To Serve and Project: The Diana Coral Spoon, 1530-40

The Victoria & Albert Museum

This outstanding spoon features a silver-gilt bowl and a handle which has been formed from a branch of red coral. The bowl of the spoon bears an unidentified shield of arms, a coronet (probably of a Duke), initials, and adornment with elaborate scrolling patterns. The gilt bottom of the handle is decorated with classical heads in low relief. These busts represent the goddess Diana, identified by a crescent moon, her symbol, above.

Most likely, this was once part of a set, but after nearly five hundred years, it’s impossible to tell whether it paired with a knife or fork, or whether it was part of an impressive cutlery set. According to the V&A, “a similar coral-handled spoon, together with a matching knife and fork, was purchased around 1579 by the Elector Augustus of Saxony, who had one of the largest-known collections of coral-handled cutlery.”

Coral was prized for its beauty, but it was also believed to possess protective properties, such as the power to ward off evil magic. In the Sixteenth Century, for coral to be used in cutlery shows not only the desire for something beautiful, but perhaps a wish to be protected from malevolent forces which might have poisoned the food.

Though most coral pieces were made in Italy, this spoon appears to have been made in Germany.

Mastery of Design: A Royal Scent Bottle

Scent Bottle
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Little is known about this hardstone scent bottle from the Royal Collection.  Its date of creation is uncertain, and no one is quite sure from where it came.  It's likely, however, that Queen Mary added it to the Royal Collection since it's the sort of thing that was right up her alley.  

The bottle of carved blue-green agate is oval in section and meant to hold a fragrance.  It tapers to the gold base and the neck is mounted with four circle link chains from which it is meant to hand.  Gold mounts in floral arrangements are set with garnets, coral, a pearl and a diamond.  The stopper is fitted with garnet flower-heads.  

Mastery of Design: A Cartier Diamond and Coral Jabot Scarf Pin, 1920

The Victoria & Albert Museum

This long scarf pin by Cartier features three overlapping jeweled semicircles at its head. This pattern is echoed in miniature on the clip at its base. Made between 1920 and 1930, this style of brooch was very fashionable at the time. It is made up of two separate decorative ends which are joined by a pin.

When made, Cartier referred to these pins as “cliquet pins” because of the snap fastening which held the lower element in place over the sharp point of the pin. However, overall such pins are referred to as jabot pins (after a cravat or jabot) or sûreté pins.

A pin like this—in the 1920s would have been worn to secure a scarf or worn on the lapel. Sometimes, they were even worn at the front of a cloche hat. In all instances, only the two jeweled ends of the piece would be seen, with the pin concealed. This example of platinum set with fans of coral, onyx and brilliant-cut diamonds typifies both the look of the Art Deco and Cartier’s preferred style for these pins. 

Mastery of Design: The Froment-Meurice Coral Bacchus, 1854

This and all related images from:
The Victoria & Albert Museum

We've looked at several pieces by the Nineteenth Century French jewelers Froment -Meurice.  This piece in coral, gold, silver, pearls and a shimmering rose-cut diamond is one of the most exceptional. 

 Coral has long been valued, used as a jewel since antiquity and believed to be an amulet which could protect against the evil eye.  For the latter reason, it was was often worn by children or used in rosaries.

Froment-Meurice, like other jewelers of the era, looked back at historical designs.  This piece is a perfect example of that mentality.  This pendant  with a coral cameo depicting Bacchus has a sculpted gold frame decorated with winged mermaids and hung with pearls and diamond sparks.  It was probably one of the last sets of jewelry to be sold by the Paris jeweler François-Désiré Froment-Meurice before his death in 1855 . 

Mastery of Design: The LeRoy Coral Bracelet, 1860



The Victoria & Albert Museum



This delicate jewel of marine coral and African gold depicts intricately carved flowers emerging from a woven basket. This sort of naturalistic jewelry became especially popular in the mid-Nineteenth Century, especially in Italy where this bracelet was made. Coral’s softness allowed for easy carving, but it could also be used in its natural form, taking advantage of the appeal of its natural branches in styles reminiscent of those from Asia and Africa.

Most of the coral used in Europe came from the sea near Naples, Italy, and the medium quickly became a favorite symbol of world travel around 1815.

Object of the Day, Museum Edition: Specimens of Corals, Figured Stones, Minerals and Fossils, 1630-40

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

Attributed to Vincenzo Leonardi (fl.1621-1646), this watercolor and gold painting over black chalk from 1630-40, depicts “Specimens of corals, figured stones, minerals and fossils.”

The painting was originally owned by one Cassiano dal Pozzo; by whom bequeathed to his brother, Carlo Antonio dal Pozzo, 1657, and by descent; bought by Pope Clement XI, 1703; by whom bequeathed to his nephew, Cardinal Alessandro Albani, 1721; from whom bought by George III, 1762.

