Showing posts with label copper. Show all posts
Showing posts with label copper. Show all posts

Sunday, June 22, 2014

Precious Time: The Roman Charity Watch and Case, 1680-1700



Watch and Case
Switzerland, 1680-1700
This and all related images from:
The Victoria & Albert Museum


This watch is housed in a copper gilt case which, along with the timepiece, has been enameled with a variety of Italian scenes including “Roman Charity” and “Lucretia.” Made in Geneva, Switzerland, the movement is signed “Baccuet.” Created between 1680 and 1700, the enameling was done by the family team of Jean Pierre (1655-1723) and Ami Huaud (1657-1724). Their competent enamel work on the scene of “Roman Charity” was based on an engraving by Claude Mellan which itself was after a painting by Simon Vouet. 





Saturday, May 17, 2014

Sculpture of the Day: The Dacre Ram, 1507-1525



Click Image to Enlarge

The Dacre Beasties
1507-1525
England
This and all related images from:
The Victoria & Albert Museum





The Dacre Beasts are a group of figures which were made as heraldic ornaments to represent one of the most powerful families of Sixteenth Century Northern England. The group consists of a griffin, a bull, a dolphin (which looks rather like an angry trout) and a ram.

The wealth and power of the Dacre family (of Naworth Castle, Brampton, Cumbria) was expanded in 1317 when a member of the influential and land-rich de Multon family married a Dacre family. The marriage resulted in a union of two enormous plots of land and strengthened the Dacre’s hold on Northern England. The figure of the ram, seen holding a banner, represents the de Multon family ( originally spelled 'Mouton,' the name is French for “sheep,” and, hence the ram). The banner is emblazoned with the family coat of arms.

The Dacre Beasts, commissioned by Lord Thomas Dacre (1467-1525) were crafted by unnamed local craftsmen from, as the story goes, a single, large oak grown on the family estate. The figures were painted and gilded and adorned with mounts of tinned copper. The group was restored in 1844 after being rescued from a major fire at Naworth Castle. Testing of the pigment shows that they’ve been repainted several times over the centuries. It’s likely that these are the only recorded surviving original heraldic beasts of an English Renaissance noble family. 







Monday, April 28, 2014

Mastery of Design: An Enameled Finial, c. 1200



Finial from a reliquary
German, c. 1200
The Victoria & Albert Museum



This enameled finial of gilt copper boasts cast forms of leaves and fruit which frame its six teardrop-shaped enamel plaques. This adornment would have been made to be fitted at the top of a shrine or reliquary meant to hold the relics of a saint. When made, this probably glittered with jewels or crystals as well.

The piece was made in Germany at the start of the Thirteenth Century. 






Painting of the Day: A Miniature of King Louis XV of France, 1740-50



Miniautre of Enamel on Copper
John Adam Mathieu, c. 1740
The Victoria & Albert Museum

This oval portrait miniature on copper depicts Louis XV, King of France, looking quite pleased with himself, wearing armor, a purple velvet cloak and the blue sash of the Royal French Order of the Holy Spirit. The miniature is set in a gold frame which is punctuated with diamonds and golden flower-heads.




The reverse is signed “Mathieu.” John Adam Mathieu was a pupil of the important enameller Charles Boit, whose work we’ve looked at in the past. John Adam Mathieu found great success in France after traveling there from his native Sweden. He was celebrated for his oil paintings as well as his goldsmithing and enamel painting on porcelain and metal. During the period in which this miniature was created, Mathieu was given the leadership of the painting department at the Royal Porcelain Factory, Vincennes (this is the factory which later moved to Sèvres).

The Home Beautiful: A Brass and Copper Fire Screen, 1884



The Victoria & Albert Museum


This handsome brass and copper fire-screen is one of the earliest known registered designs of William Arthur Smith Benson (1858-1924), an inventor and creator of lamps and home furnishings. This intricate copper pattern is drawn from some of his earlier designs.

Benson was a great fan of the designer and writer William Morris. Morris inspired him to set up a metalwork shop in 1880 which led to a factory in Hammersmith, west London, and a shop in Bond Street. The firm survived Benson's 1920 retirement.



