Jewelry History

Wednesday, April 10, 2013

A Brief Planning Period

Each piece of jewelry tells at least three stories.
One, the story of its maker. Two, the story of its wearer.
Three, the story of its era.

Dear Faithful Reader,

I am developing some new topic ideas for Jewelry History and need a brief planning period before I return to a regular posting schedule. While you wait, I invite you to peruse the archives and enjoy some of the older articles I've written this past year.

Don't know where to start?

How about one of Jewelry History's Top Five:

Want some more?
How about clicking over to Featured Articles, where you'll find previews and links to guest posts I've written on other blogs.

Certainly, there is plenty to read here on Jewelry History as you pass the time in my absence.

I look forward to offering you some new material in June.

Until then, I wish for you peace and joy.

Sincerely,

Angela Magnotti Andrews

Friday, March 22, 2013

Jewelry in Portraits: Kate Middleton's Scant Jewelry is Indicative of Her Elegant and Understated Style

Kate Middleton (detail) by Paul Emsley, 2012.
Photo Source: Big Think

by Angela Magnotti Andrews

I have scanned hundreds of portraits, looking for those that jump out as my favorites for the Jewelry in Portraits series. Unfortunately, so many amazing portraits portray very little in the way of jewels. Having little to no jewelry to talk about renders most of these otherwise gorgeous portraits unacceptable choices. However, after seeing this portrait of HRH the Duchess of Cambridge, realizing that the scant jewelry she wears is actually indicative of her elegant and understated style, I concluded that I could most definitely highlight her jewelry, or rather the absence thereof.

This is a groundbreaking portrait, one worth documenting in a slightly different light than has been done in the media since it was first displayed on January 11, 2013. The Duchess of Cambridge has a natural beauty that hardly needs enhancement, so that her one visible sapphire and diamond earring is all the more stunning against her chestnut locks.

This particular earring has enormous sentimental value to her and to her husband, and it matches perfectly the only other jewelry I am absolutely certain that she is wearing just out of view in this portrait—her sapphire and diamond engagement ring nestled against her wedding band made of 18k Welsh gold.

Both pieces of jewelry were gifts from her husband, Prince William, who gave them to her because both Kate and the jewels are “very special to him” {English, “What’s in a ring?”}. The ring and the earrings were among his mother’s favorite pieces {Boniface}, and he wanted his wife to have these precious heirlooms as a way to honor his mother’s life and somehow include her in the happy event of their wedding {Wilkes}.

Originally in the form of heavy sapphire studs with diamond halos, Princess Diana’s white gold earrings were altered for Catherine Middleton into a drop style with the large sapphire cabochon, which is surrounded by nine round brilliant diamonds, suspended from a single diamond stud {Diana’s Jewels}. Her engagement ring mirrors this design, featuring “a large oval sapphire surrounded by 14 round diamonds set in 18k white gold” {Diana’s Jewels}.

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BIBLIOGRAPHY

1. Boniface, Susie. “Kate Middleton given Diana’s favourite earrings by Prince William.” Mirror News. July 24, 2011. Accessed January 31, 2013. http://www.mirror.co.uk/news/uk-news/kate-middleton-given-dianas-favourite-143487.

2. Cruz, Debbie. “Kate Middleton’s jewelry in 2012 (Photos).” Examiner. December 25, 2012. Accessed January 31, 2013. http://www.examiner.com/article/kate-middleton-s-jewelry-2012.

3. Diana’s Jewels. “Earrings Catherine.” Accessed January 31, 2013. http://www.dianasjewels.net/earringscatherine.htm.

4. Diana’s Jewels. “Rings Catherine.” Accessed January 31, 2013. http://www.dianasjewels.net/ringscatherine.htm.

5. English, Rebecca. “I’m thrilled! Kate puts on a brave face as she sees first official portrait critics are calling ‘rotten’.” DailyMailOnline. January 11, 2013. Accessed January 31, 2013. http://www.dailymail.co.uk/news/article-2260655/Kate-Middleton-Rotten-official-portrait-Duchess-Cambridge-artist-Paul-Emsley-unveiled.html?ITO=1490&ns_mchannel=rss&ns_campaign=1490.

