Masterpiece of the Week: A Garnet Ring with an Onyx Cameo of George IV

Ring with Miniature Cameo of George IV
Crown Copyright
The Royal Collection
via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II

Click on image for larger size.  

Made circa 1820, this handsome gold ring sports a miniature white on black onyx cameo which has been bezel-set into a faceted, foil-backed garnet.

While it was made during the Regency Period, the ring didn't come to the Royal Collection until it was acquired by Queen Mary in 1933.  

Throughout the Regency and the 1820s, Rundell, Bridge & Rundell, then the Royal Goldsmiths, supplied George IV with a variety of rings set with cameos and intaglios cut with his likeness. Georgie would give these rings as tokens of affection to his favorites.  

This ring, however, appears to be the only one of its kind, set with a miniature cameo into a garnet.  This cameo, in fact, is the smallest in The Royal Collection.

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. 

Gifts of Grandeur: A Perched Raven by Fabergé, 1900

Raven on Perch
Carl Fabergé, 1900
Onyx, Agate, Diamonds, Gold
The Royal Collection

The Royal Collection boasts seven Fabergé figures of birds on perches. This raven created in 1900 of onyx, agate, rose-cut diamonds and gold has special significance.

It refers to the ravens which have been traditionally kept at the Tower of London. The first recorded reference to the Tower ravens occurred in 1883 in “The Pictorial World.” At any given point, there are six ravens in residence at the tower. It is said that should they leave, the empire will fall. This is prevented by keeping their wings clipped. The ravens are happy enough, however, being cared for by the Yeoman Warders.

This figure was a favorite of Edward VII and Queen Alexandra during their reign. With its sparkling diamond eyes, it seems quite wise indeed. Perhaps it knows that the future of the empire rests on its feathery shoulders. 

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

Object of the Day, Museum Edition: A Precious Eye of a Lady, 1890

Eye of a Lady
Watercolor on Ivory set in gold and onyx.
1890
The Royal Collection

We’ve seen other examples of the “Eye of a Lady” theme. This was a popular, sentimental gift from a lady to the special man in her life. Such intimate paintings would be set in jeweled frames and worn in a hidden place or displayed privately. The idea that the “eyes are the windows” of the soul was behind this phenomenon—allowing a gentleman to see into the deepest emotions of his lover.


While King George V wasn’t as much of a collector as his wife, Queen Mary (she often had to drag him to museums because he had little interest in art), he did occasionally collect little objects which managed to move him. This was one of them.

This miniature of watercolor on ivory is set in a gold and onyx bracelet with a beaded gold border. It came into the Royal Collection via George V. We’re not sure if this was a gift from his wife or something he purchased on his own. 

Unusual Artifacts: The Martin Nautilus Shell Cup, 1770

Cup
Jean Martin, 1770
Poland with Cameos made in Italy
The Victoria & Albert Museum

Portions of this elegant and monumental cup were made in Warsaw Poland while much of its adornment comes from pieces which were the handiwork of Italian craftsmen.  Made around 1770, this cup of a nautilus shell set in gold with onyx, chalcedony, agate, shell and glass cameos, nicely demonstrates the Neoclassical appreciation for engraved gems.

Many of the gems which grace this piece are Italian copies of then-famous carved stones and cameos.  The cup was made for the last king of Poland, Stanislaus Augustus. The central intaglio on the shell is an Italian copy in blue glass of Diomedes stealing the palladium.  The original version of this stone is called “The Felix Gem.”  It lives in the Ashmolean Museum, Oxford, Ebgland.

The base and cover of this important cup are decorated with mother-of-pearl. It is signed “J.MARTIN FAIT A VARSOVIELE 26 AOUT 1770.”

The commission of this cup marks one of the earliest times that the celebrated Jean Martin worked for King Stanislaus Augustus (1769-1791) as Court Jeweler in Warsaw.  Martin remained in this position between 1769 and 1791.  The cups creation is recorded in the royal accounts as having been ordered in 1770 and states that it was designed purely as a vehicle for displaying cameos as opposed to an object intended for practical use.  

