Object of the Day: Konigin von Frankreich: A Trade Card in German for an English Company

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And, here we are! Happy Monday! I thought we’d start out the week with a little German fun. You know—something tasty…something like Meat Extract.

But, this isn’t just any ol’ Meat Extract. This is the meat of the Queen of France—I think. Maybe not. My German is not good. Now that I think about it, I’m sure that’s not it. You can’t farm Queens of France.

Let’s back up for a moment.

Here we have a trade card produced by an English company for the German market. This is actually one of my favorite cards from my collection of ephemera. From an aesthetic standpoint, it’s very attractive. The image on the front states, in German, that it’s the “Queen of France.” In her jewels and regal robes, she is set against a heraldic pattern of gold fleurs-de-lis on a deep blue ground. She holds a scepter mounted with a fleur-de-lis finial. It is all decidedly French. Beneath this image—and so we don’t forget that this was a trade card, after all—is a drawing of some kind of product which is labeled as:

LIEBIG’S FLEISCH EXTRACT 

The canister seems to be adorned with an illustration of a cow…or a bear. No, it’s a cow. I think.

This is one of a series of cards produced by England’s Liebig Meat Company. Their multi-lingual advertising included collectible cards featuring famous historical figures. These cards were used throughout Europe to advertise for their meat-based products. In the 1840s, given the cost of beef in Europe, the Liebig Company began producing their famous Meat Extract which was a thick, black, gummy molasses-like syrup made from typically inedible parts of the cow. Meant as a substitute for costly meat, the extract was intended to be a nutritious tonic. I can’t imagine how incredibly disgusting that stuff must have been.

By the 1870’s, Liebig was also producing cooked canned corned beef—just like our Victorian, American buddies at Libby, McNeill and Libby. In 1899, even the Liebig Meat Extract had become prohibitively expensive for most families. And, so, the firm created another brand—Oxo—which was meant to be a cheaper substitute. Cheaper than meat syrup? What was in Oxo? I can’t imagine. By the 1920’s Oxo also introduced a line of bouillon cubes, and, then, dried glands and other yucky stuff.

The reverse shows the same canister of Liebig’s Meat Extract as well a bottle of Oxo—both underneath a color signature along with a lot of German ad copy. I’m not going to bother to try to recreate the ad copy for this one since I know I’ll bungle the German. Still, regardless of the fact that it’s advertising cow syrup, it’s quite attractive.  Since we see the Oxo bottle, I'd place the date of this card around 1900.

Click image to enlarge.

Gifts of Grandeur: The Grand Duchess Olga Gold Casket, 1800-1850

Gilt Bronze and Micromosaic Jewel Casket
St. Petersburg, 1800-1850
This and all related images from:
The Victoria & Albert Collection

Tsar Paul I (reigned 1796-1801) built Gatchina Priory, south of St. Petersburg, commissioning the monumental structure in the Gothic style which he favored. This jewel casket exhibits a similar style. It’s believed that the casket (made either in Rome or St. Petersburg) was created for the Grand Duchess Olga (1822-92), the daughter of Tsar Nicholas I.

The casket is constructed of gilt bronze with relief friezes of intricate archways, each interrupted by a central oval. Many of the oval medallions have been inset with micromosaics of putti in the act of play. The jewel case’s top section is adorned with a relief of arcs, arches and fleurs-de-lis set against foliage. At the center of the lid, a rectangular mosaic has been set. This intricate scene depicts the Gatchina Priory nestled into a lush landscape.

Made between 1800 and 1850, the casket is thought to be the work of Georgi Ferdinand Wekler, considered one of the foremost mosaicists of his day. The box is now part of the Gilbert Collection at the V&A.

Mastery of Design: The Italian Fleurs-de-lis Necklace, c. 1600

Necklace
Italy, c. 1600
The Victoria & Albert Museum

Sumptuous scrolls of enameled gold form this openwork necklace. Made circa 1600, the piece comes from Italy. A series of ornate crown-shapes are punctuated with fleurs-de-lis. The whole of the piece is set with table-cut rock crystal and hung with pearls.

