Mastery of Design: The Townshend Blue Diamond Ring, c. 1825

Blue and White Diamond Ring
Circa 1825
From the Townshend Collection
This and all related images courtesy of:
The Victoria & Albert Museum

From the important gem collection of the Reverend Chauncy Hare Townshend, we see this magnificent gold ring set with an oval, natural blue diamond.  The sparkling violet-blue diamond is surrounded by a border of  twelve white diamonds. A further three diamonds are set in triangular mounts on each shoulder of the ring.

The ring was made circa 1825.

Object of the Day: Museum Edition: A Medieval Sapphire Ring, 1250-1300

Ring
Engraved Gold and Cabochon Sapphire
1250-1300
Possibly English or French
The Victoria & Albert Museum

The human fascination with gemstones has thrived for thousands of years. In the middle ages, gems were cherished not only for their inherent value, but for their talismanic properties. Sapphires were most especially coveted. They were considered quite exotic—coming mostly from Sri Lanka, and were, therefore assigned great monetary value. However, they were also assigned significant spiritual powers which made them all the more desirable.


Sapphires were considered as contributors to peace, reconciliation and chastity. Furthermore, the wearer of a sapphire was said to have a clearer communication with God who would be more inclined to hear the wearer’s prayers more favorably.

The Victoria & Albert Museum

Jewelers options were limited. The tools available in the medieval period didn’t allow for intricate facets and cuts on gemstones. Stones such as rubies and sapphires were not faceted, but rather polished into shining cabochons, usually of irregular shapes.

This ring from the collection of the Victoria & Albert Museum in London dates to between 1250 and 1300 and shows the predominant trend of jewels of the era. The sapphire has been polished into a cabochon and secured to the ring in a thick claw setting. The setting is mounted at quite a height. Though it seems ridiculous to modern eyes, this tall setting allowed for more light to enter the stone. The ring itself is crafted from engraved gold with the kind of foliate pattern which appealed to medieval sensibilities. This was the stuff of the very wealthy and, unfortunately, very few pieces of jewelry from this time period survive.

Mastery of Design: The Liberty Blood Red Fire Opal Ring and Necklace, 1926-1927

Fire Opal Ring and Pendant in Platinum and Diamond Settings
The British Museum

Click Images to Enlarge.

Liberty & Co. of London and Paris produced this platinum-set finger ring and pendant for Christmas of 1926-1927.  The set glitters with the pristine sparkle of diamonds and the unusual glow of blood red fire opals.  

This extraordinary pair of rare fire opals is part of an impressive collection of jewels from the 1920s-1950s which was donated to the British Museum in 1978 by Professor John and Anne Hull Grundy.  

Masterpiece of the Week: A Garnet Ring with an Onyx Cameo of George IV

Ring with Miniature Cameo of George IV
Crown Copyright
The Royal Collection
via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II

Click on image for larger size.  

Made circa 1820, this handsome gold ring sports a miniature white on black onyx cameo which has been bezel-set into a faceted, foil-backed garnet.

While it was made during the Regency Period, the ring didn't come to the Royal Collection until it was acquired by Queen Mary in 1933.  

Throughout the Regency and the 1820s, Rundell, Bridge & Rundell, then the Royal Goldsmiths, supplied George IV with a variety of rings set with cameos and intaglios cut with his likeness. Georgie would give these rings as tokens of affection to his favorites.  

This ring, however, appears to be the only one of its kind, set with a miniature cameo into a garnet.  This cameo, in fact, is the smallest in The Royal Collection.

Mastery of Design: A Magnificent “Cat’s Eye” and Diamond Ring, 1850

Ring
1850
The Victoria & Albert Museum

Made in London in 1850, this curious ring is set with an impressive chrysoberyl (Cat's Eye) with a border of brilliant-cut diamonds in a gold setting. The stone is so large that it is set on double shoulders—one set to support the weight of the stone and one set to fit the finger, though it’s doubtful that the ring was ever worn.

This ring is part of a collection of 154 gems bequeathed to the V&A by the Reverend Chauncy Hare Townshend, a cleric and poet. We’ve looked at the Reverend Townsend’s rings before and they are certainly quite a magnificent collection. Townsend collected an assortment of extraordinary stones which he had mounted as rings. However, they were never intended to be worn. The settings served only to showcase the stones.

