Gifts of Grandeur: The Salting Salamander, 16th C.

The Salting Salamander
Europe, Sixteenth Century
The Victoria & Albert Museum

A large Baroque pearl forms the body of this salamander. Jewelers have always appreciated the irregularity of the baroque pearl which affords a chance to be creative. Renaissance jewelers especially enjoyed the challenge of taking the natural shape of the pearl and forcing it into the very controlled compositions of the era. 

Made in the Sixteenth Century, this European pendant, known as the Salting Salamander, was treasured not only for its beauty, but also for its symbolic meaning. Since antiquity, salamanders were thought to be impervious to fire. Aristotle and Pliny actually claimed that a salamander had the power to extinguish flames. Within time, the salamander became a symbol of fire itself and was often used to communicate ardent passion. It’s likely this pendant served as a token of affection.

The pendant, hung with a pearl, is meant to be viewed from all sides and represents a salamander in three dimensions.  A table-cut emerald is set at the creature's head and the whole is adorned with fine enamel work.

Its last owner, George Salting, bequeathed the piece to the V&A in 1910. 

Gifts of Grandeur: The Blue Foil Necklace, 1650-75

Necklace of Painted Blue Foil, Silver, Glass and Waxed Thread
England, 1650-1675

While not very valuable in terms of materials, this necklace which dates to about 1650-1675 is priceless for the skill and brilliance with which it was made.

Each of the individual square panels of this necklace is set with a blue foil which has been painted in exquisite miniature with a symbol representing love or mortality; including a skull and crossbones, the initials “EJ” beneath a coronet’ a putto holding leaves, a cornucopia, two cherubs with a flaming heart, a skeleton on a tomb inscribed “At Rest,” a dolphin, an angel with two crosses, a crowned lion, a winged skull, a bull, the sun, moon and stars, a lyre and butterfly, flowers, clasped hands with a heart, a skull above a crown with inscriptions “GLORIA” and “VANITAS,” a putto with a lance, an elephant's head and trident, and a sea animal in a shell.

Small panels of glass are set above each painted foil.  Mounted on silver backings, these individual panels are strung together with waxed thread.  

Mastery of Design: The Hands and Palm Trees Intaglio, 200 BCE

Intaglio
Rome, c. 200 BCE
The Victoria & Albert Museum

I always wonder who wore these pieces of jewelry, especially these ancient examples whose original owners are typically unknown. This was a jewel which was full of meaning and sentiment. To whom did it belong? How much did it mean to him or her?

Made around 200 BCE, this ring is set with an intaglio which was likely carved in Rome. The intaglio of clasped hands above a branch of palm is carved into translucent orange-red carnelian. The design is a heraldic device known as the “fede.” This image of two hands joined together was a popular symbol for wedding rings, however, such rings were exchanged between friends, and even between captains of armies and nations to show fidelity.

Above and below the hands, the words “Sesichoros” and “Eros” have been inscribed. The setting of the ring is silver which was later gilt, likely in the early Nineteenth Century. It was acquired by the South Kensington Museum (now the V&A) and first exhibited in 1871. 

Gifts of Grandeur: The Salting Salamander, 16th C.

The Salting Salamander
Europe, Sixteenth Century
The Victoria & Albert Museum

A large Baroque pearl forms the body of this salamander. Jewelers have always appreciated the irregularity of the baroque pearl which affords a chance to be creative. Renaissance jewelers especially enjoyed the challenge of taking the natural shape of the pearl and forcing it into the very controlled compositions of the era. 

Made in the Sixteenth Century, this European pendant, known as the Salting Salamander, was treasured not only for its beauty, but also for its symbolic meaning. Since antiquity, salamanders were thought to be impervious to fire. Aristotle and Pliny actually claimed that a salamander had the power to extinguish flames. Within time, the salamander became a symbol of fire itself and was often used to communicate ardent passion. It’s likely this pendant served as a token of affection.

The pendant, hung with a pearl, is meant to be viewed from all sides and represents a salamander in three dimensions.  A table-cut emerald is set at the creature's head and the whole is adorned with fine enamel work.

Its last owner, George Salting, bequeathed the piece to the V&A in 1910. 

Mastery of Design: A Victorian Turquoise Brooch, c. 1850

Brooch
England, 1850
The Victoria & Albert Museum

This gold brooch set with turquoise and diamonds was made as a wedding gift in England, around 1850. It's the epitome of Victorian sentimental jewelry.   Much like the Coburg Eagle brooches which Queen Victoria presented to her bridesmaids in 1849, this brooch is set with diamonds and turquoise to dignify an everlasting love.  This theme is reinforced by the interlacing gold work "knots."

Gifts of Grandeur: The Blue Foil Necklace, 1650-75

Necklace of Painted Blue Foil, Silver, Glass and Waxed Thread
England, 1650-1675

While not very valuable in terms of materials, this necklace which dates to about 1650-1675 is priceless for the skill and brilliance with which it was made.

Each of the individual square panels of this necklace is set with a blue foil which has been painted in exquisite miniature with a symbol representing love or mortality; including a skull and crossbones, the initials “EJ” beneath a coronet’ a putto holding leaves, a cornucopia, two cherubs with a flaming heart, a skeleton on a tomb inscribed “At Rest,” a dolphin, an angel with two crosses, a crowned lion, a winged skull, a bull, the sun, moon and stars, a lyre and butterfly, flowers, clasped hands with a heart, a skull above a crown with inscriptions “GLORIA” and “VANITAS,” a putto with a lance, an elephant's head and trident, and a sea animal in a shell.

Small panels of glass are set above each painted foil.  Mounted on silver backings, these individual panels are strung together with waxed thread.