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.

Unfolding Pictures: An Italian Piqué Fan, 18th C.

Italian Hand Fan
Naples, 18th C.
The Victoria & Albert Museum

Folding fans, like the one pictured above, were highly costly luxury items which became popular throughout Europe in the mid-18th-century. In Paris at the time, there were almost two hundred master fan makers working at any given moment. However, equally impressive examples were created in Italy and Britain during the Eighteenth Century. Let’s take a look at this one which heralds from Naples, Italy.


The leaf of this example is supported by tortoiseshell sticks which are inlaid with tiny gold pins and strips (an artistic technique which is called piqué). Piqué was originally a specialty of Italian workshops who produced such stunning examples for export throughout Europe.One side of this fan’s lead is painted with a fishing woman adorned in elaborate Rococo dress. The reverse depicts the goddess Diana who is accompanied by three maidens.

Gifts of Grandeur: A French Marquetry Inkstand, 1720

French Marquetry Inkstand
1720
The Victoria & Albert Museum

In the early Eighteenth Century, especially by 1720, desk and writing-related items were among the most fashionable of luxury goods since they could display the status and learning of the owners. Even though a gentleman might employ secretaries to do his writing for him, it was essential that his own tools for writing were both elegant and efficient.

Large inkstands such as the one pictured above allowed for all the requisite writing equipment to be contained together. The semi-circular trough at the front of this French example dating to 1720 was designed to hold quill pens, while the three compartments at the back held (from left to right) ink in a glass pot, a sponge (for wiping the end of the pen free of unsightly blobs which would have spoiled the writing) and a pot for “pounce,” a powdered sandarac which was sprinkled over the writing to prevent runs. It is veneered in boulle marquetry of tortoiseshell and brass, with sumptuous figural brass mounts, and may well have matched the writing table for which it was first made.

Gifts of Grandeur: A Tortoiseshell Box

Box
Gold, Silver, Tortoiseshell
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

An Eighteenth-Century creation of unknown origin, this cartouche-shaped box is crafted of tortoiseshell. The lid connect to the base by silver hinges on a gold band rim. Both cover and base are piqué with silver posé and foules point—essentially meaning that the adornment is slightly raised.

The cover depicts a scene of Venus seated with Cupid amongst a floral pattern. The base shows a hunting scene of hound and hare with a similar scrolling foliate border.

There’s no record in the inventory of the Royal Collection which states how or why this box came into Royal hands, but, if I had my guess, I’d say it had something to do with Queen Mary.

Gifts of Grandeur: The Union of England and Scotland Box, 1707

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

Click image to enlarge.

A circular box of tortoiseshell, this object boasts a cover with concave sides inset with a silver medal of Queen Anne in profile to the left.  Her Majesty wears regalia and a crown.  The medallion is inscribed, "Anna Dei Gratia Mag. Britan Fra. et Hib. Regina."  

The box and medal were made to commemorate the union of England and Scotland in May of 1707.  The reverse of the medal depicts a figure of Britannia engraved "Novae Palladium Troiae."

King Edward VII (1841-1910) was presented with this treasure by a now unknown party in 1907.

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 Pratbernon Nécessaire, 1766

Necessities Case
English, 1766
The Victoria & Albert Museum

A “nécessaire” was a purely luxury object designed to hold a whole range of personal and toiletry items. Scent bottles, cosmetic cases, medicine bottles, writing implements, moustache combs, ear spoons, scissors, nail tools and a whole host of other items were produced to be stored in matching these matching for use by a woman or man of fashion.

The contents of this example which dates to 1766 include: five bottles with stoppers, a pencil and an ivory writing tablet, scissors, a mirror, a comb, a brush, toothpicks, a tongue scraper, a bodkin combined with a spoon for ear wax, and a file combined with a pair of tweezers.

So who created this lovely Rococo box of wood, silver, hold, tortoise shell, ivory, agate and mother-of-pearl?  Tucked inside the box, visible only if tall of the fittings are removed, are the signature and date “J. Pratbernon / 1766.”  This was probably the John Pratbernon who described as a gold and silver worker living on Oxford Street in 1774.

Another feature which makes this nécessaire all the more exceptional is the inclusion of figured scenes in gold which have been applied atop and along the sides of the case.  The scenes show pastoral groups in then-contemporary dress, acting as a permanent reminder of the style to which the owner of this case aspired. Matching figures surmount the individual bottles.

Join us tomorrow for more pretty things, and, this week's Treat of the Week.  See you then.

