In 1887 this firm was described as one of the largest watch key and gold & silver chain makers in the world.
At this time it employed as many as 300 highly skilled workers.
The company also manufactured patented goods for other businesses.
For example, Birch’s patent watch keys and also other brands of watch keys.
The hallmarked sterling silver “Birch's Patent” Adjustable Pocket Watch Key shown above was crafted by the firm of G. E. Walton.
The key is inscribed “LICENSED TO BIRCH” on the pusher end and also 'BIRCH’S PATENT'.
Watch keys are used to wind watches.
Here is a list of some of the lines crafted by this maker:
Seamless stems (vases), gold & silver chains, gold lockets, eye-glass chains, clocks, collar studs, pearl jewellery, silver seals, compasses, gold and silver Albertina chains, scent bottles, decanters, salt & pepper pots, card cases, purses, brooches, pendants and tea sets.
The wide range of wares crafted by this manufacturing concern included high quality gold jewellery. For example, gold lockets, some of which were fitted with hair art. The company probably outsourced the hair art creations to specialist hair artists.
The splendid deep bodied 9ct gold locket depicted below gives an example of the superb quality which is typical of this maker.
VIEW THIS G.E. WALTON MOURNING LOCKET
This fully hallmarked gold Edwardian mourning locket was assayed* (tested for gold purity*) at Chester Assay Office in 1905.
One side of the locket encases a beautiful lock of blonde hair which has been skillfully crafted into hair art embellished with tiny seed pearls. Pearls used in mourning jewellery symbolise tears for the dearly departed. The original protective glass cover and frame are present.
This locket was especially commissioned to hold a lock of hair.
The locket is of a solid construction and does not open to house portraits.
However, it will hold a replacement lock of hair, if desired.
The other side is embellished with a shield cartouche, which represents the desire to protect. The shield cartouche is framed by charming forget-me-not flowers. Forget-me-not flowers symbolise true love and respect.
HALLMARKS ON THIS LOCKET NECKLACE
The hallmarks are explained below.
More antique lockets of exceptional quality.
At the beginning of the Edwardian era the businesses were listed as manufacturing jewellers with premises located at 59-61 Hatton Garden, London and 52-54 Hylton Street, Birmingham.
By 1913 their London showrooms had been relocated to 22 Ely Place, Holborn Circus, EC.
This area is one of London’s most prestigious locations.
Today this building is sited in one of London’s few gated areas.
This business also registered a number of patented designs.
These patents include scarf slides, tea infusers and improvements for brooches.
WALTON'S PATENT FLEXIBLE SELF-ACTING SCARF-SLIDE
The firm's advertising literature promoted this product as follows:
Walton’s Patent Flexible Self-acting Scarf-slide
is a capital article and easy to adjust - a quality scarf rings seldom possess.
More fully hallmarked antique gold lockets.
Please note that although we spend many hours each week updating or compiling new work for our historical blog section which is free to view, we do not offer an appraisal, identification, valuation or dating service to members of the public.
However, each purchase from our store is shipped with a lavishly illustrated history which dates the item and details the history of the item and that of the maker.
Sources:
Patent Office
US Patent Office
Silvercollection.it
]]>EDWARDIAN ERA 9 CARAT GOLD LOCKET
This superb fully hallmarked gold Art Nouveau locket was crafted by W. H. Collins in 1909.
This solid gold Edwardian keepsake locket was assayed* (tested*) for gold purity at Birmingham Assay Office.
Fashioned in the shape of a heart with embossed edges which depict scrollwork and lobular floral motifs, this piece has a timeless quality.
Each side is fitted with heart shaped panels. Each of the heart shaped panels is decorated with the most deliciously Art Nouveau embellishments. The anterior surface depicts florid acanthus and ivy leaves and a scroll which echoes the sinuous curves of plants. The other heart shaped panel is ornamented with acanthus leaves.
The original portrait protectors and frames are present.
As well as the heart shapes which convey sentiments of deep love and respect, acanthus leaves symbolise everlasting life. The emblem of the scroll indicates the virtue of wisdom.
This locket necklace gleams in the light and possesses a mesmerising quality.
The firm is especially well known for their superb fully hallmarked gold lockets and jewellery.
The image shown above is the premises of W. H. Collins & Co. Ltd. which was named the Excelda Works. The manufacturing premises were located at Rookery Road, Handsworth, Birmingham. The Excelda Works were completed in 1920. This building replaced the firm's former workshops at Great King Street. The photograph dates to the early 1960s. Some of the impressive range of luxury goods crafted by this company are listed in an advertisement which stated:
HM* represents hallmarked.
EPNS** is an acronym for electroplated nickel silver which is an alloy of nickel, copper, and zinc that is covered with a layer of pure silver in an electrochemical process.
His description of his invention is included below:
These beautiful propeller pencils*** were crafted from sterling silver and presented in stylish cream boxes.
The lids are signed with the brand name Life-Long in red print.
The interior box lid is stamped with the following:
The pencils were stamped STERLING SILVER “Life-Long” at the top of the pen.
In 1946-1947 Goldsmiths Journal advertisements show that this firm was still manufacturing propelling pencils for wholesale or export.
The next patent drawing depicts one of the company’s crosses.
There is very little information about the company but we do know that it was still trading in the 1950s because on February 2 1952 an application was made to patent Improvements in jewellery.
More fully hallmarked antique gold jewellery.
Please note that although we spend many hours each week updating or compiling new work for our historical blog section which is free to view, we do not offer an appraisal, identification, valuation or dating service to members of the public.
However, each purchase from our store is shipped with a lavishly illustrated history which dates the item and details the history of the item and that of the maker.
Sources:
Patent Office
silvercollection.it
Grace's Guide
]]>
At around the same time the large family firm of Henry Jenkins & Sons was also known to be located at Vittoria Street. We wonder if Albert Ernest Jenkins was related to Henry Jenkins. The Unity Works was also known as Vittoria Works. This substantial building was owned and occupied by Henry Jenkins and Sons Ltd. This company was made up of Henry Jenkins, James Jenkins, Fredrick Jenkins and Samuel Jenkins, trading under the style of Henry Jenkins and Sons.
We know that Albert Ernest Jenkins had his own mark struck. This mark is very similar to that of Albert Edward Jones which is shown below. However, the full stops in between the letters A & E are in the middle of the letters instead of at the bottom. The A & E also have a more florid font with upturned edges.
The mark of Albert Ernest Jenkins can be seen on all manner of beautiful hallmarked gold and silver jewellery but we shall concentrate on the lockets of this maker.
The locket depicted above is deep bodied and sturdy despite its elegance and size. This antique is typical of the work we have come to expect from this goldsmith. As well as being soundly crafted, both the anterior and posterior surfaces are engraved, rather than the back being left plain. The ornate engravings not only beautify this piece but also bestow it with a timeless appearance because the elaborate embellishments prevent the appearance of wear and usage.
When we are fortunate enough to find hallmarked gold lockets crafted by this maker we often note that the exterior surfaces are finely engraved with symbolic motifs.
The shield shape of this locket and also the repetition of the shield motif in the shape of the cartouche represent the desire of the donor to protect the wearer of this locket. A multitude of acanthus leaves frame the shield cartouche which bears the initials F M.
The initials are so ornate that the letters are open to interpretation.
We usually note that lockets crafted by this maker have highly visible hallmarks stamped on the posterior surface . The well struck marks make dating easy.
Click here to read our blog about dating gold and silver.
The hallmarks are framed by ivy leaves.
Ivy leaves symbolise strong bonds, devotion and loyalty.
The sturdy shield is a locket shape that this goldsmith mastered well.
Another style of locket for which this maker is well known is the rectangle with chamfered edges. Acanthus leaves and a shield motif convey the deepest meanings. A single forget-me-not flower draws the eye because of its central location.
Forget-me-not flowers symbolise deep love and respect.
VIEW THIS ANTIQUE 9 CARAT GOLD KEEPSAKE LOCKET
The cartouche on the gold locket pictured above is in the shape of a scroll.
Scrolls symbolise wisdom.
Great skill is required to engrave deeply enough to achieve the correct definition without engraving with too much force which could pierce the case.
As these antique lockets were hand engraved it would not be remiss to describe them as unique pieces.
The locket shown above is tiny. The enlarged image above shows the great skill needed to include so many depictions on such a small surface area.
