Showing posts with label locket. Show all posts
Showing posts with label locket. Show all posts

Monday, June 23, 2014

Mastery of Design: The Dame Joan Evans Putti Locket, 1570-1600



Memorial Locket with Cameo and Enamel Painting
Cameo:  1570, Setting: 1600
Germany
The Victoria & Albert Museum



From the collection of Dame Joan Evans, we have this layered agate cameo which depicts two male busts. The cameo is set in gold and adorned with painted enamels and rubies. It’s believed that the cameo was made in Germany circa 1570 and was set into the gold mount around 1600. 




The reverse of the cameo has been painted with an enamel landscape which shows a skull and a putto blowing bubbles—a clear representation of the brevity of human life. Given this, it’s entirely possible that this was meant to serve as a memorial locket or, perhaps, a memento mori.



Monday, May 26, 2014

Mastery of Design: A Memorial Locket, c. 1780



Memorial Locket
England, 1780
The Victoria & Albert Museum



Made in Britain around 1780, this memorial locket of engraved gold is set with an ivory miniature painted in watercolor. It depicts a woman alone in a landscape.

Such memorial jewelry rose in prominence starting in 1760. Most pieces contain a memento of the deceased—usually a lock of hair, and they almost certainly show the name and date of death of the person who has passed. This example, however, is missing the name of the deceased. It appears that the original glass backing which would have contained the lock of hair, and, possibly the inscription, was replaced with a different color gold at a later date.


Saturday, April 26, 2014

Saturday Sparkle: The Baynes Locket, c. 1775



Locket
The Victoria & Albert Museum


A plait of hair from some long-gone beloved has been preserved in this locket since about 1775. In the Eighteenth Century, locks of hair went from being mementos that were hidden away to being the centerpieces of important jewels. Some jewels used the hair or strands of hair as part of the pattern or in a miniature painting. Hair was even used to make sentimental objects. 


This locket with its openwork gold bow, bequeathed to the V&A by Mrs. Isobel Baynes in 1950, was made in England in the late Eighteenth Century. A work of gold, it is set with pearls, emeralds and green pastes (likely replacements). The plait is protected by glass. On the reverse, a painted coronet surmounts a monogram. 



Gifts of Grandeur: The FIDELLE ET SECRET Locket, 1780




Locket
England, 1780
The Victoria & Albert Museum



Though locks of hair had long been kept within compartments in sentimental jewelry, by the Eighteenth Century, the use of hair as a medium took on new distinction. Instead of just being housed in a jewel, hair became a part of the design and was used to make complicated patterns, ornate motifs and even delicate images. Such pieces were meant to not only honor the memory of the deceased, but also to show an attachment to someone living. 



This enameled English gold locket from 1780 features a design in hair on ivory with a watercolor inscription under glass. The painted monogram—M.C.G.—is traced with hair and a delicate (and barely visible now) pattern is set behind  the motto “Faithful and Secret” in French--FIDELLE ET SECRET. The back of the piece is set with more hair.


Sunday, March 23, 2014

Mastery of Design: The John Monson Locket, 1597


Locket of gold and other stuff
Inscribed for John Monson, 1597
The Victoria & Albert Museum




It’s a pretty locket.  It really is.  So, I don’t want to be icked out by it, but, I can’t help it.  You see,  according to the tradition of the family for whom this necklace was originally made, this locket contains part of the caul (the membrane enclosing the fetus before birth) that John Monson was born with in 1597. This was considered to be lucky, especially as a protection against drowning.  Why?  I couldn’t tell you.

At this point in our human history, there was a strong belief in the medicinal or magical properties of various natural substances , especially in Renaissance England. For instance, unicorn horn (actually part of the horn of the narwhal, an arctic whale) or bezoar stone, which was found in the stomach of a goat, were thought to be powerful antidotes against poison. Yucky things such as these were often set in pieces of jewelry.  Human stuff, too, it seems was assigned magical and medicinal properties.  Hence this baby-gunk locket.

When this was made, around 1579, men and women alike would have worn such a necklace, but only if they were part of the aristocracy.  You see, good ol’ Henry VIII (ruled 1509-1547) had made various attempts in the form of sumptuary laws to restrict jewelry wearing to the upper classes.  Many agreed with this idea.  For example, in 1585 the Puritan Philip Stubbes complained that it was impossible to tell “who is noble, who is worshipful, who is a gentleman and who is not” because jewels were worn by anybody who could afford them, whatever their rank.

