Monday, March 12, 2012

Mastery of Design: An Italian Shell Cameo Necklace, 1810-20

Necklace of Carved Shell Cameos
Italy, 1810-1820
The Victoria & Albert Museum




This necklace comprised of carved shell cameos was made in Italy between 1810 and 1820 and depicts subjects such as cupids, pairs of doves and the altar of love.

Sentimental jewelry was reached an apex in the 1820s and was used to declare affection and devotion for family and friends (living and dead), as well as romantic love for a spouse, and loyalty to a monarch or a cause.

The necklace originally was hung with a large pendant—now missing.



The Home Beautiful: The William Kent Shell Mirror, 1735-40

Mirror
Possibly by William Kent and John Boson
1735-1740
The Victoria & Albert Museum




With its symmetrical decoration, this mirror is an ideal example of the Baroque style that flourished in Italy in the late Seventeenth Century.  This updated, Eighteenth Century take on the Baroque mirror features an inner molding of a regular egg and leaf pattern and a double shell cresting.  This architectural piece clearly suggests the involvement of the celebrated William Kent who was known for his use of a double shell crest.

William Kent was extremely prolific in a variety of areas. For example, he designed a barge for Frederick, Prince of Wales (George II's eldest son, who died in 1751). The double shell cresting of this mirror is similar to the stern of the Prince's barge. Both this crest and the crest of the Prince’s barge also featured his symbol of the Three Feathers--the traditional badge of the Prince of Wales.

John Boson, who carried out the carving on the barge, may also have been responsible for carving this mirror.  Boson worked with Kent on many projects including carrying out Kent's designs at Chiswick House, London, for Richard Boyle, 3rd Earl of Burlington, and at Kew Palace, Surrey, for the Prince of Wales.

The oval mirror frame, dating to circa 1735, is crafted of carved and gilt pine.  The frame is surmounted by a bearded head adorned by three ostrich feathers encircled by the coronet of the Prince of Wales with conventional shells behind. The whole of the frame is further adorned with acanthus foliage, rococo ornament and festoons.



Treat of the Week: A Magnificent Meringue Torte




This week’s treat is an old family favorite which we haven’t had in many years.  My maternal grandmother developed this recipe many years ago based on a recipe dating to the late 1930s-early 1940’s.  My grandmother used to make this cake to serve to her Bridge Club and my mother very cleverly adopted the recipe.

The cake is a masterpiece of buttery yellow cake, meringue whipped cream and fruit.  The cake itself is dense and moist, but not overly sweet.  Sweetness and crunch come from the meringue topping and middle layer.  The cake batter—in two pans—is spread with a thick layer of stiff meringue.  These layers are baked twice. 

Once cooled, the layers are assembled with a filling of freshly whipped cream and berries—in this case raspberries, blackberries, blueberries and  strawberries.  For extra flavor, my mother added a little brandy to the whipped cream.  The assembled cake affords a host of flavors and textures in each bite.  The meringue top of the upper layer remains crisp, yet light and chewy—sprinkled with toasted nuts while the bottom layer’s meringue becomes soft and creamy underneath the whipped cream and berries.  The overall effect is an array of textures and fresh taste which is unparalleled.  Not only does it taste good, but it is undeniably gorgeous.  










Her Majesty's Furniture: The Lawrence Alma-Tameda Chair , 1884-6

Armchair designed by Lawrence Alma-Tameda
London, 1884-6
The Victoria & Albert Museum



This superb and luxurious armchair, dating between 1884 and 1886, once formed part of a lavish suite of furniture, costing at the time, the-then astronomical price of £25,000.  It was designed for the music room of the New York mansion of Henry Gurdon Marquand (1819-1902). a highly successful American entrepreneur, art collector and benefactor.

The armchair sports Marquand's initials on the back as did the other pieces in the suite which included two settees, the mate to this armchair (now in the Melbourne National Gallery of Victoria), two piano stools and a piano decorated by Sir Edward Poynter (1836-1919).

