Gifts of Grandeur: The Prince Albert Tie Pin, 1865

Stickpin with Enamel Portrait of Prince Albert
England, 1865
Crown Copyright
The Royal Collection 
The Victoria & Albert Museum

The enamel portrait contained in this handsome tie-pin is based on a photograph by John Edwin Mayall which was taken within weeks of the Prince Consort's death in December of 1861.

The portrait by William Charles Bell (1831-1904) is set in a gold stick-pin with a chased Greek key design.

The pin was presented to one Nestor Tirard by Her Majesty Queen Victoria in 1865. On the pin’s reverse this gift has been inscribed: “Nestor Tirard/fromVR. Coburg Aug 26./1865.” The piece still retains its original blue velvet presentation case. After Prince Albert’s death, the Queen often made commemorative gifts in her beloved husband’s honor.

So, who was this Nestor Tirard. Jean Nestor Tirard (d. 1888) was the hairdresser to Queen Victoria from 1846 until 1867.

History's Runway: The May Morris Opal Stickpin, 1903

Stickpin
May Morris, 1903
The Victoria & Albert Museum

May Morris (1862-1938); the daughter of the artist, designer and socialist William Morris; was a talented embroideress and jeweler in her own right. She started designing jewelry around the turn of the 20th century--inspired by the Birmingham jewelers Arthur and Georgie Gaskin, who were old family friends.

As was the style of the time, May favored colorful stones, usually cabochon-cut or uncut entirely, and found much inspiration in European folk jewellery.

Here, from the V&A, we see an excellent example of her work.  This stickpin of gold is set with a white opal, water opals and pearls.  It was made by May Morris around 1903.

Other jewels by Miss Morris.

Mastery of Design: A French Cravat Pin, c. 1900

Cravat Pin
The British Museum

Since we've been looking at the Hull-Grundy gift to The British Museum, let's continue with this attractive gold cravat pin.  The pin features a medallion struck in gold with a profile of the goddess Diana sporting her usual attributes of a crescent, and a bow and arrow.  Originally, her collar was set with three diamonds, but one is now missing.  The medallist's and sculptor's monograms, a warranty mark and maker's mark are stamped into the medallion.

The portrait medallion was designed by Louis Armand Rault, circa 1900.

Object of the Day, Museum Edition: King Edward VII’s Stickpin

Stickpin
Russian-made
1901
Gold, enamel, brilliant-cut diamonds
The Royal Collection

Over the years, we’ve taken a look at my collection of antique stickpins, but I’m not the only person who has collected them. Queen Mary also put together a collection of stickpins owned by British monarchs.


For example, here’s a beautiful pin which had belonged to King Edward VII—Mary’s father-in-law. This masterpiece of gold, enamel and brilliant diamonds was made for the King by Eduard Schramm in 1901. It is adorned with his crowned cipher in diamonds.

This pin was a favorite of the King’s. After his death, Mary of Teck made sure that his personal jewelry was preserved as part of the Royal Collection.

Object of the Day, Museum Edition: The Russian Imperial Stickpin, 1890

Stickpin

Austria, 1890

The Victoria & Albert Museum

I like this. Here, we see a gold stick pin with a head enameled in red and set with rose-cut and brilliant-cut diamonds in the form of a Russian imperial crown above the monogram E

Made in Vienna around 1890 by an unknown jeweler, this stickpin was possibly made for Elizabeth Feodorovna (1864-1918), daughter of Louis IV, Grand Duke of Hesse and the Rhine. Elizabeth married the Grand Duke Serge of Russia (1857-1905) in 1884.

Saturday Sparkle: A Display of Pins and Gem Settings, 1864

Pins and Settings
John Whenman of Clerkenwell
1864
The Victoria and Albert Museum

We often look at jewelry here at Stalking the Belle Époque, and every so often, I give you a look at my collection of antique stickpins. Gentlemen’s stickpins were a major source of business for jewelers well until the early Twentieth Century, and, as we’ve seen, the care and creativity that went into their manufacture was as great as the efforts put into women’s jewels. Jewelers took pride in their unique designs and their innovations in settings and cuts.


