Showing posts with label diamonds. Show all posts
Showing posts with label diamonds. Show all posts

Sunday, March 1, 2015

Mastery of Design: A Snuffbox Commemorating the 1911 Coronation

Snuffbox
1911
Garrard & Co.
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II


From the archives of The Royal Collection, we have this important snuffbox of gold, enamel and diamonds by Sebastian Henry Garrard (of Garrard's, as one would guess).  The snuffbox, boasting watercolor on ivory portraits of King George V and Queen Mary, was made in 1911 expressly for the coronation.  

But, it gets better.  The piece was later engraved, on the inside of the gold lid, per Queen Mary's instructions and presented by Her majesty upon the day of the coronation of her son, "Bertie," (better known to us as King George VI) in 1937.  Following the whole "Abdication Kerfuffle" (TM), I'm sure Mary was relieved to have Bertie on the throne and happily presented this handsome present to her Number 2 son.  The 1937 engraving reads:


To 
King George VI. 
in remembrance of his Coronation, 
from his devoted Mother, 
Mary R
May 12th 1937.


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

The hinged, oval, gold and enamel box features a lid inset with glazed oval miniatures of Their Majesties, framed with rose cut diamonds, surmounted by a diamond and enamel crown, and with a diamond-set monogram below.  Queen Mary is depicted in a white gown with Garter, and her favorite pearls.  George V is shown, facing slight left in his uniform, Garter and assorted medals and orders.

Each side of the box is dazzling as the sides are alive with blue enamel with borders of white and green foliage and flower-heads.  The reverse, or underside, shows masterful engine turning applied with a silver and enamel Garter star. 



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


After a Fashion: An Enamel and Diamond Necklace 1660-1900


Enamel and Diamond Bow Necklace
with Pearls and a Large Sapphire Drop
1660-1900
Western Europe
The Victoria & Albert Museum

This necklace was over two hundred years in the making. The centerpiece of the gorgeous work is a bow of turquoise, opaque enamel, set with diamonds. This was made in Western Europe around 1660 and was acquired by Lady Alma-Tameda. This enamel and diamond brooch was adapted into a necklace in 1800. The chain consists of alternating enamel bows of white, black and blue, backed in yellow gold. Near 1900, the pearl and large sapphire drop was added to the central bow along with two mounted enamel pieces in a floral design.


The floral pieces, as well as the necklace as a whole, insist on maintaining an organic feel. Therefore, the sapphire drop mimics the natural shape of the Baroque pearls and the diamonds—even the later additions—are table-cut so as to rely on their own inherent sparkle as opposed to overworked faceting.


Saturday, February 28, 2015

Gifts of Grandeur: Queen Mary's Fabergé Column, 1900



Column and Frame
Fabergé, 1900
Presented to Mary of Teck
by Queen Elizabeth,
The Queen Mother, 1946.
The Royal Collection

Everyone wants to make a good impression on her mother-in-law. Sometimes, that’s not an easy task. Sometimes, it’s downright daunting. Consider, if you will, if your mother-in-law is the Queen Consort and the wife of King George V. That was the situation Elizabeth Bowes-Lyon found herself in when she married “Bertie,” also known as The Duke of York (also the future King George VI).


The woman who would later be called, “The Queen Mother” wasn’t as meek and quiet as she appeared in public and was, in reality, quite sharp and savvy. She knew that Queen Mary had a great passion for jewels and art and they bonded over their mutual attraction to the work of Fabergé.

On May 26, 1946, Queen Elizabeth, the Queen Mother presented her mother-in-law, Queen Mary (the then-Queen Mother) with this magnificent Fabergé creation from 1901. The object of Nephrite, two-colour gold, guilloché enamel, rose diamonds, mother-of-pearl features a delicately carved green column which supports an elaborate frame of diamonds.

This remarkable piece was the perfect addition to Mary of Teck’s existing collection of Fabergé and was rumored to have been one of her favorites. Though part of the Royal Collection, this frame and stand still appears to be on display within the State rooms at Buckingham Palace. 

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

What a great way to make a good impression.

Tuesday, February 24, 2015

Gifts of Grandeur: The Lehigh Valley Railway Brooch, 1948

The Victoria & Albert Museum



Isn’t this wonderful? Here we see a gold brooch in the form of a diesel locomotive, set with diamonds, sapphires and rock crystal. It’s the work of an unknown American jeweler and dates to 1948.


Jewelers often created special to commemorate notable events. This brooch was made to mark the introduction of diesel locomotives to part of the Lehigh Valley Railroad in the U.S. as locomotives powered by diesel were beginning to replace older steam locomotives. Such an event was exciting and important, hence the creation of this piece.

The Lehigh Valley Railroad was first constructed in the Nineteenth Century to transport Anthracite coal from Pennsylvania to America’s east coast, earning the nickname “the route of the black diamond,” in honor of its profitable cargo. To commemorate this, a black diamond shape can be seen on the company's logo on the front of this brooch.

