Gifts of Grandeur: King George V's Tortoiseshell Box, c. 1910

Box of Tortoiseshell, silver gilt and a rose-cut diamond.
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

When we think about the Royal Collection, especially from the period after the reign of Edward VII, those familiar with the provenance of most of the pieces therein, immediately think of Queen Mary, the ultimate collector.  However, Mary wasn't the only crowned head from 1910-1936 with an eye for attractive objects.  Her husband, King George V also had a knack for collecting handsome antiquities, treasures, and contemporary works.

This masculine box of tortoiseshell, gilt silver and a single rose-cut diamond dates to the early Twentieth Century and was made specifically for His Majesty George V and fits perfectly with his personal collection of simple, elegant pieces.  The polished lid is rimmed with gilt mounts set with a relief of berried laurels.  When the lid is removed, the gilded interior shows an engraved, crowned cypher--GVR.

Sculpture of the Day: A Relief of Queen Victoria, 1899

Relief of Queen Victoria
Terracotta,, 1899
Robert Wallace Martin
The Victoria & Albert Museum

Robert Wallace Martin (1843-1923) was commissioned by the V&A to create this relief in commemoration of the laying of the foundation stone of the Victoria & Albert Museum on May 17, 1899. This event—the launch of the V&A from the South Kensington Museum—would be the last public state ceremony which the Queen attended.

Though specific to the V&A, the relief, however, didn’t come directly into possession of the then-new museum. The relief was completed and fired in 1899 and it was, then, submitted to the museum’s governors for their approval. The governors liked the likeness, but were bothered that it lacked pigment. They wanted a colored relief.

Martin threw a fit. He never took criticism well, but especially when he found it to be coming from people he thought unworthy of judging his art (which was pretty much everyone, in his estimation). He stormed out of the room with the plaque tucked under his arm and, when he returned to his studio, instructed that the relief be destroyed. Thankfully, no one listened to him and the plaque was put away. It remained at the Firm of R.W. Martin and Brothers of Southall until the dispersal of the Martin Collection at Sotheby's in October of 1924. Upon that auction, it ended up in a private collection until it was returned to the V&A by Maurice Isaacs in 1943. 

Mastery of Design: A Gold Box with a Bust of a Medieval Emperor, c. 1824

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

Made in Vienna between 1824 and 1866, this oval, gold, hinged box boasts a lis with a cast and enameled relief bust of a medieval King/Emperor.  He's wearing a crown and a regal cloak adorned with roundels emblazoned with imperial eagles. The entire box is decorated with elaborate enamel decoration overall--scrolls, swags, and husks on a matted ground. The base is appointed with a funerary urn in relief.

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

The box was given to King George V, King of the United Kingdom (1865-1936) by the Earl of Iveagh on His Majesty's birthday on June 3, 1924.

Sculpture of the Day: A Relief of Queen Victoria, 1899

Relief of Queen Victoria
Terracotta,, 1899
Robert Wallace Martin
The Victoria & Albert Museum

Robert Wallace Martin (1843-1923) was commissioned by the V&A to create this relief in commemoration of the laying of the foundation stone of the Victoria & Albert Museum on May 17, 1899. This event—the launch of the V&A from the South Kensington Museum—would be the last public state ceremony which the Queen attended.

Though specific to the V&A, the relief, however, didn’t come directly into possession of the then-new museum. The relief was completed and fired in 1899 and it was, then, submitted to the museum’s governors for their approval. The governors liked the likeness, but were bothered that it lacked pigment. They wanted a colored relief.

Martin threw a fit. He never took criticism well, but especially when he found it to be coming from people he thought unworthy of judging his art (which was pretty much everyone, in his estimation). He stormed out of the room with the plaque tucked under his arm and, when he returned to his studio, instructed that the relief be destroyed. Thankfully, no one listened to him and the plaque was put away. It remained at the Firm of R.W. Martin and Brothers of Southall until the dispersal of the Martin Collection at Sotheby's in October of 1924. Upon that auction, it ended up in a private collection until it was returned to the V&A by Maurice Isaacs in 1943. 

Object of the Day, Museum Edition: Relief: A Piece of Flowers, c. 1750

"A Piece of Flowers," c. 1750
E.M. Diemar, Germnay
The Victoria & Albert Museum

Relief tableaus in wax, in the Eighteenth Century, were a novel way of introducing a dramatic decorative touch into a room. This oval relief in colored wax, depicts a variety of flowers (in somewhat natural colors) including roses, lilies, tulips, convolvulus, a foxglove and a hyacinth.

The piece is signed at the bottom, “E.M. Diemar.”  Diemar (1720-c. 1790) was one of a family of artists and craftsmen in Germany. Unlike his relatives, he concentrated on the production of small works of art, principally in wax.

