Mastery of Design: A Gold, Jade and Ruby Necklace, 1825

Necklace
Gold, Jade, Rubies, Chrysoprase
1825
The Victoria & Albert Museum

Made just four years after the coronation of King George IV, this necklace of gold filigree with cannetille (fine gold work of thin or flattened wires in rosette patterns) and grainti (spirals and volutes of gold wire) decoration, is set with jade, chrysoprases and rubies and shows emerging resurgence of Gothic style which dominated the era for awhile.

The work of an unknown artist, this necklace most likely comes from France. It is curious to note that the earrings were not made at the same time as the necklace and, in fact, were not purposely made to match. These were purchased at a much later date and just coincidentally matched the necklace.

Figure of the Day: John Liston as “Paul Pry,” 1820-29

John Liston as Paul Pry
1820-1829
The Victoria & Albert Museum

This Staffordshire figure, made in the 1820s, depicts John Liston (1776-1846), considered one of the leading comic actors of his day. The figurine shows Liston in character as “Paul Pry” in the play of the same name. This was one of the actor’s most famous roles and, therefore, this is one of several different figurines of Liston as Pry, the nosy and interfering star of the comic play by John Poole, which were produced in the 1820s—each modeled after contemporary engravings. 

Liston made the annoying character seem quite charming, somehow. The play enjoyed considerable success and, even, introduced several of the character’s catch-phrases into the popular vernacular. By 1825, people were quoting “Pry,’ with: “I hope I don't intrude,” “Just dropped in,” and “It's nothing to me,” with considerable gusto, and, soon, the name Paul Pry became a colloquial term for a busybody.

Gifts of Grandeur: A Pearl, Moonstone and Peridot Pendant, 1815

Pendant
English, 1815
The Victoria & Albert Museum

This delicate pendant of seed pearls mounted on mother-of-pearl is decorated with moonstones and peridots set in gold. The work of an unknown British jeweler, the piece dates to about 1815 and shows the sensibilities of designs of the time.

There’s a distinct reliance on the natural beauty of the stones that allows them to speak for themselves. It’s an interesting piece in that it demonstrates the ideals of the Rococo with a definite nod toward what was then modern design.

Mastery of Design: The Diamond Diadem, 1820

Crown Copyright
The Royal Collection
via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II

Click image for larger size.

"The Diamond Diadem"
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

A diadem is a type of crown, specifically one that fits around the upper forehead like a headband. The term also refers to a jeweled half-crown which is worn over the forehead. These are more commonly called a tiara.

One of the most famous diadems in the world is “The Diamond Diadem” made in 1820 for British King George IV. Since its creation for George IV’s lavish 1821 coronation, this diadem has been worn exclusively by female royals and is one of the most recognizable pieces of the Queen’s collection of jewelry.  Just take a look at a Royal Mail stamp.  You've definitely seen this piece before.

Crown Copyright
The Royal Collection
via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II

Designed by master jewelers, Rundell, Bridge and Company, the diadem features 1,333 diamonds, including a four-carat pale yellow brilliant in the center of the front cross. The diamonds, set in gold and accented by pearls for the emblems of the countries in the British Empire: England, Scotland and Ireland. 

Crown Copyright
The Royal Collection
via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II

Click image for larger size.

Crown Copyright
The Royal Collection
via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth IIClick image for larger size.

Gifts of Grandeur: A Pearl, Moonstone and Peridot Pendant, 1815

Pendant
English, 1815
The Victoria & Albert Museum

This delicate pendant of seed pearls mounted on mother-of-pearl is decorated with moonstones and peridots set in gold. The work of an unknown British jeweler, the piece dates to about 1815 and shows the sensibilities of designs of the time.

There’s a distinct reliance on the natural beauty of the stones that allows them to speak for themselves. It’s an interesting piece in that it demonstrates the ideals of the Rococo with a definite nod toward what was then modern design.

Print of the Day: The Dancing Dolls Engraving, 1821

Engraving
John Burnet, 1821
The Victoria & Albert Museum

This 1821 English engraving by John Burnet depicts a dancing marionette performance being held in a family home and entitled "The Dancing Dolls."  It was published in London by Hurst, Robinson & Co in 1822.

