear his picture proudly. Visit our online store to see our range of Gratuitous Bertie Dog products.

After a Fashion: The Lion, the Monkey and the Two Asses Handkerchief, 1710-20

This and all related images from:
The Victoria & Albert Museum

In Eighteenth Century France, personal items were often adorned with images which brought joy to their users. Among the most popular of these were handkerchiefs like this one with small scenes (vignettes). This handkerchief shows a scene from la Fontaine's fable “The Lion, the Monkey and the Two Asses.” Here, the lion sits on a high-backed chair at the left of the scene, with the monkey seated on the ground before him and the two mules to the right. The ornamental corner elements and the decorative border are rendered in the popular French style of the time.

The handkerchief is painted on dyed cotton chintz and was made between 1710 and 1720 on the Coromandel coast of India for export to France. 

Mastery of Design: The Monkey Face Swivel Ring, 1800-1839

The Victoria & Albert Museum

Part of the collection of Reverend Townshend, this ring is set with Sunstone (feldspar) in a swivel gold setting, carved with a cameo of a monkey's head. The ring was made between 1800 and 1839 to showcase the stone and was never meant to be worn.

Curiously, the setting is much more whimsical than those of the other stones in the Reverend’s important collection. Through the swivel setting, the monkey's face can be turned away to reveal a smooth cabochon which shows the feldspar's clarity and bright color. 

This ring, like many which were acquired by Reverend Townshend wasd originally in the possession of Henry Philip Hope (d.1839) who formed a famous collection of diamonds and precious stones—a collection which included the famous Hope blue diamond, now in the Smithsonian Institution, Washington. 

The Art of Play: A Steiff Monkey, 1910

Monkey (Chimpanzee)
Steiff, 1910
The Victoria & Albert Museum

Monkey! Mohair Monkey! Okay, it’s not actually a monkey, it’s a chimpanzee, but the German toy makers, Steiff referred to all their early simian soft toys as “monkeys.” Who knew the difference?


This chimp features fully jointed arms, legs and head, so that he can sit or stand. His arms are exceptionally long and slightly bent at the elbows to make sure he was in full monkey mode. As with most of Steiff’s animals, a great deal of attention was paid to the details. His fingers and toes are clearly defined and rigid, built atop metal prongs.

The curators at the V&A believe this toy—which still retains its trademark button in the left ear—was made as an automobile accessory, designed to sit on the radiator cap of a motor. How interesting. He seems to have held up well and is in pretty good condition for being over one hundred years old.

Object of the Day, Museum Edition: A Work Box, 1815

Work Box, 1815
The Victoria & Albert Museum

Here, we see a work box of wood and leather from the early part of the Nineteenth Century. Work boxes, were ostensibly containers for sewing and embroidery tools and materials, and were made up of many small compartments which allowed for easy organization. This particular box from the Victoria & Albert Museum also features a secret drawer behind the drawer at the front—a rather uncommon design for such a box--which opens by pulling a hidden catch. Clearly, this is an expensive example for a workbox and would have been made for a lady of leisure. Its leather cover and scene-printed silk lining tell us that this box, though practical, was also meant to be a luxurious status symbol.

The box retains most of its original fittings, including two fixed pin cushions which are covered with printed silk, and several lidded compartments. It still boasts its collection of small tools and souvenirs, such as a pin cushion in inlaid wood with silk-covered cushions at each end. This adorable cushion still bears a paper label that reads 'A trifle from BRIGHTON'. An ivory tape measure with its original silk tape, and a tiny circular needle case covered in green silk complete the set.

A brass plaque on the outside of the lid has not been engraved with initials, so we’ll never know to whom this box originally belonged. It was, however, purchased in the 1930s by Queen Mary, consort of George V (ruled 1910-1936) who made great efforts to collect as many various items from the Georgian and Victorian periods as she could. As she often did, Queen Mary bought this box with the V&A in mind. She gifted the item to the museum immediately after its purchase

Mastery of Design: A Gold, Jade and Ruby Necklace, 1825

Necklace
Gold, Jade, Rubies, Chrysoprase
1825
The Victoria & Albert Museum

Made just four years after the coronation of King George IV, this necklace of gold filigree with cannetille (fine gold work of thin or flattened wires in rosette patterns) and grainti (spirals and volutes of gold wire) decoration, is set with jade, chrysoprases and rubies and shows emerging resurgence of Gothic style which dominated the era for awhile.