Wednesday, February 18, 2015

Mastery of Design: A French Gold and Diamond "Aide-Mémoire," 19th C.

Notebook
French, Nineteenth Century
The Hull-Grundy Gift to
The British Museum





Known as an "aide-mémoire", this notebook with hinged covers of blue enamel on a guilloche ground is decorated with applied four-color gold trophies of gardening implements on one side and doves, and bows and arrows on the other. 

Each trophy is entwined with a gold ribbon and an inscription in rose diamonds set in silver.

The piece is clasped with a sliding gold pencil.  The interior sports three ivory leaves, each containing writing in French from its original Nineteenth Century owner.  




Monday, February 16, 2015

Mastery of Design: Mary Todd Lincoln's Diamond Brooch and Earrings, pre-1867



The Boston Museum of Fine Arts


Mary Todd Lincoln was a very complicated woman by all accounts.

Still, we're not here to discuss Mrs. Lincoln's life of suffering, her eccentricities nor her triumphs.  We're here to discuss her sense of style, and, from what I've seen, she had rather good taste in jewelry.

For example, this diamond brooch and earring suite is a rather stunning bit of work.


The Boston Museum of Fine Arts

Quatrefoil in design, each element is set with a central diamond framed in a diamond surround.  Eight smaller diamonds form a  second tier of stones. The gold mounts were originally highlighted in enamels though now much of the enamel is lost to wear.

The mine-cut diamonds are likely all original to the parure, ranging in color from  J-K with VS-VS1 clarity. 

On October 26 of 1867, the suite was featured  in Frank Lesley's Illustrated Newspaper as part of a job lot of Mrs. Lincoln's clothes, jewelry, and furnishings that were offered for sale through Brady & Company of New York City. 


Mrs. Lincoln in 1867,
around the time of the sale of her jewels.

After the assassination of her esteemed husband, President Abraham Lincoln, Mrs. Lincoln's many debts became insurmountable, leading to this rather depressing sale of some of her most cherished possessions.  The sale price listed for the suite was $350.00.

A James Denton Hancock of Ohio purchased the parure for his wife Mary Hitchcock Hancock (according to Mary Todd Lincoln scholar Donna McCreary) at the 1867 sale which took place at Brady &Co, 609 Broadway, NYC.  The jewels descended in the family of Robert Allen, Jr..  they were later purchased at a Frank Kaminski auction on in April of 2008 by the Boston Museum of Fine Arts where they're now a central part of the museum's important collection of jewelry.


Friday, February 13, 2015

Gifts of Grandeur: King George V's Tortoiseshell Box, c. 1910

Box of Tortoiseshell, silver gilt and a rose-cut diamond.
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II



When we think about the Royal Collection, especially from the period after the reign of Edward VII, those familiar with the provenance of most of the pieces therein, immediately think of Queen Mary, the ultimate collector.  However, Mary wasn't the only crowned head from 1910-1936 with an eye for attractive objects.  Her husband, King George V also had a knack for collecting handsome antiquities, treasures, and contemporary works.

This masculine box of tortoiseshell, gilt silver and a single rose-cut diamond dates to the early Twentieth Century and was made specifically for His Majesty George V and fits perfectly with his personal collection of simple, elegant pieces.  The polished lid is rimmed with gilt mounts set with a relief of berried laurels.  When the lid is removed, the gilded interior shows an engraved, crowned cypher--GVR.


Wednesday, February 11, 2015

Mastery of Design: The Crouzet Diamond and Pearl Brooch, 1860-70


Brooch
Crouzet, 1860-70
French
The Victoria & Albert Museum

Here we see an brooch of openwork gold, enameled in black set with diamonds and pearls, and dripping with pearls and diamond pendants

The brooch is attributed toCrouzet, a master jeweler who worked for all the major Parisian goldsmiths, and who was celebrated for his jewels of fine quality and unique design and his reliance on pieces in the Moroccan taste. This particular example of his work brooch seems to have been inspired by the " moresque " work of the renowned Parisian goldsmith Alphonse Fouquet. As with many of Crouzet’s pieces during this period, this brooch was designed to be worn during a period of mourning or half-mourning.

Tuesday, February 10, 2015

Mastery of Design: The Lahore Emerald Girdle, c. 1840



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


The emeralds in this exquisite piece were inherited by India's Maharajah Sher Singh from Ranjit Singh, his father known as the "Lion of the Punjab."  "The Lion," it is said, had used the emeralds to decorate his horse harnesses.  The maharajah had the emeralds made into this exceptional girdle circa 1840.

Nine years later, the Directors of the East India Company obtained the belt and presented it to Queen Victoria in 1851.  