6. English, Rebecca. “What’s in a ring? Palace confirms that Prince William will not be wearing a wedding band when he marries Kate Middleton.” DailyMailOnline. March 31, 2011. Accessed January 31, 2013. http://www.dailymail.co.uk/femail/article-1372078/Royal-wedding-Palace-confirms-Prince-William-wont-wear-ring-marries-Kate-Middleton.html.

7. Faiola, Anthony. “In uproar over portrait of Duchess of Cambridge, its artist speaks out.” The Washington Post. January 31, 2013. http://www.washingtonpost.com/world/europe/in-uproar-over-duchess-of-cambridge-portrait-its-artist-speaks-out/2013/01/31/cbe0eff4-6bc4-11e2-8f4f-2abd96162ba8_story.html.

8. Murray, Rheana. “Kate Middleton’s first official portrait revealed: Painting of Duchess of Cambridge met with mixed reaction.” New York Daily News. January 11, 2013. http://www.nydailynews.com/entertainment/gossip/kate-middleton-official-portrait-revealed-article-1.1238145.

9. National Portrait Gallery. “HRH The Duchess of Cambridge.” Accessed January 31, 2013. http://www.npg.org.uk/whatson/display/2013/hrh-the-duchess-of-cambridge.php.

10. National Portrait Gallery. “News Release: National Portrait Gallery commissions first official painted portrait of The Duchess of Cambridge.” Last updated January 11, 2013. http://www.npg.org.uk/about/press/news-release-national-portrait-gallery-commissions-first-official-painted-portrait-of-the-duchess-of-cambridge.php.

11. National Portrait Gallery. “The BP Portrait Award 2012: The Exhibition.” Accessed January 31, 2013. http://www.npg.org.uk/whatson/exhibitions/bp-portrait-award-2012/the-exhibition.php.

12. Satter, Raphael. “Critics Divided Over Duchess of Cambridge Portrait.” The Big Story. Last updated January 11, 2013. http://bigstory.ap.org/article/prince-williams-wife-kate-gets-official-portrait.

13. Wilkes, David and Fay Schlesinger. “A ring fit for his mother…and his love: Prince William’s sapphire and diamond engagement ring for Kate.” DailyMailOnline. November 17, 2010. Accessed January 31, 2013. http://www.dailymail.co.uk/femail/article-1330366/Prince-Williams-engagement-ring-Kate-Middleton-sapphire-diamonds.html.

Wednesday, March 20, 2013

Jewelry in Portraits: Paul Emsley Photo-Realistic Style Captures Kate Middleton's Timeless Beauty

Artist Paul Emsley poses next to his portrait of Kate, Duchess of Cambridge
The portrait is on display at the National Portrait Gallery, London
Photo Source: MSN News

by Angela Magnotti Andrews

Paul Emsley’s photographic style is somewhat controversial among art critics, and many believe he butchered the most popular royal since Princess Diana. It may be that he has given the Duchess of Cambridge a timeless beauty, an ageless wisdom that she will “grow into” in the coming years. Or it may be that he has captured her perfectly with his photo-realistic style, and that this is indeed the face of a grown young woman who is already learning to balance a private inner life with a very public outer life.

True to Kate’s wishes, Mr. Emsley worked tirelessly over the course of several months to capture her natural self, which he describes from his two sittings with her as “enormously open and generous” {National Portrait}. He took many photographs of her during their time together, and in their final sitting at KensingtonPalace, he allowed her to choose which photograph he would use for the portrait.

In his early days as a painter Mr. Emsley “worked from life,” but his anxiety over the comfort of his subjects and the advances in photographic precision have shaped his current practice of working primarily from photographs. From the original image, he made close-ups of the details around her eyes, her mouth, her cheekbones, and her hair. It is perhaps this close-up quality, combined with his characteristic dark background, that has most rankled the art critics, many of whom believe that the portrait ages her by ten years or more. The Duchess, however, did not appear rankled in the least by this portrayal of her. It is said that she praised it highly, as did her husband, Prince William.