The work of an unknown artist, this necklace most likely comes from France. It is curious to note that the earrings were not made at the same time as the necklace and, in fact, were not purposely made to match. These were purchased at a much later date and just coincidentally matched the necklace.

Unusual Artifacts: A Musical Automaton Hurdy Gurdy, 1875

Musical Automaton
Hurdy Gurdy
1875
The Victoria & Albert Museum

At first glance, this odd item appears to be simply a wooden box adorned with figures of two monkey musicians. However, it’s much, much more than that.

By means of a handle at the back of the organ, a magical animation begins. The handle operates the Papier Mache and fabric monkey figures which were supplied by the Parisian maker Alexandre Theroude to a retailer of musical instruments, Thibouville Lamy. Together, they play eight different tunes. Upon being accepted into the Victoria & Albert Museum, the monkeys were given new clothes as their originals were in a sad state. The new clothes were made using the originals as a pattern and are as close in color and texture as was possible.

This item is illustrated in a Silber and Fleming catalogue which dates between 1876 and 1877. Similar examples were also for sale in upscale specialty shops and elegant department stores. Such a thing was not meant for children, but rather sold as a novelty for adults to enjoy.

The Art of Play: Toy Silver Saucepan, Tea Set and Cover, 1720-1750

Toy Saucepan, Tea Set and Cover
Silver, Wooden Handles, Fabric
1720-1750
The Victoria & Albert Museum

For as long as there have been children, there have been toys. Children have always liked to play with miniature versions of the objects that they see their parents use every day. So, it was only natural that a child in the early Eighteenth Century would have a miniature saucepan and silver tea set to play with.

Crafted of silver and wood, this set features small versions of a traditional tea set in addition to a cozy, a saucepan and, oddly, a silver swan. Curiously, this set of objects was intended to be buried with their owner who passed away as a small child. It was taken from her casket before burial.

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.

Unusual Artifacts: The Castellani Etruscan Scarab Necklace, 500 B.C. to 1925 A.D.

Necklace
Ancient Granulated Gold Beads and Etruscan
Carnelian Scarabs set in Gold.
Artifacts: 500 - 300 B.C.
Setting: 1920-1025
Castellani, Rome
This and all related images:
The Victoria & Albert Museum

This beautiful necklace is the result of over two thousand years of artistry. In the Nineteenth Century, jewelers began to experiment with resurrecting ancient jewelry styles which they based on then-recent archeological finds. The trend reached new heights of popularity in the early Twentieth Century.

The Italian jewelry firm, Castellani, was among the leaders in this movement. This necklace is an adaptation of archeological-style jewelry which is rooted both in Nineteenth Century ideals and ancient styles as well as incorporates actual Etruscan artifacts into the piece.

The jeweler based the design on earlier Nineteenth Century prototypes, chiefly, the Campana Collection necklace which is housed in the Louvre. This design features authentic Etruscan carnelian scarabs strung with truly ancient, granulated gold beads. Using these ancient elements to produce a necklace in a new, popular style was both a novelty and a way of rescuing broken and discarded artifacts. 

Object of the Day, Museum Edition: The Martha Edlin Beaded Jewelry Case, 1673

Martha Edlin's Jewelry Case, 1673
The Victoria and Albert Museum

Decorated with beadwork--a fashionable embroidery technique in the Seventeenth Century--in which tiny glass beads were threaded and sewn into a pattern, this jewelry case features a padded central panel which lifts open to reveal a compartment for organizing jewels. It is lined with pink taffeta. On the lid, surrounded by an oval wreath formed by silk-wrapped leaves of parchment, is a cockatrice in a tree, with flowers around, worked in glass beads. Outside the wreath, flowers and a leopard are worked in silks in tent and rococo stitches. On the frame surrounding the lid are birds and flowering plants worked in beads. The corners of the frame rest on four round, hand-turned wooden feet. The underside is wholly lined with marbled paper and the edges and seams are covered with silver braid.