Mastery of Design: A Garnet Ring with an Onyx Cameo of George IV

Ring with Miniature Cameo of George IV
Crown Copyright
The Royal Collection
via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II

Click on image for larger size.  

Made circa 1820, this handsome gold ring sports a miniature white on black onyx cameo which has been bezel-set into a faceted, foil-backed garnet.

While it was made during the Regency Period, the ring didn't come to the Royal Collection until it was acquired by Queen Mary in 1933.  

Throughout the Regency and the 1820s, Rundell, Bridge & Rundell, then the Royal Goldsmiths, supplied George IV with a variety of rings set with cameos and intaglios cut with his likeness. Georgie would give these rings as tokens of affection to his favorites.  

This ring, however, appears to be the only one of its kind, set with a miniature cameo into a garnet.  This cameo, in fact, is the smallest in The Royal Collection.

Gifts of Grandeur: The Spanish Lion Ring Brooch, 1300-1500

Ring Brooch
The Victoria & Albert Museum

This unusual jewel comes from Spain and dates somewhere between 1300 and 1500.


A masterpiece of gold, ruby, and onyx, the ring is formed of a gold branch which has been naturalistically chased and engraved, and adorned with broad leaves, each of which curls downward into a volute. Between each set of volutes, a ruby has been set.

At the center, an onyx cameo is set, depicting shows a lion mauling another animal. Fun! The case of the roundel is edged with scrolls and open-back rubies. Only the base of the pin remains, but is evidence that the jewel was multifunctional. 

Gifts of Grandeur: The Brogden Cameo Necklace, 1867

Cameo necklace
John Brogden, 1867
The Victoria & Albert Museum

This necklace, in the archaeological style features layered agate cameos inspired by the fashionable classical hardstone gems. The piece was made by the jeweler John Brogden and purchased by the V&A from the International Exhibition in Paris of 1867.

Brogden won a number of awards at the International Exhibitions in London and Paris from 1851-1878. Brogden is known for his pieces rendered in ancient styles.  He is recorded as having studied the archeological finds at Nineveh and Pompeian where he used the wall paintings for as inspiration for his jewels. He also famously worked in the Rennaissance style.  A collection of drawings by Brogden showing the original designs for many of his gems also lives at the V&A along with many of the finished pieces.

This particular example, a lovely enameled gold necklace is hung with cameos of classical masks in layered agate, chalcedony and onyx, which Brogden created based on ancient specimens.  He altered the source material by presenting the masks in the late 18th century Neoclassical manner. An applied plaque with the maker's mark of John Brogden, reads 'JB' in Roman capitals.  This came from Brogden's Covent Garden, on Henrietta Street, workshop and dates to 1867.

Mastery of Design: The Medusa Ring, 1580

Ring
German, 1580
The Victoria & Albert Museum

Since we started the day's posts with a Medusa ring, let's end them with one.

This somewhat scary ring of enameled gold contains a layered agate cameo representing the head of Medusa in an oval bezel setting. The shoulders of the ring and the bezel are chased with cartouches, masks and foliage.


The elaborate and colorful setting is typical of South German jewelry made around 1580. The carving of the cameo is quite detailed and fine. This forms part of a collection of similarly disturbing German cameo rings that is housed at the Victoria & Albert Museum.

Mastery of Design: The Spanish Lion Ring Brooch, 1300-1500

Ring Brooch
The Victoria & Albert Museum

Made to be worn to hold a cloak or tunic closed, this unusual jewel comes from Spain and dates somewhere between 1300 and 1500.


A masterpiece of gold, ruby, and onyx, the ring is formed of a gold branch which has been naturalistically chased and engraved, and adorned with broad leaves, each of which curls downward into a volute. Between each set of volutes, a ruby has been set.

At the center, an onyx cameo is set, depicting shows a lion mauling another animal. Fun! The case of the roundel is edged with scrolls and open-back rubies. Only the base of the pin remains, but is evidence that the jewel was multifunctional. 

Mastery of Design: The Goldstein Coral and Diamond Earrings, 1925

The Victoria & Albert Museum

Made in the France In 1925, these long earrings of coral, black onyx and diamonds set in platinum show the rise in fashion of the chandelier earring in the early Art Deco period.

