Mastery of Design: An Amazing Enamel and Diamond Spray Ornament, 1780-1800

Spray Ornament
Enamel, Gold, Rose-Cut Diamonds
Spain?
The Victoria and Albert Museum

Flowers have always been considered the perfect adornment, but they’re not very long-lasting. In the late Eighteenth and Early Nineteenth Centuries, jewelers perfected the art of the “spray ornament” which would achieve the look of a floral decoration, but last forever and be markedly more luxurious (and sparkly).


We’ve already had a look atanother spray ornament of diamonds. This one is a variation on the theme, showing the skill with which enamel was used in jewelry making. A bouquet of multi-colored flowers set with rose-cut diamonds and bound by a diamond and blue enamel ribbon is the centerpiece of this astoundingly beautiful and intricate bodice ornament. It could be worn independently or attached to a removable gold hook which served to elevate the ornament.

Mastery of Design: An Amazing Enamel and Diamond Spray Ornament, 1780-1800

Spray Ornament
Enamel, Gold, Rose-Cut Diamonds
Spain?
The Victoria and Albert Museum

Flowers have always been considered the perfect adornment, but they’re not very long-lasting. In the late Eighteenth and Early Nineteenth Centuries, jewelers perfected the art of the “spray ornament” which would achieve the look of a floral decoration, but last forever and be markedly more luxurious (and sparkly).


We’ve already had a look at another spray ornament of diamonds. This one is a variation on the theme, showing the skill with which enamel was used in jewelry making. A bouquet of multi-colored flowers set with rose-cut diamonds and bound by a diamond and blue enamel ribbon is the centerpiece of this astoundingly beautiful and intricate bodice ornament. It could be worn independently or attached to a removable gold hook which served to elevate the ornament.

Mastery of Design: A Diamond Spray Ornament, 1850

Spray Ornament
Diamonds, Silver, Gold
1830-1850
English
The Victoria & Albert Museum

With the rise of the Romantic Movement in the Nineteenth Century, Naturalistic jewelry with motifs of fruit, insects and easily-recognizable flowers became quite the fashion. These pieces often took the form of pins and brooches and by the middle of the Nineteenth Century had become quite large and ornate.


This spray ornament made in England in 1830 features hundreds of European Cut and several Rose Cut diamonds set in silver which has been backed in gold. The original ornament consisted of the three uppermost leaves. The blooms—roses and carnations--were added sometime before 1850. In addition to the flowers, the jeweler has added “tremblers.” Here, some of the flowers are mounted on springs so that as the lady moved, the jewels would “tremble” and catch the light.

This ornament was designed to wear on a bodice, but could also be worn in the hair. While the maker is unknown, a similar piece was displayed at the Great Exhibition in 1851. Also featuring “tremblers” and various diamond blooms, the exhibited brooch was created by Hunt & Roskell. 

Mastery of Design: An Amazing Enamel and Diamond Spray Ornament, 1780-1800

Spray Ornament
Enamel, Gold, Rose-Cut Diamonds
Spain?The Victoria and Albert Museum

Flowers have always been considered the perfect adornment, but they’re not very long-lasting. In the late Eighteenth and Early Nineteenth Centuries, jewelers perfected the art of the “spray ornament” which would achieve the look of a floral decoration, but last forever and be markedly more luxurious (and sparkly).


This one is a variation on the theme, showing the skill with which enamel was used in jewelry making. A bouquet of multi-colored flowers set with rose-cut diamonds and bound by a diamond and blue enamel ribbon is the centerpiece of this astoundingly beautiful and intricate bodice ornament. It could be worn independently or attached to a removable gold hook which served to elevate the ornament. 

Mastery of Design: A Diamond Spray Ornament, 1850

Spray Ornament
Diamonds, Silver, Gold
1830-1850
English
The Victoria & Albert Museum

With the rise of the Romantic Movement in the Nineteenth Century, Naturalistic jewelry with motifs of fruit, insects and easily-recognizable flowers became quite the fashion. These pieces often took the form of pins and brooches and by the middle of the Nineteenth Century had become quite large and ornate.