Unlike the public, who is used to her enhanced media photos, Kate and William must have appreciated the subtle nuances, including the wrinkles around her mouth and her unique cheekbone structure. Perhaps it is wise to take cues from them. Perhaps this is the truest representation of the Duchess that we have seen to date.

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BIBLIOGRAPHY

2. Cruz, Debbie. “Kate Middleton’s jewelry in 2012 (Photos).” Examiner. December 25, 2012. Accessed January 31, 2013. http://www.examiner.com/article/kate-middleton-s-jewelry-2012.

3. Diana’s Jewels. “Earrings Catherine.” Accessed January 31, 2013. http://www.dianasjewels.net/earringscatherine.htm.

4. Diana’s Jewels. “Rings Catherine.” Accessed January 31, 2013. http://www.dianasjewels.net/ringscatherine.htm.

9. National Portrait Gallery. “HRH The Duchess of Cambridge.” Accessed January 31, 2013. http://www.npg.org.uk/whatson/display/2013/hrh-the-duchess-of-cambridge.php.

11. National Portrait Gallery. “The BP Portrait Award 2012: The Exhibition.” Accessed January 31, 2013. http://www.npg.org.uk/whatson/exhibitions/bp-portrait-award-2012/the-exhibition.php.

Monday, March 18, 2013

Jewelry in Portraits: Duchess of Cambridge by Paul Emsley, 2011

HRH The Duchess of Cambridge by Paul Emsley, 2012

©National Portrait Gallery, London

A National Portrait Gallery commission given by Sir Hugh Leggatt

in memory of Sir Denis Mahon through the Art Fund

by Angela Magnotti Andrews

Reflecting the strains of blue from her shirt and the dark background, the twinkling light emanating from her eyes radiates a playful depth of wisdom, knowledge, and understanding. Her private smile only adds to that depth. Her chestnut hair cascades like a waterfall, ending in churning brown curls that beg to be touched.

Her beauty is classic and true. Her warmth radiates from the canvas, and her elegant choice in jewelry is perfectly understated. One sapphire earring haloed in diamonds hangs from her right ear, the other shrouded by her lovely hair. Instead of a necklace, she wears a “Windsor blue pussy-bow blouse” tied neatly at her neck {English, “I’m thrilled!”}.

Her beauty is captivating, and though Mr. Paul Emsley, her portraitist, has caught her playful smile, he has also firmly established her grace, poise, and assuring presence. All these will one day serve her well when she becomes Queen of England.

The painting of Her Royal Highness was commissioned by the National Portrait Gallery. Mr. Emsley was one of four finalists chosen by the Gallery’s director, Sandy Nairne. Among those who participated in the interviews with the four finalists was the Duchess of Cambridge herself.

Having won the BP Portrait Award in 2007, Mr. Emsley, born in Glasgow and raised in South Africa, was a lauded choice to paint this first portrait of Catherine Middleton, the Duchess of Cambridge. Held annually at the National Portrait Gallery, the BP Portrait Award claims to “showcase the very best in contemporary painting from around the world.” That makes Mr. Emsley among the best of the best in 21^st century painters.

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BIBLIOGRAPHY

2. Cruz, Debbie. “Kate Middleton’s jewelry in 2012 (Photos).” Examiner. December 25, 2012. Accessed January 31, 2013. http://www.examiner.com/article/kate-middleton-s-jewelry-2012.

3. Diana’s Jewels. “Earrings Catherine.” Accessed January 31, 2013. http://www.dianasjewels.net/earringscatherine.htm.

4. Diana’s Jewels. “Rings Catherine.” Accessed January 31, 2013. http://www.dianasjewels.net/ringscatherine.htm.

9. National Portrait Gallery. “HRH The Duchess of Cambridge.” Accessed January 31, 2013. http://www.npg.org.uk/whatson/display/2013/hrh-the-duchess-of-cambridge.php.

11. National Portrait Gallery. “The BP Portrait Award 2012: The Exhibition.” Accessed January 31, 2013. http://www.npg.org.uk/whatson/exhibitions/bp-portrait-award-2012/the-exhibition.php.

