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.”

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: A Sapphire, Diamond and Chalcedony Pendant, 1925

Pendant
French, 1925
The Victoria & Albert Museum

This platinum and enameled gold pendant is set with brilliant-cut diamonds, carved sapphires, stained chalcedony and jadeite. Hung from a ribbon, it dances as the wearer moves, catching the light. The pendant is attributed to Parisian jeweler Janesich.

Janesich created a masterful work in a combination of styles—capitalizing on the icy contrast of gemstones which had become popular in the mid 1920s, but also incorporating the ideals of past ages with the florid folliage. 

Object of the Day, Museum Edition: A Diamond and Stained Chalcedony Brooch, 1912

Diamond, Platinum and Stained Chalcedony Brooch
Cartier, 1912
The Victoria & Albert Museum

After the coronation of King George V, jewelry design began to change from the florid and curvilinear styles popular during the Victorian and Edwardian eras to the sleeker geometric patterns that would define the 1920’s and 1930’s. A new trend in jewelry-making was the love of contrast provided by diamonds and darker stones such as blue sapphires or onyx. The diamonds’ radiance seemed greater when set in platinum next to these more somber stones which exhibited sheen more so than sparkle. Queen Mary was known to enjoy such pieces and had many in her magnificent collection of jewels. Since the Queen was considered a style-setter, elegant black and white jewelry became all the rage.


Due to its popularity, onyx was becoming increasingly scarce at the time. A variety of substitutes were employed to similar effect. Most often used was stained chalcedony. In its natural state, chalcedony has a pale, milky, bluish color. When boiled in a sugar solution, the stone takes on the look of black onyx. High-end jewelers often substitutes stained chalcedony for onyx, stating that, in the long run, the chalcedony was more valuable. The result was actually quite stunning and offered more of a depth and substance to important pieces than would the comparatively flat onyx.

This stunning platinum, diamond and stained chalcedony brooch, made by Cartier in 1912, demonstrates the clever use of this technique. The perfect example of post-Edwardian style, the roots of Art Deco jewelry design can be seen in the dense, close setting of the stones and the play between light and dark. 

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.  

Mastery of Design: An Ivory and Precious Stone Comb, 1906

Comb
The Victoria & Albert Museum

I’ve been collecting antique combs for quite some time and certainly wish I had this one. Made in 1906 by English designer Joseph Hodel, this comb is a msterpiece of ivory, mounted in silver and set with mother-of-pearl, sapphires, green stained chalcedony and a fire opal.
Joseph Hodel was a member of the Bromsgrove Guild and showed this comb at the Arts and Crafts Exhibition in 1906 in London. There, it was likely purchased by May Morris--the younger daughter of the artist and socialist William Morris. May Morris, also an artist was showing her own jewellery at the Exhibition and was drawn to the comb with its colourful cabochon-cut stones—typical of Arts and Crafts jewellery. 

Mastery of Design: Anne Hull Grundy's Morning Glory Brooch

Brooch of Diamonds, White Gold, Nephrite, Chalcedony
The British Museum

Click on image for larger size.  

Made in Germany circa 1930, this handsome brooch of white gold, nephrite, diamonds and stained chalcedony still is matched with its original invoice for £400, as purchased by Anne Hull Grundy.  Taking the form of a brilliant morning glory, the brooch is an interesting combination of Art Deco design ideals and the romantic naturalism favored in the late Nineteenth Century.

Obviously, this is part of the important Hull-Grundy Gift of hundreds of unusual jewels which was bequeathed to The British Museum.

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. 

Mastery of Design: The Cartier African Mask Brooch, 1950-60

Jewelers of the 1950s and 1960s searched for new ways to interpret traditional forms in the same creative dance that comes to art and fashion every half a century or so. As is always the case, eyes trained on the future often nod at the past.

Designed by Cartier in Paris between 1950 and 1960, this brooch depicts a stylized African head. Cartier has cleverly pointed to earlier designs based on African art which became popular in the Nineteenth Century, however, this one has a different message. This brooch was made around the time when France's colonial domination of large areas of Africa was coming to an end.

The mask is carved of white chalcedony, with gold and coral detailing and a single diamond set just above the nose.

Gifts of Grandeur: A Fabergé Ducky, c. 1907

Miniature Duck of Chalcedony, Gold and Rubies
Part of the Sandringham Commission, 1907
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

Made in 1907 by Carl Fabergé, this ducky is not rubber, but rather made of chalcedony, silver-gilt and rubies. He’s part of the great Sandringham Commission wherein King Edward VII bid Fabergé to create a veritable menagerie of precious miniature animals for his long-suffering consort, Queen Alexandra. 

With his body of unusually white chalcedony and his feet of red gold, he’s even cuter with his little cabochon ruby eyes.

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

Gifts of Grandeur: The Brogden Cameo Necklace, 1867

Cameo necklace
John Brogden, 1867
The Victoria & Albert Museum

This necklace, in the archaeological style features layered agate cameos inspired by the fashionable classical hardstone gems. The piece was made by the jeweler John Brogden and purchased by the V&A from the International Exhibition in Paris of 1867.

Brogden won a number of awards at the International Exhibitions in London and Paris from 1851-1878. Brogden is known for his pieces rendered in ancient styles.  He is recorded as having studied the archeological finds at Nineveh and Pompeian where he used the wall paintings for as inspiration for his jewels. He also famously worked in the Rennaissance style.  A collection of drawings by Brogden showing the original designs for many of his gems also lives at the V&A along with many of the finished pieces.