This spray ornament made in England in 1830 features hundreds of European Cut and several Rose Cut diamonds set in silver which has been backed in gold. The original ornament consisted of the three uppermost leaves. The blooms—roses and carnations--were added sometime before 1850. In addition to the flowers, the jeweler has added “tremblers.” Here, some of the flowers are mounted on springs so that as the lady moved, the jewels would “tremble” and catch the light.

This ornament was designed to wear on a bodice, but could also be worn in the hair. While the maker is unknown, a similar piece was displayed at the Great Exhibition in 1851. Also featuring “tremblers” and various diamond blooms, the exhibited brooch was created by Hunt & Roskell.

Mastery of Design: The Dame Joan Evans Diamond Spray Ornament

Spray Ornament, c. 1830
The Victoria & Albert Museum

We’ve seen many of Dame Joan Evans’ exceptional jewels which she bequeathed to the V&A. Today’s shiny thing was previously owned by Dame Evans. This spray ornament (sculpted in the form of a spray of flowers) is crafted of rose gold and is set with large rose-cut and brilliant-cut diamonds.


I have a real fondness for these spray ornaments. They were the height of fashion in the mid-Nineteenth Century as jewelry began to rely on natural motifs. This example comes from the 1830’s. It’s simply exquisite.

Mastery of Design: A French Diamond Spray Ornament, c. 1850

Diamond Spray Ornament with Trembler
The Hull-Grundy Gift
The British Museum

I've had a good time these last couple of weeks exploring the jewelry in the Hull-Grundy gift to The British Museum.  Among the many grand jewels in the bequest is this ornamental trembler pin in the form of a floral spray, a piece which is highly representative of the Nineteenth Century revival of Eighteenth Century forms.  

The French work of silver, gold, and closed-back, pink-foiled diamonds is reminiscent of pieces made for the French court in the late Eighteenth Century.  Empress Eugénie revived the style in the 1850s when such floral ornaments found a new fashion in the naturalistic style which flourished across the European aristocracy. 

Mastery of Design: A French Diamond Spray Ornament, c. 1850

Diamond Spray Ornament with Trembler
The Hull-Grundy Gift
The British Museum

I've had a good time these last couple of weeks exploring the jewelry in the Hull-Grundy gift to The British Museum.  Among the many grand jewels in the bequest is this ornamental trembler pin in the form of a floral spray, a piece which is highly representative of the Nineteenth Century revival of Eighteenth Century forms.  

The French work of silver, gold, and closed-back, pink-foiled diamonds is reminiscent of pieces made for the French court in the late Eighteenth Century.  Empress Eugénie revived the style in the 1850s when such floral ornaments found a new fashion in the naturalistic style which flourished across the European aristocracy.

Unusual Artifacts: The Hummingbird Spray, 1894

Thing
More specifically a floral spray ornament meant for a hat
Made from dead hummingbird feathers, skin and beetles.
English, 1894
The Victoria & Albert Museum

This odd, yet completely Victorian, object is an 1894 creation of millinery wire wound with brown silk thread and adorned with Coppery-headed Emerald Hummingbird feathers and Indian Beetle wings arranged in the form of a floral spray. Gotta love our Victorian forebears and their ability to make something attractive out of anything—even pieces of dead bugs and birds. The feathers have become leaves and seven pieces of iridescent copper hummingbird skin, delightfully cut in the shape of a flower petal form a blossom, with seven pieces of beetle-wing in the center. Fun!

This…thing…was created to be used as an ornament for a hat. The 1880s to about 1921, a lady of fashion enjoyed wearing hats which were decorated with the plumage of exotic birds. This poor birdy was from Costa Rica.