VIEW THIS ANTIQUE 9CT GOLD SWALLOW LOCKET
A superb fully hallmarked antique locket which was crafted by Albert Ernest Jenkins in 1911. This splendid piece is ornamented with swallows and garlands of roses on both sides. An ornamental bow is attached to one of the garlands. The engraved bow symbolises the desire of the donor to give themselves to the recipient. Swallows are seen as lucky talismans for those who travel, ensuring a safe return home. Roses symbolise love and adoration.
This antique was assayed* (tested for gold purity*) at Chester Assay Office in 1911.
The locket is suspended from an elegant 9 carat gold 18 inch necklace.
Such artistry!
The anterior surface shows the most delightful symmetrical design which radiates from the ornate shield cartouche. Ivy and acanthus leaves intertwine in such a pleasing composition.
This maker was particularly well known for his solid gold lockets and so he would have received commissions from wealthy Victorian & Edwardian families who wished to own or gift precious keepsake jewellery.
From time to time those who commissioned Mr. Jenkins would also request that he engraved the recipients initials within the cartouche.
Sometimes the initials that we see engraved onto antique lockets are used to convey a message rather than stamp the case with the initials of the owner.
For example you may see the initials AEI adorning antique lockets.
The initials AEI represent Amity, Eternity and Infinity. The AEI sentiment was popular throughout the Victorian and Edwardian eras.
Although it is frustrating for us when we can not find more historical facts for one of our favourite makers we will continue to search for more information.
More fully hallmarked antique gold lockets.
Please note that although we spend many hours each week updating or compiling new work for our historical blog section which is free to view, we do not offer an appraisal, identification, valuation or dating service to members of the public.
However, each purchase from our store is shipped with a lavishly illustrated history which dates the item and details the history of the item and that of the maker.
Sources:
silvercollection.it
]]>At the time this accessory was crafted the makers described this lid decoration as:
Jewel design on black enamel background.
This pattern was also available on a white enamel background.
Later on, the makers renamed this design Indian print.
The Stratton Queen Convertible shown above was one of the earliest examples of this model. It dates to the late 1950s. This compact is fitted with the original bevelled mirror.
Bevelled mirrors were more costly to produce and it is unusual to find this model with one such type of mirror.
However, it does make sense, as the early Queen Convertible model superseded the rare Queen model which was fitted with bevelled mirrors.
The rare Stratton Queen model was only known to be available from 1957 - 1958.
The Stratton Queen Convertible model first known year of availability was 1957.
This model was to become one of the most popular Stratton brand compacts with a production run which lasted from 1957 - 1997.
During this time many different embellishments were applied to the lids.
This compact shows how the Queen evolved into the Queen Convertible.
The earliest Queen Convertible models have a powder well which is a little deeper in appearance than those which were made later.
The interior cases were fitted with inner annular rings but these were of a different style than those fitted in the later models.
They cover less of the powder well.
The mirror has a bevelled edge (not be confused with the frosted glass edges seen on some mirrors fitted in Queen Convertible compacts).
The early Queen Convertible model was fitted with a riveted thumb catch just like the Queen model.
A rivet is a permanent mechanical fastener. Before being installed, a rivet consists of a smooth cylindrical shaft with a head on one end. The end opposite to the head is called the tail. On installation, the rivet is placed in a hole. When the rivet is hit the tail is deformed causing it to expand to about 1.5 times the original shaft diameter, holding the rivet in place.
Eventually the Queen Convertible model would have sprung thumb catches fitted. The spring at the back of the catch is flexible. When the outer part of the catch is pressed, the spring flexes against the interior brass wall of the fitting onto which the inner annular ring is attached. This in turn disengages the latch shown above from a lip shown at the top of the interior lid.
The Queen and early Queen Convertible models have a base design as shown above. The gilding on the base is a deeper shade of gold than the later models.
This could be as a result of the gilding aquiring patina due to aging.
Whatever the cause, the golden hue is very appealing.
We believe that the the adaptation of the Queen to the Queen Convertible came about because the makers knew that they would increase their customer base if larger powder capacity models like these could accommodate both loose and pressed foundation.
As the Queen was fitted with a full inner lid it is only suitable for loose foundation powder and so it had a very short production run.
By the 1950s the newer formulations of pressed foundation had become very popular.
They had a more natural appearance than they had in previous decades and they do not spill, unlike loose foundation.
Compact manufacturers production lines reflected this demand.
VIEW THIS EARLY STRATTON QUEEN CONVERTIBLE COMPACT
A glorious unused gold plated Stratton Queen Convertible compact which was crafted in the late 1950s. The compact is decorated with a pleasing gilt finish throughout which will prevent it from tarnishing. The lid is embellished with a textured design and a diamond cut star motif. The original features - box, semi-rigid felt lined pouch, signed puff and sifter are present.
View our wonderful Stratton brand collection.
Click here to learn how to date your Stratton compact.
Click here to see more historical information.
Please note that although we spend many hours each week updating or compiling new work for our historical blog section which is free to view, we do not offer an appraisal, identification, valuation or dating service to members of the public.
However, each purchase from our store is shipped with a lavishly illustrated history which dates the item and details the history of the item and that of the maker.
Sources:
Juliette Edwards' The Stratton Identification Key
]]>The image above shows an acetate lid decoration in front of the compact case. This depiction of RMS Pretoria Castle is reverse painted on to the underside of the acetate. The acetate serves as a protective cover and the surface on which the enamel paint is applied.
The brass which frames the image is gilded, as is the whole compact. This frame is decorated with an engine-turned pattern.
The makers went to a great deal of trouble to represent the subject matter featured on their vanities accurately.
As you can see from on the next image the windows and the gap in the hull through which the anchor rode is paid out must be painted first.
The layers of enamel are then built up which obscures the grey and black window details and the black hole for the anchor.
The paint is rough to the touch and which proves that these wonderful vanities were hand painted rather than an applied transfer.
ORIGINAL STRATTON BRAND ACETATE INSERT
CONSTRUCTION OF THE COMPACT
The image above shows the construction of the maritime themed Stratton brand compacts in the order of assembly.
Behind the acetate lid are foil inserts. The first foil insert is mainly decorative.
The gorgeous foil provides the perfect background, as the image below shows.
The main purpose of the second foil insert is to protect the decorative features, as it forms a barrier between them and the metal plate.
Another insert made from ridged paper sits in between the mirror glass and metal plate.
This serves to prevent the mirror from moving and also provides a gap in between the mirror and the metal plate.
Finally the mirror is held in place by the mirror bezel.
These types of Stratton compact were all made for use with loose foundation.
It is highly likely that the firm was commissioned to make these vanities as gifts for the first class lady passengers on cruise liners.
Or, in the case of ships which were engaged in military service, these vanities were crafted as a tribute for their service. An ideal gift for the wives of serviceman serving on or being transported by these famous ships.
Many of these ships also transported refugees to safe havens and so they would have been fondly regarded by their civilian passengers too.
First class lady passengers travelling with prestigious shipping lines would have been given these rather special powder compacts presented in boxes in which a card would have been placed which was printed with words such as:
With The Compliments Of The Captain
The logos of the prestigious shipping lines would have been emblazoned across the lavishly decorated presentation boxes.
A delightful memento of a luxurious cruise!
Sometimes it is possible to find an unused vintage Stratton maritime themed powder compact together with a matching Lipstick Mirror.
One such rare set is depicted above. This highly collectible unused Stratton Scone powder compact is decorated with a charming portrayal of R M M V Winchester Castle in fine detail. Set atop a glittering golden foil insert this is the most wonderful enamel scene showing this majestic ship moving through the water. The original box, pouch, sifter & signed puff are present. . The bezel is signed STRATTON MADE IN ENGLAND. The inner lid is signed Stratton. The base is decorated with a fine spiral.
Together with the compact is a very rare Stratton Lipstick Mirror again with a flawless scene of R M M V Winchester Castle. The lipstick mirror is signed Stratton MADE IN ENGLAND PRO. PAT. NO. 91.
Click to view more wonderful Stratton brand collectibles.
Please note that although we spend many hours each week updating or compiling new work for our historical blog section which is free to view, we do not offer an appraisal, identification, valuation or dating service to members of the public.
However, each purchase from our store is shipped with a lavishly illustrated history which dates the item and details the history of the item and that of the maker.
Sources:
Wikipedia
]]>
The advertisement shown above depicts the Houppetti Pli and other vanities which Willk marketed.
]]>
The advertisement shown above depicts the Houppette Pli and other vanities which Willk marketed.
