Unusual Artifacts: The Double-Eye Agate Pendant, Early Seventeenth Century

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

Dating to the early Seventeenth Century, this German pendant of gold, enamel and double-eye agate was first recorded in the Royal Collection in 1872.

On the obverse, an oval cabochon double-eye agate is set in a gold mount with an enamel scrollwork of deep and light blue with white spots.  The double-eye agate set in this frame is not original to the piece.  A later owner of the pendant replaced the original stone which was likely a cameo.  

The pendant was found in a burial site, having been buried at some point after it's creation in the early Seventeenth Century.  It's possible that the original stone or cameo was damaged while being buried or that the original centerpiece was replaced with the double-eye agate as it was intended as an amulet to ward off "The Evil Eye" an to protect against various ailments.  Another later addition to the piece was the small loop at the bottom which would allow the suspension of another drop or pendant or to enable the piece to be sewn into a garment.

The reverse of the piece is likely unchanged from its original pre-burial form.  The back shows a central leaf-shape surrounded by scrolls in opaque dark-blue, light-blue and translucent green and red enamel.  These enamels are very weathered and pitted.  Here, the white spots on the surface aren't intentional decoration, but rather deposits of calcium carbonate which resulted from having been buried in the earth.

Despite its age and having been buried, the piece is in remarkably good condition.  The foil behind the enamels is still intact and the color of the remaining enamel is quite bright and lustrous.  

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

Gifts of Grandeur: The Henry Wilson Belt Clasp, 1905

Hopefully, this week, I'll get back on the usual schedule with everything, including "A Recipe for Punch."  For now, let's look at this...

Click on image to enlarge.
Belt Clasp
Henry Wilson, 1905
The Victoria & Albert Museum

I have a special fondness for the work of the jeweler Henry Wilson (1864-1934). Wilson’s jewelry is exceptional both for its form as well as the quality of the enameling and gem selection. He tended toward interesting color combinations and chose stones with only the richest colors. Wilson, a former architect (like many jewelers of his time) designed pieces which resonated with sculptural and architectural qualities, achieving a three-dimensionality which was unknown until that point. 

This is one of the most unusual pieces of Wilson’s that I’ve seen. This silver belt clasp was made in three parts. It is set with amethysts, garnets, williamsite (a green mineral), moonstones, agate, chalcedony and cat's-eye quartz. The central piece is adorned with sprays. Dating to 1905, this clasp was made to be worn on a variety of belts. 

Mastery of Design: The Dame Joan Evans Putti Locket, 1570-1600

Memorial Locket with Cameo and Enamel Painting
Cameo:  1570, Setting: 1600
Germany
The Victoria & Albert Museum

From the collection of Dame Joan Evans, we have this layered agate cameo which depicts two male busts. The cameo is set in gold and adorned with painted enamels and rubies. It’s believed that the cameo was made in Germany circa 1570 and was set into the gold mount around 1600. 

The reverse of the cameo has been painted with an enamel landscape which shows a skull and a putto blowing bubbles—a clear representation of the brevity of human life. Given this, it’s entirely possible that this was meant to serve as a memorial locket or, perhaps, a memento mori.

Gifts of Grandeur: The Fabergé Border Terrier, 1907-1908

Border Terrier of Agate and Rose Diamonds
1907-1908, part of the Sandringham Commission
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

This Fabergé figure is part of King Edward VII’s Sandringham Commission which ordered the creation of a menagerie of animals made of gold and precious stones for Queen Alexandra. The animals depicted in these figures reflected the many which lived at Sandringham House.

Made between 1907 and 1908, this sculpture of agate is set with rose-cut diamonds, and depicts a Border terrier. Border Terriers were just one of the many breeds kept in the kennels at Sandringham. The sculptor, now unknown, has done an excellent job capturing the playful character and inquisitive nature of the dog.  