Now, even by Victorian standards, this was a bit extreme since it required the actual killing of the bird. Of course, most of the feathers which made up such ornaments came from birds who were killed, but a case could have been made that the birds were found dead or, perhaps, willing offered up their plumage. You can’t say that about this…thing. It certainly would have required killing the hummingbird since the presence of the creature’s SKIN makes this reality undeniable.

Just before this ornament was made, The Society for the Protection of Birds was formed in 1889 in Britain. The organization passionately protested the killing of Britain's great-crested grebe for use in fashionable dress. By the 1900s, the Society was campaigning against the use of most exotic birds in millinery and other fashions. The V&A tells us that, “the first Anti-Plumage Bill was defeated in the House of Commons in 1908 and finally passed in 1921, preventing any further use of birds as fashionable decoration.” You all know how much I adore all things Victorian. And, I confess, I’m often drawn to the weird bits of aviary taxidermy from time to time because they’re just so darn beautiful. They really are. I would never purchase one, however, since I have a natural aversion to dead things. What appeals to me about such items is the bird itself. That’s what appealed to our Victorian forbears. The birds were attractive--so attractive that they were murdered for it. The Victorians wanted to make beauty permanent, and, in their estimation that was a good way to do it. I don’t fault them for it, but I would certainly not support such a thing. I like birds. I have, truly, about sixteen doves who have made homes for themselves around the protected exterior of my house—quickly making me the Crazy Dove Man of McKinney and turning my porches into a dove factory. I talk to them. I talk to all animals. I’m a little peculiar. But, there must be a middle ground between displaying dead animals in your home and, well, being like me and offering sanctuary to any wildlife which comes my way. Perhaps one day I’ll find a middle ground. The Victorians didn’t. Still, we can enjoy the beauty of these animals which lost their lives so long ago. 

Unusual Artifacts: The Hummingbird Spray, 1894

Thing
More specifically a floral spray ornament meant for a hat
Made from dead hummingbird feathers, skin and beetles.
English, 1894
The Victoria & Albert Museum

This odd, yet completely Victorian, object is an 1894 creation of millinery wire wound with brown silk thread and adorned with Coppery-headed Emerald Hummingbird feathers and Indian Beetle wings arranged in the form of a floral spray. Gotta love our Victorian forebears and their ability to make something attractive out of anything—even pieces of dead bugs and birds. The feathers have become leaves and seven pieces of iridescent copper hummingbird skin, delightfully cut in the shape of a flower petal form a blossom, with seven pieces of beetle-wing in the center. Fun!

This…thing…was created to be used as an ornament for a hat. The 1880s to about 1921, a lady of fashion enjoyed wearing hats which were decorated with the plumage of exotic birds. This poor birdy was from Costa Rica.

Now, even by Victorian standards, this was a bit extreme since it required the actual killing of the bird. Of course, most of the feathers which made up such ornaments came from birds who were killed, but a case could have been made that the birds were found dead or, perhaps, willing offered up their plumage. You can’t say that about this…thing. It certainly would have required killing the hummingbird since the presence of the creature’s SKIN makes this reality undeniable.

Just before this ornament was made, The Society for the Protection of Birds was formed in 1889 in Britain. The organization passionately protested the killing of Britain's great-crested grebe for use in fashionable dress. By the 1900s, the Society was campaigning against the use of most exotic birds in millinery and other fashions. The V&A tells us that, “the first Anti-Plumage Bill was defeated in the House of Commons in 1908 and finally passed in 1921, preventing any further use of birds as fashionable decoration.” You all know how much I adore all things Victorian. And, I confess, I’m often drawn to the weird bits of aviary taxidermy from time to time because they’re just so darn beautiful. They really are. I would never purchase one, however, since I have a natural aversion to dead things. What appeals to me about such items is the bird itself. That’s what appealed to our Victorian forbears. The birds were attractive--so attractive that they were murdered for it. The Victorians wanted to make beauty permanent, and, in their estimation that was a good way to do it. I don’t fault them for it, but I would certainly not support such a thing. I like birds. I have, truly, about six doves who have made homes for themselves around the protected exterior of my house—quickly making me the Crazy Dove Man of McKinney and turning my porches into a dove factory. I talk to them. I talk to all animals. I’m a little peculiar. But, there must be a middle ground between displaying dead animals in your home and, well, being like me and offering sanctuary to any wildlife which comes my way. Perhaps one day I’ll find a middle ground. The Victorians didn’t. Still, we can enjoy the beauty of these animals which lost their lives so long ago. 