A refillable puff known as the Houppette Automatique Plia en cygne.
This translates roughly to automatic folded powder puff made from swan's down.
The puffs are fitted with a refillable powder well. The illustration shows how to fill the powder well. These puffs were available in 8, 9 and 10 cm diameters.
On the left we see the stylo fard pour les levres - blush pen for the lips (lipstick).
This also appears to be refillable.
In the middle of the advertisement we see images of the Houppette Pli.
We thought that we should allow the inventors to describe their own inventions.
Figures 4 & 5 represent respectively in elevation, the stored puff and the ready-to-use puff.
The Houppette Pli translates to foldable puff.
Houpette = puff and pli = fold.
On the base of this puff are the words BREVETE pli S.G.D.G MADE IN FRANCE.
Brevete translates as patented.
Breveté SGDG (Sans Garantie Du Gouvernement) - patent without government guarantees.
Leon Svirsky and Alexandre Willk collaborated to patent variations of the Houppette Pli.
Houpette Pli are sought-after, especially when they have colourful designs which depict elegant ladies or wonderful Art Deco designs.
We have seen an example which could be described as figural. This vanity depicts a flapper girl complete with neat bob and a top hat. The head and top hat are removed to enable the puff to be made ready for use. The top hat unscrews to reveal a compartment for lipstick / rouge.
We do not know if this example is authentic as we have only seen images but it appears to be antique.
HIGHLY COLLECTABLE HOUPPETTE PLI DESIGNS
We have included another patent for a variant of the Houppette Pli.
Sources:
Patent Office.
]]>
The following information has been compiled to show the wide variety of Stratton brand presentation boxes and puffs.
However, this brand was so long lived this may not be a complete guide.
]]>The following information has been compiled to show the wide variety of Stratton brand presentation boxes and puffs.
However, this brand was so long lived this may not be a complete guide.
We will update this blog when we find more examples.
Some of the earliest boxes we have seen are stamped Stratton & Co.
Some boxes and puffs include the name of the vanity contained therein.
Some Stratnoid compacts were fitted with puffs very similar to the one shown above.
Stratton’s Self Compressing Vanity Box is also likely to have been known as the Stratton Cushion.
The compact is fitted with an inner lid on which is stamped:
The interior of the inner lid is fitted with a thick pad of felt.
This pad compresses loose foundation onto a sprung backing plate to prevent spills.
Not all original Stratton boxes have the Stratton signature on them.
It would be logical to ask how we know that these unsigned boxes are original to the vanities contained therein.
The answer is because they have the correct item code shown on the base of the box and that we have seen multiple boxes which look the same and have the right item codes written on them.
We date the boxes by the known years of availability of the vanity contained in the box and the other vanities contained within the same style of box.
The plain white box above is an original Stratton brand box.
The Stratton Punt was known to be available in 1940 and 1952.
There can be more than one style of box which is original to the same Stratton models.
For example, we have seen Stratton Punt & Pontoon models in blue Stratton boxes also.
This same style of box (far left) is also seen with the Stratton Pontoon shown below.
The Stratton Pontoon was known to be available in 1948, 1952-1954
The next Stratton Pontoon is presented with a blue box which is also an original box.
Around the time the Stratton Pontoon model was crafted we see royal blue and also pale blue pouches made from felt.
Most of the earlier Stratton brand pouches are not signed.
The next image shows a closeup of this box design.
This gift (presentation) box is interesting.
We see this style of gift box housing Stratton accessories made in the 1930s, 1940s and 1950s.
The presentation box has the brands owned by Jarrett, Rainsford & Laughton Ltd. stamped on the pale blue pearlized exterior.
If you look closely you will see the words Lady Jayne, Gilda, Expanda, Stratnoid, Velva, Stratton and Studiette impressed on the exterior presentation box.
A picture can paint a thousand words and so we have included vintage advertisements showing Lady Jayne, Gilda, Expanda, Stratnoid, Velva, Stratton and Studiette products.
As early as 1929 the firm was producing a wide variety of novelty and fancy goods, including Ladye Fayre Compactums. The 1929 advertisement shown above lists cigarette, brush and sewing equipment holders, as well as clothes brushes.
As well as the plain white boxes and blue signed boxes we have just shown, the firm also presented their compacts in pearlized pink boxes and blue and white checked boxes in the 1940s and 1950s.
The original presentation box, felt pouch, pretty floral puff and sifter are present. The item code 146/ET is written neatly on the base of the presentation box.
We often see puffs with scalloped edges with a wide variety of very appealing fitted floral or romantic themes in the Stratton Scone without Inner Lid model. This model dates to the late 1940s.
You may wonder why there is so much variation in the Stratton brand gift boxes and puffs of the late 1940s - 1950s.
The answer is that after WWII when four out of five of the company’s factories were destroyed they had lost so much stock that they had to use whatever good quality items they could find to kick start the business once again.
The first known year of the Stratton Scone is 1948. The embroidered compact shown above is presented with all the original accessories which include a box decorated with blue and white check design.
The original item code is shown on the box.
We have seen three of these vanities with exactly the same item code on the presentation boxes.
This is a very rare unused mid-century Stratton loose powder compact. This vanity is presented in the original box with all the original accessories. We know the model item code (548/DN), as it is stamped on the box, but as yet we do not know the name of this intriguing vanity. The Stratton Scone model has rare variations. For example - the Piccadilly (1959/1960), which is just like the Scone, except that it has a lid fashioned into the four leaf clover shape and the Photo Compact (c.1959) which has a heart shaped locket in the lid. The Scone model has also been used to create the Stratton Initial Compact.
The next image shows this box design in more detail.
The printed paper has a luxurious pearlized appearance which the camera has not managed to capture.
We have seen this style of box with various models some of which include the Stratton Muffin & Princess models.
The Stratton Muffin was known to be available from 1948, 1952 and 1953.
The first known year of the Stratton Princess was 1953.
More wonderful vintage Stratton compacts & accessories.
This beautiful unused 1950s enamel Bird Scene Stratton Convertible powder compact has spent the last sixty plus years in the original box. Two enchanting blue tits are perched on twigs. The background enamel is lustrous cobalt blue.
The compact is presented with all the original features - presentation box, felt pouch, luxury puff, velour edged sifter, padded paper insert and instruction leaflets.
The next image shows the well known Stratton design which is seen on boxes made in the 1950s & 1960s.
This vintage compact is presented with the original accessories.
Borders of deep green enamel and a diamond cut feature frame an enchanting plaque embellished with Le Serment d'Amour (The Oath of Love) after Jean Honoré Fragonard.
We see this design of Stratton gift box with 1970s & early 1980s accessories.
The next image shows another presentation case from the same era.
This 1980s Stratton Mini-Convertible powder compact is complete with the original box, pouch, puff, sifter, inspection docket, instruction leaflet and spacer ring.
The pale orange pouch is signed Stratton.
By the late 1980s the felt pouches were often replaced by synthetic soft velour types of fabric.
This later Stratton pouch is signed Stratton.
Here is another image of this style of box.
Another style of 1990s Stratton presentation is shown in light grey and red lettering.
This compact is fitted with a grey pouch which is signed Stratton in red lettering.
We know that this box was made prior to Laughton & Sons Ltd. (owners of the Stratton brand) sold out to Firmin & Sons because it is stamped:
Stratton brand accessories are famed for their quality and reliability.
Modern 21st Century Stratton compacts are made but they are not British made & collectors consider them inferior to the vintage Stratton compacts.
Sometimes modern 21st Century compact mirrors are passed off as being vintage.
However, if you buy from a collector or specialist compact dealer, such as ourselves, they know how to date vintage Stratton compacts by the design on the base.
Sometimes it is possible to cross-reference this with the model type & date a particular compact to within two years.
We only stock authenticated vintage and antique accessories and jewellery.
https://thevintagecompactshop.
1997
Laughton & Sons Ltd. sold out to Cork International.
2000
The Stratton brand was sold to Firmin & Sons.
Some time after this Stratton accessories ceased to be British made.
This compact was made by Firmin & Sons.
How do we know that this compact was not made in England?
The leaflet states:
There is no mention that the compact was actually made in England and although the compact is signed STRATTON it is not signed STRATTON MADE IN ENGLAND or STRATTON MADE IN GREAT BRITAIN.
In 1920 Leopold Reich entered into a partnership with Sidney Ash. Their company was styled as The Reich-Ash Corporation. Both men were experienced in the cosmetics industry. Ash had been employed by the Colgate Company and subsequently owned a business which we would describe as being involved in the cosmetics trade.