Famed painter and designer Sir Lawrence Alma-Tadema (1836-1912) designed this chair which was made in London by Johnstone, Norman & Co.  The armchair is made of mahogany, with cedar and ebony veneer, and is inlaid in ivory and abalone shell.

The suite of furniture was exhibited in Johnstone & Norman's shop in New Bond Street, London, before being sent to America.  The original upholstery was described in the 1903 Marquand sales catalogue as “silk of an ashen olive hue, embroidered with panels ... of the Greek wave design.” 

Marquand’s parlor was entirely in the Grecian style and was popularly called among his friends, the”Greek Parlor.”  This impressive space served also as the music room of Marquand's house on Madison Avenue in New York. This music room housed Marquand's important collection of classical antiquities. Meanwhile, other rooms in the mansion were decorated in styles that reflected the different aspects of his collections.

Punch’s Cousin, Chapter 485

Barbara Allen walked slowly into Marie Laveau’s front parlor, looking down at the floor with each step.

Marie frowned.  “What you want, Miss Allen?  We’re in the middle of important business.”

“I heard that my brother was staying here.”  Barbara answered, still not looking up.

“From whom?”  Robert asked.

“That doesn’t matter, Dr. Halifax.”

“Sure it does,”  Punch spoke up.  “It matters much, it does.  Who knows that we’re here?”

“All of New Orleans knows.”  Barbara snorted.  “Julian, do you honestly think you’re being inconspicuous?  Didn’t you imagine that the city would be abuzz when the Duke of Fallbridge and his entire weary party entered the home of Marie Laveau and stayed over night?  It saddens me that you think you’re incognito.  You’ll never be incognito.”

“So, who specifically told you where to find us?”  Robert asked firmly.

“Big Ollie.”  Barbara shrugged, finally looking up.  She seemed confused to see Lily and her baby sitting with her brother, Marie and Robert.

“Big Ollie?”  Marie scoffed.  “What you doin’ with a beast like that?”

“I see that you are, in fact, quite involved.”  Barbara muttered.  “I won’t take much of your time.”

“What’s this Big Ollie?”  Punch chirped.

“He’s a ‘business man.’”   Marie chuckled.  “He true giant.  He smells like a bucket of slop.”

“What sort of business is this man in?”  Robert asked.

“Dirty business.”  Marie smiled.  “Not that I’m one to judge.  Ollie makes problems go away, and he helps people get money for items that they don’t want to keep anymore.”

“Like a pawn shop?”  Robert asked.

“In a way.”  Marie  shook her head.  “If anyone can stand to look at Ollie and to smell him, he’ll sell whatever you bring to him.  Don’t think he does it out of kindness.  He gets his cut—a big cut.”

“How do you know this man, Barbara?”  Punch asked.

“I brought him something.”  Barbara confessed.  “To sell for me.”

“What?” Robert demanded.

“This.”  Barbara sighed, reaching into the pocket of her grubby apron and removing the tremendous, glittering blue diamond.

“Coo!”  Punch stood up.  “Me pa’s diamond!”

“Here,”  Barbara extended her hand.  She deposited the stone in Punch’s palm.

“How did you…”  Punch began.  He looked into Barbara’s eyes.  “I thought you lost this…”

“I did.”  Barbara smiled weakly.  “Many times over.  But, I managed to get it back from Ulrika Rittenhouse.”

“That ginger cow…”  Punch grumbled.

“I brought the diamond to Big Ollie to sell for me.  I wanted to use the proceeds to fund—well, it doesn’t matter now.”

“So, why are you givin’ this back to me?”  Punch asked his master’s sister.  “After all you went through to steal it.  You know—you ruined me master’s…”  He paused.  “My puppet.  The puppet our pa gave to Julian as a little boy.  It were very special it was.  But, you tore it to pieces when you ran off.  You killed it and you stole this diamond.  Our pa’s diamond.”

