Mastery of Design: A Royal Scent Bottle

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

Little is known about this hardstone scent bottle from the Royal Collection.  Its date of creation is uncertain, and no one is quite sure from where it came.  It's likely, however, that Queen Mary added it to the Royal Collection since it's the sort of thing that was right up her alley.  

The bottle of carved blue-green agate is oval in section and meant to hold a fragrance.  It tapers to the gold base and the neck is mounted with four circle link chains from which it is meant to hand.  Gold mounts in floral arrangements are set with garnets, coral, a pearl and a diamond.  The stopper is fitted with garnet flower-heads.  

Gifts of Grandeur: A Fabergé Snail, pre-1896

Nephrite Snail
Carl Faberge
The Victoria & Albert Museum

Carl Fabergé—we know his work: the shimmering eggs, the wee, precious animals. But, what inspired this master? Fabergé amassed a tremendous and important collection of Japanese netsuke (those intricately-carved decorative pendants that were worn on men's kimonos). These jewel-like objects certainly influenced his animal carvings.

Fabergé employed a variety of hardstones to create the miniature menageries which were coveted by his Royal and aristocratic patrons, especially Queen Alexandra and her daughter-in-law, Queen Mary. Queen Alexandra assembled one of the largest collection of Fabergé animals when King Edward VII commissioned models from the Queen's Zoo at Sandringham. At Fabergé's London branch; in addition to the jewels, floral sculptures and other treasures, over 250 models of animals were available for purchase with the most popular being the elephant. 

This nephrite jade carving of a snail, made by Carl Fabergé himself before 1896. It lives at the V&A. I guess there was one that escaped both Alexandra and Mary. Or, maybe they didn’t like snails.

Her Majesty’s Furniture: A Magnificent Jewel Casket, 1750

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

Click image for larger size.

Jewel Casket
Florence
1720
The Royal Collection

Made in 1720 in the Grand Ducal Workshops of Florence by Giovanni Battista Foggini, this amazing jewel casket of Ebony, rosewood, hardstones, and gilt bronze came to the Royal Collection through unknown circumstances, possibly as early as the late Eighteenth Century, but probably via Queen Mary. With its intricate mosaic and ornate ormolu, this casket was the epitome of Florentine style.

Though assigned a practical use (holding jewels), the casket is now as valuable as the objects it once held.

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

Click image for larger size.

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

Click image for larger size.

The carved gilt wood stand with cabriole legs terminating in lions' paw feet is joined near the bottom by an X-shaped stretcher with a pine-cone finial  with rocaille motifs.  It is original to the piece.

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

Click image for larger size.

Unfolding Pictures: A Chinese Feather Fan, 1911-1930

Feather Fan
China, 1911-1930
The Victoria & Albert Museum

The Chinese have been producing fans from feathers for over 2000 years. These fans, with their dramatic tufts of colorful feathers, most often featured long handles made of bamboo or wood though specialty examples were made for high-ranking people with handles of ivory, jade or other carved hard-stone.

This example was actually made in modern times during a time when feathers were en vogue with contemporary fashions. Made between 1911 and 1930, this fan nods at Chinese antiquity with its brightly-colored fathers and gleaming handle made of carved hard-stone and glass adorned with a geometric pattern based on ancient Chinese bronzes (Ancient Chinese Bronzes, huh?). Two small red stones, possibly garnets, have been mounted on either side of the handle.

The fan was likely made in China for export to the U.K. where the Art Deco fashions dictated a renewed interest in the geometry of the Eastern arts. The color palette indicates that the fan would not have been intended for use by a Chinese woman, but rather a wealthy European lady whose tastes tended toward the trendy gold and brown colors which often dominated accessories of the era.

Donated by Lady Logan from the collection of her parents, Robert and Alexandra Everts, the fan is an excellent example of the kinds of Asian accessories which were in demand in the 1920s.

Gifts of Grandeur: The Saxony Lamb Snuffbox, 1755

Snuffbox
Dresden, 1755
The Victoria & Albert Museum

Bertie wants this. So do I actually. Here, we see a jeweled, gold-mounted amethystine quartz snuffbox surmounted by a sheep which has been naturalistically carved from white quartz. The lamb has ruby-set eyes and is lying on a field of purple quartz. The base is carved in relief with a bucolic scene of a shepherdess and sheep in a fanciful landscape. The gold mount is chased with scrolls and a floral design and is set with a ruby and diamond floral thumbpiece.

The area of Saxony was rich in minerals and hardstones such as these. This wealth of materials led to a renaissance of lapidary (polished stone) work. Dresden—where this box was made--became the home to a treasury which housed the famous Green Vault (as it was known) which was known to house luxury objects such as this.