Reich and Ash manufactured compacts for compressed foundation powder and rouge.
The advertisement shown above gives a good indication of the products this business supplied. This advert dates to 1924. Their clients could be sure that Reich-Ash would supply all their needs regarding vanities because as well as manufacturing powder puffs, face powder and rouge the firm also had a large department which specialised in supplying custom artwork which included staff capable of high quality hand painted embellishment.
At this time manufacturers of toiletries made their profit from selling cosmetics rather than vanity cases. The manufacturers hoped that their eye-catching cases and compacts would entice customers to become repeat customers.
As well as manufacturing cases for other companies Reich-Ash marketed their own brand, which was named Deere. One of their earliest cases featured the head and chest of a stag (c.1920).
It may seem a little strange that a cosmetic company would opt to feature female nudes on products destined for the dressing tables or handbags of women but this is exactly what Reich-Ash decided to do. Perhaps their most famous vanity is the one shown below. Entirely nude and shown gazing at her own reflection this striking image depicts a bold confident woman at ease with her appearance.
This wonderful old gilded powder tin was made by The Reich-Ash Corporation c. 1921. The lid shows a nude lady gazing at her reflection in a hand mirror. She is surrounded by an elegant triangular frame with embossed flowers & foliage. This work is described as repoussage.
INTERIOR VIEW OF THE LID
Repoussé or repoussage is a metalworking technique in which a malleable metal or precious metal is shaped by hammering from the reverse side to create a design in low relief.
Underneath her feet the tin is signed DEERE & another more subtle border of tiny raised circles which finishes the design of this famous antique powder tin nicely. The whole powder tin has a deep golden hue & has a granular appearance.
Care of this antique:
We have not attempted to clean this vanity because we feel it has a charm of its own.
The brass would probably polish to a high sheen but maybe some of the antique charm would be lost.
We feel as though antiques should be left uncleaned when ever possible.
The image above was the registered trademark for The Reich-Ash Corporation.
The dotted lines which surround the seated lady became a design feature seen on some of their slipcases / tins.
As well as mint green & cream colour scheme we have seen this design in red & cream and orange & cream.
The adorable pale green puff shown above compliments the green and cream enamelled lid.
The brand name is emblazoned across the puff sash in the same elegant font that we see on the registered trademark.
The image above shows the original cover placed on top of the rouge. The container housing the rouge is made from card which is protected by the metal outer case.
The whole rouge pot can be lifted out of the rouge container.
These eye-catching vanities were designed to be refillable.
These containers are so durable that unused contents still look in good condition over one hundred years later, although it is not safe to use antique makeup.
Within a short period of time The Reich-Ash Corporation became a very successful enterprise. By the mid 1920s the company took up most of the floors of 59 Reade Street.
Sidney Ash bought out Leo Reich’s interests and became Reich-Ash’s majority stockholder with other family members involved in the business.
It is possible to find some of the compacts which are signed ASH’S DEERE BRAND.
REICH-ASH DOUBLE OR COTY SINGLE
Do you recognise this Coty brand compact?
The compact illustrated in this advertisement is the Coty New Compacte.
The Coty New Compacte was made by The Reich-Ash Corporation.
In 1931 this compact retailed for 49 cents.
This wonderful advertisement shows us that as well manufacturing their own brand Deere compacts, Reich-Ash made Coty and Tre-Jur compacts.
Completely filled refers to Reich-Ash supplying the compacts with face powder and puffs.
Single and double most likely refer to whether the compacts were designed to hold either face powder or rouge or if they could accomodate both items of makeup.
On 19 August 1930 four floors of a Reich-Ash Corporation factory were engulfed in fire.
The injured included employees and firefighters. Four firemen collapsed from inhaling noxious fumes.
Some employees only escaped serious injury by fleeing onto the roof of the factory.
LOWELL SUN (LOCATION LOWELL, MASSACHUSETTS) AUG 19 1930
Reich Ash Bath Salts, fancy boxed…………….15c and 19c
Reich Ash Triple Compact extra special value …..95c
Sachets containing Reich-Ash cosmetics would often be printed with the following statement
THE PITTSBURGH PRESS OCTOBER 18 1935
In the listing above we see The Dixie Deb Corp and the Reich-Ash Corp. described as joint manufacturers and distributors of cosmetics.
Deb probably is referring to the word debutante which was commonly used to describe young ladies making their debut on the scene of socialising etc.
These two companies made an offer to take on a large mill and engage up to 400 workers.
Part of the deal was that the mill would be rent free for a period of four years.
More wonderful antique and vintage collectibles.
Sources:
Michael Hetherington's compactblogspot
St. Joseph's News-Press
The Pittsburgh Press
]]>
This tip will save you time because you will not then have to keep trying which is the best fit.
Test the fit:
When the frames and clear portrait protectors fit well you will be able to pick up the locket holding it open with the interiors facing the floor and shake it gently. The internal features will not fall out because they were made especially for the piece. If they are not absolutely soundly in place you just need to refit them. Maybe replacing them in a slightly different way.
However, if you follow the advice in the first paragraph of this blog post you will avoid this problem.
How to open & close:
Solid gold lockets are formed around a gold frame which gives them added strength. Bearing this in mind we use the frame area or edges to open or close the locket. Most lockets will have a tiny area where you can insert a fingernail to open it. When you close the locket, shut it by pushing the two outer edges together, rather than closing it and then squeezing the middle of the locket until you feel the closure connect.
Moire:
If your locket is lined with moire and you wish to display it please be aware that moths like to eat / lay eggs on natural fibres. Displaying lockets lined with moire is best done in the closed position.
Attaching portraits or photographs:
You do not need a locket to be fitted with the original frames and clear portrait protectors to add a photo of your relative or partner.
Use a piece of tracing paper to draw the outline of the locket compartment. Then cut this out to use as a guide for what shape / size your photo should be. When you have a photo the correct size simply place a small square of double sided tape on the back of the photo and stick it in the locket compartment.
Double sided tape can also be used to stick photos on to moire as well.
Valuable antique miniature paintings should be fitted carefully by an experienced person and not taped inside.
VIEW THIS ANTIQUE HALLMARKED GOLD MOURNING LOCKET
Locks of hair / hair art:
Including a lock of hair in an antique locket has long been a traditional way to remember a loved one.
The splendid deep bodied fully hallmarked gold Edwardian mourning locket shown above was assayed* (tested for purity*) at Chester Assay Office in 1905. The front of the locket encases a beautiful lock of blonde hair which has been skillfully crafted into hair art embellished with tiny seed pearls. Pearls used in mourning jewellery symbolise tears for the dearly departed. The original protective cover and frame are present.
This simple design of a curled lock of hair is one of the most popular and easiest ways to present a lock of hair. On one side of the lock of hair appear to be tiny bits of string. The "string" is actually finely plaited hair.
It is a good idea to practise with some of your own hair if you lack confidence rather than use the lock of treasured hair. Then when you understand how to achieve the design you like best you can take some but not all of the treasured lock and prepare it to fit in the locket. Keep some of the hair in reserve.
Preparing the hair:
Traditionally the hair would be cleaned prior to styling.
If you would like to read about how professional hair artists in the Victorian era created hair art we have included extracts and illustrations from The Lock of Hair by Alexanna Speight which was published in the late Victorian era.
For most people the fact that the hair belonged to someone they miss so much is the most important aspect of the inclusion of it in a keepsake locket. A simple design is just as pleasing as the most elaborate hair art.
Only a tiny amount of hair is needed to create a simple lock design or the most elaborate hair art.
We have concentrated on the practical aspects of this art, rather than the history of it which is also detailed in the book. The extracts begin at page 86.
PRINCE OF WALES’ FEATHER
Then wet your finger and thumb with your lips, and moisten the end of the curl with your finger and thumb, so as to prevent the hairs spreading out, then slightly open the irons, and with the knife gently scrape off the curl on the pallette, as shown in diagram No. 5.
A little more and we really have done, and the lesson learnt. Take a little spirits of wine, and by means of the camel-hair pencil slightly damp the design, and with the knife remove and superfluous gum you may see.
Our notes:
Gold-beaters’ skin is the processed outer membrane of the intestines of an animal, usually cattle. This highly durable membrane is valued for its strength against tearing when used in the traditional way of making gold leaf. Layers were interleaved between sheets of gold stock during the process of making gold leaf by goldbeating.