So, we can assume that this was part of the jewels of a wealthy family.  Most likely,  this locket was made as a christening gift. Most babies in Elizabethan England were baptized within a few days of their birth, but aristocratic families often postponed this in order to allow for social arrangements.  Baptism gifts were often made of precious metals and were meant to be kept by the recipient well into adulthood.  John Munson, it is thought, wore this necklace for many years.



Saturday, February 22, 2014

Saturday Sparkle: The Hilliard Locket, 1610



Locket
English, 1610
The Victoria & Albert Museum
This small circular locket is decorated with opaque and translucent enamel and houses miniatures from the studio of Nicholas Hilliard. One shows James I, King of England (ruled 1603-1625), and, the other, Noah's Ark. The portrait of James I is based on an earlier work by Hilliard, painted around 1605, which is now at Windsor Castle.

Nicholas Hilliard (1547-1619) was the most notable miniature painter of his day. He was trained as a goldsmith and is known to have worked on a jewel for Edward Seymour, 2nd Earl of Hertford (died 1621) and to have designed a Great Seal for Elizabeth I (ruled 1558-1603). 



Mastery of Design: The Heneage Jewel, c. 1595





The Heneage Jewel
Circa 1595
This and all related images from:
The Victoria & Albert Museum





Known both as the Heneage Jewel and "The Armada Jewel,"  this glorious locket of enameled gold is set with table-cut diamonds and Burmese rubies.  The obverse displays a bust of gold under rock crystal depicting Elizabeth I.  This depiction is apparently an early version of the Garter Badge, which, alone dates to about 1585.

The inside of the locket is set with a miniature of Elizabeth I (1558-1603) painted by Nicholas Hilliard.

Meanwhile, the hinged reverse of the locket is enameled with the Ark of the English Church on a storm-chopped sea--representing the Protestant church steered by Elizabeth through religious turmoil. The interior of the reverse is enameled with a Tudor rose encircled by leaves.

Tradition tells us that the  jewel was given by the queen to Sir Thomas Heneage, a Privy Counsellor and Vice-Chamberlain of the Royal Household.  The important jewel remained in the possession of the Heneage family until 1902. 

Often, the jewel is referred to as the "Armada Jewel," though it was probably made in about 1595, some seven years after the defeat of the Spanish Armada in 1588. 

The jewel is inscribed in Latin:


'ELIZABETHA D.G. ANG. FRA. ET. HIB. REGINA' 
(Elizabeth, by the grace of God Queen of England, France and Ireland)

'SAEVAS. TRANQUILLA. PER. VNDAS' 
(peaceful through the fierce waves) 

'Hei mihi quod tanto virtus perfusa decore non habet eternos inviolata dies' 
(Alas, that so much virtue suffused with beauty should not last for ever inviolate)









Tuesday, February 18, 2014

Gifts of Grandeur: The Countess Harley Teleki Heart Brooch, 1610-20



Brooch of gold, enamel, rubies, diamonds and emeralds, 1610-20
The Victoria & Albert Museum



A brooch such as this would have been given as a token of love. Made between 1610 and 1620, it features a design of a heart pierced by arrows—a reference to Cupid which was widely used from the Renaissance onward. This jeweled brooch is also a locket which was probably made in Prague, in a workshop of the Imperial Habsburg court.

The piece is crafted of enameled gold, set with table-cut diamonds, rubies and emeralds. The emeralds are unique in that they are centrally bezel-set with small cabochon rubies.  In the center, a ruby is set within a heart-shaped gold frame and pierced by two arrows. The locket in the reverse of the jewel contains the miniature portrait in enamel of an unknown man behind a wee door which has been enamelled with red roses. The piece was once in the collection of the Countess Harley Teleki. 


Saturday, February 1, 2014

Her Majesty's Furniture: The Coburg Sideboard, 1851



Sideboard
Germany, 1850-1851
The Victoria & Albert Museum



Oh, Prince Albert…you can take the boy out of Germany, but you can’t take the Germany out of the boy. Though courtiers suggested to Queen Victoria that her Consort might want to tone down the whole, “I’m a foreign prince” schtick at various points, Prince Albert was unabashedly German in almost every way. Though Prince Albert’s pre-Victoria life was actually kind of terrible and sad, after his marriage he romanticized Germany and his boyhood and developed a rather peculiar tie to all of the things which he ignored when he actually lived in Germany.