We’re unsure of the maker of the box, but it certainly comes from Dresden and matches the quality and style of the lapidary work which was produced in the mid 1750s. This box forms part of an important collection which was amassed by Sir Arthur Gilbert and his wife Rosalinde who formed one of the world's great decorative art collections. The Gilberts donated their extraordinary collection to Britain in 1996 and it is on display at the V&A.

The Home Beautiful: The Capitoline Doves Micromosaic, 1800-1825

Micromosaic Plaque
Rome, 1800-1825
The Victoria & Albert Museum

The subject of this stunning early Nineteenth Century micromosaic is a group of doves which is typically known as the Capitoline Doves or Doves of Pliny. These feathered little chaps appear frequently as the subject of micromosaics which replicate a famous Roman floor mosaic discovered in 1737 at Hadrian's Villa in Tivoli, which, in turn, is believed to be a copy of a lost ancient Greek mosaic at Pergamon. The original floor mosaic is recorded by Pliny the Elder in his Natural History, which he completed in 77AD.

Dating between 1800 and 1825, this rectangular Roman micromosaic plaque, from the V&A’s Gilbert Collection, recreates the well-known scene of four doves sitting on the edge of a circular, gold, two-handled basin which, itself, is resting on a square plinth. A border decorated in geometric motifs finishes the scene. Below the bordered picture is an inscription in Latin:

MIRABILIS IBI COLVMBA BIBENS, ET AQVAM VMBRA CAPITIS INFVSCANS. APRICANTVR ALIAE SCABENTES SESE IN CANTHARI LABRO. PLIN.LIB XXXV.CAP X.

 

A marvellous dove drinking and casting the shadow of its head on the water. Other doves are pluming their feathers in the sun on the lip of a goblet.

Reverse

Mastery of Design: A Royal Scent Bottle

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

Little is known about this hardstone scent bottle from the Royal Collection.  Its date of creation is uncertain, and no one is quite sure from where it came.  It's likely, however, that Queen Mary added it to the Royal Collection since it's the sort of thing that was right up her alley.  

The bottle of carved blue-green agate is oval in section and meant to hold a fragrance.  It tapers to the gold base and the neck is mounted with four circle link chains from which it is meant to hand.  Gold mounts in floral arrangements are set with garnets, coral, a pearl and a diamond.  The stopper is fitted with garnet flower-heads.  

Gifts of Grandeur: The Berquin Lilacs, 1900

Lilacs
Berquin, circa 1900
Acquired by Queen Mary in 1924
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

The workmaster Berquin created this exquisite sculpture of glass, hardstone, porcelain and gilt metal in 1900. The lovely object features a hardstone and glass branch of lilacs set into a square vase of porcelain.

The vase is adorned with gilt metal mounts which hint at the coming Art Deco style. This was one of the many glorious objects collected by Queen Mary throughout her lifetime. She happened upon this piece in 1924 and added it to the Royal Collection. The curators of the Royal Collection simply and plainly indicate that the sculpture was “acquired” by Queen Mary in 1924, so, I have a feeling this was one of Her Majesty’s many, “I think that would look lovely at Sandringham” moments wherein she shook down some unsuspecting hostess for her bric-a-brac. God love her. 

Today, the piece is still displayed in its original glass case upon its wooden, stepped base.

Masterpiece of the Week: The Neuber Bonbonnière, 1780

German Sweet Meat Box
With Roman insets
1780
The Victoria and Albert Museum

This bonbonnière of colored hardstone, including carnelian, turquoise, jasper, and lapis lazuli, has been attributed to the workshop of Christian Neuber who, in 1780, when the box was made, was working in Dresden.

The handsome lid and base of the box are set with micromosaic panels of a dog and a butterfly which appear to be based on the mosaics of Giacomo Raffaelli--one of the most talented Roman mosaicists.  In fact, some believe that Raffaelli or someone in his workshop may have made the micromosaic panels which were set into this German sweetmeat box--demonstrating the popularity of this medium in Europe in the 18th century.

Unfolding Pictures: A Chinese Feather Fan, 1911-1930

Feather Fan
China, 1911-1930
The Victoria & Albert Museum

The Chinese have been producing fans from feathers for over 2000 years. These fans, with their dramatic tufts of colorful feathers, most often featured long handles made of bamboo or wood though specialty examples were made for high-ranking people with handles of ivory, jade or other carved hard-stone.

This example was actually made in modern times during a time when feathers were en vogue with contemporary fashions. Made between 1911 and 1930, this fan nods at Chinese antiquity with its brightly-colored fathers and gleaming handle made of carved hard-stone and glass adorned with a geometric pattern based on ancient Chinese bronzes (Ancient Chinese Bronzes, huh?). Two small red stones, possibly garnets, have been mounted on either side of the handle.