This is the simplest design, and certainly the easiest of execution…Take the prepared slips of hair-covered gold-beater’s skin and cut them into smaller slips, of the dimensions you think are suitable. Then take a certain number, say seven of the strips, and with some strong fum attach the left ends of the strips to a sheet of writing paper, leaving the other or right ends free,a s seen in figure 41. Then leave the strips until the gum has become dry, and they have become firmly attached to the writing paper. As soon as they are ready you proceed to make the plait…
HAIR ART BASKET PLAIT
…the artist has to select a tablet (template) of the desired shape, and to fix it with gum upon a piece of writing paper…Then fix the gummed hair upon the tablet in the curved shape shown in the figure.
Browse our fully hallmarked antique gold locket collection.
HAIR ART WITH TEMPLATES
VICTORIAN LOCKET ADVERTISEMENT
At the back of Alexanna Speight's book we see advertisements showing brooches and lockets.
Sources:
]]>
While other blogs deal with Edwardian style and fashion we are endeavouring to compile a guide to enable accurate dating.
]]>While other blogs deal with Edwardian style and fashion we are endeavouring to compile a guide to enable accurate dating.
Some purists would say that the term Edwardian should only be used to describe antiques made in the United Kingdom / dominions of King Edward VII. For example King Edward VII was not the king of America and so some people may think it is a little strange to describe American made jewellery as "Edwardian".
You may or may not feel as though this is a little pedantic.
The Edwardian era was a very short period of time.
KING EDWARD VII
Oil on canvas by Sir Samuel Luke Fildes (1843-1927)
National Portrait Gallery
King Edward VII reigned from 22 January 1901–6 May 1910.
During his reign Edward VII declared that the peridot was his favourite jewel and as a consequence it was very popular during this era.
QUEEN ALEXANDRA
His Consort, Queen Alexandra, was a trend setter who delighted in wearing ornate jewellery. She usually wore chokers to cover a scar on her neck which resulted from an operation which took place in her childhood. Some of these chokers were multi-strands of pearls. In the Edwardian era ornate gem set jewellery, lockets and chokers were very fashionable .
VIEW THIS EDWARDIAN GOLD PEARL & AMETHYST NECKLACE
Antique jewellery is valuable and sought-after because of its rarity and also the high level of skill involved to create such ornate pieces which surpass mass produced modern jewellery.
Typically, antique lockets from the Victorian and Edwardian era are far more ornate than those crafted in the 1930s to the modern day.
VIEW THIS FULLY HALLMARKED EDWARDIAN LOCKET
Some authentic antique jewellery is not hallmarked. However, many potential purchasers may lack the confidence to part with considerable amounts of money if the piece does not bear hallmarks.
Other authentic antique jewellery will be stamped with 9c or 9ct for 9 carat gold or 15c or 15 ct to give some examples. Although there may not be full sets of hallmarks and therefore no date letter we can be confident of its authenticity because of the exquisitely fine workmanship and ornamentation.
The carat value of gold is also shown as a decimal.
9 carat gold has a decimal value of .375.
The decimal value for 15 carat gold is .675.
Sterling silver has the decimal value of .925.
Reproductions often lack extremely fine workmanship and may be one of many identical pieces of jewellery.
Crucially, we do not find multiple identical items from the Georgian, Victorian or Edwardian eras.
Beauty is in the eye of the beholder and many people feel confident buying from experienced sellers even when jewellery is not hallmarked.
This guide is for people who would like to see hallmarks which prove the age of the antique jewellery and leave no room for doubt.
Unfortunately, some people are confused by clever wording and they lack the time to source antiques. Then they part with hundreds of £s or $s for an item which was mass produced in the twenty-first century.
The use of the terms "antique style", "Victorian style" or "Edwardian style" in an advertisement means only that these items are fashioned to have the appearance of jewellery from a much earlier era. Often these items are modern mass produced pieces. If you see multiple identical pendants, necklaces or bracelets they could be reproductions.
How is it possible that the descriptions which are affixed with the word "style" cause people to believe that they are buying antiques?
"Clever wording" which confuses.
Some customers may be looking for a less expensive alternative which has an antique appearance.
Would these customers be as happy if the reproduction was just as expensive as a similar antique or if they believed they had purchased an antique?
Who knows?
Taste is unique to each person.
Sometimes the prospective purchaser believes that they are looking at an antique piece and does not have the knowledge to know how to date the item.
This post will show you how to date British assayed gold and silver.
If you are unsure about how to proceed we recommend purchasing jewellery with full sets of British hallmarks to guarantee the purity of the precious metal and the antiquity of the piece.
Once you know how to read assay offices' date letters you will have the knowledge you need to date jewellery.
Do not worry, it is easy when you know how.
We will now show you how to date British made antique jewellery from the Edwardian era. These techniques can be used to date antique jewellery from different eras.
Unfortunately, throughout history precious metals have been faked. Those found guilty were dealt with extremely harshly, often by capital punishment.
The system of hallmarking was introduced in Britain to prevent this fraud.
When and why was a British system of hallmarking established?
In order to prevent goldsmiths from passing off items made from base metal or low grade alloys as gold or silver laws were passed.
In 1300 Edward I passed a statue commanding that:
no goldsmith… shall from henceforth make or cause to be made any manner of vessel, jewel or any other thing of gold or silver except it be of the true alloy..... and that no manner of vessel of silver (or gold) depart out of the hands of the workers, until further, that it be marked with the leopard’s head.
At this time there were no assay offices, instead men known as the Guardians of the craft would travel to goldsmiths' premises to apply the leopard's head mark.
In 1363 Edward III passed an ordinance that each goldsmith was required to have their own maker's mark which would be unique to them. This mark must be stamped alongside the leopard's head mark.
In 1478 one body, the Goldsmiths' Company, was made responsible for guaranteeing the purity of precious metals. The Company would issue fines when wares were below the standards that had been set in statute. The leopard's head with a crown was introduced at this stage as well as a date letter for each year. The Goldsmiths' Hall was granted the status of a permanent assay office.
In 1773 the House of Commons found in favour of a commission to establish assay offices in Sheffield and Birmingham.
Punishment for counterfeiting hallmarks.
In 1757 a law was passed which ensured that anyone found counterfeiting hallmarks in Britain would face the death penalty, as this offence had become a felony.
The Goldsmiths' Company gained its Royal Charter in 1327. In 1300 King Edward I passed a statute requiring that gold and silver be of a defined standard. These precious metals were to be marked with a leopard’s head. This hallmark was said to have been taken from the royal arms. Hence its name, the King’s mark. The Goldsmiths' Company was tasked with the job of supervising Britain’s first hallmarking system.
This process has guaranteed the fineness of precious metals in Great Britain since the fourteenth century.
Buying fully hallmarked gold and silver will protect your investment and guarantee the purity of the gold/silver.
The word hallmark derives its name as the precious metals were marked in the Goldsmiths' Hall. Craftsmen were required to bring their goods to the Hall for assaying and marking.
Imported gold and silver from 1842 - 1998.
From 1842 it was illegal to sell imported gold or silver in Great Britain until it had been presented to be tested (assayed) at a British assay office. In 1867 the Foreign Mark was added.
The chart above shows only the Edwardian era date letters for Chester assayed silver and gold.
The dating is also applicable on imported gold and silver because it had to be presented for assaying on import.
We know the hallmarks below refer to an imported item because of the F hallmark which denotes foreign.
LONDON ASSAYED GOLD
The importer's mark P E (Paul Ettlinger) the gold purity marks 9 & .375 (9 carat gold) are shown first. Followed by the Foreign Mark, the date letter i (1904) and the leopard's head which represents London Assay Office.
LONDON DATE LETTERS
The chart above shows only the Edwardian era date letters for London assayed silver and gold.
You are mostly likely to see Birmingham, London or Chester assayed gold and silver during your hunt to find an authentic Edwardian piece.
However, there are other assay offices which operated in the Edwardia era.
For example Sheffield, Glasgow and Edinburgh.
MARK OF SHEFFIELD ASSAY OFFICE
SHEFFIELD DATE LETTERS
MARK OF GLASGOW ASSAY OFFICE
Glasgow Assay Office is represented by a tree, a bird on top the tree, a bell hanging from the tree (right hand side) and a fish placed across the trunk of the tree. This mark derives from the city's crest. So much detail in a tiny hallmark is often difficult to perceive, even with a jeweller's loupe, especially when the mark may be a little worn.
