History's Runway: An Ivory Button Painted with a Butterfly, 1880

Painted Ivory Button
India, 1880
The Victoria & Albert Museum

Here we see the first of a set of twenty-six buttons which were painted with an image of a butterfly. Made in India about 1880, for an ivory button like this to be painted with a naturalistic subject is quite unusual for the time. Most often, Delhi miniatures like this were painted with scenes of Indian monuments and portraits of Mughal emperors.

The painting is preserved under a glass disk which would have prevented wear to the image as the button was used.

Figure of the Day: The Banyan Man, 1760-1780

The Banyan Man
France, 1760-1780
The Victoria & Albert Museum

The work of The Lunéville Pottery Factory in France, this wholly Rococo figure of a standing man was made to appeal to the Eighteenth Century fascination with the exotic and the asian. The figure is dressed in a turban and a banyan, and is likely a lost member of a set of dessert figurines.

The figure was made of tin-glazed earthenware adorned with enamel colors and dates between 1760 and 1780. 

History's Runway: An Ivory Button Painted with a Butterfly, 1880

Painted Ivory Button
India, 1880
The Victoria & Albert Museum

Here we see the first of a set of twenty-six buttons which were painted with an image of a butterfly.  Made in India about 1880, for an ivory button like this to be painted with a naturalistic subject is quite unusual for the time.  Most often, Delhi miniatures like this were painted with scenes of Indian monuments and portraits of Mughal emperors.

The painting is preserved under a glass disk which would have prevented wear to the image as the button was used.

Unusual Artifacts: The Mysore Model, 1923



The Victoria & Albert Museum

 

This strange architectural model depicts a medieval Hindu temple. It has been carved in sandalwood upon a polished teak-wood base. The model is a composite of styles, but is clearly, loosely based on details of Hoysala dynasty temples at Halebid, Somnathpur and Belur.

The model is adorned with figures of various Hindu gods nestled within niches, amidst scrolling foliate stems, lotus and lotus flowers. From above, we see that the plan of the temple is a twelve pointed star where each point rests upon the back of an elephant. This is not a replica of a particular building, but rather an amalgam of details from several important temples.

This ingenious work of art was first seen publically at the British Empire Exhibition at Wembley in 1924. It was loaned to the Exhibition by King George V and Queen Mary to whom it was given by the Maharaja of Mysore in 1923. 

Mastery of Design: The Sixteen Leaf Necklace, 1880

Necklace or Horse Collar
India, Before 1880
The Victoria & Albert Museum

This handsome necklace heralds from India and was made before 1880. Sixteen leaf-shaped plaques are strung on red silk which has been covered with gold wire.

The front of each plaque is adorned in floral ornament in low relief. The design is decorated with turquoises and rock-crystal set over red foil to simulate rubies. The reverse of each of these sixteen plaques is chased with designs of flowering plants.
The necklace was purchased in India for the Victoria & Albert Museum by Casper Purdon Clarke in 1880-2. It has been suggested that this is not a necklace meant for a human, but rather, was made as a collar for a horse. Lucky horse!

Mastery of Design: A Cartier Bangle, 1937

Bangle
Cartier, 1937
This and all related images from
The British Museum

Cartier’s London branch created this sumptuous bangle in a wholly Indian style. The floral piece is a brilliant marriage of platinum, gold, diamonds, and rubies. The central motif looks back to Nineteenth-Century Indian Jaipur work with a very post-Deco sensibility.

Diamonds (baguettes and brilliants) and a double row of cabochon rubies glitter in an asymmetrical platinum setting. Meanwhile, the central floral theme is set in gold around an egg-shaped cabochon. The reverse is enameled with flowers in the Kundan style.

Gifts of Grandeur: An Indian Turban Ornament, 1800-1850

Turban Ornament
Jaipur, 1800-1850
The Victoria & Albert Museum

Made between 1800 and 1850, this ornament was designed to be worn on a man’s turban. It’s likely that such a fine jewel would have been made for the Maharaja of Jaipur in Rajasthan by the royal workshop. Jewelers in Jaipur have long been celebrated for their high-quality, thin enamels. 

The ornament is made in the form of a peacock—an unusual motif for the era. Some speculate that rather than for the regent, the ornament was made for a ceremonial figure of the deity Krishna whose attribute is the peacock. 

Mastery of Design: The Davies Indian Necklace, 19th C.