The fan was likely made in China for export to the U.K. where the Art Deco fashions dictated a renewed interest in the geometry of the Eastern arts. The color palette indicates that the fan would not have been intended for use by a Chinese woman, but rather a wealthy European lady whose tastes tended toward the trendy gold and brown colors which often dominated accessories of the era.

Donated by Lady Logan from the collection of her parents, Robert and Alexandra Everts, the fan is an excellent example of the kinds of Asian accessories which were in demand in the 1920s.

Object of the Day, Museum Edition: The Chrysprase Snuffbox, 1765

Snuffbox
Berlin
1765
The Victoria & Albert Museum

A shimmering masterwork of carved chrysoprase; chased, pierced and engraved gold; set hardstones and diamonds with foil backing, this snuffbox is far grander than the stuff it once held.


This remarkable snuffbox is one small part of a collection of snuffboxes previously belonging to Frederick II, the Great, of Prussia. The box itself is green chrysoprase which was carved from a single stone. In and of itself a masterpiece, the base was then adorned with a setting of hardstones and diamonds which have been colored by being backed with pale pink, green and canary foils.

The sturdy stone chrysoprase was much admired by Frederick. This rare stone was mined in Silesia--the first territory to Prussia by Frederick in a conquest in 1740. Before Frederick’s death, as he lay ailing, he asked that his collection of jewels and boxes would be laid out before him so that he might view them all.

Her Majesty’s Furniture: The Tulip and Crown Cabinet, 1780

Cabinet
French
Gobelins Workshop, Adam Weisweiler
1780
The Royal Collection

From the Gobelins (an interesting name) Workshop in Paris, this remarkable hardstone inlay cabinet is the work of famed cabinet maker Adam Weisweiler. An intricate puzzle of Oak, ebony, hardstones, tortoiseshell, brass, pewter, mahogany, boxwood, purplewood, gilt bronze, brocatello marble, this handsome cabinet caught the eye of King George IV while still the Prince of Wales.


It is said that the Prince of Wales was drawn to the pattern of tulips and crowns. However, it’s more likely that he was attracted to the cabinet because of his love of French craftsmanship. Regardless of his reasons, it was a smart purchase, and though it was packed away for many years, it now is one of the centerpieces of the furniture exhibit of The Royal Collection.

Gifts of Grandeur: The Waterfall Snuffbox, c. 1810

Snuffbox of hardstones
Pietra Dura Panel, 1810
Chalcedony Case, 1819-1832
This and all related images from
The Victoria & Albert Museum

The hardstone panel which surmounts this snuffbox is thought to have been created by Giovanni Morelli in Rome around 1810. The panel features a rocky landscape in the Romantic style, depicting ruins, towers, and a swan near a waterfall.

The panel was set into this snuffbox cover between 1819 and 1832 by Parisian goldsmith Gabriel-Raoul Morel whose masterful works we’ve studied previously. This box shows Morel’s talent for working with a variety of media. The body of the box is crafted from pale chalcedony which creates the perfect background for the pietra dura cover.

This box was collected by Sir Arthur and Rosalinde Gilbert who donated their important collection of precious object and silver to the V&A.

Masterpiece of the Week: King George IV’s Bejeweled Tankard, 1823

Tankard
Silver gilt, cameos, gemstones
Rundell, Bridge and Rundell, 1823
The Royal Collection

This silver-gilt tankard with a pinecone finial is a kaleidoscope of Silver-gilt, agate, onyx, sardonyx, jasper, amethyst, Siberian amethyst, chrysoprase, emeralds, ruby, Russian aquamarine, Russian green beryl, sapphires from Sri Lanka, pink sapphire, and turquoises. The tankard features exceptional rocaille work. Rocaille—one of the hallmarks of Rococo styling—relies heavily on patterns of shells, stones and other natural motifs. The Royal Jewelers at Rundell, Bridge and Rundell crafted this tankard in 1823 with an abundance of antique cameos of mythological subject matter, intaglio, and colorful gemstones. Most of the cameos date to the Sixteenth Century


Cameo-studded tankards were quite the fashion of the time. King George III had acquired one of his own. So, it was only fitting that King George IV should have one, too. It’s unclear whether Rundell, Bride and Rundell created this tankard especially for King George IV, but it certainly tickled his fancy and he quickly added it to the Royal Collection.