Object of the Day, Museum Edition: The Boxwood Bust, 1380-1400




Bust
The Victoria & Albert Museum

From the Victoria & Albert Museum, we see a boxwood bust of a female figure with elaborate coiffure. She wears a gilt copper crown set with three red garnets (two of them faceted and one cabochon, the faceted stones are not original) and topped with five naturalistic leaf crests. The bust is displayed on a base which is also of gilt copper, supported by three seated lions . The base is set with two amethysts (originally three), which are also faceted, and therefore, are also replacements. The base contains a small cavity for a relic which would have been associated with the martyred virgin saint—whoever she was—who is depicted here. 

Boxwood figures like this one were popular from the 1350s onwards and have a sculptor to showcase his talents in a rare material which would have appealed to his wealthy patrons.




Monday, March 24, 2014

Mastery of Design: The Pratbernon Nécessaire, 1766



The V&A
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.







Thursday, February 13, 2014

Object of the Day, Museum Edition: A Jeweled Miniature of Georgiana, Duchess of Devonshire, 1812



The Duchess of Devonshire
Hone, 1812
The Victoria & Albert Museum



Georgiana, the Duchess of Devonshire (born Georgiana Spencer, 1757-1806) was the toast of English Society in the late Seventeenth Century. Her marriage to an older man, William Cavendish, the Duke of Devonshire, proved to be a disappointment and despite a home life filled infidelity and treachery, Georgiana managed to become one of the most important female social, fashion and political figures of her day. An ancestor of both the late Diana, Princess of Wales (the one-time Lady Diana Spencer) and the Duchess of York (Sarah Ferguson--who is descended from Georgiana’s illegitimate daughter), the Duchess of Devonshire was heralded for her beauty as well as her intellect.

This jeweled miniature of the Duchess of Devonshire is the work of Horace Hone who based this enamel on copper painting on an earlier portrait of Georgiana with her good friend Lady Elizabeth Foster who was also the Duke of Devonshire’s longtime live-in mistress and mother of a couple of illegitimate boys. Hone’s painting was completed six years after Georgiana’s death and was likely meant as a memorial piece to be given to a close friend or family member. The oval portrait miniature shows the Duchess of Devonshire in a blue and white dress. She wears a blonde wig—one of the many fine wigs for which Georgiana was famous. The oval gold rim frame is set with diamonds. Today, the piece is part of the Gilbert Collection at the V&A and still retains its original presentation case.







Wednesday, November 20, 2013

Mastery of Design: The Major William Careless Locket, c. 1653



Locket
C. 1653
The Victoria & Albert Museum
This copper-gilt locket is made in two parts and hinged at the top. The front is engraved with the arms and motto of one Major William Careless. The reverse is engraved with a scene showing Careless and King Charles II hiding in the oak tree. A portrait of Careless and an inscription appear in the locket’s interior.

So, why are they hiding in a tree? After the Royalist defeat at the Battle of Worcester in 1651, the young Charles II and Colonel Careless took refuge in Shropshire where it is believed that they hid from the searching Cromwellian soldiers by climbing up into “a great oak.” With them, they took, “some victuals for the whole day viz. bread, cheese, small beer, and nothing else.” In the words of Nelson Muntz, “Haw, haw!”

The inscription reads:
Renowned Carlos! thow has won the day 


(Loyalty Lost) by helping Charles away, 


From Kings-Blood-Thirsty-Rebels in a Night, 


made black with Rage, of theives, & Hells dispight 


Live! King-Loved Sowle thy fame be Euer Spoke 


By all whilst England Beares a Royall Oake'


Sunday, October 20, 2013

Painting of the Day: A Miniature of King Louis XV of France, 1740-50




Miniautre of Enamel on Copper
John Adam Mathieu, c. 1740
The Victoria & Albert Museum

This oval portrait miniature on copper depicts Louis XV, King of France, looking quite pleased with himself, wearing armor, a purple velvet cloak and the blue sash of the Royal French Order of the Holy Spirit. The miniature is set in a gold frame which is punctuated with diamonds and golden flower-heads.