Here, we see one jeweler’s efforts to advertise his skills from the jewel collection of the Victoria & Albert Museum. This unusual display shows three specimens of gem setting, preserved under a glass dome. A silver shield below the specimens is inscribed, “Specimen of Gem Setting Executed by John Whenman of Clerkenwell London 1864, No. of Stones 451.”

Reverse

The display is surmounted by a lavish stickpin in the form of a bust of St. George bedecked in a plumed helmet. This masterpiece of gold and silver is set with rose-cut diamonds, rubies, pearls, and pavé-set turquoises. Another stickpin of gold, silver and precious stones with pearl accents, shows a bust of a man, also wearing a helmet, with a pivoted crest and cuirass. His torso has been ornamented with a star shaped decoration. And, finally, we see the silver feathers of the Prince of Wales set with diamonds which forms a third stickpin.

This assortment of his wares was shown by the maker at the North London Working Classes Industrial Exhibition of 1864, and earned John Whenman a first prize certificate.

Gifts of Grandeur: The May Morris Opal Stickpin, 1903

Stickpin
May Morris, 1903
The Victoria & Albert Museum

May Morris (1862-1938); the daughter of the artist, designer and socialist William Morris; was a talented embroideress and jeweler in her own right. She started designing jewelry around the turn of the 20th century--inspired by the Birmingham jewelers Arthur and Georgie Gaskin, who were old family friends.

As was the style of the time, May favored colorful stones, usually cabochon-cut or uncut entirely, and found much inspiration in European folk jewellery.

Here, from the V&A, we see an excellent example of her work.  This stickpin of gold is set with a white opal, water opals and pearls.  It was made by May Morris around 1903.

Other jewels by Miss Morris.

Mastery of Design: The Prince Albert Tie Pin, 1865

Stickpin with Enamel Portrait of Prince Albert
England, 1865
Crown Copyright
The Royal Collection
The Victoria & Albert Museum

The enamel portrait contained in this handsome tie-pin is based on a photograph by John Edwin Mayall which was taken within weeks of the Prince Consort's death in December of 1861.

The portrait by William Charles Bell (1831-1904) is set in a gold stick-pin with a chased Greek key design.

The pin was presented to one Nestor Tirard by Her Majesty Queen Victoria in 1865. On the pin’s reverse this gift has been inscribed: “Nestor Tirard/fromVR. Coburg Aug 26./1865.” The piece still retains its original blue velvet presentation case. After Prince Albert’s death, the Queen often made commemorative gifts in her beloved husband’s honor.

So, who was this Nestor Tirard. Jean Nestor Tirard (d. 1888) was the hairdresser to Queen Victoria from 1846 until 1867.

Mastery of Design: A Rose-cut Diamond Stickpin, 18th C.

Stickpin
Eighteenth Century
The Victoria & Albert Museum

I selected this today because I just think it's too, too nifty, and I love stickpins.  The crest of the pin is set with rose-cut diamonds and rubies mounted in silver, and backed with gold.

It was made in England in the Eighteenth Century.  And, well…that’s about all there is to say about this particular item.  I think this is the sort of pin which Julian/Mr. Punch would have inherited and enjoyed wearing to fashionable, yet nerve-wrecking, events about the City of Westminster or with Robert strolling in he garden at Belgrave Square.  

Gifts of Grandeur: The May Morris Opal Stickpin, 1903

Stickpin
May Morris, 1903
The Victoria & Albert Museum

May Morris (1862-1938); the daughter of the artist, designer and socialist William Morris; was a talented embroideress and jeweler in her own right. She started designing jewelry around the turn of the 20th century--inspired by the Birmingham jewelers Arthur and Georgie Gaskin, who were old family friends.

As was the style of the time, May favored colorful stones, usually cabochon-cut or uncut entirely, and found much inspiration in European folk jewellery.