Necklace of gold, silver, white sapphires, emeralds, pearls, rubies, rock crystal and enamel.
Northern India, Nineteenth Century
The Victoria & Albert Museum

Made in the Nineteenth Century, This North-Indian necklace consists of a double string of pearls and emeralds which support a circular pendant of gold and silver, set with rubies, emeralds, natural white sapphires and rock crystal.  The gorgeous pendant is enameled on the reverse.  The necklace closes with ties of silk covered with gilt silver metal, and is bound with strings of silk threaded with seed pearls.

Masterpiece of the Week: The Nephrite Pen Box, 17th C.

Desk Set of Nephrite Jade, Rubies, Emeralds and Diamonds set in gold
Seventeenth Century
India
The Victoria & Albert Museum

Here we see, from Seventeenth-Century India, a knife, pen, magnifying glass and matching bo of nephrite jade.  Decorated in a splendid, and very Indian, floral motif, the set is further adorned with rubies, emeralds and diamonds set in gold.  

Gifts of Grandeur: The Wells Crystal Box, 1700-1750

This small box and cover from the Victoria & Albert Museum is entirely crafted from rock crystal and set with rubies and emeralds in gold. The lid attaches to the box with silver mounts and hinges which are most likely a  later addition to the box.

A truly sumptuous piece like this would have been made within the Mughal  Empire around  first half of the 18th century, possibly for export or presentation.  This box was bequeathed to the Victoria & Albert Museum by Arthur Wells of Nottingham in 1882. Wells had purchased the box at the 1875 sale of the collection of Mughal hardstones amassed by one Colonel Charles Seton Guthrie.

Much of Colenol Guthrie's collection had already ended up in the museum, having been bought by the Indian Museum in 1868 and transferred to South Kensington in 1879.

Unusual Artifacts: The Lucknow Throne, 1820

Lucknow Throne
1820
Robert Home
The Victoria & Albert Museum

Here, we see an Indian throne chair of wood, gilt brass and gilt gesso mounts, painted decoration and blue velvet upholstery. The chair dates to about 1820.

Known as the “Lucknow Throne Chair,” this chair is a rare surviving example of palace furniture from Lucknow in northern India. This opulent piece of furniture was a gift from Ghazi-ud-din Haidar, Nawab and King of Oudh (ruled 1814 to 1827), to Lord Amherst, the Governor-General of India which was given during Amherst's visit to Lucknow in 1827.

Though it was built to be used by an Indian ruler, the chair was actually designed by the celebrated Scottish artist Robert Home who was court painter at Lucknow. There, Home designed regalia, royal carriages, howdahs, barges and palace furnishings in the popular European fashions of the day. The typical British design of this piece is further adorned with the twin-fish badge of the rulers of Lucknow.

Mastery of Design: The Cartier Encrusted Emeralds Necklace and Earrings

Diamond Rope Necklace and Earrings; Hung with Encrusted Emeralds
Necklace and Earrings:  Diamond Mounts, London Cartier, c. 1935
Emeralds:  Indian, Moghul, 18th-19th Centuries
Image Courtesy of the British Museum
Click on Image to Enlarge.

A magnificent necklace and earrings of platinum, brilliant cut diamonds and baguettes are hung with cabochon emeralds inlaid with ruby and diamond flowers.  These enchanting  emeralds are Indian, Mughal, set during the 18th-19th centuries while the diamond mounts, clearly in the western style, are later additions by Cartier, dating to the mid 1930s.  

The front piece of the ravishing diamond necklace forms a tasselled rope which loops into a double strand of diamonds round the back.  There, the clasp is formed by a large circular encrusted emerald.  The parure is still contained in its original fitted red leather Cartier case.

The encrusted emeralds were found when Cartier travelled throughout India.  The trip was initially to attract wealthy Indian clients who desired to have their jewels reset in platinum in the Western taste of the 1920s.  While there, they found and purchased vast amounts of Indian stones and pearls which they brought back to London to mount for the fashionable society ladies of Paris and London who clamored for jewels in the Indian style.  The grass is always greener.  Of special impact were the many emeralds with which the Cartier team returned.  The Cartier showpieces at the 1925 Paris International Exhibition featured many of these emeralds.  This set of exquisite flower-set emeralds was reserved specifically for this important parure.

I insist that you click on the image above to see the detail of this masterpiece.  

Mastery of Design: The Cartier Mughal Emerald Dress Clip, c. 1935

Dress Clip
Cartier, 1935
This and all related images from The British Museum

The work of Cartier, an Seventeenth-Eighteenth Century, Mughal carved emerald is set in a diamond and platinum mount dating to 1935.  The clip brooch features a hinged fitting for the platinum double prong at the top and set with round and baguette-cut diamonds, forming a lotus-like flower head. 