As we know, the East India Company was chartered, as early as the Seventeenth Century, to encourage trade between Britain and the East Indies.  The Company eventually came to rule huge geographic areas of India with its own private armies, and, in doing so, exercised military power while assuming administrative functions.

Company rule of India  began in 1757 after the Battle of Plassey and remained strong until 1858 when, after the Indian Rebellion of 1857, the "Government of India Act 1858" concluded with the British Crown assuming direct control of the land under the new British Raj.

During this period of Company rule, India's leaders were often stripped of their treasures for the benefit of the Company.  This piece was one such treasure.

The Royal Collection states simply that the emerald girdle was...



"taken (as part of the Lahore Treasury) by the Directors of the East India Company, 1849; by whom given to Queen Victoria in 1851."


In short, many British royal jewels originating in India were legitimately given as gifts to the Company or to the Crown, but some were simply war booty, essentially taken from the Indian Maharajahs.  The largest collection of such treasures was taken from the Lahore Fort, just as this girdle was.  The exact number and nature of the jewels taken from the Lahore Treasure was closely guarded by 
 jewellers to the Royal family, Messrs Garrads & Co.  In fact, to this day, an official count is unknown.

Regardless of the manner in which they came into the collection over a century and a half ago, the curators of the Royal Collection have preserved and protected the jewels of The Lahore Treasury, and, in doing so have ensured their survival for future generations to study them.  This is the "give and take" of seized artifacts.  The way they were obtained may not have been too pleasant, but, ultimately, seizing them proves to protect them.

That's how I look at it, anyway.  But, enough of that, let's look at the girdle.

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

The jeweled belt is comprised of eighteen rectangular gold sections separated by gold links and a buckle.  Each section is edged with diamond and pearl links and set with square or hexagonal emeralds, and four with engraved oval stones. The buckle of the girdle has a square emerald between rows of diamonds in a flowerhead design.  The diamonds are either flat-cut (lasques) or more regularly faceted stones cut either in the West or in India for the Western market. The pearls are probably Eighteenth Century or earlier.

On her visit to the Great Exhibition on 22 May 1851, Queen Victoria was particularly struck by the the magnificence of the items from the Lahore Treasury.  She wrote of the...

 "jewels & ornaments from Lahore, [which] are quite magnificent, - such pearls, - & a whole girdle of emeralds."

When the Great Exhibition concluded,  as I said, the Directors of the East India Company presented the Queen with a splendid selection of these jewels, including a quantity of emeralds, which she described as "wonderful and of immense value."

A good many of the loose emeralds were re-cut and set by Garrards in a new emerald and diamond parure, consisting of a tiara, stomacher and a pair of bracelets, which Victoria wore on her State Visit to Paris in 1855. 

This girdle, which the Queen had so admired, was among the other treasures from Lahore which remained unchanged, and therefore, afford us a window into the style and brilliant craftsmanship of Nineteenth Century Indian goldsmiths.




Monday, February 9, 2015

Mastery of Design: Brooch with a Miniature of a Child, 1894



Brooch with a hand-colored photograph
English, 1894
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II



From the Nineteenth Century British School, this brooch of gold, diamonds, enamel and hair is set with a watercolor-ed photograph miniature of a child. The piece is engraved May 3rd 1894, but was first recorded in the inventory of the Royal Collection during the present reign.

This hand-colored photograph of a young child is set into a heart-shaped frame of gold and red guilloché enamel. An applied gold and diamond foliate wreath is inset with a lock of hair on the glazed reverse.

Friday, February 6, 2015

Precious Time: Queen Victoria's Rock Crystal, Diamond and Ruby Clock, 1900



Clock
Michael Perchin
c. 1900
Crown Copyright
The Royal Collection
Images Courtesy of Her Majesty Queen Elizabeth II




Created by Fabergé workmaster Mikhail Evlampievich Perkhin (1860-1903) around 1900, this desk clock of carved rock crystal is mounted with gold, silver-gilt, enamel, rose diamonds and rubies.  It was p
resented to Queen Victoria by Tsarina Alexandra Feodorovna, her granddaughter,  in 1900.


Crown Copyright
The Royal Collection


Her Majesty had a fondness for her Tsarina granddaughter.  According to the Royal Collection, "On receipt of the news of the death of Tsar Alexander III, on 1 November 1894, the Queen wrote of the new Tsar and Tsarina in her journal:

‘What a terrible load of responsibility & anxiety has been laid upon the poor Children! I had hoped and trusted they would have many years of comparative quiet & happiness before ascending this thorny throne.'"
The Queen was thrilled with this gift from the young Tsarina and appreciated its unusual, noting its difference from the majority of Fabergé’s clocks in her collection.  The others are in the form of gold strut clocks, enameled in a wide variety of colors and set with gemstones in gold. 