Gifts of Grandeur: King George V's Tortoiseshell Box, c. 1910

Box of Tortoiseshell, silver gilt and a rose-cut diamond.
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

When we think about the Royal Collection, especially from the period after the reign of Edward VII, those familiar with the provenance of most of the pieces therein, immediately think of Queen Mary, the ultimate collector.  However, Mary wasn't the only crowned head from 1910-1936 with an eye for attractive objects.  Her husband, King George V also had a knack for collecting handsome antiquities, treasures, and contemporary works.

This masculine box of tortoiseshell, gilt silver and a single rose-cut diamond dates to the early Twentieth Century and was made specifically for His Majesty George V and fits perfectly with his personal collection of simple, elegant pieces.  The polished lid is rimmed with gilt mounts set with a relief of berried laurels.  When the lid is removed, the gilded interior shows an engraved, crowned cypher--GVR.

Object of the Day: Invest Your Money in Punch!

I love his smile. There’s something about Mr. Punch’s smile that I find very appealing. I’m surrounded by smiling Punchinellos, as you all know. And, no matter the maker or the medium, somehow, they all have the same smile—a grin of intelligence, mischief, and, yet…there’s a reassurance in it also. He’s reassuring you that though his antics may seem wild, it’s all going to work out.

Take a look at Punch’s smile on this handsome vintage letter opener which was given to me for Christmas. There he is, looking quite smart in brilliant enamels on brass, his face set against a raised “wax” seal. Beneath his bi-corned hat, we see his sparkling eyes and that reassuringly wild smile.

This letter opener was made as an incentive to advertisers to place ads in Punch Magazine. Just a way to keep Punch in front of potential advertisers’ eyes… 

The metal is inscribed:

NEVER SPECULATE IN ADVERTISING BUT “INVEST” YOUR MONEY IN PUNCH 
THE PROVED AND TRIED DIVIDEND-PAYER 

Well, I think that’s very reasonable, indeed.

I just love this item. Looking at his little red face gives me great joy and inspiration. So, it’s nice to know he’s still serving his purpose, even in the following century.

Sculpture of the Day: A Relief of Queen Victoria, 1899

Relief of Queen Victoria
Terracotta,, 1899
Robert Wallace Martin
The Victoria & Albert Museum

Robert Wallace Martin (1843-1923) was commissioned by the V&A to create this relief in commemoration of the laying of the foundation stone of the Victoria & Albert Museum on May 17, 1899. This event—the launch of the V&A from the South Kensington Museum—would be the last public state ceremony which the Queen attended.

Though specific to the V&A, the relief, however, didn’t come directly into possession of the then-new museum. The relief was completed and fired in 1899 and it was, then, submitted to the museum’s governors for their approval. The governors liked the likeness, but were bothered that it lacked pigment. They wanted a colored relief.

Martin threw a fit. He never took criticism well, but especially when he found it to be coming from people he thought unworthy of judging his art (which was pretty much everyone, in his estimation). He stormed out of the room with the plaque tucked under his arm and, when he returned to his studio, instructed that the relief be destroyed. Thankfully, no one listened to him and the plaque was put away. It remained at the Firm of R.W. Martin and Brothers of Southall until the dispersal of the Martin Collection at Sotheby's in October of 1924. Upon that auction, it ended up in a private collection until it was returned to the V&A by Maurice Isaacs in 1943. 

The Home Beautiful: A Wax Relief Portrait of Doctor James Gregory, 1791

Wax Relief of Doctor James Gregory
James Tassie, 1791
The Victoria & Albert Museum

We’ve looked at several wax relief portraits.  They’re usually more colorful and cartoonish than this wax portrait relief which depicts Doctor James Gregory (1753-1821).  The sculpture was made by James Tassie in 1791.

Dr. Gregory was a Professor of Medicine at Edinburgh, and the inventor of Gregory powder—a favored laxative of the Eighteenth Century which was made of dried rhubarb.  Yay!

 James Tassie (1735-1799) is best known for his work as a cameo and gem-engraver.  Unlike most of his contemporaries, the majority of his medallions in wax were modeled from life and used as sketch-models for casting in glass paste.

Object of the Day, Museum Edition: Relief: A Piece of Flowers, c. 1750

"A Piece of Flowers," c. 1750
E.M. Diemar, Germnay
The Victoria & Albert Museum

Relief tableaus in wax, in the Eighteenth Century, were a novel way of introducing a dramatic decorative touch into a room. This oval relief in colored wax, depicts a variety of flowers (in somewhat natural colors) including roses, lilies, tulips, convolvulus, a foxglove and a hyacinth.

The piece is signed at the bottom, “E.M. Diemar.”  Diemar (1720-c. 1790) was one of a family of artists and craftsmen in Germany. Unlike his relatives, he concentrated on the production of small works of art, principally in wax.