Friday, March 15, 2013

Jewelry in Portraits: Queen Adelaide's Jewels, 1836

Queen Adelaide, 1836 (cropped as a close-up)
Painted by Mr. Martin Shee
Image is in the Public Domain
Source: Wikipedia

by Angela Magnotti Andrews

The few details evidenced in the painting make it conceivable that Her Majesty's beautiful hat pin is the brooch now called Queen Adelaide’s Brooch. Though it was first made as a clasp for one of the Queen’s pearl necklaces, the jewel was worn by successive queens as either a snap or a brooch {Roberts, p. 34}.

Her necklace appears to be composed of diamonds set in high-karat gold. However, it’s more probable that it is the Queen’s favored pearl necklace. In many portraits of Queen Adelaide during and after her reign, she wears a similar necklace composed of a single strand of high-quality white pearls.

Her stomacher appears to be paved in diamonds, with three larger central stones that might be either diamonds or pearls, and it is looped around her waist by a link chain, also set with either large brilliants of round pearls. Though it looks remarkably like Queen Alexandra’s Wedding Brooch, it could not possibly be since that brooch was made nearly thirty years after this portrait was painted.

Her pearl bracelets* appear to match the description of Queen Charlotte’s pearl bracelets. If they are not her mother-in-laws bracelets, then they might be replicas which Adelaide had made, perhaps with her husband’s portrait, cypher, and hair made into clasps framed in diamonds. Finally, though this historian has found nary a description or picture of Queen Adelaide’s wedding and keeper rings, the shape and position of the rings in Mr. Shee’s portrait indicate that these may be the rings she wears here.

*I came across this passage in a magazine from 1885 (Tidings of Nature): "...it being then the fashion to wear two bracelets exactly alike..." The line is reference to the Empress Josephine, who held court in France in the early 1800s. Though it's possible that Queen Adelaide's choice had nothing to do with fashion, it is of course possible that this was a popular trend, as well.

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BIBLIOGRAPHY

1. “1836 Queen Adelaide by Sir Martin Archer Shee (Royal Collection).” Grand Ladies Site. February 20, 2011. Accessed January 23, 2013. http://www.gogmsite.net/empire-napoleonic-and-roman/subalbum-queen-adelaide/1836-queen-adelaide-by-sir-.html.

2. Orr, Clarissa Campbell, ed. Queenship in Britain, 1660-1837: Royal Patronage, Court Culture and Dynastic Politics. Manchester: Manchester University Press, 2002.

3. Roberts, Hugh. The Queen’s Diamonds. London: Royal Collection Publications, 2012.

4. Shee, Martin Archer [Jr., sic] of the Middle Temple. Life of Sir Martin Archer Shee, P.R.A., Volume the Second. London: Longman, Green, Longman, and Roberts, 1860.

Wednesday, March 13, 2013

Jewelry in Portraits: Martin Shee Paints Queen Adelaide at Windsor Castle, 1836

(Left) Queen Adelaide's 1836 Portrait Hangs in Buckingham Palace
Photo copyright The Anglophile, 2011.

by Angela Magnotti Andrews

On May 14, 1836, Martin Shee arrived at Windsor Castle by order of King William IV. Summoned for the purpose of painting the featured portrait of Queen Adelaide, he settled his supplies into the painting room and spent his first night at the nearby Castle Hotel. The next day, he was relocated to the Round Tower by order of the King, who wished him to enjoy every privilege of being part of the royal circle at Windsor during his stay.

In his father’s memoirs, Mr. Shee’s son, Martin Archer Shee, writes of an awkward moment in the royal presence upon his first sitting with the Queen. It was widely known that “Queen Adelaide was not a romantic figure” and that “portraits of her almost certainly did her more than justice, disguising [her] poor complexion…” {Purdue in Orr, p. 267}.

The Queen, fully aware of the challenges her form presented to portraitists, stood in the archway and spoke jovially, “Oh! Sir Martin, I pity you, indeed, for having such a subject!” {Shee, p. 305}

The circle of onlookers, quite probably including at least the FitzClarences and Lady De Lisle, must have held their collective breath in that moment. The widespread truth of her plain appearance rendered it impossible for him to offer any disclaimer of the difficulties he faced in painting her, yet to say nothing would prove quite possibly crude and most definitely disrespectful.