A September 1925 issue of the "Illustrated London News" attributed this trend to changing hairstyles, stating, "As the fashion for Eton cropped heads grows daily, long, decorative ear-rings are becoming increasingly fashionable." Still, that same year, the fashion was bemoaned as Queen Magazine opined, "now no ornament is worn in the hair for dances."

Jewelers fumed as even the fashion for long earrings did not compensate for the decline in demand for larger jeweled combs, hair ornaments and slides.

Unusual Artifacts: The Martin Nautilus Shell Cup, 1770

Cup
Jean Martin, 1770
Poland with Cameos made in Italy
The Victoria & Albert Museum

Portions of this elegant and monumental cup were made in Warsaw Poland while much of its adornment comes from pieces which were the handiwork of Italian craftsmen.  Made around 1770, this cup of a nautilus shell set in gold with onyx, chalcedony, agate, shell and glass cameos, nicely demonstrates the Neoclassical appreciation for engraved gems.

Many of the gems which grace this piece are Italian copies of then-famous carved stones and cameos.  The cup was made for the last king of Poland, Stanislaus Augustus. The central intaglio on the shell is an Italian copy in blue glass of Diomedes stealing the palladium.  The original version of this stone is called “The Felix Gem.”  It lives in the Ashmolean Museum, Oxford, Ebgland.

The base and cover of this important cup are decorated with mother-of-pearl. It is signed “J.MARTIN FAIT A VARSOVIELE 26 AOUT 1770.”

The commission of this cup marks one of the earliest times that the celebrated Jean Martin worked for King Stanislaus Augustus (1769-1791) as Court Jeweler in Warsaw.  Martin remained in this position between 1769 and 1791.  The cups creation is recorded in the royal accounts as having been ordered in 1770 and states that it was designed purely as a vehicle for displaying cameos as opposed to an object intended for practical use.  

Mastery of Design: Pendant Jewel with Apollo and Daphne

Pendant Jewel with Apollo and Daphne
Mid-Sixteenth Century with Eighteenth
Century Additions
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty
Queen Elizabeth II

Gold, émail en ronde bosse (enamel work), sard (carnelian), orange and white sardonyx, black and white onyx, table-cut diamonds, table-cut and cushion-cut rubies, cushion-cut Colombian emeralds, turquoise, saltwater pearl are combined in this magnificent pendant jewel.


The jewel—in its present condition—was first recorded in the Royal Collection in 1830, though it predates that by a century or two. Three pendants are suspended from a central jewel set in gold scrollwork. The pendant on the left is a sardonyx cameo of a female bust in three-quarter profile which is framed by fourteen emeralds set in a gold mount with two small pearls above. The central hanging pendant is a turquoise cameo representing a draped female bust, in profile,, in a gold mount, also with large pearl above. And, to the right, hangs an onyx cameo with the head of Bacchus en face, framed by fourteen rubies in a gold mount with two small pearls above.

The original jewel, created circa 1650, from which the three pendants hang, seems to have included a cameo with a painted portrait where the largest sard cameo is set today. Alterations were made to the piece, most likely at the request of King George IV who had very definite ideas about the way things should look.

As it is today, the central frame is suspended by two chains from the ruby-set clasp. It is set with an enamel figure of reclining Cupid, the figures of Cupid and Apollo, a dragon and a harpy. The reverse features full-length figures of Apollo and Daphne. The overall theme here is that of unrequited love. That’s a theme that never goes out of style, even when the piece was altered for changing tastes.

GIfts of Grandeur: The Queen's Onyx Cup, 1845

Onyx Cup with Figural Base
Gold, Enamel, Turquoise, Rubies, Emeralds, Sapphires
French, Circa 1845
Purchased by Prince Albert
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty
Queen Elizabeth II

One of Prince Albert’s favorite hobbies was finding pretty, little things to give to his beloved wife. To be true, his love of jewels and shiny things was equal to hers, and, I think, he took as much delight in finding these things as he did giving them to her.