In this hand-colored engraving, we see a boy (acting as the puppeteer) who is playing a drum and a pipe whilst making two marionettes dance by using his knee to move the cord to which the puppets are attached back and forth. In the audience in this dear, private performance, we see sn old woman, a man with a baby on his lap and a young girl holding a dog. Two small children watch from the open window.

Mastery of Design: The Diamond Diadem, 1820

"The Diamond Diadem"
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

A diadem is a type of crown, specifically one that fits around the upper forehead like a headband. The term also refers to a jeweled half-crown which is worn over the forehead. These are more commonly called a tiara.

One of the most famous diadems in the world is “The Diamond Diadem” made in 1820 for British King George IV. Since its creation for George IV’s lavish 1821 coronation, this diadem has been worn exclusively by female royals and is one of the most recognizable pieces of the Queen’s collection of jewelry.  Just take a look at a Royal Mail stamp.  You've definitely seen this piece before.

Designed by master jewelers, Rundell, Bridge and Company, the diadem features 1,333 diamonds, including a four-carat pale yellow brilliant in the center of the front cross. The diamonds, set in gold and accented by pearls for the emblems of the countries in the British Empire: England, Scotland and Ireland. The piece is so well-known, it is even featured on a postage stamp. 

Mastery of Design: A Gold, Jade and Ruby Necklace, 1825

Necklace
Gold, Jade, Rubies, Chrysoprase
1825
The Victoria & Albert Museum

Made just four years after the coronation of King George IV, this necklace of gold filigree withcannetille (fine gold work of thin or flattened wires in rosette patterns) andgrainti (spirals and volutes of gold wire) decoration, is set with jade, chrysoprases and rubies and shows emerging resurgence of Gothic style which dominated the era for awhile.

The work of an unknown artist, this necklace most likely comes from France. It is curious to note that the earrings were not made at the same time as the necklace and, in fact, were not purposely made to match. These were purchased at a much later date and just coincidentally matched the necklace.

Mastery of Design: A Pearl, Moonstone and Peridot Pendant, 1815

Pendant
English, 1815
The Victoria & Albert Museum

This delicate pendant of seed pearls mounted on mother-of-pearl is decorated with moonstones and peridots set in gold. The work of an unknown British jeweler, the piece dates to about 1815 and shows the sensibilities of designs of the time.

There’s a distinct reliance on the natural beauty of the stones that allows them to speak for themselves. It’s an interesting piece in that it demonstrates the ideals of the Rococo with a definite nod toward what was then modern design.

Mastery of Design: The Cory Turquoise Necklace, 1820-30

Turquoise and Pearl Necklace with Gold Chains
1820-1830
Made in England.
The Victoria & Albert Museum

I don’t think this necklace could be any more “Georgian.” Here, we see a necklace of gold, pavé-set with turquoises and half pearls. Each section of the necklace is linked with gold chains.


Turquoise was a beloved material in jewelry of the 19th century and was assigned great symbolism. The bright blue color reminded the wearer of the flower forget-me-nots, which signified true love in the language of flowers. Turquoise jewelry was a popular gift to bridesmaids and brides alike. The stone often signified the fidelity of a married couple. In 1840, Queen Victoria gave her twelve bridesmaids turquoise brooches in the shape of a Coburg eagle, in honor of Prince Albert's German family.

Figure of the Day: John Liston as “Paul Pry,” 1820-29

John Liston as Paul Pry
1820-1829
The Victoria & Albert Museum

This Staffordshire figure, made in the 1820s, depicts John Liston (1776-1846), considered one of the leading comic actors of his day. The figurine shows Liston in character as “Paul Pry” in the play of the same name. This was one of the actor’s most famous roles and, therefore, this is one of several different figurines of Liston as Pry, the nosy and interfering star of the comic play by John Poole, which were produced in the 1820s—each modeled after contemporary engravings. 

Liston made the annoying character seem quite charming, somehow. The play enjoyed considerable success and, even, introduced several of the character’s catch-phrases into the popular vernacular. By 1825, people were quoting “Pry,’ with: “I hope I don't intrude,” “Just dropped in,” and “It's nothing to me,” with considerable gusto, and, soon, the name Paul Pry became a colloquial term for a busybody.