Mastery of Design: The Cory Diamond Spray, 1860

Lady Cory's Diamond Spray
London, 1860
The Victoria & Albert Museum

From the massive jewelry collection of Lady Cory, we see this spray ornament of brilliant-cut and rose-cut diamonds set in silver which was made around 1860 during the height of the fashion for Naturalistic jewelry.

The ornament was intended for use on the bodice or the head. The floral spray is created in three attached units, with two “tremblers” set in silver. The design represents blooming roses, rosebuds and leaves.

Mastery of Design: The Cory Diamond Spray, 1860

Lady Cory's Diamond Spray
London, 1860
The Victoria & Albert Museum

From the massive jewelry collection of Lady Cory, we see this spray ornament of brilliant-cut and rose-cut diamonds set in silver which was made around 1860 during the height of the fashion for Naturalistic jewelry.

The ornament was intended for use on the bodice or the head. The floral spray is created in three attached units, with two “tremblers” set in silver. The design represents blooming roses, rosebuds and leaves.

Object of the Day, Museum Edition: The Hull-Grundy Hair Ornament

Hair Ornament
c. 1760
This and all relayed images from The British Musuem

Another jewel from The British Museum's Hull-Grundy Gift, this hair ornament is made in the form of a floral spray with leaves of chased silver and gold settings for the foiled rose-cut diamonds.  Four pear-shaped pendant drop diamonds and two baroque pearls join the four diamond drops.

The ornament was made in Russia, circa 1760 and shows the Eighteenth Century taste for asymmetrical aigrettes in the Rococo fashion.  The style was especially popular in Russia and Italy, adapted from a Spanish style which relied heavily on shimmering pendant drops.  

A brooch set with emeralds from the same time period and place of creation is frequently associated with this hair ornament.  

Mastery of Design: The Hull-Grundy Hair Ornament

Hair Ornament
c. 1760
This and all relayed images from The British Musuem

Another jewel from The British Museum's Hull-Grundy Gift, this hair ornament is made in the form of a floral spray with leaves of chased silver and gold settings for the foiled rose-cut diamonds.  Four pear-shaped pendant drop diamonds and two baroque pearls join the four diamond drops.

The ornament was made in Russia, circa 1760 and shows the Eighteenth Century taste for asymmetrical aigrettes in the Rococo fashion.  The style was especially popular in Russia and Italy, adapted from a Spanish style which relied heavily on shimmering pendant drops.  

A brooch set with emeralds from the same time period and place of creation is frequently associated with this hair ornament.  

Mastery of Design: The Cory Lilies of the Valley Spray, 1830-70

Bodice Ornament
1830-70
The Victoria & Albert Museum 

This spray of diamonds is another perfect example of the mid Nineteenth Century sensibility for naturalistic jewelry. Such jewels often depicted floral arrangements, sometimes peppered with jeweled “insects.” This piece shows the trend of adding “tremblers”—jeweled pieces mounted on thin wires which moved as the wearer walked. Dense clusters of diamonds, like the bodice ornament we see here, were the height of fashion during this period.

This ornament, owned by Lady Cory, was made in Britain between 1830 and 1870 and features a plethora of brilliant-cut and European-cut diamonds mounted in silver and backed in gold.  Of particular note is the sprig of lilies of the valley which surmounts the piece.  Such sprays were designed to be worn on the bodice, either centrally or to one side at the shoulder.  