Object of the Day, Museum Edition: Peppermill with Cipher of George III, 1761

Peppermill with Cipher of
George III
1761-62
Tortoiseshell, Silver, Steel
The Royal Collection

King George III had a distinct distaste for opulent dining and did not enjoy public banquets and dinners. He much preferred sharing a simple supper of mutton, cold turkey, fried oysters and custard with Queen Charlotte in his bedchamber. Toward the end of his life, as he became slightly more--shall we say—peculiar, he liked to eat alone at 2:00.

However, just because he preferred a simple meal at a small table, didn’t mean he wanted to just use any old china or service. Between 1761 and 1762, George commissioned a new, magnificent set of silver (partially gilt) for use at his private table. Part of the order was this peppermill. The vessel is crafted of tortoiseshell and silver with a silver inset of George III’s cipher. The blades of the grinder are made of steel. Though slightly worn from use, the peppermill is in excellent condition and is a nifty little reminder of George III and what probably amounts to hundreds upon hundreds of fried oysters.

Mastery of Design: The Putti Snuffbox, 1750

Click images to enlarge.
German Snuffbox
Circa 1750
This and all related images from:
The Victoria & Albert Museum

I always like the snuffboxes that are constructed of different media. Typically, we see examples made of precious metals or porcelain, but every so often, we get one of shell or bone which is just lovely. This one is made of tortoiseshell—a medium which found its way into a variety of the decorative arts.

The cartouche-shaped box depicts a scene of putti playing in a fountain—as they do. It’s quite a clever use of carious precious materials. The pilasters with their scrolling decoration are made of inlaid gold while the putti themselves are rendered in ivory. Mother-of-pearl inlay forms the fountain while lapis lazuli and malachite add notes of blue and green respectively to the piece.

There’s no doubt as to the Rococo influence here. Made around 1750, this box is a nifty example of a German take on the Rococo. There’s some debate about just where in Germany the box was made. Some say Southern Germany, particularly Bavaria, while others insist that the piece was constructed in Berlin.

The sides are adorned with more putti and gold shells while the base is engraved with a gold rocaille. The reeded mount comes alive with shell and the scrolled thumb-piece adds interest to the front. Today, the box forms part of the magnificent Gilbert Collection at the V&A. 

Mastery of Design: The Union of England and Scotland Box, 1707

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

Click image to enlarge.

A circular box of tortoiseshell, this object boasts a cover with concave sides inset with a silver medal of Queen Anne in profile to the left.  Her Majesty wears regalia and a crown.  The medallion is inscribed, "Anna Dei Gratia Mag. Britan Fra. et Hib. Regina."  

The box and medal were made to commemorate the union of England and Scotland in May of 1707.  The reverse of the medal depicts a figure of Britannia engraved "Novae Palladium Troiae."

King Edward VII (1841-1910) was presented with this treasure by a now unknown party in 1907.

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

Click image to enlarge.

Unfolding Pictures: An Italian Piqué Fan, 18th C.

Italian Hand Fan
Naples, 18th C.
The Victoria & Albert Museum

Folding fans, like the one pictured above, were highly costly luxury items which became popular throughout Europe in the mid-18th-century. In Paris at the time, there were almost two hundred master fan makers working at any given moment. However, equally impressive examples were created in Italy and Britain during the Eighteenth Century. Let’s take a look at this one which heralds from Naples, Italy.


The leaf of this example is supported by tortoiseshell sticks which are inlaid with tiny gold pins and strips (an artistic technique which is called piqué). Piqué was originally a specialty of Italian workshops who produced such stunning examples for export throughout Europe.One side of this fan’s lead is painted with a fishing woman adorned in elaborate Rococo dress. The reverse depicts the goddess Diana who is accompanied by three maidens.

Mastery of Design: The Winged Tortoise Comb, 1900

Comb adapted from a tiara, 1900
Tortoise shell, pearls and diamonds in gold and silver.
French
This and all related images from the:
Victoria & Albert Museum

Here’s another lovely item which I’d like to own.  But, of course, it’s in the V&A.  Here, we see the head of a winged comb.  Originally, this was made as the crest of a tiara,  but in 1900, it was adapted to be worn as a comb at the rear of a lady’s head, as was the style of the time.  A creation of bleached tortoise-shell, it features gold and silver mounts set with rose-and brilliant-cut diamonds and pearls.  Sadly, the comb teeth are missing.

This and the original tiara were created in France by an unknown jeweler.  

Mastery of Design: The Owl and Monkey Bonbonniere/Patch-box, c. 1749

The British Museum

Perhaps this was a patch-box (a container meant to held the black paper "beauty marks" which ladies and fops alike glued to their faces to cover blemishes and...syphilis) or perhaps it was made as a bonbonniére (a candy container).   In any event, this lovely work of soft-paste porcelain is molded in the form of an owl's head with yellow and brown enamel for the feathers, and pink, gray and orange for the beak.  The black enamel eyes are set with diamonds.  