The judicious painter responded with a most gracious response which neither affirmed nor denied the Queen’s statement. It is easy to surmise that it was this characteristic grace that afforded him the King’s summons in the first place. “Madam,” he said, “I shall hope to have the honour…of showing my impression of your Majesty’s claims as a subject!!” {Shee, p. 305}

And so beautiful and majestic was she in his eyes, that there is merit to the claim that the King, who originally planned to present the portrait to the Goldsmiths’ Company, decided to keep it and commissioned Mr. Shee to paint another one like it for the Company {Shee, p. 92}.

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BIBLIOGRAPHY

2. Orr, Clarissa Campbell, ed. Queenship in Britain, 1660-1837: Royal Patronage, Court Culture and Dynastic Politics. Manchester: Manchester University Press, 2002.

3. Roberts, Hugh. The Queen’s Diamonds. London: Royal Collection Publications, 2012.

4. Shee, Martin Archer [Jr., sic] of the Middle Temple. Life of Sir Martin Archer Shee, P.R.A., Volume the Second. London: Longman, Green, Longman, and Roberts, 1860.

Monday, March 11, 2013

Jewelry in Portraits: Queen Adelaide, 1836

Queen Adelaide, 1836
Painted by Sir Martin Shee
Image is in the Public Domain
Photo Source: Wikipedia

by Angela Magnotti Andrews

Queen Adelaide stands in a portico of the hallowed halls of Windsor Castle. Blush pink roses peek in through the balustrade which, combined with the faint mountains in the distance, place the location of this sitting on an upper floor of the castle. It is May 1836, and Her Majesty is surrounded by close friends watching her 'sit' for a portrait.

She wears a red velvet gown with vee neck- and waistlines. The pleated bodice and train of her gown are lined in spotted ermine, and her lace cherusque frames her stately face. Upon her head she wears a black feathered hat with a jeweled brooch pinned to its central band. Her hair is coiffed in ringlets in the hurluberlu fashion of the day, and her tight ringlets hide any earrings she may be wearing.

A lovely necklace graces her neck, and at her waist shimmers a diamond stomacher fastened just above her white satin a-line underskirt. On both wrists she wears what appear to be matching pearl bracelets, and on her left fourth finger she wears a ring with a shiny gemstone. In her right hand she holds a white handkerchief, and on her feet she wears a pair of flat ballet-like slippers.

Painted by Martin Shee in 1836, this full-length portrait now hangs above the staircase in Buckingham Palace. Records from 1841 and 1891 report that a portrait of Queen Adelaide by Martin Shee hangs in the Grand Livery Room of Goldsmiths’ Hall {London Interiors, p. 228 and Wheatly, p. 124}. This is sound evidence for the existence of two full-length portraits of Queen Adelaide painted by Martin Shee in 1836.

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BIBLIOGRAPHY

2. Orr, Clarissa Campbell, ed. Queenship in Britain, 1660-1837: Royal Patronage, Court Culture and Dynastic Politics. Manchester: Manchester University Press, 2002.

3. Roberts, Hugh. The Queen’s Diamonds. London: Royal Collection Publications, 2012.

4. Shee, Martin Archer [Jr., sic] of the Middle Temple. Life of Sir Martin Archer Shee, P.R.A., Volume the Second. London: Longman, Green, Longman, and Roberts, 1860.

Pages

Wednesday, April 10, 2013

A Brief Planning Period

Friday, March 22, 2013

Jewelry in Portraits: Kate Middleton's Scant Jewelry is Indicative of Her Elegant and Understated Style

Wednesday, March 20, 2013

Jewelry in Portraits: Paul Emsley Photo-Realistic Style Captures Kate Middleton's Timeless Beauty

Monday, March 18, 2013

Jewelry in Portraits: Duchess of Cambridge by Paul Emsley, 2011

Friday, March 15, 2013

Jewelry in Portraits: Queen Adelaide's Jewels, 1836

Wednesday, March 13, 2013

Jewelry in Portraits: Martin Shee Paints Queen Adelaide at Windsor Castle, 1836

Monday, March 11, 2013

Jewelry in Portraits: Queen Adelaide, 1836