So, by 1851, when the Prince’s baby, “The Great Exhibition” had launched, he was keen to make sure that Germany was represented. And, then, came this sideboard and its heavily carved brethren. Ferdinand Rothbart (1823-1899), a German furniture maker, presented a handsome suite of furniture at the Great Exhibition of 1851. Rothbart was assisted by one Th. Kolb whose history is all but lost now. The suite included four chairs among other objects which were all manufactured by Thomas Hoffmeister and Thomas Behrens in Coburg, Germany around 1850.

The entire lot was commissioned by the Duchy of Saxe-Coburg. Just for the record, let’s not forget that Albert was the Prince of Saxe-Coburg and Gotha (which was, by the way, the official name of the Royal Family from Victoria’s 1840 marriage until King George V changed it to “Windsor” on July 17, 1917 during the First World War when there was, understandably, some anti-German sentiment).

After the Exhibition, and after the sideboard—the most admired piece of the lot—was awarded an “Honourable Mention” by the juries there, Prince Albert bought the whole lot, intending to use the pieces in Balmoral Castle. However, during the construction of the new castle at Balmoral, the furnishings were taken to the Palace of Holyroodhouse in Edinburgh where it was used in the Evening Drawing Room. Evidently, Albert changed his mind and the suite never made it to Balmoral. It remained in Holyroodhouse until 1923 when Queen Mary donated the furnishings to the University of Edinburgh. I find this rather queer as it’s the first time I ever heard of Queen Mary donating anything to anyone. She much preferred having people donate things to her. I suspect, however, that these pieces weren’t really Mary’s cup of tea. She, too, at times tried to distance herself from her German roots. After all, aside from being related to Prince Albert as well, she was also the daughter of the uber-German Duke of Teck. Perhaps she just didn’t want these pieces around. The University grew tired of the suite as well, and, in 1967, donated the lot to the V&A which seems quite content to have it. 



This particular sideboard was described in the 1851 Exhibition catalog as being “in the German-Gothic style of the middle ages.” Well, yes, it is. It’s quite Gothic—complete with ogival arches and repeated motifs similar to Gothic window tracery. The door panels are deeply carved with hunting scenes and motifs. The central doors depict a group of deer in a woodland setting. These are flanked by figures of men with spears, knives and bugles. Boars and bears round out the theme. The whole of the reverse is covered in deep, plush, red velvet, which, where exposed, is faded to brown.



Object of the Day, Museum Edition: A Miniature of Queen Victoria’s Father, Prince Edward, Duke of Kent, 1814









Edward, Duke of Kent
1814
Miniature on Ivory in Gold Locket
The Royal Collection
The fourth son of King George III and Queen Charlotte, Prince Edward, the Duke of Kent and Strathearn was a military officer with expensive and debauched tastes as well as a host of illegitimate children. At the time of George III’s death, the King only had one legitimate grandchild, and she died young—leaving no one in line for the throne after the Prince Regent (later King George IV) and his younger brother, William. George III’s unmarried sons tried to make suitable marriages to produce a legitimate heir presumptice. Among this rush, The Duke of Kent married Princess Victoria of Saxe-Coburg-Saafeld. They had one child—Princess Alexandrina Victoria of Kent. The Princess was the only legitimate issue in line for the Crown, and after the death of her uncle, King William IV, she ascended the throne as Queen Victoria in 1837. The Duke of Kent never saw his daughter as Queen. He died seventeen years earlier.

But, here he is on a watercolor on ivory miniature in a gold locket. The painting is by Johan Georg Paul Fischer and dates to 1814.

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

Queen Victoria was painted in 1821, before her accession, holding this miniature in a portrait by Sir William Beechey which depicts the the Duchess of Kent with Princess Victoria. The elaborate gold locket is the work of the jewelers Rundell, Bridge & Rundell, and shows their masterful chasing and repoussé work. The Duke is identified by his Garter emblems, his coronet and his name, EDWARD. The locket’s reverse is similarly chased and is adorned with the badge of the Bath within the collar, and the collar and badge of St Patrick.

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

Fischer based this miniature on a portrait by Sir Beechey which also dates to 1814. No stranger to the Royal Family, Fischer’s first Royal sitter was King George III, whom Fischer painted for his Golden Jubilee.

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



Wednesday, November 20, 2013

Mastery of Design: The Major William Careless Locket, c. 1653



Locket
C. 1653
The Victoria & Albert Museum
This copper-gilt locket is made in two parts and hinged at the top. The front is engraved with the arms and motto of one Major William Careless. The reverse is engraved with a scene showing Careless and King Charles II hiding in the oak tree. A portrait of Careless and an inscription appear in the locket’s interior.