Meanwhile, the rim is painted with green leaves and the interior of the box is painted with two pink flower sprays, a leaf and two cherries.  The interior of the cover is mounted in gold and tortoise-shell and the reverse us set with a gold plaque chased with a relief scene of a plum-eating monkey in a landscape.

This was produced at the "Girl-in-a-Swing Factory" between 1749 and 1754.  It was donated to The British Museum by Sir Augustus Wollaston Franks.

The British Museum

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.

Gifts of Grandeur: The Putti Snuffbox, 1750

Click images to enlarge.
German Snuffbox
Circa 1750
This and all related images from:
The Victoria & Albert Museum

I always like the snuffboxes that are constructed of different media. Typically, we see examples made of precious metals or porcelain, but every so often, we get one of shell or bone which is just lovely. This one is made of tortoiseshell—a medium which found its way into a variety of the decorative arts.

The cartouche-shaped box depicts a scene of putti playing in a fountain—as they do. It’s quite a clever use of carious precious materials. The pilasters with their scrolling decoration are made of inlaid gold while the putti themselves are rendered in ivory. Mother-of-pearl inlay forms the fountain while lapis lazuli and malachite add notes of blue and green respectively to the piece.

There’s no doubt as to the Rococo influence here. Made around 1750, this box is a nifty example of a German take on the Rococo. There’s some debate about just where in Germany the box was made. Some say Southern Germany, particularly Bavaria, while others insist that the piece was constructed in Berlin.

The sides are adorned with more putti and gold shells while the base is engraved with a gold rocaille. The reeded mount comes alive with shell and the scrolled thumb-piece adds interest to the front. Today, the box forms part of the magnificent Gilbert Collection at the V&A. 

Gifts of Grandeur: A Tortoiseshell Box

Box
Gold, Silver, Tortoiseshell
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

An Eighteenth-Century creation of unknown origin, this cartouche-shaped box is crafted of tortoiseshell. The lid connect to the base by silver hinges on a gold band rim. Both cover and base are piqué with silver posé and foules point—essentially meaning that the adornment is slightly raised.

The cover depicts a scene of Venus seated with Cupid amongst a floral pattern. The base shows a hunting scene of hound and hare with a similar scrolling foliate border.

There’s no record in the inventory of the Royal Collection which states how or why this box came into Royal hands, but, if I had my guess, I’d say it had something to do with Queen Mary.

Unusual Artifacts: The Mars and Venus Snuffbox, 1700

Snuff box of tortoise shell, mother-of-pearl and brass wire
England, 1700
The Victoria & Albert Museum

This handsome snuff box has been crafted from tortoiseshell and inlaid with mother-of-pearl, gilt-brass wire and green-stained ivory. Inlaid tortoiseshell in this style is typically known as “piqué work.”  Here, the piqué work of the lid depicts a scene of the classical gods Mars and Venus.

When this box was made in the early Eighteenth Century (about 1700), a fashionable gentleman (and sometimes a lady) was never without a snuff box. They were indispensible accessories which naturally leant themselves to be collected.  The proud owner would coordinate his or her snuffbox with the ensemble being worn. 

The taking of snuff was considered healthful.  However, many people simply collected these opulent boxes because they were fashionable status symbols. The finest boxes were constructed of the most precious of materials and few accessories showed the owner’s status as neatly.

Gifts of Grandeur: The Mars and Venus Snuffbox, 1700

Snuff box of tortoise shell, mother-of-pearl and brass wire
England, 1700
The Victoria & Albert Museum

This handsome snuff box has been crafted from tortoiseshell and inlaid with mother-of-pearl, gilt-brass wire and green-stained ivory. Inlaid tortoiseshell in this style is typically known as “piqué work.”  Here, the piqué work of the lid depicts a scene of the classical gods Mars and Venus.

When this box was made in the early Eighteenth Century (about 1700), a fashionable gentleman (and sometimes a lady) was never without a snuff box. They were indispensible accessories which naturally leant themselves to be collected.  The proud owner would coordinate his or her snuffbox with the ensemble being worn. 

The taking of snuff was considered healthful.  However, many people simply collected these opulent boxes because they were fashionable status symbols. The finest boxes were constructed of the most precious of materials and few accessories showed the owner’s status as neatly.

Mastery of Design: The Gaillard Parasol Handle, c. 1900

Parasol Fittings
Gaillard, 1900
The Victoria & Albert Museum

The work of Parisian maker Lucien Gaillard, we see here fittings from a parasol. Made around 1900, the parasol’s handle is made of carved and bleached horn which has been set with pearls and small rubies in gold settings. The other fittings, tips for the spokes, are made of carved tortoiseshell.