Object of the Day, Museum Edition: A Nineteenth Century Porcelain Figurine

Figurine
Gilt Porcelain
The Victoria & Albert Museum

This hard-paste white porcelain figural group by an unknown Nineteenth Century maker stands on an oval four-footed base and features two classically dressed, Greek-style female dancers in flowing gilt draperies. The base is adorned with swags of gilt garlands in relief.

The figures stand in opposition to each other in contrappasto, delicately balanced.

Representations of classical Greece were on an upswing again by the end of the Eighteenth Century in paintings, sculpture, painted vases and reliefs which were inspired by archaeological sources. Such classical, idealistic images were considered noble and elegant.

Classically-inspired figural groups such as this one were usually designed to be made in pairs which would then be displayed symmetrically on a mantel or sideboard.

History's Runway: The Miss M.B. Johnson Evening Gown, 1805-1810

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

Fashion of the early Nineteenth Century provided a clean, flattering silhouette in the Neoclassical style.  This evening ensemble from 1805-1810 shows the graceful lines and colors which defined the era.  Here, we see a high-waisted gown with short sleeves in the Neoclassical fashion which imitated the forms of Greek and Roman dress evidenced in the ancient sculptures which were discovered and displayed at the time. 

This gown, like others of the period is constructed of white muslin which was imported from India or, in the case of this example, made in Europe to imitate Indian materials.  It is an ideal example of the style with its high Empire waist, ruffled bodice and theatrical, cascading train.  Patterns were kept to a minimum.  Here, we see a pale design of acorns and vine tendrils down the front and around the hem of the gown.  


Such a gown was always accessorized with a scarf of knitted silk which was typically worn around the waist and supported by the lady’s elbows during the day, and used as a shawl in the evening.  In this case, the scarf has been printed in an Indian-inspired pattern similar to design on the gown, but in bolder, contrasting colors.

Made in France, the gown was given to the V&A by Miss M. B. Hudson.

Mastery of Design: The Topaz Necklet, c. 1780

Necklet of White Topaz
Part of a Demi-Parure
Portugal, 1780-1800
The Victoria & Albert Museum

This necklace, made in Portugal between 1780 and 1800, features a symmetrical bow design from which five loops suspending an equally symmetrical bow and pendant hang.

The piece is typical of neo-classical Portuguese design. It is a portion of a “demi-parure” - a half set of jewels - which is comprised of a pair of long pendalogue earrings (long pear-shaped pendants hanging beneath bows).

The stones are white topaz which are set in silver to enhance their clarity. That this set remains as it is owes to the fact that the stones are topaz and not diamonds. Had they been diamonds, the set surely would have been ripped apart and reset several times over. 

Mastery of Design: The Topaz Necklet, c. 1780

Necklet of White Topaz
Part of a Demi-Parure
Portugal, 1780-1800
The Victoria & Albert Museum

This necklace, made in Portugal between 1780 and 1800, features a symmetrical bow design from which five loops suspending an equally symmetrical bow and pendant hang.

The piece is typical of neo-classical Portuguese design. It is a portion of a “demi-parure” - a half set of jewels - which is comprised of a pair of long pendalogue earrings (long pear-shaped pendants hanging beneath bows).

The stones are white topaz which are set in silver to enhance their clarity. That this set remains as it is owes to the fact that the stones are topaz and not diamonds. Had they been diamonds, the set surely would have been ripped apart and reset several times over. 

Mastery of Design: The Dame Joan Evans Pearl and Diamond Drop Earrings, 1795-1810

The Dame Joan Evans Diamond and Pearl Drop Earrings
French, 1795-1810
The Victoria & Albert Museum

This pair of drop earrings of gold cut an elegant silhouette.  They are set with pearls and rose-cut diamonds and take the form of two long loops, one pearl, the other diamond.   These “bands” are “tied” near the top with a bow.

When these earrings were made, between 1795 and 1810 (in France), women’s dress had simplified with the influence of costumes found in archeological discoveries and artifacts from classical Greece and Rome.

During this period, fine muslin fabrics draped the body, revealing, low-cut bodices were the fashion.  This new display of skin allowed a fleshy backdrop for the presentation of  elaborate stone and filigree necklaces.  Meanwhile, the hair was  often worn in a delicate chignon (bun), with curls arranged around the forehead and face—allowing women to wear jeweled combs or tiaras and elongated earrings with refined silhouettes.

History's Runway: The Miss M.B. Johnson Evening Gown, 1805-1810

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

Fashion of the early Nineteenth Century provided a clean, flattering silhouette in the Neoclassical style.  This evening ensemble from 1805-1810 shows the graceful lines and colors which defined the era.  Here, we see a high-waisted gown with short sleeves in the Neoclassical fashion which imitated the forms of Greek and Roman dress evidenced in the ancient sculptures which were discovered and displayed at the time.

This gown, like others of the period is constructed of white muslin which was imported from India or, in the case of this example, made in Europe to imitate Indian materials.  It is an ideal example of the style with its high Empire waist, ruffled bodice and theatrical, cascading train.  Patterns were kept to a minimum.  Here, we see a pale design of acorns and vine tendrils down the front and around the hem of the gown.  


Such a gown was always accessorized with a scarf of knitted silk which was typically worn around the waist and supported by the lady’s elbows during the day, and used as a shawl in the evening.  In this case, the scarf has been printed in an Indian-inspired pattern similar to design on the gown, but in bolder, contrasting colors.

Made in France, the gown was given to the V&A by Miss M. B. Hudson.

Object of the Day, Museum Edition: A Nineteenth Century Porcelain Figurine

Figurine
Gilt Porcelain
The Victoria & Albert Museum

This hard-paste white porcelain figural group by an unknown Nineteenth Century maker stands on an oval four-footed base and features two classically dressed, Greek-style female dancers in flowing gilt draperies. The base is adorned with swags of gilt garlands in relief.

The figures stand in opposition to each other in contrappasto, delicately balanced.

Representations of classical Greece were on an upswing again by the end of the Eighteenth Century in paintings, sculpture, painted vases and reliefs which were inspired by archaeological sources. Such classical, idealistic images were considered noble and elegant.

Classically-inspired figural groups such as this one were usually designed to be made in pairs which would then be displayed symmetrically on a mantel or sideboard.