The antique carved emerald at the front is adorned with a single bloom with radiating petals, the tips of which are flipped to create a three-dimensional effect. At the back, the carving depicts a triple leaf with surrounding foliage. 

The emerald is drilled with suspension holes at the top and the bottom in order to accommodate hanging on a necklace. 

Mastery of Design: The Tiger Claw Necklace, c. 1865

Tiger Claw Necklace
India, c. 1865
The Victoria & Albert Museum

In Nineteenth Century India, a tiger’s claws were considered to be powerful charms against evil. They were frequently used as amulets. Visitors to India, especially the British, found this custom charming and started to bring tiger claw amulets back to Britain as souvenirs. By the middle of the century, with a growing market, makers of tiger claw charms branched out into more elaborate pieces such as this one.

It was clearly made for the British market. The design is very similar to the shape and form of European jewelry. This particular necklace was exhibited at the Paris International Exhibition in 1867. Ten tiger claws of graded size have been set in engraved gold. The claws are linked by chains and the whole piece hangs from a gold snake. 

It’s quite ghastly, no?

Mastery of Design: The Crown of the Emperor Bahadur Shah II, c. 1830

The Crown of the Emperor Bahadur Shah II
India, c. 1830
Purchased by Queen Victoria, 1861
The Royal Collection

Though referred to as a crown, this beautiful sculpture of gold, turquoise, rubies, diamonds, pearls, emeralds, feathers and velvet is more accurately, a skull cap. The piece was worn at the back of the head held in place by the emperor’s turban which was similarly bejeweled.


This piece, along with a set of two throne chairs, was purchased by Major Robert Tytler following the 1857 Indian Mutiny. Tytler returned to England and refused offers from a high-end Bond Street jeweler (amounting to a staggering £1000), instead preferring that the jewel was first offered to Queen Victoria. As Prince Albert handled the purchase of all of the queen’s jewelry, he was told of the “crown” and expressed great interest in its value as a work of the jeweler’s art, but also as a symbol of power over India. The Prince did, in fact, want the “crown” as well as the two thrones and offered £500 for the lot. Tytler felt the offer was far too low, but could not refuse Prince Albert who stated that the major would receive a special appointment from Her Majesty when he returned to India in order to make up the difference between the true value of the pieces and their offer. Tytler agreed. And, he returned to India. However, he did not receive any sort of appointment—special or otherwise. This slight so angered his wife that in her memoirs—written forty years later—she was still fuming about the episode.

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


CLICK IMAGE TO ENLARGE

Mastery of Design: An Indian Tourmaline Brooch, 1860

Brooch-Pendant
Tourmaline, Emerald, Diamonds, Pearls, Gold
India, 1860
The Victoria & Albert Museum

A gorgeous pink tourmaline is the centerpiece of this fantastic brooch which also includes rose-cut diamonds, emeralds, and river pearls set in gold. The carved emerald drop is detachable.


This brooch was made in India for the Western market and bears trademarks of both English and Indian sensibilities. In 1851visitors to the Great Exhibition had become enamored of the displays of Indian jewelry, marveling at its opulent appearance and vivid colors.

By 1860, Indian jewelers learned that their good would sell quite well in England and began producing works in their traditional methods with an eye for English tastes. This brooch is an excellent example of that interesting artistic trend. 

Unfolding Pictures: The Assam Peacock Fan, 19th C.

Hand Fan
Assam, India
Nineteenth Century
The Victoria & Albert Museum

This feathered fan was made in Assam, India, and is constructed of peacock feathers. The work of an unknown Nineteenth Century fan maker, the piece was made for export to Europe where, at the time, feather fans were quite fashionable.

Mounted on a wooden handle, the fan takes a circular form. Edged in natural peacock feathers, the center of the fan has been cleverly patterned with peacock feathers which have been dyed and bleached. These red, white and black feathers were cut and shaped in order to create this intricate, and wholly Indian pattern. Bits of shell, metallic thread and ribbon add dimension and shine which would have been quite enchanting reflected in candlelight.

Gifts of Grandeur: The Cory Pearl Tassel Necklace, 1855

Indian-inspired Enameled Gold Necklace with Pearl Tassels
Donated by Lady Cory to:
The Victoria & Albert Museum

The design of the necklace, particularly the pearl tassels, is an excellent example for the fashion of Indian-inspired jewelry which arose from the 1851 Great Exhibition.

Visitors to the Great Exhibition went wild for the Indian jewelry which was displayed.  These Indian gems were praised for their rich appearance which was achieved by combining enameled gold with dense settings of pearls and colored stones.