The early seventeenth century saw a rise in the study of the natural sciences. This was of great interest to Cassiano dal Pozzo who commissioned this work, probably from his frequent collaborator Vincenzo Leonardi. The painting shows twenty-five specimens. The specimens numbered in a seventeenth-century hand.

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

Mastery of Design: The Cartier Hand and Flower Brooch, 1930-1940

Brooch
Cartier, 1930-1940
Gold, Enamel, Coral, Diamonds
The Victoria and Albert Museum

This is kind of creepy, but also quite beautiful. The two states often find themselves married. So, here, we see the undeniable influence of surrealism on world culture. The French especially enjoyed surrealism, so it’s no surprise that the jewelers at Cartier would give it a try as well.

This intriguing brooch is one of a number of similarly odd pins made by Cartier between 1930 and 1940. They all featured a combination of a hand and jewel-set flower. The differences were in material, color and scale. Here, a carved coral hand (adorned with diamond and gold “bracelets”) holds a large black enamel flower set with a brilliant-cut diamond.

Other variations include a black enameled hand with a brightly-polished gold flower of a smaller size as well as a myriad of different set stones. This one is, perhaps the most attractive of the examples, and, also, due to the fleshy color of the coral, the creepiest. 

Gifts of Grandeur: The Montague Coral Rattle and Whistle, 1811-12

The Victoria & Albert Museum

Made for presentation to an aristocratic child, this object is a combination rattle and whistle of colored gold with a coral handle. The maker's mark is that of John Ray & James Montague, with London hallmarks for 1811-12

Since coral and gold are both relatively soft, the remarkable condition of this interesting antique proves that it was never played with by a child. It has no tell-tale tooth-marks to mar its beautiful surface. 

Unusual Artifacts: An Italian Coral Amulet, c. 1600

Carved Coral Amulet
Italy, Seventeenth Century
The Victoria & Albert Museum

A carved coral amulet, this jewel was made in Italy around 1600 and was intended as a baby gift. Mounted in enameled gold filigree, the piece is carved with a bird meant to protect the child from harm. 

The amulet could have been suspended from a ribbon over the cradle or, perhaps, hung from a rattle.

Sculpture of the Day: The Coral St. Michael, 1700-1750



The Victoria & Albert Museum


Coral’s softness allows for easy carving and it’s presumed “powers” made it a favorite medium for figurines and jewels assigned talisman properties. Here, we see a statuette in coral of St. Michael. The saint is wearing a feathered helmet and stands upon a dragon, as one does. In his right hand, he carries a sword, presumably to slay said dragon. Since coral was thought to protect against malignant magic, both the design and purpose of this figure seems to be to triumph over evil.

This, like most coral pieces, was made in Italy (Naples) during the early-to-mid Eighteenth Century when the use of coral for decorative purposes was at an all-time high.

To Serve and Project: The Diana Coral Spoon, 1530-40

The Victoria & Albert Museum

This outstanding spoon features a silver-gilt bowl and a handle which has been formed from a branch of red coral. The bowl of the spoon bears an unidentified shield of arms, a coronet (probably of a Duke), initials, and adornment with elaborate scrolling patterns. The gilt bottom of the handle is decorated with classical heads in low relief. These busts represent the goddess Diana, identified by a crescent moon, her symbol, above.

Most likely, this was once part of a set, but after nearly five hundred years, it’s impossible to tell whether it paired with a knife or fork, or whether it was part of an impressive cutlery set. According to the V&A, “a similar coral-handled spoon, together with a matching knife and fork, was purchased around 1579 by the Elector Augustus of Saxony, who had one of the largest-known collections of coral-handled cutlery.”

Coral was prized for its beauty, but it was also believed to possess protective properties, such as the power to ward off evil magic. In the Sixteenth Century, for coral to be used in cutlery shows not only the desire for something beautiful, but perhaps a wish to be protected from malevolent forces which might have poisoned the food.

Though most coral pieces were made in Italy, this spoon appears to have been made in Germany.

History's Runway: The Cory Head Ornament, 1835

Ornament
England, 1835
The Victoria & Albert Museum

Click on image for detail.

This headpiece of gold, from the magnificent collection of Lady Cory, is set with amethysts, topazes, pearls, coral, turquoises and garnets. It was made in England in 1835.


The design takes the form of a trail of flowers, in three pieces, connected by rings and showcases the jewels that were most popular in the 1830s.

Object of the Day, Museum Edition: The Uzbeck Clasp, 1800-1900

Clasp
Uzbekistan, c. 1800-1900
The Victoria & Albert Museum

Described in the early Twentieth Century accounts of the V&A as being from the Yemen district of Arabia, this handsome clasp was acquired by the V&A in 1910 and is thought to have been made in the early 1800s. Later curators concluded that the clasp was not made in Yemeni, but rather from Bukhara in Uzbekistan. Adorned with floral repoussé on the silver sheet which forms the backing, the clasp is pave set with turquoises—a main featured of Uzbek jewelry. Pendants of coral beads on silver wire contrast the brilliant blue. The center stone is actually yellow glass. 