The reverse is signed “Mathieu.” John Adam Mathieu was a pupil of the important enameller Charles Boit, whose work we’ve looked at in the past. John Adam Mathieu found great success in France after traveling there from his native Sweden. He was celebrated for his oil paintings as well as his goldsmithing and enamel painting on porcelain and metal. During the period in which this miniature was created, Mathieu was given the leadership of the painting department at the Royal Porcelain Factory, Vincennes (this is the factory which later moved to Sèvres).



Thursday, June 20, 2013

Gifts of Grandeur: A Souvenir of the Wedding of Queen Victoria and Prince Albert, 1840



Pencil Case
England,1840
The Victoria & Albert Museum
Made in England in 1840, this pencil case commemorates the marriage of Queen Victoria to Prince Albert of Saxe-Coburg and Gotha. The gold case for a propelling pencil is lined with a gilded copper alloy, and engine-turned, engraved and enameled on the exterior. It has been set with turquoise, and a lapis lazuli intaglio and medallion portraits of Queen Victoria and Prince Albert. Such pencil cases were crafted to be given as gifts to commemorate important days.

The marriage of Victoria to her first cousin, Albert (son of her mother’s brother, Ernest) was long-anticipated and long-rumored. In fact, the marriage had been in the works since the cousins were children. However, the Queen wasn’t too keen on the idea at first. When she first met her German cousin, he seemed disinterested in her and, frankly, she didn’t find him at all interesting either. Though he possessed a handsome face and figure, he was shy and somewhat dull. However, upon their second meeting, once Victoria was already Queen and she had her choice of many eligible bachelors, Albert had undergone years of study and intense grooming for the role of Prince Consort and Victoria declared him the most perfect man she’d ever seen.


Tuesday, May 14, 2013

Object of the Day: The Boxwood Bust, 1380-1400



Bust
The Victoria & Albert Museum

From the Victoria & Albert Museum, we see a boxwood bust of a female figure with elaborate coiffure. She wears a gilt copper crown set with three red garnets (two of them faceted and one cabochon, the faceted stones are not original) and topped with five naturalistic leaf crests. The bust is displayed on a base which is also of gilt copper, supported by three seated lions . The base is set with two amethysts (originally three), which are also faceted, and therefore, are also replacements. The base contains a small cavity for a relic which would have been associated with the martyred virgin saint—whoever she was—who is depicted here. 

Boxwood figures like this one were popular from the 1350s onwards and have a sculptor to showcase his talents in a rare material which would have appealed to his wealthy patrons.




Saturday, April 13, 2013

Unusual Artifacts: The Dresden Ship, 1620-50



Model Ship
Ivory, Gold, Diamonds, Copper, Enamel
Dresden, 1620-50
The Victoria & Albert Museum



Let’s say you’re a wealthy prince in the Seventeenth Century. How will you pass your time? One of the least objectionable ways for princes, nobles and scholars to tick down the hours was to collect nifty and precious items like this, and, then, display them and talk about them with other princes, nobles and scholars. Often, these prized objects were commissioned, but, sometimes, they were hunted down for fun.

This ivory ship, is made all the more precious by the addition of gold, diamonds, enameled decorations and applied figures rendered in enamels. It’s certainly the kind of thing which would have appealed to a wealthy collector,

Sadly, we know nothing of the circumstances by which this model was commissioned. According to the V&A, “A similar, though larger, ivory and gold model frigate is preserved in the collections of the Dukes of Saxony, in the Green Vault at Dresden. The Dresden example (dated 1620) was made by Jacob Zeller for the Prince Elector Christian II of Saxony.”

Since this example is so similar to the one from the court of Christian II, we might guess that this one was commissioned as a companion to it. It was made sometime between 1620 and 1650. 





Monday, April 8, 2013

Painting of the Day: A Miniature of King Louis XV of France, 1740-50



Miniautre of Enamel on Copper
John Adam Mathieu, c. 1740
The Victoria & Albert Museum

This oval portrait miniature on copper depicts Louis XV, King of France, looking quite pleased with himself, wearing armor, a purple velvet cloak and the blue sash of the Royal French Order of the Holy Spirit. The miniature is set in a gold frame which is punctuated with diamonds and golden flower-heads.




