Gifts of Grandeur: The Hull Grundy Pansy Brooch, c. 1850

The British Museum

As we've often discussed before, the Victorian Language of Flowers was used to communicate many a message when the spoken word was not appropriate.  In this intimate language, the pansy represented "thoughts"--a clever play on the French word "pensees" which means "thoughts."  The pansy could also signify to the recipient of the flower that the sender was saying, "You occupy my thoughts."  The pansy was developed out of the viola by botanists from the late 1820s and by 1861, the brightly-hued, large variations that we know today were being grown.

When this brooch was made between 1840 and 1850, we can see that the flower was well on its way to becoming the bloom that we know.  At this point in both floral and jewelry history, the pansy was a popular romantic symbol, and this jewel is a perfect example of the place that the bloom held in English culture.  A work of chased two-color gold, the brooch is set with amethysts and citrines with pale green stone, possibly peridot, in the center.  The gems are mounted in the form of a pansy flower with the flower-head set on a trembler spring.

This piece forms part of the Hull Grundy bequest to The British Museum.

Unusual Artifacts: The Crichton Vinaigrette, 1885-1886

Unusual Artifacts: The Crichton Vinaigrette, 1885-1886

Vinaigrette
G.&M. Crichton
The Victoria & Albert Museum

A Vinaigrette was used to hold an aromatic substance. Usually, the vinaigrette was worn, suspended from a chain, cord or ribbon around the throat. Sometimes, it could take the form of a brooch or a hand-held ornament.

This example was made around 1886 in Scotland by the Edinburgh jewelery firm G&M Crichton who had earlier made quite a splash at the London Exhibition of 1872. While Crichton’s designs were praised overall at the exhibition, some critics felt that the Highland brooches were a bit too “extravagant” in detail.

When this brooch was made, Scotland and all things Scottish were quite fashionable due to the earlier poetry of Sir Walter Scott and the public admiration for the land shown by Queen Victoria and Prince Albert. Scottish pebble jewelry was quite in demand. While the majority of these Scottish agate pieces came back to England as souvenirs of Scotland, some examples were made in Birmingham to meet the high demand. Birmingham jewelers would mimic the style of the Scottish jewels, employing stones collected in Scotland.

This vinaigrette shows the variety of attractive stones native to Scotland. Citrines, amethysts, bloodstone, mottled jasper and banded agate are set into silver. The reverse is marked for G.&M. Crichton with hallmarks for 1885 to 1886.

Mastery of Design: A Pair of French Gemstone Earrings, 1820-1830

Earrings
1820-1830
The Victoria & Albert Museum

Fashioned of gold filigree with cannetille (thin gold wires) and grainti (bumpy grains of gold) decoration, these earrings are set with emeralds, citrines, sapphires, garnets, rubies, aquamarines, peridots and pearls.

I’ll repeat what I said when I discussed the matching necklace which accompanies these earrings. I believe that these earrings were made later than the necklace. The necklace was created around 1820—a fact very much reflected in the style of the piece. However, I’m guessing the earrings came about a decade later. There’s something about the workmanship that doesn’t exactly match. However, they’re quite attractive and very nice examples of the style of the early to mid Nineteenth Century. This is the sort of thing that a young Queen Victoria would have worn—or at least admired.

Mastery of Design: A Ring by Gerda Flöckinger, 1969

The Victoria & Albert Museum

Here's a charmingly peculiar bauble dating to 1969.  It's a ring, the body of which is pierced and intentionally darkened in areas by oxidation. Sections are adorned with irregular scrolls, wires and small balls. The ring is set with a large, pale citrine carved with a floral design and a smaller pink tourmaline. Attached to the ring, below the tourmaline,  a circular gold disc with a small opal set in it, is mounted and from the disc hangs a 'tail'-- a stem of silver decorated with a spiral of gold wire.

The Victoria & Albert Museum

This is the work of Gerda Flöckinger, CBE, one of the pre-eminent artists in the alternative jewelry scene in London. She was born in Innsbruck, Austria, in 1927, and emigrated to Britain in 1938 where she studied fine art at St Martin's School of Art, and jewelry and enamels at the Central School of Arts and Crafts in London. 

In 1956, she made the brave step to work as an independent designer and maker, and, in 1962, established a pioneering course in experimental jewellery at Hornsey School of Art. where much of the next generation of cutting-edge British artist-jewellers were taught.

The encrusted, organic textures of this ring typify Flöckinger's work. In 1969, when this ring was crafted, large, unusual stones - cameos, soft-colored cabochons, veined turquoises and irregular pearls were incorporated to give glowing pools of color amidst, irregular planes and intense contrasts against the swirling, differing metals.