Mastery of Design: The Garnet Fishing Locket, Eighteenth Century

Memorial Locket
Eighteenth Century
The Victoria & Albert Museum

Human hair had long been employed in the making of sentimental jewelry, usually for memorial purposes, but sometimes to mark a deep love for someone still living.  By the Eighteenth Century, jewelers, and even amateurs, had mastered the art of using hair in jewelry and the medium took on a new prominence—forming the centerpiece of a jewel.  

This drop-shaped gold frame features an openwork bow which has been set with garnets.  The frame encloses a painting on ivory which is adorned with pieces of hair to create the pattern of a man fishing.  The reverse of the piece is set with agate

This piece was probably made as a memorial.  It comes from England and is rather difficult to date.  Most likely, it was created in the Eighteenth Century given the skill with which the hair was incorporated into the painting.

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.

Mastery of Design: The Pratbernon Nécessaire, 1766

Necessities Case
English, 1766
The Victoria & Albert Museum

A “nécessaire” was a purely luxury object designed to hold a whole range of personal and toiletry items. Scent bottles, cosmetic cases, medicine bottles, writing implements, moustache combs, ear spoons, scissors, nail tools and a whole host of other items were produced to be stored in matching these matching for use by a woman or man of fashion.

The contents of this example which dates to 1766 include: five bottles with stoppers, a pencil and an ivory writing tablet, scissors, a mirror, a comb, a brush, toothpicks, a tongue scraper, a bodkin combined with a spoon for ear wax, and a file combined with a pair of tweezers.

So who created this lovely Rococo box of wood, silver, hold, tortoise shell, ivory, agate and mother-of-pearl?  Tucked inside the box, visible only if tall of the fittings are removed, are the signature and date “J. Pratbernon / 1766.”  This was probably the John Pratbernon who described as a gold and silver worker living on Oxford Street in 1774.

Another feature which makes this nécessaire all the more exceptional is the inclusion of figured scenes in gold which have been applied atop and along the sides of the case.  The scenes show pastoral groups in then-contemporary dress, acting as a permanent reminder of the style to which the owner of this case aspired. Matching figures surmount the individual bottles.

Join us tomorrow for more pretty things, and, this week's Treat of the Week.  See you then.

Mastery of Design: The Double-Eye Agate Pendant, Early Seventeenth Century

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

Dating to the early Seventeenth Century, this German pendant of gold, enamel and double-eye agate was first recorded in the Royal Collection in 1872.

On the obverse, an oval cabochon double-eye agate is set in a gold mount with an enamel scrollwork of deep and light blue with white spots.  The double-eye agate set in this frame is not original to the piece.  A later owner of the pendant replaced the original stone which was likely a cameo.  

The pendant was found in a burial site, having been buried at some point after it's creation in the early Seventeenth Century.  It's possible that the original stone or cameo was damaged while being buried or that the original centerpiece was replaced with the double-eye agate as it was intended as an amulet to ward off "The Evil Eye" an to protect against various ailments.  Another later addition to the piece was the small loop at the bottom which would allow the suspension of another drop or pendant or to enable the piece to be sewn into a garment.

The reverse of the piece is likely unchanged from its original pre-burial form.  The back shows a central leaf-shape surrounded by scrolls in opaque dark-blue, light-blue and translucent green and red enamel.  These enamels are very weathered and pitted.  Here, the white spots on the surface aren't intentional decoration, but rather deposits of calcium carbonate which resulted from having been buried in the earth.

Despite its age and having been buried, the piece is in remarkably good condition.  The foil behind the enamels is still intact and the color of the remaining enamel is quite bright and lustrous.  

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

Mastery of Design: The Georges Bissinger Brooch, 1878

Cameo Pendant-Brooch
Georges Bissinger
French, c. 1870
The Victoria & Albert Museum

A layered agate cameo, set in gold and accentuated by diamonds, this jewel is signed by Georges Bissinger (died before 1921), a gem engraver of German birth. Bissinger was celebrated for his carving which was inspired by French and English Royal portraits and examples of Italian jewels dating to the Sixteenth Century.

Bissinger famously copied one-hundred twelve gems from examples in the Cabinet des Médailles in Paris. These copies, each made in precious materials were identical to the originals in every way. He exhibited the group to great acclaim at the Exposition Universelle in Paris in 1878.