GLASGOW DATE LETTERS
MARK OF EDINBURGH ASSAY OFFICE
EDINBURGH DATE LETTERS
The marks above show a three towered castle and a thistle for Edinburgh assayed precious metal in the Edwardian era.
Ideally you should study the hallmarks prior to purchase if you wish to source an antique from a particular era.
Reading the hallmarks:
If you have already purchased the item and the date letter is too worn to read even with a jeweller's loupe, a high spec. camera may be able to capture an image which is easier to determine.
Make sure that you illuminate the area with the hallmarks and point the camera as close as you can after setting it on auto focus. If you do not have studio lights an office table lamp will be bright enough.
Failing this, knowing the maker may be able to help you date the item. If you know when this firm of goldsmiths operated from and when they ceased to trade it may give you an idea of the antiquity of your newly acquired jewellery.
Specialist antique dealers selling hallmarked jewellery will be only too happy to send good quality images of the hallmarks for you to read. To save our customers time we always include enlarged images of the hallmarks for each item in our collection so that nothing is left to chance.
Hallmarked only on the hanging ring:
Some jewellery may only have a full set of hallmarks on the hanging ring (bale). This only guarantees the gold or silver purity of the hanging ring and does not pertain to the locket or pendant etc. In these situations we would expect that the main body of the locket or pendant would also be fully hallmarked. The bale is detachable and so it is possible that a solid gold fully hallmarked bale could be attached to a pendant or locket which is only gold plated.
We recommend sourcing fully hallmarked gold or silver to protect yourself and your investment.
Gold purity is just as much an issue as dating. Many sellers describe items as "tests as gold" or "gold back and front" which can be confusing. The article below will give you a complete understanding of what is and is not solid gold.
More information about gold purity etc.
View our fully hallmarked antique gold locket collection.
More information about goldsmiths Joseph & Paul Ettlinger.
Please note that although we spend many hours each week updating or compiling new work for our historical blog section which is free to view, we do not offer an appraisal, identification, valuation or dating service to members of the public.
Sources:
silvermakersmarks.co.uk
theassayoffice.com
]]>
Some people forgot or did not know that Queen Elizabeth II was Scottish.
She was descended from the Royal House of Stewart on both sides of her family.
]]>Forty enchanting pages which detail the whole ceremony, the coronation procession and everyone involved.
As you would imagine the programme is printed on high quality paper.
This piece is original and not a reproduction.
The heavily embossed front cover depicts the coat of arms of Great Britain which was the symbol of the royal sovereignty of Her Majesty Queen Elizabeth II.
Page forty is a genealogical table tracing the royal line back to William the Conqueror.
The programme is adorned with motifs which represent the Commonwealth.
The Royal Standard is flying and shows when this photograph was taken that HM Queen Elizabeth II was in residence.
The Royal Standard represents the Sovereign and the United Kingdom.
Many of Her Majesty's subjects knew that her favourite country was Scotland. Her Majesty chose to spend her last days at Balmoral Castle, her favourite residence, so that she could say “goodbye” to Scotland and the Scottish people, because she knew her final resting place would be at Windsor.
Some people forgot or did not know that Queen Elizabeth II was Scottish.
She was descended from the Royal House of Stewart on both sides of her family.
Her Majesty’s parents shared a common ancestor in Robert II, King of Scots.
Robert II reigned from 1371-1390. Robert II was the son of Walter Stewart and Marjorie Bruce, daughter of Robert the Bruce, King of Scotland. Through her father, King George VI, Queen Elizabeth II was directly descended from James VI of Scotland. Through her mother’s family, the Bowes-Lyons, Earls of Strathmore, she could trace her ancestry back through generations of Scottish nobility to Sir John Lyon, Thane of Glamis, who married Robert II’s daughter in the fourteenth century.
When Princess Elizabeth was born there were no expectations that she would ascend the throne of Great Britain. Princess Elizabeth was born at 2.40am on 21 April 1926 at 17 Bruton Street in Mayfair, London.
Perhaps her early years without the expectation of such exaltation gave her such charm and an ability to relate to all people. It is doubtful that someone without a common touch would have been able to appeal to so many people all across the world.
However, on 10 December 1936, Edward VIII executed an Instrument of Abdication which was given legal effect the following day when Edward gave Royal Assent to His Majesty's Declaration of Abdication Act.
From the age of 10 Princess Elizabeth knew her fate. Her whole life changed and she went on to dedicate her time here on earth to service.
Most people would say that Queen Elizabeth II had a faultless reign.
We are so delighted to be able to attribute this portrait to Dorothy Wilding. Wilding took a series of portraits twenty days after The Queen's accession. This was not a new experience for her as she was the royal photographer for the official portraits at the Coronation of King George VI in 1927.
Her work gained her the Royal Warrant in 1943. She was the first female photographer to receive a Royal Warrant. These wonderful portraits were taken to produce official images for coins, stamps and bank notes.
One of the series of these portraits hung in every British embassy in the world.
This portrait, or variations of it, are sometimes seen on 1950s collectibles.
Below we can see one such collectible.
This splendid Melissa compact mirror was made as part of The CORONATION Series by Searchlight Products (Engineers) Ltd.
HM Queen Elizabeth II is depicted wearing the sash of The Most Noble Order of the Garter. The star is pinned to the sash. The star was introduced by King Charles I. The enamelled star is the heraldic shield of St George's Cross encircled by the Garter which is inscribed Honi soit qui mal y pense. The translation of this reads as shame on him who thinks evil of it or curse against those who wish you harm. This is the motto of the Most Noble Order of the Garter, a British order of knighthood. The shield is encircled by an eight-point silver badge.
Her Majesty is wearing The Diamond Diadem.
The pictorial inlay is card printed with ink. It is from an original postcard. The postcard would have had the following text printed on it before it was cut down to fit this compact:
It is extremely rare to find this compact in good condition because of its construction. The card inlay is protected by the original clear protective cover. Many of these covers were lost and so the card would have become dirty or wet and the compact would have been ruined. Paper is not durable. Also the card inlay rests on a steel plate. Many of the steel plates were not rendered to prevent rusting and so over the decades rust would corrode the metal. Eventually after many years this rust would stain the portrait to varying degrees. The metal plate on some compacts were painted with rust resistant paint which protects the metal.
You may wonder how we can attribute this compact to this maker when it is not signed and it is not presented with the original signed puff or pouch. We can be certain that this compact was part of the Melissa brand because it is exactly the same in style and dimension to other Melissa compacts we have owned. We have only ever seen one other compact with this exact lid decoration and this one was fitted with the original signed puff.
Cecil Beaton’s Coronation photographs differed greatly from those taken for the coronation of the HM Queen Elizabeth's parents in 1937. His portrait shown above depicts HM Queen Elizabeth against a fabulous painted backdrop of Henry VII’s Lady Chapel in Westminster Abbey, wearing the Coronation Gown designed by the Queen Mother’s favourite, Norman Hartnell.
The serene beauty of HM Queen Elizabeth belied the behind the scenes battles between Prince Philip, the Queen Mother, the Prime Minister, Winston Churchill, the BBC & the courtiers. Prince Philip wanted to modernise and change the ceremony. He pushed for his photographer friend Sterling Henry Nahum (aka Baron) to be the official photographer for the coronation. Baron had been appointed the role of Court Photographer to the British Royal Family. He took the official photographs for many occasions such as the wedding of Philip to Princess Elizabeth in 1947, the christenings of their children, Charles and Anne and other occasions.
But the Queen Mother thoroughly disapproved of Baron’s somewhat racy reputation and of Prince Philip’s habit of socialising with Baron. She had the final word in this instance and so Cecil Beaton was tasked with creating the wonderful coronation portraits of HM Queen Elizabeth II.
Beaton was overjoyed;
‘The call from the Palace to say The Queen wanted me to do the Coronation photographs for posterity was such a relief as well as a joy and thrill.’
After the coronation Prince Philip was rather grumpy with Beaton and bossed him about giving instructions on how to take the best photograph etc. Beaton stood his ground and the results were breathtakingly beautiful. Although he did remark that he felt intimidated by this behaviour.
The B.B.C. pestered the royal family and the government to allow them to televise the coronation. Each time they were refused permission the B.B.C. leaked information to their allies in the press who stirred up support for televising the ceremony. Newspapers held polls and published the results showing the huge numbers of people who wanted to see the coronation.
