Masterpiece of the Day: The Falize Cloisonné Necklace, 1867

Enamel Necklace
In the Japanese Style
Alexis Falize
France, 1867
The Victoria & Albert Museum

In the 1860’s, Parisian jewelers became enamored of the Japanese style and tried to replicate Asian enamels. Prior to the 1850s, and since the 1820’s, Japanese style was barely recognized in Paris. However, the Japanese Court at the London Exhibition of 1862 and similar displays at the Paris Universal Exhibition of 1867 caused quite a stir amongst the artistic community. Designers of all types were inspired by what they had seen.

This is a great example of the intricate technique of costly cloisonné enamel wherein the precise outlines of the design are the result of the tiny 'cloisons' or cells that hold the enamel and which have to be individually shaped from thin gold strips. The flower and bird motifs that we see in this 1867 example by Alexis Falize (1811-1898) are taken from Japanese prints, although the vibrant shades show the influence of Chinese work. The necklace of cloisonné enamel and gold shows Alexis Falize’s expert eye as well as the skill of Falize’s chief enameller, Antoine Tard. The circlet is made up of ten long panels of enameled gold which are punctuated with gold rosettes. Five circular pendants hang from the lower edge of the piece. 

The Home Beautiful: The Hamilton Palace Screen, 1670-1700

Japanese Eight-Panel Screen, 1670-1700
This and all related images from:
The Victoria & Albert Museum

NOTE: I don't know what's up with the font on this post.  If I make it smaller, it's microscopic, if I leave it "normal," it's like a child's picture book.  I give up.  You'll notice some of the posts lately are having font weirdness.  I'll have to work on it.  In the meantime...


I call dibs on this in case the V&A ever wants to unload it. This six-paneled screen is adorned with a landscape design featuring buildings, figures, trees, birds and monkeys. The figures depicted are: men fishing at a river; a man walking with a stick; a man carrying a bag on a stick and women in brightly colored clothing sitting by a river. The scene comes alive with gold houses on hills, trees with shining monkeys nestled in the branches, a wise owl in a tree, birds in flight, and flowers with their glistening petals inlaid with gleaming shell. The images all glimmer in gold, silver and red on a dark lacquer ground in the fashionable technique of japanning. Each panel is attached to the next with metal foil and stud hinges.


This decorative screen, used for privacy or to divide a portion of a room (or simply to look pretty) was made in Japan between 1670 and 1700. It is believed that the screen may have come from the collection of Hamilton Palace. This important collection included many pieces previously owned by William Beckford (1760-1844) including the Van Diemen box and the Mazarin Chest.

The Home Beautiful: The Hamilton Palace Screen, 1670-1700

Japanese Eight-Panel Screen, 1670-1700
This and all related images from:
The Victoria & Albert Museum

I call dibs on this in case the V&A ever wants to unload it. This six-paneled screen is adorned with a landscape design featuring buildings, figures, trees, birds and monkeys. The figures depicted are: men fishing at a river; a man walking with a stick; a man carrying a bag on a stick and women in brightly colored clothing sitting by a river. The scene comes alive with gold houses on hills, trees with shining monkeys nestled in the branches, a wise owl in a tree, birds in flight, and flowers with their glistening petals inlaid with gleaming shell. The images all glimmer in gold, silver and red on a dark lacquer ground in the fashionable technique of japanning. Each panel is attached to the next with metal foil and stud hinges.

This decorative screen, used for privacy or to divide a portion of a room (or simply to look pretty) was made in Japan between 1670 and 1700. It is believed that the screen may have come from the collection of Hamilton Palace. This important collection included many pieces previously owned by William Beckford (1760-1844) including the Van Diemen box and the Mazarin Chest.

Mastery of Design: The Lady Bettine Abbingdon Pink Pearls, 1900-1910

Pink Cultured Pearls, Japan, 1900-1910
The Victoria & Albert Museum

This necklace of four strands of pink pearls of graduated size closes with a gold clasp set with sapphires and diamonds. It was made in London between 1900 and 1910 using Japanese pearls. By the early Twentieth Century, the Japanese had perfected a technique for cultivating pearls which imitated the process by which a natural pearl is formed. The process involves inserting a small irritant into a farmed oyster. The oyster, then, slowly coats the foreign particle with layers of iridescent nacre (mother-of-pearl), eventually producing a perfect pearl.

The necklace was made for Lady Bettine Abbingdon who bequeathed this exceptional piece to the V&A.