This gold necklace, made in Britain in 1855, is enameled in black with links set with pearls. Pearl tassels define the style, based on examples from India.  In the court of Queen Victoria, courtiers were eager to show off such jewels in order to demonstrate to Prince Albert the impact of the Great Exhibition on British style.  This necklace is part of the important collection of jewels amassed by Lady Cory. 

Mastery of Design: The Chambers Rose Brooch, 1820-40

The Chambers Rose Brooch
The Victoria & Albert Museum

According to the V&A, “The diamonds in this brooch were said to have been taken from the turban of Tipu Sultan after his death at the battle of Seringapatam in 1799.” Well, that’s pretty snazzy.

Tipu Sultan was the ruler of the south Indian state of Mysore. He fought against the British as they extended their control in southern India. After the defeat of Tipu Sultan, Captain Cochrane, one of the British officers, it is said, divided the sultan’s turban jewels and had them set in pieces of jewelry which he gave to his daughters.

The brooch of gold, set with diamonds and turquoises, features a floral design of a rose, forget-me-not, an oakleaf and acorn motifs. In the “Language of Flowers” which was prominent at the time, the rose motif symbolizes love while the oak would signified strength and longevity.

Art historians believe this piece was originally made as a pendant. A strand of hair in a locket at the reverse, suggests that, at one point, the brooch was intended as a wedding gift. The gems are set in six rosettes each with a diamond in the centre and six turquoises surrounding it. The rosettes are placed on an openwork background of oak leaves and acorns, surrounding a circular plaque with a relief pattern of a rose and oak leaf. The piece is marked with a ram’s head in relief which indicates the warranty mark for Paris, 1819-38.

The diamonds, rumored to have been those from the turban ornament of Tipu Sultan, have been thoroughly examined and scrutinized. The V&A tells us: 

“The diamonds have been examined and are Golconda diamonds. They are relatively small at approximately 0.2 carats and are all roughly polished into rose-cut forms. One has a large red inclusion, probably a garnet, visible under magnification. Red inclusions are considered unlucky in traditional Indian gemology…” 

When the brooch was given to the V&A in 1968, it came with a letter dated Feb 18th 1878 which says: 

"My dear Agnes The accompanying brooch I herewith give you as a keepsake not only for its intrinsic value, but of its history - Coming to me as a Legacy through the Honble Mrs Cochrane, whose daughter was my charge for some years, & whose father the Honble Capt Cochrane an officer in the memorable battle of Seringapatam shared the jewels all of first class taken in the Turban of Tippo Said [sic] - Capt Cochrane had 3 valuable necklaces & 3 brooches made of the same, In India, for his three daughters! --The Brooch accompanying this, represents the Rose the Shamrock & the Thistle. The Brilliants being of the very first water. -- I should advise care in wearing the same the pin not being I consider safe. 

Should you at some future time be inclined to part with it, I would like you to consider it as a Heirloom to your eldest daughter. In such a fulfilment of my wish you have the power in future circumstances to decide . 

It pains me to use my hands with this attack of Rheumatism for which I make excuse in not writing all I wish. 

Your ever affecte Aunt 

E A Steinchcomb 

For Mrs Agnes Chambers, Norwood Park, Southwell, Notts." 

Object of the Day, Museum Edition: The Parrot Ring, 1850

Ring
Calcutta, 1850
Gold, Sapphire, Rubies, Garnet
The Victoria and Albert Museum

This is an exceptional piece, made in India in 1850. It features a fully-sculpted parrot (carved from a single sapphire and set with rubies and a garnet) perched atop a band of gold.


Purchased by the Indian Museum in London in 1855, the ring was purported as having been made in "Bengal.” At the time, the term “Bengal” referred to the overall “Begnal Presidency” which comprised a vastly larger area than present-day Bengal. In light of that, historians feel the ring was crafted in Calcutta which, at the time, was considered part of “Bengal.” Calucutta was a major hub of the arts in the Nineteenth Century, and the location for makers of opulent and highly-desirable jewelry made in the British and European style for export.

The ring appears to be an Eastern adaptation of traditional European rings (especially those from Ireland and Wales) which included a visual motif of two hands clasping one another—a symbol of love or friendship. The theme of friendship is rather lost in this retelling of the classic visual tradition, as the maker has inaccurately rendered the design. The gold hands, joined at the wrist, atop the gold band, face away from each other instead of touching one another. Perhaps this change was made to accommodate the true centerpiece of the ring—the parrot. While the “hands” motif seems an afterthought, the bird has been carefully rendered. He perches atop the hands, glittering blue from the single sapphire from which he is carved. His ruby eyes glint in contrast against his smooth blue body as does his beak—carved from an impressive almandine garnet.