This pendant-brooch is among that lot and is one of the first that Bissinger copied from the set in the Cabinet des Médailles. The cameo portrait depicts a bacchante. It is believed that Bissinger finished the jewel in 1870. Bissinger was known to use only the finest jewels and that passion is evident in this piece with its exquisite rose-colored agate and flawless, brilliant-cut diamonds.

Mastery of Design: The Fabergé Shire Horse, 1907

Shire Horse of Agate and Diamonds
1907
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

Made in 1907 by Fabergé as part of the great Sandringham Commission, this horse of carved brown agate is set with rose-cut diamonds for eyes. The shire horse was one of King Edward VII’s prized horses, so he made sure that the artists Fabergé had access to the animal to sketch it.

The Sandringham Commission was tremendous. King Edward VII, in an effort to offer the long-suffering Queen Alexandra something to cheer her up after one of his many infidelities, asked Fabergé to create a virtual barnyard of precious, miniature animals.

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

Mastery of Design: Queen Alexandra's Fabergé Pekingese, c. 1907

Pekingese
Carl Fabergé
Crown Copyright
The Royal Collection
via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II

Another precious animal from Queen Alexandra's farm in miniature, The 1907 Sandringham Commission, this creation of agate and rose-cute diamonds is the work of Carl Fabergé.  

Her Majesty Queen Alexandra was especially fond of smaller breeds of such as the Pekingese, Japanese Chins (known at the time as Japanese spaniels), Tibetan spaniels and papillons. She often traveled with these small dogs who accompanied her from royal residence to royal residence and even went with her abroad.  

The Empress of Japan, in April of 1905, made a gift of four pairs of Pekingese dogs to Queen Alexandra.  However, tragically, only one of the little pups survived the grueling journey from Japan to England.  This Pekingese joined another already in residence with Queen Alexandra and quickly became two of her favorite dogs.  They were called Little Marvel and Little Togo.

This is one or the other of them.  

A 1909 ledger of Fabergé's London branch reveals that a model of a Japanese spaniel called Togo was commissioned however, that's not this one since: 1. the date is wrong, 2. that particular model was in white chalcedony with two rubies for a cost of £29, and 3. and seems to have been made for a French duc.  

I don't know why that last bit was important, but The Royal Collection made rather a  big deal about it, so I figured I'd share it, too.

Gifts of Grandeur: A Fabergé Pig, 1907

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

Part of the Sandringham Commission of 1907, this little piggy didn’t go to market, but rather to the Queen. This was one of many wee animals which King Edward VII commissioned from Fabergé. Many of the miniatures depicted the Royal pets and the animals which lived on the farm at the Sandringham estate. Queen Alexandra collected them with much delight. Of the many precious pigs in the lot, this one’s my favorite. 

Carved from agate, the pig lies on its side, looking at us with rose-cut diamond eyes. 

Crown Copyright
The Royal Collection

Mastery of Design: A Fabergé Hen, c. 1908

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

Click Image to Enlarge

According to The Royal Collection Trust, "the ledgers of Fabergé's London branch reveal that Queen Alexandra purchased three 'chickens', all of chalcedony with gold feet, at a cost of £8 15s each."  Now, even for 1908, that's a poultry--I mean, paltry (couldn't help myself) sum for a Fabergé chicken, even a very small one.  Chances are, these three were very small, in fact.  The two miniature Fabergé hens which remain in the Royal Collection are rather on the large side for miniatures.  Given that, it's most likely that the three listed in the ledgers were purchased as gifts.

Nonetheless, this hen was also made around 1908 by Fabergé.  Instead of being crafted of chalcedony, it's made of agate, with gold feet and wee diamond eyes.  It's very possible this handsome hen was commissioned in 1907 as part of King Edward VII's Sandringham Commission.