The Prime Minister, Sir Winston Churchill, and other members of the cabinet implored the Queen to spare herself the strain of the heat and glare of the cameras, by refusing to have the ceremony televised.
Her Majesty’s devotion to service motivated her to reject the protestations of the government.
Nothing must stand between her crowning and her people’s right to participate.
On June 2nd 1953 at 11 o’clock all over Great Britain people sat down to watch the ceremony on black and white television sets.
Even the floor on which the throne was placed was a remarkable sight to behold. A delightful and very precious mediaeval cosmatesque floor lay protected by carpet.
Mediaeval Cosmatesque stone inlay designs are sometimes described as guilloche. These patterns resemble the designs the rose engines produced centuries later. The term Cosmatesque derives from the Cosmati family who are renown for their geometric inlay stonework which can be seen in buildings that date to the Mediaeval era. During this time their skills were much in demand to adorn churches in Rome. Four generations of the Cosmati family excelled in their craft and the inlay techniques became known as Cosmati or Cosmatesque.
Lorenzo, Jacopo, Cosimo, Luca, Deodato and Giovanni Cosmati were superb architects and sculptors.
Admiration for their superb craftsmanship spread all over the world. Inspiring other artisans, sculptors and architects. Westminster Abbey has the most impressive Cosmatesque high altar floor. This mediaeval tile mosaic floor has recently been restored. A grant from the Getty Foundation helped to get this project underway. The process took two years.
The central point of this fabulous floor is where the throne is placed during the coronation of a monarch. Since the coronation of William the Conqueror, on Christmas Day 1066, every monarch (except for Edward V and Edward VIII who were never crowned) has been crowned here.
CENTRE PAGES OF THE CORONATION PROGRAMME
Care of vintage programmes etc:
We prevent moths from getting access to collectibles made from natural fibres by storing them in glass cabinets or in cupboards.
Packs of silica gel in pouches placed near to but not on the coronation programme will prevent moisture damage.
The programme should be displayed away from strong light / sunlight.
Clean dry gentle hands will not damage the paper.
Some people prefer to handle precious paper articles wearing soft cotton clothes especially if they have to moisturise their hands regularly.
Sources:
The Royal Collection Trust.
Dean and Chapter of Westminster.
]]>Meanwhile the listing shown below in the April 26 1958 edition of The Chemist And Druggist describes the makers as JARRETT RAINSFORD & LAUGHTON LTD., WARSTOCK ROAD, BIRMINGHAM 14.
]]>This trade catalogue dates to c.1958 because the company used the name Laughton & Sons Ltd. on the back cover.
Meanwhile the listing shown below in the April 26 1958 edition of The Chemist And Druggist describes the makers as JARRETT RAINSFORD & LAUGHTON LTD., WARSTOCK ROAD, BIRMINGHAM 14.
The parent company name changed from Jarrett, Rainsford & Laughton Ltd. to Laughton & Sons Ltd. in 1958.
The prices are, of course, pre-decimal.
This television campaign was primarily designed to appeal to British people who were well off enough to travel abroad but as the sun shines in the United Kingdom, those who took staycations were also targeted by the firm’s television campaigns. The catalogue shows Buckingham Palace & two of The Queen’s Life Guards on horseback.
FRONT COVER OF THE DRUGGIST AND CHEMIST APRIL 26 1958
Although the front cover of this edition of The Druggist And Chemist is advertising Bartex sunglasses, we have found a wonderful advertisement for Stratton brand sunglasses inside this publication.
Here is the description of the advertisement which is copied and pasted from this publication with no editing of the text.
We have searched this edition of The Druggist And Chemist to find another advertisement showing the other stand to no avail. There must have been an error when compiling this advertisement, as the first stand completely takes up the page and so there would not have been room to display another stand complete with sunglasses.
As you can see from the full colour illustrations we have included the stand in this advert and it shows only a small selection of Stratton brand sunglasses.
THE CHEMIST & DRUGGIST STRATTON TRADE ADVERTISEMENT
In 1956 - 1957 Jarrett, Rainsford & Laughton gained permission to erect a three storey building facing Warstock Road. This factory manufactured powder compacts and men’s jewellery and accessories, such as cufflinks, tie clips and match book holders.
On the left we can see the general offices.
On the left at the front we can see the general offices. Behind this is the Twinco Injection Moulding Division which is where the sunglasses were made. On the right the Packing Warehouse, Men’s Jewellery, Powder Compact and Metal Goods sections. Far right is the Machine Building and Stock Warehouse.
This photograph was taken by Patricia Laughton, daughter of G. S. Laughton
Francis Joseph Curry was the Production Manager and Director of the West Heath factory. As well as inventing improvements to powder compacts, tie racks, hair accessories and household goods, like telephone address & number index pads. F.J.Curry also invented many improvements to existing machines.
In 1958 the decision was made to combine the facilities at the West Heath factory with the Warstock Works by erecting a 12,000 square feet premises on the Warstock Works site.
The Twinco & Lady Jayne brands included hair accessories, sunglasses, combs, hair brushes, shower caps and desk accessories.
The image above shows the Pearl Working Section. This section had moved from the Alexandra Works which were bombed by the Luftewaffe to a building on Lower Essex Street to the Warstock Works in 1959.
Whether this section also worked on mother of pearl items we are not sure.
View our wonderful Stratton brand collection.
Sources:
The Chemist And Druggist.
A Century Of Achievement
]]>
The maker became particularly well known for their fitted dressing sets which were encased in smart leather clad cases. Each item was placed in a tight fitting custom made recess which would prevent the items from moving once the lid was closed. The silk lining of the lids was often padded with lambs wool to offer protection to the contents of the cases. Ladies and gentlemen's grooming sets were an ideal way to transport what was needed on the dressing tables of the well groomed who wished to travel.
There were a variety of different types of transport for well heeled Edwardians. Although many vehicles were horse-drawn, the towns and cities were served by train, tram and bus networks. Some families owned motor cars.
As you can see from the set below, the contents of a lady's dressing table could safely be transported to her holiday destination or when visiting the homes of friends & relatives.
The custom made recesses were usually clad with velvet.
Some items have much deeper dimensions. For example the powder / cream container and nail buffer which are shown are the top. The deepest recesses made for the buffer and powder tin are lined with royal blue silk because they extend right down to the wood at the bottom of the case. Whereas the other items rest on velvet clad wooden recesses on a board mounted inside the case.
EDWARDIAN DRESSING SET
In this era the clasps were usually quite ornate. This case has only one. Often cases of this size would have two elegant gilded brass clasps.
WILLIAM DEVENPORT LEATHER CASE
This elaborately wrought set is presented in the original superb leather clad case with hand tooled borders which have elegant floral motifs on each corner. The leather absolutely gleams as does the ornate gilt clasp.
ORNATE REPOUSSAGE HANDLES
VIEW THIS ORNATE DEVENPORT HAND MIRROR
This magnificent sterling silver Art Nouveau William Devenport hand mirror is adorned with floral chasing, scroll work & the original bevelled mirror.
1907 TRADE ADVERTISEMENT
This trade advertisement shows a small selection of the goods made for wholesale or export. Fancy silver goods such as hand mirrors, tea sets, salts, shaving brushes, manicure sets, vases, picture frames, shoe horns and button hooks were fashioned from sterling silver and also electro-plate.
The items featured on this trade advertisement are all embellished with electro-plated silver. These products were much more affordable than similar wares made exclusively from sterling silver.
So far we have only found one patent registered to this maker.
PATENT NO. 190628176
PATENT NO.190628176
I, WILLIAM DEVENPORT of Silver Plate Works Northwood Street Birmingham in the County of Warwick Silversmith, do hereby declare the nature of this invention to be as follows: -
This invention is especially applicable to ordinary wine and spirit bottles or the like, when the usual cork has been withdrawn or form-any other vessels.
AUDREY HOUSE LONDON EC
As well as supplying the wholesale trade this company presented their silverware at elegant showrooms located at Audrey House, Ely Place, Holborn Place, London EC. They were known to have showrooms at this location between 1912-1913.
Marks for the firm were entered with the London and Birmingham assay offices.
The company helped with the war effort during World War I.
The middle section lists the war work and the section on the right lists the company’s usual work in peacetime as a manufacturing jewellery concern which was noted for its silverware and electro-plated goods.
In 1918 the employees located at the Silver Plate Works numbered 29 men and 39 women.
You can see from the next image the huge difference in style from the sinuous lines of the Art Nouveau era and the Art Deco era.