“It’s your diamond now.”  Barbara frowned.  “As it should be.  You’re the heir.  All that belonged to our parents now belongs to you.  You should have it.  It’s too late—much too late for me to apologize for all that I did.  But, now, at least…well, at least I can return this to you."

“How’d ya get it back?”  Marie squinted.  “Ollie ain’t one to give up somethin’ once he’s got it.”

“I gave him something he wanted all the more.”

“What would that big tree want more than…”  Marie began, then, she realized what Barbara had done.

“It doesn’t matter.”  Barbara replied quickly.  “It’s just a drop in the bucket.  I can’t right the grievous mistakes I’ve made and I can’t erase the pain I’ve brought, but, I can…well…perhaps, one day, little Colin will hold his grandfather’s diamond in his hand.”

“No.”  Mr. Punch shook his head.  “He won’t.”

“Is it cursed?”  Marie asked with keen curiosity.  “You always here ‘bout these big famous gems bein’ cursed.”

“It ain’t cursed.”  Mr. Punch smiled.  “It’s blessed.”

“Oh,”  Marie sighed, disappointed.  As someone who dealt in curses on a regular basis, she was hoping to hear a juicy tail of intrigue and pain.

“What are you saying, Julian?”  Barbara asked.

“What I’m saying, Barbara, is that by doing the right thing for once, you’re giving your son the greatest gift a mother ever could.”

“What’s that?”  Barbara wondered, her eyes widening.

Punch extended his hand and offered the diamond to Lily who took it greedily.
“His freedom,”  Punch grinned. 



Did you miss Chapters 1-484?  If so, you can read them here.  

Unusual Artifacts: The Martin Nautilus Shell Cup, 1770



Cup
Jean Martin, 1770
Poland with Cameos made in Italy
The Victoria & Albert Museum




Portions of this elegant and monumental cup were made in Warsaw Poland while much of its adornment comes from pieces which were the handiwork of Italian craftsmen.  Made around 1770, this cup of a nautilus shell set in gold with onyx, chalcedony, agate, shell and glass cameos, nicely demonstrates the Neoclassical appreciation for engraved gems.

Many of the gems which grace this piece are Italian copies of then-famous carved stones and cameos.  The cup was made for the last king of Poland, Stanislaus Augustus. The central intaglio on the shell is an Italian copy in blue glass of Diomedes stealing the palladium.  The original version of this stone is called “The Felix Gem.”  It lives in the Ashmolean Museum, Oxford, Ebgland.

The base and cover of this important cup are decorated with mother-of-pearl.  It is signed “J.MARTIN FAIT A VARSOVIELE 26 AOUT 1770.”

The commission of this cup marks one of the earliest times that the celebrated Jean Martin worked for King Stanislaus Augustus (1769-1791) as Court Jeweler in Warsaw.  Martin remained in this position between 1769 and 1791.  The cups creation is recorded in the royal accounts as having been ordered in 1770 and states that it was designed purely as a vehicle for displaying cameos as opposed to an object intended for practical use. 


















Object of the Day: A Trade Card for Boston's Belden & Co.




Today has already shaped up to be a very busy day, so I’m slow in posting this morning.  Let’s begin with another of the many trade cards which I recently added to my collection.  When I purchased this lot, I discovered it was a very random assortment of both American and British trade cards and other bits of ephemera.

Here’s another card from the U.S. which was printed in the late Nineteenth Century.  This one advertises a Boston, Massachusetts-based dry goods and import business and illustrates the concern’s activities with a lovely color lithograph of beautiful ships at sea.

The text on the obverse reads:

BOSTON DRY GOODS HOUSE

192 Frankstown Ave., East End

CARPETS, OIL CLOTHS & RUGS,

DRESS GOODS, TRIMMINGS
Small Wares & Notions,

J.E. BELDEN & CO.

The reverse is, curiously, unprinted.