The Home Beautiful: The John Jones Table, 1870

Center Table
c. 1870
The Victoria & Albert Museum

Celebrated for its beautiful hardstone work, this narrow, rectangular center table is supported by four tapering legs and is veneered in Mozambique rosewood and ebony on a structure of oak. The sides are set with plaques of hardstone and with one plaque of porcelain. The whole is adorned with mounts of gilt bronze


John Jones, an avid British collector of French 18th-century furniture and porcelain, bought this table between about 1870 and 1880, thinking that the table was already an antique. But, inspection of the table has proven otherwise. This table is narrower than most Eighteenth-Century tables. Furthermore, the combination of hardstones (pietre dure) with owed more to the tastes of the 1870s than the 1770s.

The table was most likely made shortly before John Jones purchased it. However, the hardstone panels of Marble, Alabaster, Chalcedony, Agate, Carnelian, Lapis-lazuli, Amethyst, Jasper, Carrara marble, Sainte Ann marble, and Belgium marble were probably made in Florence between about 1660 and 1690. So, at least a portion of it was antique. Nevertheless, Jones was quite proud of the table, and, if you wait long enough, anything can be an antique.

Gifts of Grandeur: A Fabergé Snail, pre-1896

Nephrite Snail
Carl Faberge
The Victoria & Albert Museum

Carl Fabergé—we know his work: the shimmering eggs, the wee, precious animals. But, what inspired this master? Fabergé amassed a tremendous and important collection of Japanese netsuke (those intricately-carved decorative pendants that were worn on men's kimonos). These jewel-like objects certainly influenced his animal carvings.

Fabergé employed a variety of hardstones to create the miniature menageries which were coveted by his Royal and aristocratic patrons, especially Queen Alexandra and her daughter-in-law, Queen Mary. Queen Alexandra assembled one of the largest collection of Fabergé animals when King Edward VII commissioned models from the Queen's Zoo at Sandringham. At Fabergé's London branch; in addition to the jewels, floral sculptures and other treasures, over 250 models of animals were available for purchase with the most popular being the elephant. 

This nephrite jade carving of a snail, made by Carl Fabergé himself before 1896. It lives at the V&A. I guess there was one that escaped both Alexandra and Mary. Or, maybe they didn’t like snails.

The Home Beautiful: The Vassal Snuffbox, c. 1780

Snuffbox
Germany, c. 1780
This and all related images from the Victoria & Albert Museum.

Alive with the colors of precious hardstones, agate, lapis lazuli, carnelian, bloodstone and turquoise, this lush snuffbox was probably made in Dresden around 1780. The mounted miniature is thought to have been painted up to five years earlier, probably by Nicolas Claude Vassal (active 1766-79) in Paris.

The miniature in enamel shows a bust-length portrait of an unknown young lady. It is anchored by beautiful false gadroons of simulated pearls and borders of foliage and flowers.

The box is part of the monumental collection of Sir Arthur and Rosalinde Gilbert at the V&A. While the maker of the box itself is not certain, it is likely to be the work of Johann Christian Neuber (1735-1808).

Gifts of Grandeur: A Carnelian Intaglio

Hardstone Intaglio
The British Museum

Of unknown origin and date, this handsome intaglio of jasper comes to us from The British Museum. Common sense tells us that the piece is of ancient origins, possibly Roman. Ancient Roman gem carvers set the standard for intaglio and hardstone work for centuries to come. This piece is especially interesting. The red jasper has been carved with a double mask. One shows a youthful visage while the other shows an aged and bald countenance—no doubt, a reminder of the passage of time and its effect on all of us.

Mastery of Design: The Melillo Insect Necklace, Late 19th C.

Necklace
Italy, late Nineteenth Century
The British Museum

Made of jasper, gold and agate, this woven necklace boasts a Milanese chain of hollow elptical sections and three carved hardstone pendants. A gold frog, in relied, adorns the box clasp. The piece was made in Italy in the late Nineteenth Century by Giacinto Melillo who was known for his jewels made on ancient designs.

Gifts of Grandeur: Queen Charlotte's Etui, c. 1750

Queen Charlotte's Etui
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

An etui is a small, rectangular box designed to hold a variety of personal grooming items. Historically, an etui would be carried by a lady in her handbag as a means of keeping small items such as scissors, files and tweezers contained.


Though the practice of carrying an etui has fallen from fashion, they were essential objects during the Eighteenth and Nineteenth Centuries. Often, an etui was treated as an important accessory and was made of precious metals, enameled and jeweled. 

For example, this etui from the Royal Collection which once belonged to Queen Charlotte shows the remarkable detail given to what, today, would be considered an incidental item. Created circa 1740, this case is crafted in gold which has been set with mother-of-pearl and hard-stones. The colored stones and nacre take the form of classical figures. Similarly shaped and decorated etui would have been used as cases for fans, in some instances. These boxes are slightly longer than the usual etui in order to accommodate the length of the fan.