Object of the Day, Museum Edition: The Diana Coral Spoon, 1530-40

The Victoria & Albert Museum

This outstanding spoon features a silver-gilt bowl and a handle which has been formed from a branch of red coral. The bowl of the spoon bears an unidentified shield of arms, a coronet (probably of a Duke), initials, and adornment with elaborate scrolling patterns. The gilt bottom of the handle is decorated with classical heads in low relief. These busts represent the goddess Diana, identified by a crescent moon, her symbol, above.

Most likely, this was once part of a set, but after nearly five hundred years, it’s impossible to tell whether it paired with a knife or fork, or whether it was part of an impressive cutlery set. According to the V&A, “a similar coral-handled spoon, together with a matching knife and fork, was purchased around 1579 by the Elector Augustus of Saxony, who had one of the largest-known collections of coral-handled cutlery.”

Coral was prized for its beauty, but it was also believed to possess protective properties, such as the power to ward off evil magic. In the Sixteenth Century, for coral to be used in cutlery shows not only the desire for something beautiful, but perhaps a wish to be protected from malevolent forces which might have poisoned the food.

Though most coral pieces were made in Italy, this spoon appears to have been made in Germany.

Mastery of Design: Lady Cory's Holly Sprig Brooch, 1850

The Victoria & Albert Museum

Oh that Lady Cory--did she have some jewelry or what? Here we see a brooch from Lady Cory's collection which was made in France between 1859 and 1865.

The piece is in the form of a sprig of holly, with leaves of enameled gold and berries of coral. Lady Cory was sure to wear this pretty pin at Christmastime.

Mastery of Design: The Hull-Grundy Coral and Ruby Dove Earrings

The British Museum

Made in England in the 1830s, this pair of earrings is hung with coral drops.  A setting of bloomed-gold leaves is surmounted by doves with ruby-set eyes.  The 1830s saw a rising taste for Naturalistic jewelry, not only designs of flowers, fungus and foliage, but also birds, insects and animals.  While real preserved animals were also employed, most wearers preferred golden representations to taxidermy.

These earrings are part of the Hull-Grundy Gift to the British Museum.

Mastery of Design: The Cartier African Mask Brooch, 1950-60

Jewelers of the 1950s and 1960s searched for new ways to interpret traditional forms in the same creative dance that comes to art and fashion every half a century or so. As is always the case, eyes trained on the future often nod at the past.

Designed by Cartier in Paris between 1950 and 1960, this brooch depicts a stylized African head. Cartier has cleverly pointed to earlier designs based on African art which became popular in the Nineteenth Century, however, this one has a different message. This brooch was made around the time when France's colonial domination of large areas of Africa was coming to an end.

The mask is carved of white chalcedony, with gold and coral detailing and a single diamond set just above the nose.

Mastery of Design: A Royal Scent Bottle

Scent Bottle
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Little is known about this hardstone scent bottle from the Royal Collection.  Its date of creation is uncertain, and no one is quite sure from where it came.  It's likely, however, that Queen Mary added it to the Royal Collection since it's the sort of thing that was right up her alley.  

The bottle of carved blue-green agate is oval in section and meant to hold a fragrance.  It tapers to the gold base and the neck is mounted with four circle link chains from which it is meant to hand.  Gold mounts in floral arrangements are set with garnets, coral, a pearl and a diamond.  The stopper is fitted with garnet flower-heads.  

History's Runway: The Cory Head Ornament, 1835

Ornament
England, 1835
The Victoria & Albert Museum

Click on image for detail.

This headpiece of gold, from the magnificent collection of Lady Cory, is set with amethysts, topazes, pearls, coral, turquoises and garnets. It was made in England in 1835.


The design takes the form of a trail of flowers, in three pieces, connected by rings and showcases the jewels that were most popular in the 1830s.

Mastery of Design: The Froment-Meurice Bacchus Pendant, 1854

Coral Pendant with Pearls and Diamond Sparks
Froment-Meurice, Paris, 1854
The Victoria  & Albert Museum

In the mid-Nineteenth Centuries, jewelers and designers started to turn to historical images for inspiration, especially as archaeological discoveries were becoming more commonplace.

Take this pendant, for example. It looks back to the elaborate pendants of Renaissance Italy with their intricately sculpted gold. This is actually part of a handsome parure which also consists of two matching brooches. The pendant and brooches hold the distinction of being one of the last sets of jewels to be sold by the Paris jeweler François-Désiré Froment-Meurice before his death in 1855. Froment-Meurive’s widow would later show a similar pendant at the Paris Universal Exhibition in 1855.

This pendant consists of a coral cameo depicting Bacchus in a sculpted gold frame decorated with winged mermaids and hung with pearls and diamond sparks. Coral, since ancient times, was believed to protect against the evil eye, and it was often worn by children or used in rosaries. By the Nineteenth Century, coral had become quite fashionable for both day and evening wear.