By the Twentieth Century, these pieces were still fashionable, but many were broken apart to make other jewelry.  So, it's quite exceptional when they survive unaltered.  Not surprisingly, in the 1920s when densely set diamond pieces were once again in vogue, many of these remaining sprays found new popularity--worn on coats.  

Mastery of Design: The Cory Lilies of the Valley Spray, 1830-70

Bodice Ornament
1830-70
The Victoria & Albert Museum 

This spray of diamonds is another perfect example of the mid Nineteenth Century sensibility for naturalistic jewelry. Such jewels often depicted floral arrangements, sometimes peppered with jeweled “insects.” This piece shows the trend of adding “tremblers”—jeweled pieces mounted on thin wires which moved as the wearer walked. Dense clusters of diamonds, like the bodice ornament we see here, were the height of fashion during this period.

This ornament, owned by Lady Cory, was made in Britain between 1830 and 1870 and features a plethora of brilliant-cut and European-cut diamonds mounted in silver and backed in gold. Of particular note is the sprig of lilies of the valley which surmounts the piece. Such sprays were designed to be worn on the bodice, either centrally or to one side at the shoulder.


By the Twentieth Century, these pieces were still fashionable, but many were broken apart to make other jewelry. So, it's quite exceptional when they survive unaltered. Not surprisingly, in the 1920s when densely set diamond pieces were once again in vogue, many of these remaining sprays found new popularity--worn on coats.

History's Runway: The Cory Lilies of the Valley Spray, 1830-70

Bodice Ornament
1830-70
The Victoria & Albert Museum 

This spray of diamonds is another perfect example of the mid Nineteenth Century sensibility for naturalistic jewelry. Such jewels often depicted floral arrangements, sometimes peppered with jeweled “insects.” This piece shows the trend of adding “tremblers”—jeweled pieces mounted on thin wires which moved as the wearer walked. Dense clusters of diamonds, like the bodice ornament we see here, were the height of fashion during this period.

This ornament, owned by Lady Cory, was made in Britain between 1830 and 1870 and features a plethora of brilliant-cut and European-cut diamonds mounted in silver and backed in gold. Of particular note is the sprig of lilies of the valley which surmounts the piece. Such sprays were designed to be worn on the bodice, either centrally or to one side at the shoulder.

By the Twentieth Century, these pieces were still fashionable, but many were broken apart to make other jewelry. So, it's quite exceptional when they survive unaltered. Not surprisingly, in the 1920s when densely set diamond pieces were once again in vogue, many of these remaining sprays found new popularity--worn on coats.

Mastery of Design: The Cory Diamond Spray, 1830-70

Bodice Ornament
1830-70
The Victoria & Albert Museum 

This spray of diamonds is another perfect example of the mid Nineteenth Century sensibility for naturalistic jewelry.  Such jewels often depicted floral arrangements, sometimes peppered with jeweled “insects.”  This piece shows the trend of adding “tremblers”—jeweled pieces mounted on thin wires which moved as the wearer walked.  Dense clusters of diamonds, like the bodice ornament we see here, were the height of fashion during this period.

This ornament, owned by Lady Cory, was made in Britain between 1830 and 1870 and features a plethora of brilliant-cut and European-cut diamonds mounted in silver and backed in gold.

Mastery of Design: A Bohemian Garnet Hair Ornament, c. 1830

Garnet Hair Ornament
The British Museum

Imagine an elegant ballroom, flickering in the light of candles held in chandeliers and girandoles dripping in crystals.  A lady nods a greeting to you.  Nestled in the cascades of curls which form her upswept coiffure is this ornament, a fiery shower of crimson sparks from a foliate spray.