Mastery of Design: The Falize Cloisonné Necklace, 1867

Enamel Necklace
In the Japanese Style
Alexis Falize
France, 1867
The Victoria & Albert Museum

In the 1860’s, Parisian jewelers became enamored of the Japanese style and tried to replicate Asian enamels. Prior to the 1850s, and since the 1820’s, Japanese style was barely recognized in Paris. However, the Japanese Court at the London Exhibition of 1862 and similar displays at the Paris Universal Exhibition of 1867 caused quite a stir amongst the artistic community. Designers of all types were inspired by what they had seen.

This is a great example of the intricate technique of costly cloisonné enamel wherein the precise outlines of the design are the result of the tiny 'cloisons' or cells that hold the enamel and which have to be individually shaped from thin gold strips. The flower and bird motifs that we see in this 1867 example by Alexis Falize (1811-1898) are taken from Japanese prints, although the vibrant shades show the influence of Chinese work. The necklace of cloisonné enamel and gold shows Alexis Falize’s expert eye as well as the skill of Falize’s chief enameller, Antoine Tard. The circlet is made up of ten long panels of enameled gold which are punctuated with gold rosettes. Five circular pendants hang from the lower edge of the piece. 

Object of the Day, Museum Edition: The Hamilton Palace Screen, 1670-1700

Japanese Eight-Panel Screen, 1670-1700
This and all related images from:
The Victoria & Albert Museum

I call dibs on this in case the V&A ever wants to unload it. This six-paneled screen is adorned with a landscape design featuring buildings, figures, trees, birds and monkeys. The figures depicted are: men fishing at a river; a man walking with a stick; a man carrying a bag on a stick and women in brightly colored clothing sitting by a river. The scene comes alive with gold houses on hills, trees with shining monkeys nestled in the branches, a wise owl in a tree, birds in flight, and flowers with their glistening petals inlaid with gleaming shell. The images all glimmer in gold, silver and red on a dark lacquer ground in the fashionable technique of japanning. Each panel is attached to the next with metal foil and stud hinges.

This decorative screen, used for privacy or to divide a portion of a room (or simply to look pretty) was made in Japan between 1670 and 1700. It is believed that the screen may have come from the collection of Hamilton Palace. This important collection included many pieces previously owned by William Beckford (1760-1844) including the Van Diemen box and the Mazarin Chest.

Mastery of Design: The Falize Cloisonné Necklace, 1867

Enamel Necklace
In the Japanese Style
Alexis Falize
France, 1867
The Victoria & Albert Museum

In the 1860’s, Parisian jewelers became enamored of the Japanese style and tried to replicate Asian enamels. Prior to the 1850s, and since the 1820’s, Japanese style was barely recognized in Paris. However, the Japanese Court at the London Exhibition of 1862 and similar displays at the Paris Universal Exhibition of 1867 caused quite a stir amongst the artistic community. Designers of all types were inspired by what they had seen.

This is a great example of the intricate technique of costly cloisonné enamel wherein the precise outlines of the design are the result of the tiny 'cloisons' or cells that hold the enamel and which have to be individually shaped from thin gold strips. The flower and bird motifs that we see in this 1867 example by Alexis Falize (1811-1898) are taken from Japanese prints, although the vibrant shades show the influence of Chinese work. The necklace of cloisonné enamel and gold shows Alexis Falize’s expert eye as well as the skill of Falize’s chief enameller, Antoine Tard. The circlet is made up of ten long panels of enameled gold which are punctuated with gold rosettes. Five circular pendants hang from the lower edge of the piece. 

The Art of Play: Pinocchio on a Donkey, c. 1969

Click image to enlarge
Pinocchio on a Donkey, c. 1969
The Victoria & Albert Museum

This tinplate donkey is coated in a tan plush material and has been decorated with a faux-fur tail. His nose is white plastic, as are his eyes, and his ears are lined with white cloth. A rider sits atop him—moulded in pink vinyl. The figure is painted and holds reins of red thread. Oh, and, he’s Pinocchio. Of course.  Because he would be.

Made in Japan in the late 1960s to early 1970s, this donkey features a key in his side. When wound, by means of his clockwork mechanism, he bucks up and down and tosses the rider about.

He comes with his original box. This charming, if not a little odd, toy is part of the Barry Joseph Collection of playthings which was purchased by the Victoria & Albert’s Museum of Childhood. 

Mastery of Design: The Falize Cloisonné Necklace, 1867

Enamel Necklace
In the Japanese Style
Alexis Falize
France, 1867
The Victoria & Albert Museum

In the 1860’s, Parisian jewelers became enamored of the Japanese style and tried to replicate Asian enamels. Prior to the 1850s, and since the 1820’s, Japanese style was barely recognized in Paris. However, the Japanese Court at the London Exhibition of 1862 and similar displays at the Paris Universal Exhibition of 1867 caused quite a stir amongst the artistic community. Designers of all types were inspired by what they had seen.