The ring was purchased from the artist from an exhibition of her work held at the V&A in 1971.

The Victoria & Albert Museum

Updated on April 4, 2014:

I had the honor of being contacted directly by Gerda Flöckinger, a Commander of the British Empire.  

She wrote the following to me:

My ring is not pierced in any part of itself. The ring is built up from different sizes of silver wires, with fusion techniques and additional details soldered into position after the completion of the main fusion.

This particular ring may have been typical of my work in 1969 and a period of a few years before and after, however it is not at all typical of my work earlier, so probably not typical until the later ‘sixties to maybe early to mid ’seventies.

I did not discover the possibilities of precious metal fusion until 1963, so all my work before that date is very different. My later work after my solo exhibition at the V&A (which was a landmark show in the sense that it was the first solo show at the V&A of the work of a woman during her lifetime) has also undergone considerable changes throughout my working life. I hope.

I'd like to point out that I'm thrilled to have heard from the artist herself, and, I'm also interested that her personal statement is in direct contrast to the description of the piece which is listed in the online catalog of the V&A as seen here wherein it is stated, "The body of the ring is pierced and deliberately darkened in places by oxidation and decorated with irregular scrolls, wires and small balls."

I'm most grateful to Miss Flöckinger for taking a moment to describe the process by which she created this remarkable piece, to provide an opportunity to correct an error in the online catalog, and for taking the time to write to me.

Mastery of Design: The Hull Grundy Pansy Brooch, c. 1850

The British Museum

As we've often discussed before, the Victorian Language of Flowers was used to communicate many a message when the spoken word was not appropriate.  In this intimate language, the pansy represented "thoughts"--a clever play on the French word "pensees" which means "thoughts."  The pansy could also signify to the recipient of the flower that the sender was saying, "You occupy my thoughts."  The pansy was developed out of the viola by botanists from the late 1820s and by 1861, the brightly-hued, large variations that we know today were being grown.

When this brooch was made between 1840 and 1850, we can see that the flower was well on its way to becoming the bloom that we know.  At this point in both floral and jewelry history, the pansy was a popular romantic symbol, and this jewel is a perfect example of the place that the bloom held in English culture.  A work of chased two-color gold, the brooch is set with amethysts and citrines with pale green stone, possibly peridot, in the center.  The gems are mounted in the form of a pansy flower with the flower-head set on a trembler spring.

This piece forms part of the Hull Grundy bequest to The British Museum.

Mastery of Design: A Faceted Citrine and Amethyst Seal

Seal of Citrine, Gold and Amethyst
Crown Copyright
The Royal Collection
via The Royal Collection Trust and
Courtesy of Her Majesty Queen Elizabeth II

Click on images for larger size.

Our chums at the Royal Collection Trust list this magnificent piece only as a:

Faceted citrine and gold seal with amythyst matrix carved with rampant greyhound holding pennant.

That's great.  After all, that's exactly what it is.  However, the description doesn't tell us when it was made or to whom it belonged or how it came to be in the Royal Collection.

So, I shall speculate.

Of course, it came back to the Royal Collection via Queen Mary, consort of King George V, because EVERYTHING did.  So, that's settled.

I'd like to guess that the seal may have originally been used by King Henry VII whose standards included a red dragon and a white greyhound.  I could be entirely wrong.

If anyone has any ideas, let me know. 

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

Mastery of Design: An English Citrine and Gold Brooch, 1850-65

Brooch of Citrine and Stamped Gold
1850-1865
The Victoria & Albert Museum

Citrine, a type of quartz can vary in color from the more common yellow to red, brown or orange. Of course, the stone is usually a lemony, sunshiny color—like citrus fruit, hence the name which derives from the French word, “Citron.” The main source of citrine is Brazil.

Here’s a handsome citrine brooch which dates between 1850 and 1865. The brooch is set in stamped gold and was made in England by a now unknown jeweler. 

Mastery of Design: A Pair of French Gemstone Earrings, 1820-1830

Earrings
1820-1830
The Victoria & Albert Museum

In June of 2011, we looked at the necklace that forms a suite with these earrings. Fashioned of gold filigree with cannetille (thin gold wires) and grainti (bumpy grains of gold) decoration, these earrings are set with emeralds, citrines, sapphires, garnets, rubies, aquamarines, peridots and pearls.

I’ll repeat what I said when I discussed the necklace. I believe that these earrings were made later than the necklace. The necklace was created around 1820—a fact very much reflected in the style of the piece. However, I’m guessing the earrings came about a decade later. There’s something about the workmanship that doesn’t exactly match. However, they’re quite attractive and very nice examples of the style of the early to mid Nineteenth Century. This is the sort of thing that a young Queen Victoria would have worn—or at least admired.

