Mastery of Design: A Pair of Ruby Earclips by Van Cleef and Arpels

Earclips
Rubies and Gold
Van Cleef and Arpels
The Victoria and Albert Museum

We conclude our look at things with rubies on them with this set of earclips by Van Cleef and Arpels which were made between 1940 and 1950. The feature a curved panel of gold set with rubies swept around a rod of gold.

The surface of each clip has a pattern of honeycombs in which each hexagon holds a star-set ruby. This design was created by Van Cleef and Arpels in the late 1930s, and was introduced as a flexible bracelet. The style remained popular throughout the 1940s and into the '50s.

The Parisian jewelers Van Cleef and Arpels opened their first New York branch in October of 1929. Bad timing as the venture was ruined by the Stock Market Crash. Ten years later, following the New York World's Fair, they re-established their presence in New York and were, as we know, wildly successful.

Masterpiece of the week: An Enamel Miniature of Queen Charlotte, 1781

Queen Charlotte
Miniature set in gold with rubies and pearls.
The Victoria & Albert Museum

This oval portrait miniature depicts Queen Charlotte of Mecklenberg-Strelitz, Consort of King George III, wearing a white dress and hat with a high white wig. As was the style of the time, the miniature is painted enamel on copper and placed in a frame of gold set with rubies and pearls. The rubies are backed in copper foil to add shimmer.

Such miniatures were presented as gifts by Royalty to admirers or loyal courtiers. As Queen Charlotte was an avid patron of the arts, it is possible that this was given to a favorite artist. The painting is based on the famous portrait of the Queen by Thomas Gainsborough (1727-88).

Unusual Artifacts: A Set of Jeweled Writing Tablets, 1650

Writing Tablets
Dutch, 1650
The Victoria & Albert Museum

This set of ivory writing tablets has been encased in enameled gold covers set with emeralds and rubies. The covers depict two biblical scenes on the outside. On the front, we see Joseph thrust into a well by his brethren, and, on the reverse, we see the journey into Egypt. The insides of the covers show two landscape scenes.


These were made in 1650 in the Netherlands. While not practical, they’re certainly beautiful.

Sunday Morning Special: Tiaras From British History

The Vladimir Tiara with the Cambridge Emeralds
The Royal Collection

Here’s a nifty tribute to some of the loveliest tiaras owned by the Royal Family of Britain. Most of the them seem to have come into the family via my favorite dead Royal, Queen Mary. Enjoy!

Reminder: Punch’s Cousin will Return on Monday

Last week, we saw the, as one reader commented, evil got the upper hand in Punch’s Cousin. At the Place Congo, Marie Laveau tortured Iolanthe Evangeline. Charles realized that Barbara had completely lost her mind, and Ulrika wondered about her fate as she lay bound by the bonfire.


Meanwhile, Agnes Rittenhouse—upon whom Adrienne Halifax had taken pity—menaced Columbia, knocked out Meridian and abducted both baby Fuller and baby Colin. Furthermore, Julian was facing his own private evil in the form of visions of his mother and a much younger, but still quite horrible, Agnes Rittenhouse.

In his dream, Julian was guided by Albert, the Prince Consort, but he found no assistance from the Prince. Instead, Julian had to watch as he—as a young boy--was abused by both his mother and his nanny. Thankfully, Mr. Punch managed to break through Julian’s mental block and came to his master’s rescue.

This week, we’ll see Julian and Punch united in revisiting the very things which made the Duke of Fallbridge break into dissociative identities. We’ll also follow Adrienne and Cecil as they search for the two missing children, and we’ll see what happens as Marie Laveau’s power continues to increase.

It’ll be a powerful week. Come back on Monday to see what happens.

Card of the Day: The Crown of Scotland

I accidentally skipped a card in the Churchman Cigarette Silver Jubilee series from 1935. And, now, Bertie is angry with me. Unfortunately, it was the Crown of Scotland that I missed. So, let’s hop back for a moment and have a look at it.


The Crown of Scotland is the crown used at the coronation of the monarchs of Scotland. The crown that is known today is actually a redesign of the original crown which was remade in its for King James V of Scotland in 1540. It is considered the oldest of the Crown Jewels of the United Kingdom. The original crown was made around 1503.

In January 1540, King James V commissioned the royal Scottish goldsmith, John Mosman, to refashion the Crown. As it was, the crown was delicate after poor repairs over the previous 30 years, and a 1539 inventory showed even further damage than expected, including the loss of one fleur-de-lis. John Mosman completely dismantled the original crown, removing its many gems and pearls. The gold was melted down and, then, 41 ounces of gold mined was added.

The redesigned crown was constructed of solid gold with four fleur-de-lis alternating with four strawberry leaves. As is typical of the crown of a King, it consists of four arches which are adorned with gold and red oak leaves. A golden monde, painted blue with gold stars at the apex of the arches is surmounted by a large cross decorated in gold and black enamel with pearls. Twenty-two jewels, including garnets, rubies and amethysts, along with another twenty semi-precious stones and sixty-eight Scottish freshwater pearls are set in the crown.

The original lining was purple and ermine and was ordered by James V from tailor Thomas Arthur of Edinburgh to fit inside the crown. The bonnet has been replaced several times. James VII ordered the color of the bonnet to be changed to red as it remains today, having been replaced in 1993.

Object of the Day: A Ruby and Diamond Ring, 1780

Ruby and Diamond Ring
England, 1780
The Victoria & Albert Museum

Today, we’re going to look at things set with rubies. I have no particular reason for this. It’s just what I’ve decided for the day. So, let’s begin with this attractive ring made in England in 1780.


This ring features foliate shoulders which support a heart-shaped bezel mounted with rubies set in gold and diamonds set in silver to enhance the whiteness of the stones. Rings such as this were given as a declaration of love with each stone assigned a symbolic meaning. The passion of the ruby is married to the steadfastness of the diamond.