So, why are they hiding in a tree? After the Royalist defeat at the Battle of Worcester in 1651, the young Charles II and Colonel Careless took refuge in Shropshire where it is believed that they hid from the searching Cromwellian soldiers by climbing up into “a great oak.” With them, they took, “some victuals for the whole day viz. bread, cheese, small beer, and nothing else.” In the words of Nelson Muntz, “Haw, haw!”

The inscription reads:
Renowned Carlos! thow has won the day 


(Loyalty Lost) by helping Charles away, 


From Kings-Blood-Thirsty-Rebels in a Night, 


made black with Rage, of theives, & Hells dispight 


Live! King-Loved Sowle thy fame be Euer Spoke 


By all whilst England Beares a Royall Oake'


Saturday, November 16, 2013

Mastery of Design: The FIDELLE ET SECRET Locket, 1780



Locket
England, 1780
The Victoria & Albert Museum



Though locks of hair had long been kept within compartments in sentimental jewelry, by the Eighteenth Century, the use of hair as a medium took on new distinction. Instead of just being housed in a jewel, hair became a part of the design and was used to make complicated patterns, ornate motifs and even delicate images. Such pieces were meant to not only honor the memory of the deceased, but also to show an attachment to someone living. 



This enameled English gold locket from 1780 features a design in hair on ivory with a watercolor inscription under glass. The painted monogram—M.C.G.—is traced with hair and a delicate (and barely visible now) pattern is set behind  the motto “Faithful and Secret” in French--FIDELLE ET SECRET. The back of the piece is set with more hair.



Gifts of Grandeur: The Baynes Locket, c. 1775


Gifts of Grandeur: The Baynes Locket, c. 1775


Locket
The Victoria & Albert Museum


A plait of hair from some long-gone beloved has been preserved in this locket since about 1775. In the Eighteenth Century, locks of hair went from being mementos that were hidden away to being the centerpieces of important jewels. Some jewels used the hair or strands of hair as part of the pattern or in a miniature painting. Hair was even used to make sentimental objects. 


This locket with its openwork gold bow, bequeathed to the V&A by Mrs. Isobel Baynes in 1950, was made in England in the late Eighteenth Century. A work of gold, it is set with pearls, emeralds and green pastes (likely replacements). The plait is protected by glass. On the reverse, a painted coronet surmounts a monogram. 



Wednesday, October 30, 2013

Mastery of Design: A Memorial Locket, 1775-1800



Victoria & Albert Museum


In an engraved gold frame, ivory painted in watercolour shows a miniature, embellished with hair and pearls, of a woman by a tomb bearing the initials BEC beneath the inscription, “I Mourn for them I loved.” Knots of plaited hair adorn the back.

This is classic Eighteenth Century memorial jewelry with all of the trappings. From 1760 onward, there was a new vogue for memorial medallions or lockets-- especially in Britain.

This example could not be more ideal. 



Monday, September 30, 2013

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." 


Friday, September 13, 2013

Mastery of Design: The Heneage Jewel, c. 1595




The Heneage Jewel
Circa 1595
This and all related images from:
The Victoria & Albert Museum





Known both as the Heneage Jewel and "The Armada Jewel,"  this glorious locket of enameled gold is set with table-cut diamonds and Burmese rubies.  The obverse displays a bust of gold under rock crystal depicting Elizabeth I.  This depiction is apparently an early version of the Garter Badge, which, alone dates to about 1585.

The inside of the locket is set with a miniature of Elizabeth I (1558-1603) painted by Nicholas Hilliard.

Meanwhile, the hinged reverse of the locket is enameled with the Ark of the English Church on a storm-chopped sea--representing the Protestant church steered by Elizabeth through religious turmoil. The interior of the reverse is enameled with a Tudor rose encircled by leaves.

Tradition tells us that the  jewel was given by the queen to Sir Thomas Heneage, a Privy Counsellor and Vice-Chamberlain of the Royal Household.  The important jewel remained in the possession of the Heneage family until 1902. 

Often, the jewel is referred to as the "Armada Jewel," though it was probably made in about 1595, some seven years after the defeat of the Spanish Armada in 1588. 

The jewel is inscribed in Latin:

'ELIZABETHA D.G. ANG. FRA. ET. HIB. REGINA' 
(Elizabeth, by the grace of God Queen of England, France and Ireland)

'SAEVAS. TRANQUILLA. PER. VNDAS' 
(peaceful through the fierce waves) 

'Hei mihi quod tanto virtus perfusa decore non habet eternos inviolata dies' 
(Alas, that so much virtue suffused with beauty should not last for ever inviolate)