Unusual Artifacts: The Crichton Vinaigrette, 1885-1886

Vinaigrette
G.&M. Crichton
The Victoria & Albert Museum

A Vinaigrette was used to hold an aromatic substance. Usually, the vinaigrette was worn, suspended from a chain, cord or ribbon around the throat. Sometimes, it could take the form of a brooch or a hand-held ornament.

This example was made around 1886 in Scotland by the Edinburgh jewelery firm G&M Crichton who had earlier made quite a splash at the London Exhibition of 1872. While Crichton’s designs were praised overall at the exhibition, some critics felt that the Highland brooches were a bit too “extravagant” in detail.

When this brooch was made, Scotland and all things Scottish were quite fashionable due to the earlier poetry of Sir Walter Scott and the public admiration for the land shown by Queen Victoria and Prince Albert. Scottish pebble jewelry was quite in demand. While the majority of these Scottish agate pieces came back to England as souvenirs of Scotland, some examples were made in Birmingham to meet the high demand. Birmingham jewelers would mimic the style of the Scottish jewels, employing stones collected in Scotland.

This vinaigrette shows the variety of attractive stones native to Scotland. Citrines, amethysts, bloodstone, mottled jasper and banded agate are set into silver. The reverse is marked for G.&M. Crichton with hallmarks for 1885 to 1886.

Gifts of Grandeur: The Quintessential 1820’s Necklace



Necklace
French, 1820
Gold, Emerald, Citrine, Sapphire, Garnet, Ruby, Aquamarine, Peridot, Pearls
The Victoria & Albert Museum

 If I could pick one piece of jewelry which I felt best summarized the sensibilities of French jewelers of the 1820’s, it would be this necklace.

It’s a masterpiece of gold cannetille. Cannetille is a close cousin to filigree inasmuch as it also employs thin gold wires or finely hammered sheets of gold to create patterns of scrolls and volutes, and even organic-inspired elements. This type of workmanship reached the peak of its popularity in the 1820’s in France. These pieces were often adorned with pink topaz, aquamarine, amethyst, chrysoberyl and rubies as well as pearls and shells which tied into the overall Rococo-ness of the style.

This necklace very neatly sums up the style. Here we see the beautiful filigree work which defined the look of the era. Set into the sumptuous gold are emeralds, citrines, sapphires, garnets, rubies, aquamarines, peridots and pearls. It couldn’t be a more perfect example if it tried.

I don’t know this for a fact, but I’m guessing that the earrings depicted in the last photograph were created at a later date—probably the late 1830’s—to match the necklace. The scale is not quite right when compared to the necklace and that leads me to believe they’re not original.

Mastery of Design: A Cameo of Two Female Heads, 1700-1825

Cameo with Two Female Heads
Unknown Origin
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Two ladies in profile grace this delicate cameo of red, brown and green agate. The silver gilt mount is set with a citrine, two amethysts, two emeralds and a garnet.

First recorded in the Royal Collection in 1872, the cameo depicts the women in classical dress and uses the natural color of the agate to give realistic tint to the portraits.

It is believed that the piece was part of the collection of Queen Victoria. The cameo may well be Roman and possible dates to antiquity.

Gifts of Grandeur: The Crichton Vinaigrette, c. 1885

Vinaigrette
G. & M. Crichton
Scotland, c. 1885
The Victoria & Albert Museum

The Edinburgh jewelry firm of G. & M. Crichton, at the London Exhibition of 1872, was given a fair amount of praise for their work in general. However, their highland shoulder brooches and works which used wholly Scottish materials, were granted the greatest raves. By the 1880s, thanks in large part to the poems and novels of Sir Walter Scott and the loyalty of Queen Victoria and the late Prince Consort, Scotland was a popular tourist spot. Some of the most fashionable souvenirs to be taken home from Scotland were the examples of “pebble” jewelry which were produced by local workmasters.

Here’s an example of the sort of wares produced by G. & M. Crichton using local materials. This vinaigrette (a small vessel used to hold scent or smelling salts used to combat the pervasive foul city smells of the Nineteenth Century) is constructed of silver set with citrines, amethysts, bloodstone, mottled jasper and banded agate. Signed “G. & M. Crichton” it also is marked with Edinburgh hallmarks for 1885-1886.   The vinaigrette was praised by critics for its handsome design and the use of the large, faceted citrine in the cap of the vessel.  

