Mastery of Design: The Goldstein Coral and Diamond Earrings, 1925

The Victoria & Albert Museum

Made in the France In 1925, these long earrings of coral, black onyx and diamonds set in platinum show the rise in fashion of the chandelier earring in the early Art Deco period.

A September 1925 issue of the "Illustrated London News" attributed this trend to changing hairstyles, stating, "As the fashion for Eton cropped heads grows daily, long, decorative ear-rings are becoming increasingly fashionable." Still, that same year, the fashion was bemoaned as Queen Magazine opined, "now no ornament is worn in the hair for dances."

Jewelers fumed as even the fashion for long earrings did not compensate for the decline in demand for larger jeweled combs, hair ornaments and slides.

The Home Beautiful: The Wroxton Abeey Ormolu and Cut Glass Chandelier, 1815

The Victoria & Albert Museum

Made to send the light of candles into glittering cascades, this chandelier dates to 1815 and was made of cut glass mounted in an ormolu framework for Wroxton Abbey, Oxfordshire.

Donated to the V&A in 2003, the piece shows just how important lighting was in Regency interiors, serving to enhance the effect of the characteristic rich colors and gilding. The amount of reflective cut glass and crystal used in chandeliers was enhanced by creating tent-like shapes composed of small pieces of cut glass suspended on wires.

Antique Image of the Day: Paris Dans Les Caves, 1849

The Victoria & Albert Museum

A peculiar and lively French print, this scene depicts an elderly man and woman (with a cat) in a tunnel. The woman falls to her knees as two men come into the tunnel, carrying a lamp, bucket and barrel. The caption of this satirical drawing is "Jésus Maria! Les Pétroleurs!!!"

This lithograph is from a set entitled "Paris Dans Les Caves," a series of thirty-nine plates portraying life below ground in Paris during the two sieges. The illustration is by B. Colomb known as "Moloch."

Unfolding Pictures: A Brass and Copper Fire Screen, 1884

The Victoria & Albert Museum

This handsome brass and copper fire-screen is one of the earliest known registered designs of William Arthur Smith Benson (1858-1924), an inventor and creator of lamps and home furnishings. This intricate copper pattern is drawn from some of his earlier designs.

Benson was a great fan of the designer and writer William Morris. Morris inspired him to set up a metalwork shop in 1880 which led to a factory in Hammersmith, west London, and a shop in Bond Street. The firm survived Benson's 1920 retirement.

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

The second full work week of the new year brings some exciting things for us to examine.  To begin with, I'll be sharing some new-to-me antique and vintage ephemera from my collection.  Magazines, engravings and historical scraps pertaining to the Royal Family will bring glimpses into the past that we're not usually afforded.

As always, we'll look at the collection of the V&A, but I've also gathered up some beautiful images from Italian and French Museums that I think you'll find quite interesting.  And, of course, Bertie Dog will be making some appearances.

As Punch's Cousin continues we'll pick up at the moment when Mr. Punch threw the bag of gris gris into the water and we'll see how Marie Laveau's scheme will change the plans of our friends.  We'll also revisit Big Ollie's shop and discover that Barbara Allen is willing to do just about anything to exact her revenge.  Meanwhile, Ulrika and Giovanni, and Iolanthe Evangeline become further entangled together as they are summoned by Edward Cage as part of a vicious plan.

So far, it's been a great year, and I know it will only get better.  If you get a chance, visit our online shop and take a look at the new designs available to you.  From Bertie and Mr. Punch to our exclusive design for the Diamond Jubilee of Queen Elizabeth II, there's a lot to see.

Unusual Artifacts: An Italian Bronze Lamp, 1500-1550

The Victoria & Albert Museum

This bronze lamp made in Italy between 1500 and 1550 depicts the head of a satyr with a foliated beard and eyebrows, mounted on an eagle's claw. His mouth forms the burner and a hinged cover to the oil reservoir is on his crown.

This was made in the workshop of Severo da Ravenna in Padua or Ravenna. Known also as Severo di Domenico Calzetta da Ravenna, he was an Italian sculptor, active between 1496 and approximately 1543.

Object of the Day, Museum Edition: A Silver-Plate Telescopic Argand Lamp, 1814-23

The Victoria & Albert Museum

François Aimé Argand (1750-1803), a Swiss scientist, invented the circular wick in 1782, allowing every part of a lamp's wick to be equally exposed to the air, and letting the wick burn evenly and more brightly than would a conventional wick. This idea was the main component of the Argand lamp which combined a cylindrical wick with a tall, narrow glass chimney to create a draft of hot air--producing up to twelve times mire light than earlier lamps.

Matthew Boulton--known for his production of cut-steel buttons (1728-1809) was introduced to Argand in 1784 by William Packer, a Birmingham merchant. Boulton was intrigued by the ingenuity of Argand's invention and put into production lamps made in Sheffield plate incorporating Argand's design for the wick. The trouble was, Argand's patent rights had not been secured. Naturally, their friendship ended badly.

This particular lamp, one of a pair, by Boulton is engraved with the Arms of Charles William Stewart, 1st Baron Stewart, later 3rd Marquess of Londonderry (died 1854) and is encircled with the collar of the Order of the Bath. The V&a notes, "It is most unusual to be able to date closely any piece of Sheffield plate, but since Stewart became Baron Stewart in 1814 and was created Viscount Seeham in 1823, this lamp must have been made between these dates."