Crown Copyright
The Royal Collection
This clock, however, is crafted predominantly of rock crystal which has been engraved with trophies incorporating torches and a quiver as well as musical attributes. The rock crystal lobed panels are divided by four mounted gold arrows set with rubies and diamonds. 

White enamel forms the dial which is  surrounded by a bezel of green enamelled laurel with diamond-set ribbon ties. 

Upon the death of Queen Victoria, the clock was given to the future King George V who kept it on his desk until his own death.


Crown Copyright
The Royal Collection

Wednesday, July 23, 2014

Mastery of Design: An Enamel, Pearl and Diamond Bracelet, 1875




Bracelet
Enamel, Pearls and Diamonds
French, 1875
The Victoria & Albert Museum
Today’s sparkly thing is a bracelet of translucent and plique-à-jour enamel in gold openwork, set with pearls and rose-cut diamonds.

It is the work of the renowned Parisian jeweler Frédéric Boucheron (1830-1902) and one of his team of fine designers and craftsmen--Charles Riffault. Riffault revived the technique of translucent or un-backed cloisonne enameling. Boucheron had exclusive rights to Riffault’s process and the firm who exhibited the technique at the International Exhiibtions of1867 and 1878.

Precious Time: Queen Victoria's Rock Crystal, Diamond and Ruby Clock, 1900



Clock
Michael Perchin
c. 1900
Crown Copyright
The Royal Collection
Images Courtesy of Her Majesty Queen Elizabeth II




Created by Fabergé workmaster Mikhail Evlampievich Perkhin (1860-1903) around 1900, this desk clock of carved rock crystal is mounted with gold, silver-gilt, enamel, rose diamonds and rubies.  It was p
resented to Queen Victoria by Tsarina Alexandra Feodorovna, her granddaughter,  in 1900.


Crown Copyright
The Royal Collection


Her Majesty had a fondness for her Tsarina granddaughter.  According to the Royal Collection, "On receipt of the news of the death of Tsar Alexander III, on 1 November 1894, the Queen wrote of the new Tsar and Tsarina in her journal:

‘What a terrible load of responsibility & anxiety has been laid upon the poor Children! I had hoped and trusted they would have many years of comparative quiet & happiness before ascending this thorny throne.'"
The Queen was thrilled with this gift from the young Tsarina and appreciated its unusual, noting its difference from the majority of Fabergé’s clocks in her collection.  The others are in the form of gold strut clocks, enameled in a wide variety of colors and set with gemstones in gold. 

Crown Copyright
The Royal Collection
This clock, however, is crafted predominantly of rock crystal which has been engraved with trophies incorporating torches and a quiver as well as musical attributes. The rock crystal lobed panels are divided by four mounted gold arrows set with rubies and diamonds. 

White enamel forms the dial which is  surrounded by a bezel of green enamelled laurel with diamond-set ribbon ties. 

Upon the death of Queen Victoria, the clock was given to the future King George V who kept it on his desk until his own death.


Crown Copyright
The Royal Collection


Monday, July 14, 2014

Mastery of Design: The Liberty Blood Red Fire Opal Ring and Necklace, 1926-1927



Fire Opal Ring and Pendant in Platinum and Diamond Settings
The British Museum

Click Images to Enlarge.








Liberty & Co. of London and Paris produced this platinum-set finger ring and pendant for Christmas of 1926-1927.  The set glitters with the pristine sparkle of diamonds and the unusual glow of blood red fire opals.  

This extraordinary pair of rare fire opals is part of an impressive collection of jewels from the 1920s-1950s which was donated to the British Museum in 1978 by Professor John and Anne Hull Grundy.  




Thursday, July 3, 2014

Mastery of Design: A French Diamond Spray Ornament, c. 1850

Diamond Spray Ornament with Trembler
The Hull-Grundy Gift
The British Museum



I've had a good time these last couple of weeks exploring the jewelry in the Hull-Grundy gift to The British Museum.  Among the many grand jewels in the bequest is this ornamental trembler pin in the form of a floral spray, a piece which is highly representative of the Nineteenth Century revival of Eighteenth Century forms.  

The French work of silver, gold, and closed-back, pink-foiled diamonds is reminiscent of pieces made for the French court in the late Eighteenth Century.  Empress Eugénie revived the style in the 1850s when such floral ornaments found a new fashion in the naturalistic style which flourished across the European aristocracy. 



Object of the Day, Museum Edition: The Marret Frères et Jarry Brooch, 1875


Brooch of Gold, Emeralds and Diamonds
c. 1875
The Victoria & Albert Museum



This gold brooch, decorated with enamel and set with emeralds and rose-cut diamonds was made in Paris circa 1875 by the jewelry firm of  Marret Frères et Jarry.

This transitional piece, in the form of a floral head, marks the ushering-in of heavily-jeweled Naturalistic floral sprays which dominated the end of the Nineteenth Century.