Object of the Day, Museum Edition: The Schindler Chatelaine, 1760

Enameled Gold Chatelaine
Part of a set by Philipp Ernst Schindler
1760
The Victoria & Albert Museum

While Eighteenth-Century Viennese goldsmiths were widely heralded for their exceptional gold boxes, they also produced a wide range of other luxury items which would have been found in Europe's most affluent households.

The lady of a fine house would always have had a superb chatelaine--a pin from which she could suspend a watch and other necessary household items.  Even cherished housekeepers would sometimes be gifted such extravagant items.  Take this glorious chatelaine, for example, which represents the best of the Viennese tradition of  enameled gold objects.

The Schindler Chatelaine, made by Philipp Ernst Schindler II, forms part of an exceptional set designed to neatly cater to the necessities of elegant life.  The set comprises an étui (or small case) with a knife, snuff spoon, toothpick and ear pick, watch and châtelaine (from which the watch hung) and a matching snuffbox. The chatelaine was worn at the waist either on a belt or apron.

Figure of the Day: Boy on a Snail, 1907

Boy on a Snail
Wiener Keramik
Austria, 1907
The Victoria & Albert Museum

1907 saw Austrian designer Michael Powolny create sketches for this earthenware and enamel figure of a boy on a snail. The modeling and production was completed at the factories of Wiener Keramik, known for their fine work in Vienna. The underside is marked with the monograms, “MP” and “WK.” Wiener Keramik was founded by Michael Powolny and Berthold Löffler in 1905. In 1919, the successful manufactory became known as Gmundner Keramik.

Art Nouveau, n'cest pas?

Mastery of Design: The Schlichtegroll Necklace, 1855

Necklace from a parure
Vienna, c. 1855
The Victoria & Albert Museum

Austrian jeweler Schlichtegroll showed an impressive parure at Paris Universal Exhibition of 1855. The suite was purchased by the V&A after the exhibition as an example of a handsome and important-looking parure which was made inexpensively. The set includes a bracelet, brooch and earrings which were inspired by Seventeenth Century jewels. Schlichtegroll specifically designed the suite to be massed produced cheaply from parts which were interchangeable and standardized. 

It does look quite expensive, doesn’t it? It’s not junk, after all. Take a look at the necklace. It’s made of silver gilt, painted in imitation of enamel. The piece is set with almandine garnets, emeralds and green pastes, pearls and imitation pearls. So, there are some real gems, and some fakes, not unlike some of the less expensive jewels available today. It was meant for the merchant class who wanted to give the impression of being more prosperous than they really were—not quite aristocrats and not laborers. I think it serves its purpose quite handsomely and elegantly. 

Mastery of Design: The Schlichtegroll Necklace, 1855

Necklace from a parure
Vienna, c. 1855
The Victoria & Albert Museum

Austrian jeweler Schlichtegroll showed an impressive parure at Paris Universal Exhibition of 1855. The suite was purchased by the V&A after the exhibition as an example of a handsome and important-looking parure which was made inexpensively. The set includes a bracelet, brooch and earrings which were inspired by Seventeenth Century jewels. Schlichtegroll specifically designed the suite to be massed produced cheaply from parts which were interchangeable and standardized. 

It does look quite expensive, doesn’t it? It’s not junk, after all. Take a look at the necklace. It’s made of silver gilt, painted in imitation of enamel. The piece is set with almandine garnets, emeralds and green pastes, pearls and imitation pearls. So, there are some real gems, and some fakes, not unlike some of the less expensive jewels available today. It was meant for the merchant class who wanted to give the impression of being more prosperous than they really were—not quite aristocrats and not laborers. I think it serves its purpose quite handsomely and elegantly. 

Figure of the Day: Boy on a Snail, 1907

Boy on a Snail
Wiener Keramik
Austria, 1907
The Victoria & Albert Museum

1907 saw Austrian designer Michael Powolny create sketches for this earthenware and enamel figure of a boy on a snail. The modeling and production was completed at the factories of Wiener Keramik, known for their fine work in Vienna. The underside is marked with the monograms, “MP” and “WK.” Wiener Keramik was founded by Michael Powolny and Berthold Löffler in 1905. In 1919, the successful manufactory became known as Gmundner Keramik.
Art Nouveau, n'cest pas?

Mastery of Design: The Schindler Chatelaine, 1760

Enameled Gold Chatelaine
Part of a set by Philipp Ernst Schindler
1760
The Victoria & Albert Museum

While Eighteenth-Century Viennese goldsmiths were widely heralded for their exceptional gold boxes, they also produced a wide range of other luxury items which would have been found in Europe's most affluent households.

The lady of a fine house would always have had a superb chatelaine--a pin from which she could suspend a watch and other necessary household items.  Even cherished housekeepers would sometimes be gifted such extravagant items.  Take this glorious chatelaine, for example, which represents the best of the Viennese tradition of  enameled gold objects.

The Schindler Chatelaine, made by Philipp Ernst Schindler II, forms part of an exceptional set designed to neatly cater to the necessities of elegant life.  The set comprises an étui (or small case) with a knife, snuff spoon, toothpick and ear pick, watch and châtelaine (from which the watch hung) and a matching snuffbox. The chatelaine was worn at the waist either on a belt or apron.