This is a great example of the intricate technique of costly cloisonné enamel wherein the precise outlines of the design are the result of the tiny 'cloisons' or cells that hold the enamel and which have to be individually shaped from thin gold strips. The flower and bird motifs that we see in this 1867 example by Alexis Falize (1811-1898) are taken from Japanese prints, although the vibrant shades show the influence of Chinese work. The necklace of cloisonné enamel and gold shows Alexis Falize’s expert eye as well as the skill of Falize’s chief enameller, Antoine Tard. The circlet is made up of ten long panels of enameled gold which are punctuated with gold rosettes. Five circular pendants hang from the lower edge of the piece. 

Mastery of Design: The Lady Bettine Abbingdon Pink Pearls, 1900-1910

Pink Cultured Pearls, Japan, 1900-1910
The Victoria & Albert Museum

This necklace of four strands of pink pearls of graduated size closes with a gold clasp set with sapphires and diamonds. It was made in London between 1900 and 1910 using Japanese pearls. By the early Twentieth Century, the Japanese had perfected a technique for cultivating pearls which imitated the process by which a natural pearl is formed. The process involves inserting a small irritant into a farmed oyster. The oyster, then, slowly coats the foreign particle with layers of iridescent nacre (mother-of-pearl), eventually producing a perfect pearl.

The necklace was made for Lady Bettine Abbingdon who bequeathed this exceptional piece to the V&A.

Object of the Day, Museum Edition: The Hamilton Palace Screen, 1670-1700

Japanese Eight-Panel Screen, 1670-1700
This and all related images from:
The Victoria & Albert Museum

I call dibs on this in case the V&A ever wants to unload it. This six-paneled screen is adorned with a landscape design featuring buildings, figures, trees, birds and monkeys. The figures depicted are: men fishing at a river; a man walking with a stick; a man carrying a bag on a stick and women in brightly colored clothing sitting by a river. The scene comes alive with gold houses on hills, trees with shining monkeys nestled in the branches, a wise owl in a tree, birds in flight, and flowers with their glistening petals inlaid with gleaming shell. The images all glimmer in gold, silver and red on a dark lacquer ground in the fashionable technique of japanning. Each panel is attached to the next with metal foil and stud hinges.

This decorative screen, used for privacy or to divide a portion of a room (or simply to look pretty) was made in Japan between 1670 and 1700. It is believed that the screen may have come from the collection of Hamilton Palace. This important collection included many pieces previously owned by William Beckford (1760-1844) including the Van Diemen box and the Mazarin Chest.

Object of the Day: A Japanese Netsuke

In Sixteenth Century Japan, gentlemen began to become frustrated by the lack of pockets in their traditional kimonos and wore pouches or small baskets from cords attached to their belts. In these containers, they’d carry the objects that they’d need throughout the day. The cords were attached to their belts via a small decorative toggle or button-like object made of horn, ivory, bone, wood, metal, cane or lacquer. Over time, these objects, called Netsuke, became highly carved and ornamental. Soon, the Netsuke transitioned from being a purely practical article to being a highly revered art form.


Netsuke were not only collected by the Japanese, but also by other cultures across the world. Collectors in the U.K. were especially prevalent during the Nineteenth Century when British ladies and gentlemen became fascinated by Asian cultures.

This Netsuke dog is modeled after figures which would have been developed in the Nineteenth Century. I’ve had this little carving since my childhood. I’m not quite sure exactly what the material is. Animals were among the most popular subjects for Netsuke, especially those animals which related to the Zodiac. This rather fierce dog is also quite cute in its own way. I’ve always liked its grinning mouth and alert eyes.

Netsuke—both antique and contemporary—continue to be collected today. Though they serve no practical function any longer, they’re beautiful reminders of Japanese cleverness and the continued global quest for beauty in functionality.

Her Majesty’s Furniture: A Pair of Porcelain Vases, 1720

Pair of Vases
Japan, 1720
Adapted and Mounted: 1750, France
Purchased by George IV, recorded 1826
The Royal Collection

These brightly painted vases began their lives as a pair of wide-shouldered flasks designed to hold spirits. They were made in Japan for export to the Netherlands. In the 1750’s the flasks were adapted by a French artist who cut them down and added gilded mounts to them. The mounts—in the form of elaborate scroll-work—were crafted to very neatly match the asymmetrical painted pattern of carp, lions and flowers (three things not typically found together—at least without effort).


King George IV purchased this pair for display at his Brighton Pavilion. They were first recorded in the Royal Collection in 1826 and were simply described as “Japan China Jars.” Royal record-keeping has come a long way.