Mastery of Design: The Cory Turquoise Necklace, 1820-30

Turquoise and Pearl Necklace with Gold Chains
1820-1830
Made in England.
The Victoria & Albert Museum

I don’t think this necklace could be any more “Georgian.” Here, we see a necklace of gold, pavé-set with turquoises and half pearls. Each section of the necklace is linked with gold chains.


Turquoise was a beloved material in jewelry of the 19th century and was assigned great symbolism. The bright blue color reminded the wearer of the flower forget-me-nots, which signified true love in the language of flowers. Turquoise jewelry was a popular gift to bridesmaids and brides alike. The stone often signified the fidelity of a married couple. In 1840, Queen Victoria gave her twelve bridesmaids turquoise brooches in the shape of a Coburg eagle, in honor of Prince Albert's German family.

Object of the Day, Museum Edition: The Dancing Dolls Engraving, 1821

Engraving
John Burnet, 1821
The Victoria & Albert Museum

This 1821 English engraving by John Burnet depicts a dancing marionette performance being held in a family home and entitled "The Dancing Dolls."  It was published in London by Hurst, Robinson & Co in 1822.


In this hand-colored engraving, we see a boy (acting as the puppeteer) who is playing a drum and a pipe whilst making two marionettes dance by using his knee to move the cord to which the puppets are attached back and forth. In the audience in this dear, private performance, we see sn old woman, a man with a baby on his lap and a young girl holding a dog. Two small children watch from the open window.

Mastery of Design: A Pearl, Moonstone and Peridot Pendant, 1815

Pendant
English, 1815
The Victoria & Albert Museum

This delicate pendant of seed pearls mounted on mother-of-pearl is decorated with moonstones and peridots set in gold. The work of an unknown British jeweler, the piece dates to about 1815 and shows the sensibilities of designs of the time.

There’s a distinct reliance on the natural beauty of the stones that allows them to speak for themselves. It’s an interesting piece in that it demonstrates the ideals of the Rococo with a definite nod toward what was then modern design.

Mastery of Design: A Gold, Jade and Ruby Necklace, 1825

Necklace
Gold, Jade, Rubies, Chrysoprase
1825
The Victoria & Albert Museum

Made just four years after the coronation of King George IV, this necklace of gold filigree with cannetille (fine gold work of thin or flattened wires in rosette patterns) and grainti (spirals and volutes of gold wire) decoration, is set with jade, chrysoprases and rubies and shows emerging resurgence of Gothic style which dominated the era for awhile.

The work of an unknown artist, this necklace most likely comes from France. It is curious to note that the earrings were not made at the same time as the necklace and, in fact, were not purposely made to match. These were purchased at a much later date and just coincidentally matched the necklace.

Her Majesty’s Furniture: A Set of Malachite Candelabra

The famed Parisian design firm of Thomire & Cie created these magnificent candelabra of gilt bronze and blazingly green malachite in 1828. The candelabra presently have eight arms, but originally had sixteen. Why or when they were altered is something of a mystery. The candelabra are part of a garniture set which flank a matching clock.

As the story goes, the set was purchased for £500 by King George IV’s Confectioner, Francois Benois. Later, a gift of the set was made to the sovereign. Today, the set is one of the treasure of The Royal Collection.

Object of the Day: A Georgian Page-Turner

Crafted of thin maple, this page-turner dates to the late Eighteenth or early Nineteenth Century during the reigns of King George III and King George IV. The page-turner is inlaid with exotic woods to form a Greek key pattern which frames a mythological scene. Items such as this were used to turn the pages of manuscripts to avoid dirtying them with fingers. The pointed end of the page-turner served as a paper knife to separate pages that had not been cut. Often pages in a manuscript or in a book were bound and delivered uncut on the edges and needed to be sliced in order to be read.

My guess is that the decorative scene represents the Greek myth of Prometheus who was punished by Zeus by being bound to the rocks where an eagle ate his liver which would grow back—only to be eaten again, day-after-day. Not the most cheerful image, but very nicely inlaid.

I love objects such as this. Sure, we have paper knives now and some of them are very pretty. But, who thinks about having a “page-turner” to keep their books clean? Ah, but how many people out there think about books at all? I guess this is the Georgian equivalent of the little cloth that one would use to wipe off an iPad.