We can’t be sure of the jeweler nor can we know for whom the piece was made, however, it’s a safe bet that this handsome necklace was made for a person of important standing—most likely the wife of a politician or statesman.

Object of the Day, Museum Edition: The Grand Duchess Olga Gold Casket, 1800-1850

Gilt Bronze and Micromosaic Jewel Casket
St. Petersburg, 1800-1850
This and all related images from:
The Victoria & Albert Collection

Tsar Paul I (reigned 1796-1801) built Gatchina Priory, south of St. Petersburg, commissioning the monumental structure in the Gothic style which he favored. This jewel casket exhibits a similar style. It’s believed that the casket (made either in Rome or St. Petersburg) was created for the Grand Duchess Olga (1822-92), the daughter of Tsar Nicholas I.

The casket is constructed of gilt bronze with relief friezes of intricate archways, each interrupted by a central oval. Many of the oval medallions have been inset with micromosaics of putti in the act of play. The jewel case’s top section is adorned with a relief of arcs, arches and fleurs-de-lis set against foliage. At the center of the lid, a rectangular mosaic has been set. This intricate scene depicts the Gatchina Priory nestled into a lush landscape.

Made between 1800 and 1850, the casket is thought to be the work of Georgi Ferdinand Wekler, considered one of the foremost mosaicists of his day. The box is now part of the Gilbert Collection at the V&A.

History's Runway: The James Galanos Evening Gown, 1959

Gown
Velvet, chiffon, bugle beads and embroidery
American, 1959
James Galanos
The Victoria & Albert Museum

1951 saw the launch of James Galanos’ label which immediately became associated with the sophistication and glamour of Los Angeles. Galanos liked to play with elegant contrasts. For example, in this 1959 gown, he’s paired black with crimson to create drama. The gown of velvet is embroidered with fleurs-de-lis and rosettes in black bugle beads. A satin ribbon accentuates the waist and separates the ornate bodice from the delicate layers of black chiffon which cascade over the skirt. 

Mastery of Design: The Italian Fleurs-de-lis Necklace, c. 1600

Necklace
Italy, c. 1600
The Victoria & Albert Museum

Sumptuous scrolls of enameled gold form this openwork necklace. Made circa 1600, the piece comes from Italy. A series of ornate crown-shapes are punctuated with fleurs-de-lis. The whole of the piece is set with table-cut rock crystal and hung with pearls.

We can’t be sure of the jeweler nor can we know for whom the piece was made, however, it’s a safe bet that this handsome necklace was made for a person of important standing—most likely the wife of a politician or statesman.

History's Runway: The James Galanos Evening Gown, 1959

Gown
Velvet, chiffon, bugle beads and embroidery
American, 1959
James Galanos
The Victoria & Albert Museum

1951 saw the launch of James Galanos’ label which immediately became associated with the sophistication and glamour of Los Angeles. Galanos liked to play with elegant contrasts. For example, in this 1959 gown, he’s paired black with crimson to create drama. The gown of velvet is embroidered with fleurs-de-lis and rosettes in black bugle beads. A satin ribbon accentuates the waist and separates the ornate bodice from the delicate layers of black chiffon which cascade over the skirt. 

Gifts of Grandeur: The Grand Duchess Olga Gold Casket, 1800-1850

Gilt Bronze and Micromosaic Jewel Casket
St. Petersburg, 1800-1850
This and all related images from:
The Victoria & Albert Collection

Tsar Paul I (reigned 1796-1801) built Gatchina Priory, south of St. Petersburg, commissioning the monumental structure in the Gothic style which he favored. This jewel casket exhibits a similar style. It’s believed that the casket (made either in Rome or St. Petersburg) was created for the Grand Duchess Olga (1822-92), the daughter of Tsar Nicholas I.