Mastery of Design: An English Citrine and Gold Brooch, 1850-65

Brooch of Citrine and Stamped Gold
1850-1865
The Victoria & Albert Museum

Citrine, a type of quartz can vary in color from the more common yellow to red, brown or orange. Of course, the stone is usually a lemony, sunshiny color—like citrus fruit, hence the name which derives from the French word, “Citron.” The main source of citrine is Brazil.

Here’s a handsome citrine brooch which dates between 1850 and 1865. The brooch is set in stamped gold and was made in England by a now unknown jeweler. 

Mastery of Design: The Jane Morris Citrine, 1820-30

Citrine Brooch
Set with emeralds and rubies.
Belonging to Mrs. Jane Morris
The Victoria & Albert Museum

This handsome citrine brooch originally belonged to Jane Morris, the wife of the artist, designer and socialist William Morris.  We’ve looked at several of “Janey’s” jewels before.  Many of them, oddly enough, didn’t come from her famous husband, but, instead came from one of his famous friends.  You see, Janey was often painted by the artist Dante Gabriel Rossetti with whom she enjoyed a long “friendship.”  Many of Janey’s  jewels were given to her by Rossetti—including this one.

Oblong with rounded corners, the brooch is set with twelve small rubies and emeralds which are mounted in the filigree frame which surrounds the central stone.  It was made between 1820 and 1830.  It was later adapted to be worn as a pendant.

Her collection was bequeathed to the V&A by her daughter, May, in 1938.

Some other baubles Rossetti gave to "Janey."

Mastery of Design: The Janey Morris Brooch, 1820-30

Brooch belonging to Janey Morris, 1820-1830
The Victoria & Albert Museum

This fine citrine brooch originally belonged to Mrs. Jane Morris (known as Janey), the wife of the artist, designer and socialist William Morris. Janey was a favorite subject of her famous husband and his artist friends.  She was often painted by the artist Dante Gabriel Rossetti who had a special fondness for her.  Rossetti often made innocent gifts of jewelry to his friend’s wife, some of which—including this jewel--were bequeathed to the V&A by her daughter May in 1938.

The brooch is oblong with rounded corners. Twelve small rubies and emeralds are set in the filigree decoration surrounding the central sunny citrine.  The brooch was made between 1820 and 1830 in the style of gold filigree which was fashionable at the time in London.  

Others gifts presented to Mrs. Morris

Mastery of Design: A Pair of French Gemstone Earrings, 1820-1830

Earrings
1820-1830
The Victoria & Albert Museum

In June, we looked at the necklace that forms a suite with these earrings. Fashioned of gold filigree with cannetille (thin gold wires) and grainti (bumpy grains of gold) decoration, these earrings are set with emeralds, citrines, sapphires, garnets, rubies, aquamarines, peridots and pearls.


I’ll repeat what I said when I discussed the necklace. I believe that these earrings were made later than the necklace. The necklace was created around 1820—a fact very much reflected in the style of the piece. However, I’m guessing the earrings came about a decade later. There’s something about the workmanship that doesn’t exactly match. However, they’re quite attractive and very nice examples of the style of the early to mid Nineteenth Century. This is the sort of thing that a young Queen Victoria would have worn—or at least admired.

Mastery of Design: The Jane Morris Brooch, 1820-1830

Brooch
Gold Filigree, Citrine, Emeralds, Rubies
British, 1820-1830
The Victoria & Albert Museum

This gold filigree brooch set with a large citrine and small emeralds and rubies was presented to Jane Morris as a gift from her husband, the celebrated artist and designer William Morris. Jane Morris, known as “Janey” to friends and family, was a frequent subject of her husband’s artist friends, including the painter Dante Gabriel Rossetti.
This brooch is among the number of jewels that she bequeathed to the V&A. Many of the others were gifts from her celebrity acquaintances including Rossetti himself.

Gem of the Week: The Citrine

Mounted by a sprig of garnets, amethysts,
aquamarine and pink sapphires, this105.35 carat
emerald-cut citrine dates to the 1950's.
Lang Antique and Estate Jewelry

A member of the quartz family, the citrine gets its name from the Latin word citrina which means “yellow.” The gemstone is typically yellow, but can range from orange to brown.  Natural citrines are very rare.  In fact, most modern citrines sold commercially are actually color-treated amethysts or yellow topaz.  Due to their similar chemical make-up, many citrines are found concurrently with amethysts.  When the crystals are joined together in a natural bi-color stone, the result is an “ametrine.” 

Natural citrine has been used for many years and was popular in English Victorian jewelry. Prized for its sunny color, the citrine is often paired with diamonds.  This also gives the effect of a canary (yellow diamond).  One of the birthstones for November, citrines remain a popular gemstone.