Object of the Day, Museum Edition: A Set of Five Platinum Eternity Bands or Guard Rings, 1920-40

Guard Rings
1920-1940
England
The Victoria & Albert Museum

Here, we see a set of five platinum guard rings set with diamonds, emeralds and rubies. Today, we’d refer to these rings as Eternity Bands and, they’re quite in fashion again. This set was made between 1920 and 1940.


These narrow rings are set with a continuous line of matching, single-color stones. Such rings initially became very fashionable during the 1930s. They were worn either next to or instead of a plain, gold or platinum wedding band. Of course, diamonds were the most popular choice, others were often set with emeralds, rubies or sapphires. One famous lover of such rings was Princess Marina, the Duchess of Kent. On her marriage in 1934 to Prince George, the Duke of Kent (son of George V and Mary of Teck), she selected three - one of rubies, one of diamonds and one of sapphires, the colors of the Union Jack.

Mastery of Design: The Shepherds and Goats Signet Ring, 200-100 BC

Intaglio Ring
Italy, 200-100 B.C.
The Victoria & Albert Museum

A vertically-positioned oval intaglio of brown-hued carnelian is the centerpiece of this ancient ring which nicely demonstrates the mastery of early Roman gem carving.

It’s thought that this ring was meant to represent a shepherd. The conclusion makes sense since it depicts a young man with a goat which, I’m guessing, represents his flock. It’s hard to carve a whole flock of goats onto a ring. Don’t let the fact that the young man is nude bother you.

Others suggest that since the fellow has no clothes on, he could be the god Mercury. I don’t know if I’d want to be a shepherd with no pants. So, Mercury is a good guess, too, especially since Mercury’s attribute is often a ram and he does tend to be shown wearing the sort of broad-brimmed hat favored by farmers and travelers.

Either way, the goat’s not too happy. Maybe he doesn’t like the pan flute. Goats probably don’t care for pipe music.

The ring was made in Italy circa 200-100 BC. Of course, it ended up in the collection of the Reverend Chauncy Hare Townshend (1798-1868), who preferred collecting jewelry to being a clergyman. I agree with him wholeheartedly.

Mastery of Design: The Townshend Deep Blue Turquoise and Diamond Ring, 1850-60

Turquoise Ring
from the Townshend Collection
The Victoria & Albert Museum

Here’s another ring from the  collection of 154 gems bequeathed to the V&A by the Reverend Chauncy Hare Townshend, a cleric and poet. Again though the stone has been set into a ring, it was never meant to be worn.  The setting—which dates between 1850 and 1860--serves only to showcase the stone.

The central turquoise is of exceptional quality.  It has been surrounded by diamonds to accent the unusually deep color of the stone.  Turquoise naturally occurs in shades of pale blue through greenish blue to green—the blue color being caused by the presence of copper with green tints developing with the presence of iron.

The most valuable turquoise stones are those of the deepest color.  A deep sky blue is greatly prized.  This midnight blue, however, is truly rare and extremely valuable.  Few examples of turquoise this deep are known.

Turquoise is a porous stone and it must be handled with care.  It’s best that this incredibly rare stone was never worn.  The stone is prone discoloration by the absorption of oils from the skin or from perfume.  Compromising the superb depth of color here would have been a true crime against nature. 

Mastery of Design: A Gold Signet Ring, 1500-1600

Ring
The Victoria & Albert Museum

Today's shiny thing is a very old gold signet ring with a circular bezel. It has been engraved with a hound on a leash, couchant beneath a tree, and the initials "IL" in lombardic characters.

Still in remarkably good condition, it's hard to say when it was made, but it's probably from between 1500 and 1600. The ring was most likely made in England.

Mastery of Design: The Forget-Me-Not Signet Ring, c, 1634

Signet Ring
Germany, 1634
The Victoria & Albert Museum

Made in Germany in 1634, this gold signet ring is surmounted by an octagonal bezel which is set with a panel of verre eglomisé (gilded glass) which depicts clasped hands holding three forget-me-nots between "AW" and "GH." Inscribed "ANNO/ 1634/ 12 IVNI," the ring is further decorated with masks on its shoulders. It is the earliest known mention of the union of root beer and the last remaining ABC network daytime serial. I kid.

Mastery of Design: The Townshend Canary Diamond, 1800-1869

Click image to enlarge
The Townshend Canary Diamond
The Victoria & Albert Museum

Here’s another jewel from the important collection of the Reverend Chauncy Hare Townshend who donated his fine assortment of 154 gems to the V&A. This stone, like the others in the collection, has been mounted as ring—not for wear, but simply to display the stone. This is a truly fine specimen of a canary diamond. The yellow sparkler has been set into a gold ring and is surrounded by eight rose-cut diamonds of equally exquisite quality. 