The reverse is signed “Mathieu.” John Adam Mathieu was a pupil of the important enameller Charles Boit, whose work we’ve looked at in the past. John Adam Mathieu found great success in France after traveling there from his native Sweden. He was celebrated for his oil paintings as well as his goldsmithing and enamel painting on porcelain and metal. During the period in which this miniature was created, Mathieu was given the leadership of the painting department at the Royal Porcelain Factory, Vincennes (this is the factory which later moved to Sèvres).




Thursday, February 28, 2013

Painting of the Day: George IV Wearing the Order of the Garter, 1821



Portrait Miniature of King George IV Wearing the Star of the Order of the Garter
Enamel on Copper
Henry Pierce Bone, 1821
After Thomas Lawrence
The Gilbert Collection at
The Victoria & Albert Museum





The work of Nineteenth-Century English master painter Henry Pierce Bone (1779-1855), this enamel miniature on copper dates to 1821. The piece, an oval head and shoulders portrait of King George IV wearing a red uniform with the Star of the Order of the Garter, is set into a gold, enamel and ormolu frame set with pearls.

Such miniature portraits of the Sovereign were made to be given as gifts meant as a show of favor to the recipient. Bone was a favorite of the Royal Family who often employed him as a miniaturist. His ability to copy large state portraits in enamel was unparalleled. In this instance, the miniature is a brilliant replica of a famous portrait of King George IV by Sir Thomas Lawrence (1769-1830), considered the most fashionable portraitist of his day.

The reverse is inscribed:


His Majesty
London Oct. 1821
Painted by Hy Bone
RA En. Painter to the King &c.




Tuesday, February 26, 2013

Object of the Day, Museum Edition: A Jeweled Miniature of Georgiana, Duchess of Devonshire, 1812

The Duchess of Devonshire
Hone, 1812
The Victoria & Albert Museum



Georgiana, the Duchess of Devonshire (born Georgiana Spencer, 1757-1806) was the toast of English Society in the late Seventeenth Century. Her marriage to an older man, William Cavendish, the Duke of Devonshire, proved to be a disappointment and despite a home life filled infidelity and treachery, Georgiana managed to become one of the most important female social, fashion and political figures of her day. An ancestor of both the late Diana, Princess of Wales (the one-time Lady Diana Spencer) and the Duchess of York (Sarah Ferguson--who is descended from Georgiana’s illegitimate daughter), the Duchess of Devonshire was heralded for her beauty as well as her intellect.

This jeweled miniature of the Duchess of Devonshire is the work of Horace Hone who based this enamel on copper painting on an earlier portrait of Georgiana with her good friend Lady Elizabeth Foster who was also the Duke of Devonshire’s longtime live-in mistress and mother of a couple of illegitimate boys. Hone’s painting was completed six years after Georgiana’s death and was likely meant as a memorial piece to be given to a close friend or family member. The oval portrait miniature shows the Duchess of Devonshire in a blue and white dress. She wears a blonde wig—one of the many fine wigs for which Georgiana was famous. The oval gold rim frame is set with diamonds. Today, the piece is part of the Gilbert Collection at the V&A and still retains its original presentation case.








Thursday, February 7, 2013

Painting of the Day: The Major William Careless Locket, c. 1653



Locket
C. 1653
The Victoria & Albert Museum
This copper-gilt locket is made in two parts and hinged at the top. The front is engraved with the arms and motto of one Major William Careless. The reverse is engraved with a scene showing Careless and King Charles II hiding in the oak tree. A portrait of Careless and an inscription appear in the locket’s interior.

So, why are they hiding in a tree? 

As we've discussed with previous artifacts showing the same scene, after the Royalist defeat at the Battle of Worcester in 1651, the young Charles II and Colonel Careless took refuge in Shropshire where it is believed that they hid from the searching Cromwellian soldiers by climbing up into “a great oak.” With them, they took, “some victuals for the whole day viz. bread, cheese, small beer, and nothing else.” In the words of Nelson Muntz, “Haw, haw!”

The inscription reads:
Renowned Carlos! thow has won the day 


(Loyalty Lost) by helping Charles away, 


From Kings-Blood-Thirsty-Rebels in a Night, 


made black with Rage, of theives, & Hells dispight 


Live! King-Loved Sowle thy fame be Euer Spoke 


By all whilst England Beares a Royall Oake'