This gold hair ornament is set with briolette-cut garnet drops and pearls hung from eight gold volutes set behind a rose gold ribbon which is also mounted with garnets.  It was made in Bohemia (or possibly Austria) circa 1830 and was collected by Professor John and Anne Hull Grundy who donated their important collection of jewels to the British Museum in 1978.




So...do you like garnets?  Do you like mysteries?  Drama?  Reading?  Me?  Do you like me?

Have you read my first novel, The Garnet Red?  I wrote it many years ago.  It even ties into the Mr. Punch stories.

Christmas is coming up.  Do you know what makes a great gift?  Books.  Books make great gifts.  Or, if you're one of those e-reader types, you can do that.  You can download it at the iTunes store by going here.  If you've got a Nook, you can buy an e-Book here through Barnes and Noble.  Or you can buy an actual book book on Amazon.

As you know, I don't hawk a lot of things here.  I keep the self-promotion to the bare minimum.  But...go on...buy a book, so I can keep doing this, and keep feeding the dog and the puppets and the cats...  

Object of the Day, Museum Edition: A Specimen of Raised Embroidery, 1851

Embroidery Sample, 1851
Worked by C. Georgiana Mowland for entry in The Great Exhibition
The Victoria & Albert Museum

Mounted on a piece of wood, this fragment of embroidery was once framed behind glass for display at the Great Exhibition of 1851 where it was described as “a design for trimming or ornament.” While embroidery like this would have been used to adorn a garment or for trimming decorative home items, such a fine piece of needlework would probably have been  displayed on a wall,like a painting.

The embroiderer, C. Georgiana Mowland (1834-?) has taken extreme care to show the plants in great detail,  suggesting that she may have been inspired by the botanical prints that were popular at the time—especially those of  the painter Pierre-Joseph Redouté (1759-1840) who was best known for his illustrations of roses.

                                         
C. Georgiana Mowland was a London schoolgirl who lived near to the current home of the Victoria & Albert Museum.  They resided in a garage flat above the mews in Belgravia’s posh Eaton Square.  The eldest child of Matthew Mowland, a coach driver, and his wife Eliza, Georgiana spent her time, like other girls her age, engaged in embroidery.  However, unlike other amateur embroiderers, she shows exquisite skill and fineness of hand.  

This fragment of her art is worked on an oblong piece of white satin, and shows a mixture of flat embroidery and raised appliqué techniques. A central spray of white Bourbon roses depicts one full-blown flower worked in white crepe fabric with stems stitched in green and brown silk threads.  Assorted foliage is worked in lengths of wired chenille in shades of green and brown with and the buds in écru wired chenille.

An additional spray of flowers graces each corner.  The upper pair of sprays shows blossoms with five rounded petals of white crepe fabric and stems worked in green and yellow silks.  The lower pair are similar but the blossoms demonstrate pointed petals made of cream crepe fabric.

In 1851, Mowland entered this work in the Great Exhibition. The Exhibition, as were Prince Albert’s wishes, included work by children and for children. Miss Mowland’s entry is an unusual piece since, at this time, children were more encouraged to focus on plain sewing techniques for practical use.  Clearly, this entry would have been an exquisite surprise.   The text stitched into the accompanying canvas is set within a border of stylized laurel leaves worked in tent stitch using red silks.  A cross in red at each corner accompanies a split line of stylized bay leaves in green to fill out the last line of text.

The following text accompanied the embroidery, worked on canvas in embroidery by Miss Mowland for her entry in the Exhibition:

A Specimen of Raised Embroidery

Executed by C G Mowland No 23 

Eaton Mews South Eaton Sq Aged 12

Class 19 No 228 Tapestry in the 

Exhibition 1851 Design for trimming 

or ornament 

Crape Embroidery 

on satin ground. 

No. 454a. 

(in Register)

 We know little else about C. Georgiana Mowland except that records indicate that the “C” most likely stood for “Charlotte,” and that she was later married to a George Pewsey (a watch and clock maker).