The exceptional suite of diamonds from the Townshend Collection.

Mastery of Design: A Ring Containing the Hair of King George III, 1816

Ring
Enamel, Gold, Diamond, Rubies
Containing the Hair of King George III
1816, English
The Victoria & Albert Museum

This ring of enameled gold contains bezel-set rubies and a brilliant-cut diamond in the shape of a crown. The band is dated, 1816. Behind the crown, a locket is cleverly hidden upon which has been inscribed, “Hair cut from the head of George III, 1 Apr., 1816.”


Items of jewelry, especially during the Nineteenth Century, frequently held lockets of hair—often behind rock crystal or glass as a memento of a loved one or in memory of a person who has passed away. To have a lock of a Regent’s hair was quite extraordinary. It’s unknown who made the ring and for whom it was made. However, the fact that it has remained intact with its original contents is nothing short of miraculous.

Mastery of Design: A Hungarian Fede Ring, Seventeenth Century

This and all related images from:
The British Museum

This "fede-ring," a finger ring displaying the visual devices of two clasped hands which symbolize unity and fidelity, is constructed of gold and was made in Hungary in the Seventeenth Century.  It is possible that the ring was altered in the Nineteenth Century.

The ring consists of a broad gold band, smooth on the inside, but adorned on the outer face with a pattern giving the illusion of ten, twisted, alternating wires.  Above the shoulders, a pattern of enameled gold takes the place of a traditional bezel.  Within this pattern, a red-enameled heart is pierced by two crossed black arrows.  this heart is mounted with a colored crystal from which an opaque blue enamel ribbon extends on the other side.  From these, enameled framed protrude.

Within each frame a gold loop hangs, through the left-hand loop has been passed a tiny separate silver ring that moves freely; through the right-hand loop has been passed a tiny separate padlock of silver, which also moves freely on the gold loop. Above and below, attached to the edges of the band of the finger-ring but with a number of small holes left along the edge of the band on either side are two identical pairs of gold enamelled wrists and hands. Each pair of white-enamelled hands is clasped over a red-enamelled heart, and the wrists are covered in a stylized form of sleeve cuff, enameled in white, opaque blue, black and translucent green. 

Mastery of Design: A Portrait Ring of Nicholas I, 1833

Portrait Ring of Nicholas I, Emperior of Russia
Ivan Winberg, 1833
Miniature of Watercolor on Ivory
Gold, Diamonds, Enamel
The Royal Collection

This magnificent ring dates to 1833 and is attributed to the painter Ivan Winberg. Here, we have a miniature portrait of Emperor Nicholas I of Russia set behind a flat-cut diamond. The watercolor on ivory miniature is set in a ring of enamel, diamonds, and gold. The portrait is surmounted by a diamond-set imperial crown. The shoulders of the ring are flanked with enameled, double-headed eagles of Russia.


I don’t suppose it will come as a shock to anyone at this point that this ring came into the Royal Collection via Queen Mary (of Teck). How she got it, I don’t know. But, she got it—as one does.

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

Click image to enlarge.

Mastery of Design: The Townsend Pearl and Pear Diamond Ring

The Townsend  Pearl
The Victoria & Albert Museum

We conclude a day of sparkly things with a ring which features a resplendent pearl in a gold mount, flanked by two exceptional pear-shaped, brilliant-cut diamonds.

This ring forms part of a collection of 154 gems bequeathed to the V&A by the Reverend Chauncy Hare Townshend, a cleric and poet, whose fantastic assortment of rare gems we’ve looked at on several previous occasions. Sir A. H. Church (who added additional specimens to Townsend’s collection in 1913) compiled the first catalogue of the collection, “Precious Stones: A Guide to the Townshend Collection,” in 1883.

This exquisite pearl, like the other stones in the collection, was mounted in this ring for purposes of display and was never intended to be worn. The flanking pear-shaped diamonds are of the finest quality and were also a part of Townsend’s collection.

History's Runway: The Ydot Pendant, 1870

Bourg-en-Bresse Enamel in a Setting by Ydot, 1870
The Victoria & Albert Museum

Bourg-en-Bresse, in the south east of France, was known for its enamel wares.  It’s interesting to note, however, that the regions enamellers did not work directly on the finished object, but, instead made individual plaques of enamel in a wide palette of different colors which would be applied later to objects around Europe by various jewelers and goldsmiths.