The casket is constructed of gilt bronze with relief friezes of intricate archways, each interrupted by a central oval. Many of the oval medallions have been inset with micromosaics of putti in the act of play. The jewel case’s top section is adorned with a relief of arcs, arches and fleurs-de-lis set against foliage. At the center of the lid, a rectangular mosaic has been set. This intricate scene depicts the Gatchina Priory nestled into a lush landscape.

Made between 1800 and 1850, the casket is thought to be the work of Georgi Ferdinand Wekler, considered one of the foremost mosaicists of his day. The box is now part of the Gilbert Collection at the V&A.

Object of the Day: Konigin von Frankreich: A Trade Card in German for an English Company

Click Image to Enlarge

And, here we are! Happy Monday! I thought we’d start out the week with a little German fun. You know—something tasty…something like Meat Extract.

But, this isn’t just any ol’ Meat Extract. This is the meat of the Queen of France—I think. Maybe not. My German is not good. Now that I think about it, I’m sure that’s not it. You can’t farm Queens of France.

Let’s back up for a moment.

Here we have a trade card produced by an English company for the German market. This is actually one of my favorite cards from my collection of ephemera. From an aesthetic standpoint, it’s very attractive. The image on the front states, in German, that it’s the “Queen of France.” In her jewels and regal robes, she is set against a heraldic pattern of gold fleurs-de-lis on a deep blue ground. She holds a scepter mounted with a fleur-de-lis finial. It is all decidedly French. Beneath this image—and so we don’t forget that this was a trade card, after all—is a drawing of some kind of product which is labeled as:

LIEBIG’S FLEISCH EXTRACT 

The canister seems to be adorned with an illustration of a cow…or a bear. No, it’s a cow. I think.

This is one of a series of cards produced by England’s Liebig Meat Company. Their multi-lingual advertising included collectible cards featuring famous historical figures. These cards were used throughout Europe to advertise for their meat-based products. In the 1840s, given the cost of beef in Europe, the Liebig Company began producing their famous Meat Extract which was a thick, black, gummy molasses-like syrup made from typically inedible parts of the cow. Meant as a substitute for costly meat, the extract was intended to be a nutritious tonic. I can’t imagine how incredibly disgusting that stuff must have been.

By the 1870’s, Liebig was also producing cooked canned corned beef—just like our Victorian, American buddies at Libby, McNeill and Libby. In 1899, even the Liebig Meat Extract had become prohibitively expensive for most families. And, so, the firm created another brand—Oxo—which was meant to be a cheaper substitute. Cheaper than meat syrup? What was in Oxo? I can’t imagine. By the 1920’s Oxo also introduced a line of bouillon cubes, and, then, dried glands and other yucky stuff.

The reverse shows the same canister of Liebig’s Meat Extract as well a bottle of Oxo—both underneath a color signature along with a lot of German ad copy. I’m not going to bother to try to recreate the ad copy for this one since I know I’ll bungle the German. Still, regardless of the fact that it’s advertising cow syrup, it’s quite attractive.  Since we see the Oxo bottle, I'd place the date of this card around 1900.

Click image to enlarge.

Object of the Day: A Mother-of-Pearl Fleur-de-lis Stickpin

I purchased this stickpin several years ago because I like all things mother-of-pearl and the fleur-de-lis is one of my favorite shapes. On a pin of ten karat gold, a metal armature has been lined with shimmering mother-of-pearl in the shape of a fleur-de-lis.


I’m unsure of the date and origin of this stickpin. Comparing it to others in my collection, my guess is that it’s English and dates to the Edwardian era or slightly later, from the reign of King George V. The head of the pin is rather large, so, most likely, it was meant to be worn lower on the scarf or tie. This leads me to believe that it was designed to adorn a the narrower ties which had become the fashion of the late 1910’s.