This particular example, a lovely enameled gold necklace is hung with cameos of classical masks in layered agate, chalcedony and onyx, which Brogden created based on ancient specimens.  He altered the source material by presenting the masks in the late 18th century Neoclassical manner. An applied plaque with the maker's mark of John Brogden, reads 'JB' in Roman capitals.  This came from Brogden's Covent Garden, on Henrietta Street, workshop and dates to 1867.

Unusual Artifacts: The Townshend Cryptocrystalline Quartz, 1825

Golden Chalcedony Ring
The Townshend Collection at
The Victoria & Albert Museum

This nifty gem is cryptocrystalline quartz. This natural phenomenon occurs when quartz forms as a mass of microscopically small crystals. It’s also known as “microcrystalline quartz,” but I like cryptocrystalline better since it sounds spoooooooooooky.

This family of quartz includes many different gemstones such as chalcedony, agate, carnelian, jasper and sard. The colors of the stones vary slightly depending on the occurrence of different impurities such as iron, manganese and chrome.

This ring is one of the 154 gems bequeathed to the V&A by the Reverend Chauncey Hare Townshend. Like the others in the collection it was mounted in a gold setting for display purposes only. The Gothic-style gold setting dates to about 1825. So, what exactly is this stone? Well, guess what. It’s a rare example of chalcedony that isn’t the typical blue-gray color that we think of. Oddly enough, just the other day, I was having a conversation with my father about chalcedony and if it was possible for it to be any other color. I declared that I didn’t think it possible. But, I wasn’t sure, so I went digging for answers and this is the result. If, during formation, iron manganese or chrome in peculiar amounts is introduced to a cryptocrystalline gem, the color can be altered. This is a very, very rare event. But, it can happen. The result, in this case, from an introduction of iron is a chalcedony with a golden hue.

Object of the Day, Museum Edition: A Diamond and Stained Chalcedony Brooch, 1912

Diamond, Platinum and Stained Chalcedony Brooch
Cartier, 1912
The Victoria & Albert Museum

After the coronation of King George V, jewelry design began to change from the florid and curvilinear styles popular during the Victorian and Edwardian eras to the sleeker geometric patterns that would define the 1920’s and 1930’s. A new trend in jewelry-making was the love of contrast provided by diamonds and darker stones such as blue sapphires or onyx. The diamonds’ radiance seemed greater when set in platinum next to these more somber stones which exhibited sheen more so than sparkle. Queen Mary was known to enjoy such pieces and had many in her magnificent collection of jewels. Since the Queen was considered a style-setter, elegant black and white jewelry became all the rage.


Due to its popularity, onyx was becoming increasingly scarce at the time. A variety of substitutes were employed to similar effect. Most often used was stained chalcedony. In its natural state, chalcedony has a pale, milky, bluish color. When boiled in a sugar solution, the stone takes on the look of black onyx. High-end jewelers often substitutes stained chalcedony for onyx, stating that, in the long run, the chalcedony was more valuable. The result was actually quite stunning and offered more of a depth and substance to important pieces than would the comparatively flat onyx.

This stunning platinum, diamond and stained chalcedony brooch, made by Cartier in 1912, demonstrates the clever use of this technique. The perfect example of post-Edwardian style, the roots of Art Deco jewelry design can be seen in the dense, close setting of the stones and the play between light and dark. 

Mastery of Design: A Sapphire, Diamond and Chalcedony Pendant, 1925

Pendant
French, 1925
The Victoria & Albert Museum

This platinum and enameled gold pendant is set with brilliant-cut diamonds, carved sapphires, stained chalcedony and jadeite. Hung from a ribbon, it dances as the wearer moves, catching the light. The pendant is attributed to Parisian jeweler Janesich.

Janesich created a masterful work in a combination of styles—capitalizing on the icy contrast of gemstones which had become popular in the mid 1920s, but also incorporating the ideals of past ages with the florid folliage. 

Royal Pets: Sandringham Lucy by Carl Fabergé, 1908



Sandringham Lucy
Carl Fabergé , 1907-1908
Chalcedony, Rubies
Commissioned by King Edward VII
Purchased by King George V while Prince of Wales
The Royal Collection



An avid sportsman, King Edward VII enjoyed long visits to the Royal residence at Sandringham where he spent most of his time hunting and shooting. His favorite companions at Sandringham were the pack of Clumber Spaniels which lived at the estate. Edward VII’s son, the future King George V, also appreciated the Clumber Spaniels, and like his father, had a particular fondness for one in particular—Sandringham Lucy.


I was not very familiar with Clumber Spaniels. The breed originated in France in the eighteenth century and was first bred in England by the Duke of Newcastle at Clumber Park, Nottinghamshire. They can be seen in the 1871 painting, “A Big Shoot at Sandringham” by Thomas Jones Barker.

A Big Shoot at Sandringham
Thomas Jones Barker, 1871
The Royal Collection

In 1907, King Edward VII commissioned Carl Fabergé to create a miniature sculpture of Sandringham Lucy. Fabergé observed the dog and modeled the figure from life. The sculpture of chalcedony with ruby eyes took over a year to create. For reasons now unknown, Edward VII never claimed the sculpture. It was purchased from Fabergé in 1909, By George V, shortly before his father’s death.  He was probably urged to do so by Mary of Teck, his wife, who--among other things--amassed a huge collection of jeweled and enameled animal figurines by Fabergé.

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.