The enamelers worked by building up the surface with separate drops of color and tiny shapes made from gold leaf.   Often, a tiny gemstone was added to the center of the plaques, creating a rich multi-textured effect.

This brooch-pendant has the mark of Paul Ydot of Paris, who worked from 1870 to 1891. It was bought for £1 18s at the International Exhibition, London, 1872.  The enamel piece was made in Bourg-en-Bresse and shows how these pieces were shipped around France and England to the best jewelers who would employ them as if they were precious stones.

The oval silver-gilt pendant is decorated on the front with a large oval enamel medallion in the center.  This is surrounded by smaller oval and round enamels. Three pear-shaped enameled drops hang from the lower edge, and a matching oval enamel medallion is set on the bale. Each of the enamel medallions are further decorated with faceted pastes in the centre. 

Mastery of Design: A Ring by Gerda Flöckinger, 1969

The Victoria & Albert Museum

Here's a charmingly peculiar bauble dating to 1969.  It's a ring, the body of which is pierced and intentionally darkened in areas by oxidation. Sections are adorned with irregular scrolls, wires and small balls. The ring is set with a large, pale citrine carved with a floral design and a smaller pink tourmaline. Attached to the ring, below the tourmaline,  a circular gold disc with a small opal set in it, is mounted and from the disc hangs a 'tail'-- a stem of silver decorated with a spiral of gold wire.

The Victoria & Albert Museum

This is the work of Gerda Flöckinger, CBE, one of the pre-eminent artists in the alternative jewelry scene in London. She was born in Innsbruck, Austria, in 1927, and emigrated to Britain in 1938 where she studied fine art at St Martin's School of Art, and jewelry and enamels at the Central School of Arts and Crafts in London. 

In 1956, she made the brave step to work as an independent designer and maker, and, in 1962, established a pioneering course in experimental jewellery at Hornsey School of Art. where much of the next generation of cutting-edge British artist-jewellers were taught.

The encrusted, organic textures of this ring typify Flöckinger's work. In 1969, when this ring was crafted, large, unusual stones - cameos, soft-colored cabochons, veined turquoises and irregular pearls were incorporated to give glowing pools of color amidst, irregular planes and intense contrasts against the swirling, differing metals.

The ring was purchased from the artist from an exhibition of her work held at the V&A in 1971.

The Victoria & Albert Museum

Updated on April 4, 2014:

I had the honor of being contacted directly by Gerda Flöckinger, a Commander of the British Empire.  

She wrote the following to me:

My ring is not pierced in any part of itself. The ring is built up from different sizes of silver wires, with fusion techniques and additional details soldered into position after the completion of the main fusion.

This particular ring may have been typical of my work in 1969 and a period of a few years before and after, however it is not at all typical of my work earlier, so probably not typical until the later ‘sixties to maybe early to mid ’seventies.

I did not discover the possibilities of precious metal fusion until 1963, so all my work before that date is very different. My later work after my solo exhibition at the V&A (which was a landmark show in the sense that it was the first solo show at the V&A of the work of a woman during her lifetime) has also undergone considerable changes throughout my working life. I hope.

I'd like to point out that I'm thrilled to have heard from the artist herself, and, I'm also interested that her personal statement is in direct contrast to the description of the piece which is listed in the online catalog of the V&A as seen here wherein it is stated, "The body of the ring is pierced and deliberately darkened in places by oxidation and decorated with irregular scrolls, wires and small balls."

I'm most grateful to Miss Flöckinger for taking a moment to describe the process by which she created this remarkable piece, to provide an opportunity to correct an error in the online catalog, and for taking the time to write to me.

Rare Gems: An Exceptional Emerald Ring, 1850

Emerald Ring
Unknown Maker, 1850
Part of the Townshend Collection, 1869
The Victoria & Albert Museum

In 1869, cleric and poet Reverend Chauncy Hare Townshend bequeathed an impressive collection of 154 rare gem stone pieces to the Victoria & Albert Museum. Among them, this emerald ring is one of the most magnificent.

A perfect, square-cut emerald, surrounded a border of twenty-four brilliant-cut diamonds and set in gold. The shoulders of the ring each feature four brilliant-cut diamonds and two rose-cut diamonds.

While most of the stones in the Townshend Collection are set as rings, they were, most likely never meant to be worn.

A Portion of the Townshend Collection
The Victoria & Albert Museum