Such a fancy case, especially one with such high-quality glass beads and other materials, could only have been made for a very wealthy household. Furthermore, a cabinet-maker would have been employed to make the structure of the case itself if the estate did not already have a man who was proficient in woodworking.

This case once belonged to one Martha Edlin. Her name and the year (1673) have been embroidered on the case. Clearly, Miss Edlin worked the case herself. Given the value of the case itself, we can see that Martha and her successors handled it with extreme care. For this reason, it remains in near pristine condition over three hundred years later.

Martha Edlin (1660-1725) is a name which has become very familiar to me over the past two years as I’ve studied, in detail collection of the V&A. Several items from Martha’s home are now housed in the museum. Martha worked a series of embroideries during her childhood, including this jewelry case, which were cherished by her descendants and passed through the female line of her family for over three hundred years.

Beyond her obvious skill with embroidery, sadly, we know very little about her life, except for the fact that she was married to a man called Richard Richmond. After Richmond’s death, Martha appears to have been a prosperous widow with a handsome home in Pinner in Greater London. She left the bulk of her estate to her daughters and grandchildren.

Among the other treasures created by Martha Edlin, the V&A owns an embroidered sampler in colored silks which Martha created at the age of eight, and a more complicated piece in white-work and cutwork which she crafted at nine. We have looked at those previously. By 1671, Martha’s eleventh year, she had embroidered the panels of an elaborate casket, and two years later. At thirteen, this beadwork jewelry case.

Curiously, for many years, this case became separated from the other Martha Edlin embroideries (which stayed in her family's possession until their acquisition by the Museum). In the Nineteenth Century, the case was purchased at an auction by an unknown buyer. Then, in 1927, the case was again sent to auction where it was purchased by by Sir Frederick Richmond—an ancestor of Martha’s who donated it to the V&A so that it might, once again, join the other beautiful work created by Miss Edlin. 

Unusual Artifacts: A Rare Antique Sand Toy, 1850-1870

Sand Toy
French, 1850-1870
Gerard Camagni
The Victoria & Albert Museum

This unusual and exceptionally beautiful toy dates between 1850 and 1870 and comes from France. Sand toys are particularly rare—prone to damage from wet weather and their fragile natures.

Sand toys function by the power of falling sand which is distributed through a complicated system of hoppers and paddle wheels which served to “animate” a paper figure within a glass case. Given the nature of the mechanism, sand toys didn’t function very well except in extremely dry weather. They were very often broken from the shaking of frustrated children who wanted to mechanism to work in all conditions.

This exquisite toy of glass, paper and wood is intricately decorated and features a figure of a woman in Eighteenth Century dress. Upon the release of the sand, she dances within her glass case.

Remarkably undamaged, this beautiful antique is part of the collection of the Victoria & Albert Museum.

Object of the Day, Museum Edition: A Pull-Along Bear, 1920

Pull-Along Toy
German, c. 1920
The Victoria & Albert Museum

By the 1920’s, toy manufacturers were often producing cuddly teddy bears that offered snuggly companionship to youngsters. However, some manufacturers recognized that many children preferred more active and realistic toys, and, in response to that produced soft animals which were more natural looking than their cute counterparts. These toys were regularly mounted on wheeled platforms so that their child could move them around easily.


This Pull-Along Bear dates to about 1920 is comes from an unknown German manufacturer. Still in excellent condition, his wood frame shows more wear than does his mohair coat. No doubt, he was rolled more than he was cuddled.

Mastery of Design: The Crouzet Diamond and Pearl Brooch, 1860-70

Brooch
Crouzet, 1860-70
French
The Victoria & Albert Museum

Here we see an brooch of openwork gold, enameled in black set with diamonds and pearls, and dripping with pearls and diamond pendants

The brooch is attributed toCrouzet, a master jeweler who worked for all the major Parisian goldsmiths, and who was celebrated for his jewels of fine quality and unique design and his reliance on pieces in the Moroccan taste. This particular example of his work brooch seems to have been inspired by the " moresque " work of the renowned Parisian goldsmith Alphonse Fouquet. As with many of Crouzet’s pieces during this period, this brooch was designed to be worn during a period of mourning or half-mourning.