Gifts of Grandeur: The Mario Saba Brooch, 1994

Brooch
Marion Saba, 1994
The Victoria & Albert Museum

Every once in awhile, I will throw in a contemporary piece of jewelry just to keep things interesting. This, however, is the newest I’ve ever posted--made in 1994. But, you see, this brooch is haunting me. It’s everywhere! Every time I look up something, up pops this brooch. I’ve also been helping to catalog online images for the V&A and each time I log-in, here comes this brooch. It wants my attention. So, by gosh, here’s some attention!


Here, we see a brooch anchored by a large amethyst carved to resemble folds of drapery. It is encircled by a spiraling column of gold which wraps, like fabric, around the stone then continues below. A matte surface on the gold contrasts with the polished edges of the folds along the ridges of the spiral. The whole is punctuated with seven diamonds which are set at random.

The work of Mario Saba, this brooch is considered, rightfully, to be a masterpiece. Saba began his career as an apprentice at Bulgari, the great jewelry house in Rome. Later, in London, Saba worked as an independent designer, opening a shop in Sloane Street in 1980 and later moving to Hatton Garden.

Unusual Artifacts: The Great Exhibition Chalice, 1851

Chalice
Pugin and Hardman, 1851
The Victoria & Albert Museum

A magnificent chalice of silver, parcel gilt, set with amethysts and garnets and champleve enamel plaques, though it looks liturgical, was never used in a church. This unusual artifact was acquired from the Great Exhibition of 1851, and as was the case of all of the items there displayed, represents what was considered as the best in British design and workmanship in the mid Nineteenth Century.


At the time of its creation, the chalice cost £30, and was described as being “remarkable for the beauty of the forms and the delicacy of the ornamented portions.” This was the work of John Hardman and the famed A.W.N. Pugin.

Sunday Morning Special: The Queen's Jewels

The Vladimir Tiara set with the Cambridge Emeralds
Crown Copyright -- The Royal Collection
Courtesy of Her Majesty Queen Elizabeth II

Someone has assembled a pretty video of “borrowed” images depicting the Queen in some of her many jewels—some from the Crown Jewels, some from the Royal Collection and some from Her Majesty’s private collection.

Enjoy!

Her Majesty's Furniture: The John Jones Table, 1870

Center Table
c. 1870
The Victoria & Albert Museum

Celebrated for its beautiful hardstone work, this narrow, rectangular center table is supported by four tapering legs and is veneered in Mozambique rosewood and ebony on a structure of oak. The sides are set with plaques of hardstone and with one plaque of porcelain. The whole is adorned with mounts of gilt bronze


John Jones, an avid British collector of French 18th-century furniture and porcelain, bought this table between about 1870 and 1880, thinking that the table was already an antique. But, inspection of the table has proven otherwise. This table is narrower than most Eighteenth-Century tables. Furthermore, the combination of hardstones (pietre dure) with owed more to the tastes of the 1870s than the 1770s.

The table was most likely made shortly before John Jones purchased it. However, the hardstone panels of Marble, Alabaster, Chalcedony, Agate, Carnelian, Lapis-lazuli, Amethyst, Jasper, Carrara marble, Sainte Ann marble, and Belgium marble were probably made in Florence between about 1660 and 1690. So, at least a portion of it was antique. Nevertheless, Jones was quite proud of the table, and, if you wait long enough, anything can be an antique.

Mastery of Design: The Cory Head Ornament, 1835

Ornament
England, 1835
The Victoria & Albert Museum

Here’s some more of Lady Cory’s magnificent jewels. This headpiece of gold is set with amethysts, topazes, pearls, coral, turquoises and garnets. It was made in England in 1835. The design takes the form of a trail of flowers, in three pieces, connected by rings and showcases the jewels that were most popular in the 1830s.

Coming this Week at "Stalking the Belle Époque" and Punch's Cousin

Next week is going to be a lot of fun at Stalking the Belle Époque. I spent hours on Saturday looking for the most interesting objects and artifacts that I can find to share with you next week. We’ll be continuing our “Obscure Book of the Day” feature with some truly unusual books which were a recent, unexpected find. And, of course, you’ll get a “treat of the week” and a “Gratuitous Bertie Dog Picture.” So, there’s a lot to see in the coming days.


Punch’s Cousin will continue as well. When last week concluded, Mr. Punch had taken his nephew from Edward Cage’s house (after striking the guard on the head with a bronze figurine) and fled with Adrienne and Cecil while Robert and Marjani (who were trying to get the truth from an ailing Mrs. Cage) were placed under arrest.

Meanwhile, Barbara Allen and Ulrika fought a bloody battle in the workshop behind Edward Cage’s mansion after Ulrika taunted Barbara. Gerard and Charles interrupted the feminine fisticuffs, taking Barbara away. Ulrika ran to meet Giovanni whom she’d bid to take Fuller Halifax from the house. Declaring that they would leave right away for Marionneaux, Ulrika made her intention to make Fuller her own son very clear.

This coming week will see new trials (both literal and figurative) for Mr. Punch and his friends as they struggle to not only find Fuller, but also to make it to the ship on time. I can’t wait to share it all with you!

Object of the Day: The Boxwood Bust, 1380-1400

Bust
The Victoria & Albert Museum

From the Victoria & Albert Museum, we see a boxwood bust of a female figure with elaborate coiffure. She wears a gilt copper crown set with three red garnets (two of them faceted and one cabochon, the faceted stones are not original) and topped with five naturalistic leaf crests. The bust is displayed on a base which is also of gilt copper, supported by three seated lions . The base is set with two amethysts (originally three), which are also faceted, and therefore, are also replacements. The base contains a small cavity for a relic which would have been associated with the martyred virgin saint—whoever she was—who is depicted here.
boxwood figures like this one were popular from the 1350s onwards and have a sculptor to showcase his talents in a rare material which would have appealed to his wealthy patrons.