This onyx cup with gold pedestal is set with dozens upon dozens of turquoise, opals, rubies, emeralds and sapphires surrounded by additional gold and enamel-work. While the reverse is unsigned, it is most likely the work of the Parisian House of Marrel Frères who were known for their Renaissance-style gold work and jewelry.

Prince Albert presented this cup to his wife, Queen Victoria, on Christmas Eve of 1845. She wrote of it in her journal that night calling it a, “Beautiful little cup set in enamel and precious stones.” It has remained in the Royal Collection ever since.

Mastery of Design: A Cameo Head of Dionysus, c. 1730

Cameo
Germany
The Victoria & Albert Museum

Dionysus takes center stage on this cameo pendant of onyx set in gold with amber, turquoises and rubies. The cameo itself was likely made in the 1st century AD in Germany. Around 1730, the ancient gem was set into its current mount.  The reverse is handsomely engraved.

Gifts of Grandeur: The American Ribbon Brooch, 1930-1940

Click image to enlarge.

Bow Brooch
American, 1930-1940
The Victoria & Albert Museum

This bow brooch of platinum is set with brilliant-cut and baguette-cut diamonds and onyx. Made in the United States between 1930 and 1940, this shimmering bow represents the artistic sensibilities of American Art Deco jewelry design.

Pavé-set brilliant-cut diamonds create an interesting texture and refraction as they replicate the soft loops and folds of a bow. The bow’s knot and “tails” are comprised of linearly-set baguettes. The onyx—an Art Deco mainstay—was added to add cool contrast to the fire of the white diamonds. The sheen of the black stone gives weight to the ends of the ribbon.

 

Mastery of Design: The Dame Joan Evans Greek Necklace, 200 B.C.

Necklace
Hellenistic, Greek
Owned by Dame Joan Evans
The Victoria & Albert Museum

That Dame Joan Evans! She certainly had some great jewelry—and, thankfully, she left it to the V&A so that we can all enjoy it. Dame Joan’s collection wasn’t just limited to items made during her own lifetime, she collected jewels from antiquity onward. Here’s an exceptional example of a Hellenistic Greek piece from Dame Joan’s monumental collection.

By the Hellenistic period (323-27 BC), Greek jewelers were introducing more colorful stones in their work, slowly making color one of the most important aspects of the era. With settings of gold, the Greeks favored garnets above all other stones. They, however, also used emeralds, carnelian, rock crystal, agates, onyxes or lapis-lazuli. While the stones were not cut and faceted in the manner to which we are accustomed now, the stones were presented in their best possible light. The stones were pierced, cut, abraded and polished and carved. Some gems were left in their natural crystalline state in order to showcase their original beauty. Often, colored glass was used in imitation of stone. For example in this necklace, glass was used to imitate onyx and pearl. 


Hellenistic Greek necklaces, were typically worn tight around the neck, like a contemporary choker or ribbon. Sometimes, they were made to be worn in a looser fashion at the base of the neck. This necklace is a good example of the type of enclosure used--tied at the back by means of a cord. Greek ladies liked to wear their necklaces in multiples, especially alternating necklaces with simple beads with one of more a more elaborate form like this one which is comprised of female heads, gold with granulation, garnet, emerald, and the aforementioned glass in imitation of onyx and pearl. It was made between 200 and 100 B.C. 

Mastery of Design: The Templier Bar Brooch, 1930

Brooch
Raymond Templier, 1930
The Victoria & Albert Museum

The Parisian jeweler Raymond Templier (1891-1968) was one of an elite group of Art Deco designers who helped proliferate a geometric style that looked towards Cubism and eventually defined the look of the era. In 1930 , Templier remarked in the “Goldsmiths' Journal,” “As I walk in the streets I see ideas for jewellery everywhere, the wheels, the cars, the machinery of today.” This inspiration is obvious in his work which relies on strong, simple forms. 


This brooch, dating to 1930, of white gold by Templier boasts a bar of brilliant-cut diamonds in the center and a diagonal line of three, domed discs of coral encircled by two curved sections of black onyx. It is wholly demonstrative of the style which dominated Templier’s work.