Unusual Artifacts: The Martin Nautilus Shell Cup, 1770

Cup
Jean Martin, 1770
Poland with Cameos made in Italy
The Victoria & Albert Museum

Portions of this elegant and monumental cup were made in Warsaw Poland while much of its adornment comes from pieces which were the handiwork of Italian craftsmen.  Made around 1770, this cup of a nautilus shell set in gold with onyx, chalcedony, agate, shell and glass cameos, nicely demonstrates the Neoclassical appreciation for engraved gems.

Many of the gems which grace this piece are Italian copies of then-famous carved stones and cameos.  The cup was made for the last king of Poland, Stanislaus Augustus. The central intaglio on the shell is an Italian copy in blue glass of Diomedes stealing the palladium.  The original version of this stone is called “The Felix Gem.”  It lives in the Ashmolean Museum, Oxford, Ebgland.

The base and cover of this important cup are decorated with mother-of-pearl. It is signed “J.MARTIN FAIT A VARSOVIELE 26 AOUT 1770.”

The commission of this cup marks one of the earliest times that the celebrated Jean Martin worked for King Stanislaus Augustus (1769-1791) as Court Jeweler in Warsaw.  Martin remained in this position between 1769 and 1791.  The cups creation is recorded in the royal accounts as having been ordered in 1770 and states that it was designed purely as a vehicle for displaying cameos as opposed to an object intended for practical use.  

Gifts of Grandeur: The Henry Wilson Belt Clasp, 1905

Click on image to enlarge.
Belt Clasp
Henry Wilson, 1905
The Victoria & Albert Museum

I have a special fondness for the work of the jeweler Henry Wilson (1864-1934). Wilson’s jewelry is exceptional both for its form as well as the quality of the enameling and gem selection. He tended toward interesting color combinations and chose stones with only the richest colors. Wilson, a former architect (like many jewelers of his time) designed pieces which resonated with sculptural and architectural qualities, achieving a three-dimensionality which was unknown until that point. 

This is one of the most unusual pieces of Wilson’s that I’ve seen. This silver belt clasp was made in three parts. It is set with amethysts, garnets, williamsite (a green mineral), moonstones, agate, chalcedony and cat's-eye quartz. The central piece is adorned with sprays. Dating to 1905, this clasp was made to be worn on a variety of belts. 

Sunday Sparkle: The Life Began In Water Necklace, 1950

Necklace
"Life Began in Water"
Sah Oved, c. 1950
The Victoria & Albert Museum

In the years following the Second World War, more so than in any other era, jewelry began to be viewed as a type of “wearable art,” which allowed the wearer to express his or her character as well as that of the designer. Designers played with the conventions of jewelry-making to produce untraditional, often abstract, pieces which looked to the modernist principles of the Bauhaus as well as to earlier avant-garde art movements such as Surrealism, Cubism and Constructivism. Though designs may have nodded to conventional and traditional designs, jewelers felt free to play with proportion and material, employing stones with unusual shapes which were presented in arrangements which were often asymmetrical.

Sah Oved became known for such pieces. Here’s an example of her work, made in England around 1950. “Life began in Water,” features a playful title which is alluding to the creation of life. This jewel is considered an iconic piece of its period.

The central ornament of the necklace is positioned off-center, the fishes and water birds are abstract, and the cuts of the agates, jasper and aquamarines are unconventional. The wholly odd, asymmetrical design became a benchmark for other designers wishing to emulate her work. 

Gifts of Grandeur: An Agate, Gold and Diamond Snuffbox and Scent Bottle, 1760

Snuffbox and Scent Bottle
1760
The Victoria & Albert Museum

This is an odd little thing, but quite spectacular. Ornately carved figures surmount a jeweled, gold-mounted a snuffbox and scent bottle. The figures have been carved to depict a seated huntsman in a tricorn hat, jacket, breeches, and boots with his dog. The man has diamond eyes and buttons in silver settings and the dog features a detachable head, diamond eyes and a champlevé enamel collar.

In the mid-Eighteenth Century when this was made, artists often made elegant objects for adults which resembled the porcelain toys made at the Chelsea and Girl with a Swing factories in England.

To make this all the more interesting, this snuffbox once belonged to the Italian tenor, Enrico Caruso (1873–1921).