Here, from the V&A, we see an excellent example of her work.  This stickpin of gold is set with a white opal, water opals and pearls.  It was made by May Morris around 1903.

Other jewels by Miss Morris.

Mastery of Design: The Russian Imperial Stickpin, 1890

Stickpin
Austria, 1890
The Victoria & Albert Museum

I like this. Here, we see a gold stick pin with a head enameled in red and set with rose-cut and brilliant-cut diamonds in the form of a Russian imperial crown above the monogram E

Made in Vienna around 1890 by an unknown jeweler, this stickpin was possibly made for Elizabeth Feodorovna (1864-1918), daughter of Louis IV, Grand Duke of Hesse and the Rhine. Elizabeth married the Grand Duke Serge of Russia (1857-1905) in 1884.

Object of the Day, Museum Edition: The Electric Skull Stickpin, 1867

Stickpin
Gold, Diamonds, Enamel
Fitted with Electrical Terminals
French, 1867
The Victoria & Albert Museum

Well, this is bizarre. In all my years of collecting stickpins, I’ve never come across one like this. Which, I think, is good--because it’s scary. But, it’s the kind of scary that’s interesting.
So, here we have a stickpin of gold, enamel and diamonds. So far, not so odd. But, it’s in the form of a human skull. Okay, that’s a little more peculiar, but we should remember that the human skull has long been used symbolically in art to represent vanity.

Now, here’s the truly strange part. The jewel is fitted with electric terminals so that, when connected to a battery concealed in the wearer's pocket, the eyes roll and the jaws snap. That, I think, would be a little unnerving, but nonetheless captivating.

This is the work of French jeweler Auguste-Germain Cadet-Picard. Cadet-Picard was celebrated for the electrical pins that he made and showed at the Paris 1867 Exhibition. At this exhibition, his jewels, and other jewels with moving parts by different designers—were the main center of attention.

Few examples remain because—with their tiny moving parts—such jewels were prone to breaking. So, it’s good to see that this one survives in the Victoria & Albert Museum.

Object of the Day: A Silver Sagittarius Stickpin

This stickpin of silver comes late in the popularity of gentlemen’s stickpins and just before they were replaced overall with tie pins. Here, we see a low-relief, silver figure of the astrological sign Sagittarius. Such figures were quite fashionable in the late 1920’s and early 1930’s especially in England and the United States.

I’m fairly certain this stickpin comes from England. It shows the sort of stylization which was the fashion of the time. These almost-abstracted astrological figures were depicted on a variety of objects during this period—everything from architecture to ashtrays.

The figure is quite large compared to the sorts of decorative tops which graced earlier stickpins. It was mean to be worn on a necktie. While the smaller Nineteenth Century stickpins were meant to be tucked into the folds of a scarf or cravat, this armed fellow was designed to be front-and-center on the rather narrow neckties that were the fashion of the era.

Object of the Day: A Gold and Pink Stone Stickpin

This is the first stickpin that I was ever given. Most likely from Britain and dating to the late eighteenth century, this stickpin of gold is set with a pink “stone,” which is another way of saying, “glass.” Pieces of jewelry meant to be worn in informal situations or during the day often featured cut and faceted glass or paste since precious stones were considered the stuff of evening.

Aside from the brilliant color of the stone, what’s most appealing about this stickpin is the shape and chasing of the setting which are typically late Victorian. While we tend to think of this as an era devoid of color in men’s fashions, the opposite was true. A gentleman often wore bold colors in his waistcoat or cravat and would most likely have stickpins such as this one in a wide range of colors to match each combination of textiles.

Object of the Day: A Ruby and Diamond Stickpin, circa 1830

In the 1830’s, in Europe, jewelry designers were exploring styles which were based on recent archeological finds. The result of this was a decade of beautifully detailed jewelry which relied on delicate gold-work and stones set in deep, unusual bezels and settings. More modern adaptations of these designs were slightly more rustic in feel and were given the nickname, “Gypsy.”
This stickpin with its carefully cast gold falls into the above category. Influenced by Etruscan and other ancient designs, it’s a distinctly British re-telling of an older visual story. The gold rosette has been set with a small, faceted ruby which glistens from the center of a carved star. At once, it puts us in mind of ancient gems, but with a distinctly early-Victorian twist.

Object of the Day, Museum Edition: King Edward VII’s Stickpin

Stickpin
Russian-made
1901
Gold, enamel, brilliant-cut diamonds
The Royal Collection

Over the past year, we’ve taken a look at my collection of antique stickpins, but I’m not the only person who has collected them. Queen Mary also put together a collection of stickpins owned by British monarchs.


For example, here’s a beautiful pin which had belonged to King Edward VII—Mary’s father-in-law. This masterpiece of gold, enamel and brilliant diamonds was made for the King by Eduard Schramm in 1901. It is adorned with his crowned cipher in diamonds.

This pin was a favorite of the King’s. After his death, Mary of Teck made sure that his personal jewelry was preserved as part of the Royal Collection.

Object of the Day, Museum Edition: A Jasperware Stickpin, 1795



Stickpin
Jasperware and Gold
1795
Wedgwood and Sons
The Victoria & Albert Museum

 Made by Josiah Wedgwood and Sons in 1795, this gorgeous stickpin features a jasperware plaque of Princes Alexander and Constantine of Russia in profile. The traditional Wedgwood blue and white palette is beautifully offset by the ovoid gold frame and pin.


This pin is part of the Victoria & Albert Museum’s Ceramics Room as opposed to the jewelry collection, showing that stickpins cross between media and show themselves as important objects –artistically and historically—in a variety of spotlights.

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.

Object of the Day: Museum Edition: A Display of Pins and Gem Settings, 1864

Pins and Settings
John Whenman of Clerkenwell
1864
The Victoria and Albert Museum

We often look at jewelry here at Stalking the Belle Époque, and each week, I give you a look at my collection of antique stickpins. Gentlemen’s stickpins were a major source of business for jewelers well until the early Twentieth Century, and, as we’ve seen, the care and creativity that went into their manufacture was as great as the efforts put into women’s jewels. Jewelers took pride in their unique designs and their innovations in settings and cuts.


Here, we see one jeweler’s efforts to advertise his skills from the jewel collection of the Victoria & Albert Museum. This unusual display shows three specimens of gem setting, preserved under a glass dome. A silver shield below the specimens is inscribed, “Specimen of Gem Setting Executed by John Whenman of Clerkenwell London 1864, No. of Stones 451.”

Reverse

The display is surmounted by a lavish stickpin in the form of a bust of St. George bedecked in a plumed helmet. This masterpiece of gold and silver is set with rose-cut diamonds, rubies, pearls, and pavé-set turquoises. Another stickpin of gold, silver and precious stones with pearl accents, shows a bust of a man, also wearing a helmet, with a pivoted crest and cuirass. His torso has been ornamented with a star shaped decoration. And, finally, we see the silver feathers of the Prince of Wales set with diamonds which forms a third stickpin.

This assortment of his wares was shown by the maker at the North London Working Classes Industrial Exhibition of 1864, and earned John Whenman a first prize certificate.

Object of the Day: An Antique Moss Agate Stickpin

Also called “Mocha Stone,” Moss Agate refers specifically to a kind of agate found in the U.S., especially Montana. However, the term is also loosely used to describe a type of agate found throughout the United Kingdom which figured prominently into jewelry designs. In this instance, “moss agate” is any type of agate with earthy coloring which looks almost like moss. It’s especially popular in the jewelry of Scotland and was often used for gentlemen’s accessories.


This moss agate stickpin is decidedly Victorian. Set in ten karat gold, the stone speaks for itself with its deep green veins. This would have been the perfect accessory for a day of hunting and shooting or even a garden party. Agates were a far more casual alternative to faceted stones, but nonetheless elegant.