This sleek sterling silver case is ornamented with an engine turned hexagonal design.
ART DECO WILLIAM DEVENPORT CASE
This Art Deco case is such an elegant piece that it is ideal for either ladies or gentlemen. The lid, base and all sides are decorated with an engine turned design we have not seen before. This piece was assayed at Birmingham in 1930.
Chronology:
Joseph Whitton 1837
Whitton & Devenport
William Devenport
William Devenport & Son
William Deveonport & Co.
Browse more sterling silver vanities.
Browse our fully hallmarked gold collection.
Sources:
Patent Office.
Grace's Guide.
Silvercollection.it
]]>In 1829 the firm was listed as a jeweller in northern England. The exact location was 18 Bazaar, Central Market, Leeds, Yorkshire. This company of manufacturing jewellers was also owned retail premises.
]]>In 1829 the firm was listed as a jeweller in northern England. The exact location was 18 Bazaar, Central Market, Leeds, Yorkshire. This company of manufacturing jewellers also owned retail premises.
In 1831 Antonio Fattorini opened a shop in the up market spa town of Harrogate in the West Riding of Yorkshire. He was also trading from a large premises at 28 Kirkgate, Bradford in the same county. From here the firm was trading under the name of ‘Fattorini & Sons’.
In their advertising tagline ‘Fattorini & Sons, goldsmiths, Skipton, Harrogate and Bradford’ summed up their reach in Yorkshire.
FATTORINI & SONS LTD
MAKERS TO THE ADMIRALITY AND HIS MAJESTY'S INDIA OFFICE
There are so many members of the Fattorini family who were involved in the business that this post only offers a brief overview.
The Skipton premise was opened in 1848 by Innocent Fattorini.
Innocent married the daughter of Baldassarre Porri who was also a jeweller. When Innocent died his wife continued to run the business. Their son, Thomas, continued in business using his own name. In 1903 Thomas opened another branch in Bolton, Lancashire. He steered the company to become a limited concern in 1919. Trading under the name of Thomas Fattorini (Lancashire) Ltd. The Skipton branch also became a limited company. On his death in 1934 his son, Wilfred, continued to run the business.
THE SKIPTON BRANCH c.1878
SKIPTON SHOP INVOICE
The Harrogate branch (14 Regent Parade) was managed by Antonio Fattorini II.
On the death of Antonio II his sister, Maria Tindall, her son John & nephew Edward H Tindall ran this business. This was such a successful branch that Maria’s great grandsons Charles & Anthony Tindall also joined the firm
The large Bradford premises was run by John & Edward Fattorini.
Another Fattorini firm was active in the midlands of England. Situated at 30 Spencer Street & registered as Frank Fattorini & Son. Francis (Frank) ran this branch. He was the grandson of Frank who was a son of the founder.
The advertisement shown above showcases the Fattorini Rembrandt Pewter Tea Service which was fashioned to have the appearance of Cromwellian period design. The tea service was ornamented with a hammered finish.
The firm patented many different designs, which include clocks.
PATENT 190701025
Thus, should the clock be set to operate the alarm at, say, five in the morning, an indicator will automatically appear between six and eight in the morning, showing that the clock will be silent for the next twelve hours, and at about six at night, such indicator will automatically change to show that the alarm will be operated in the morning at the time such alarm is set for.
1912 ADVERTISEMENT
In 1915 the five partners purchased the Birmingham based company the Joseph Moore medal manufacturing firm at 13 Pitsford Street. This too became a limited company named Joseph Moore Ltd & in 1958 this was re-named Fattorini & Sons Ltd of 36 Barr Street, Birmingham.
The advertisement shown above relates to the opening of the Trafalgar Works, Birmingham in 1926/1927, where they are still located at this present moment in time.
CRAVEN HERALD 1930
Compare this photo in the Craven Herald on Friday November 7th 1930 to the Skipton shop in 1878.
A hugely successful firm!
In 1937 Winston Churchill commissioned the firm to craft a mace.
© THOMAS FATTORINI LTD
The Company was commissioned by the Times newspaper to produce a range of replica jewellery for sale at the British Museum during the Tutankhamun Exhibition which ran from March-December 1972.
The Times newspaper was keen to sponsored the exhibition because they had financed the original dig in Egypt which led to the discovery of Tutankhamun's tomb.
The four pieces made for sale at the Museum were:
1. A pectoral pendant
2. Scarab bracelet
3. Cartouche ring
4. Eye of the Horus ring
The original samples had to be submitted for the approval of the curator of a museum in Egypt, the Curator of the Egyptian Antiquities and the Fashion Editor of the Times newspaper.
In 2008 Thomas Fattorini Ltd was granted a Royal Warrant by HM The Queen.
© THOMAS FATTORINI LTD
Here is an example of the work of this maker.
EDWARDIAN STERLING SILVER TOOTHBRUSH
A rare unused sterling Art Nouveau silver toothbrush made in 1902 by F. Fattorini & Son Ltd.
This delightful curio was assayed at Birmingham.
The silver toothbrush is decorated in the most extravagant Art Nouveau style.
Sources:
Thomas Fattorini Ltd.
Patent Office
]]>
The firm operated from buildings located in the heart of the London & Birmingham jewellery quarters.
In the Victorian era their business premises were listed as 6 Vyse Street, Birmingham and 65 Hatton Garden, London, EC.
In 1892 the firm is listed as:
A muffineer is a small container with a pierced top.
Wealthy Victorian households would most likely own muffineers crafted from ornately embellished high grade silver.
The name derives from its early use for sprinkling sugar or cinnamon on muffins.
Charles Thomas & William Samuel Sheldon traded as Sheldon Brothers.
In the early Edwardian era the company was advertised as:
The abbreviation H.M. represents the word hallmarked.
A splendid and ornately embellished Art Nouveau gold locket. This delightful Edwardian antique pendant locket is fully hallmarked. In 1905 this piece was assayed for purity at Birmingham Assay Office. The front is ornamented with forget-me-nots.
Ivy leaves grace the back. Ivy has symbolised fidelity, deep friendship and wedded bliss for many generations. A scroll cartouche features on the back. Scrolls symbolise wisdom and direction. This antique pendant was crafted by Sheldon Brothers.
More beautiful fully hallmarked antique gold lockets.
In 1907 the firm relocated its London offices to 16 Colonial Buildings, Hatton Garden.
We have found that Sheldon Brothers hallmarked gold lockets are of a very high standard.
The interior case contains the original and very charming photographs.
If you are wondering why you almost never see photographs from this era of people smiling it is because the subjects of the photographs may have to hold their pose for more than ten minutes. It would not have been possible to hold a smile for a long period of time.
In the Edwardian era only well off families could afford to employ a photographer. Often photographers would be called out to a residence to photograph the family.
As you can imagine this would be a costly endeavour, especially when the photographs were commissioned to be fitted in a newly purchased gold locket of exceptional quality.
Sometimes the keepsake locket would contain portraits of deceased relatives or maybe family members who were away travelling or fighting in a foreign land.
It may have been many months before they would be seen again, if at all.
An elegant fully hallmarked 15 carat gold Edwardian locket which was crafted by Sheldon Brothers in 1908.
This delightful double portrait locket is suspended from a splendid barrel clasp 15 carat gold necklace.
Both sides of this stunning portrait locket are embellished with forget-me-nots which symbolise deep respect and love. The shield shaped cartouche is framed by florid acanthus leaves. The shield represents the desire to protect the wearer of the locket. Acanthus leaves also adorn the other side. They have been used to convey everlasting life since ancient times.
VIEW THIS ORNATE EDWARDIAN SHELDON BROTHERS LOCKET
A splendid Edwardian antique fully hallmarked solid gold portrait locket which was assayed* (tested for purity*) at Birmingham Assay Office in 1908. Both sides are embellished with acanthus leaves and forget-me-nots.
The most delightful and deeply symbolic fully hallmarked antique 9 carat rose gold locket which was crafted by Sheldon Brothers and assayed at Birmingham in 1913.
The locket is paired with an elegant 16 inch fully hallmarked 9 carat rose gold belcher chain necklace. The front and back of the locket are ornamented in the most beautiful way. Garlands of roses adorn both sides. Two swallows are also depicted.
The locket is round in shape. However, the expert rendering of the form makes each side also have the appearance of a Celtic style cross.
Roses represent love, honour, hope, joy, faith, beauty and timelessness.
Swallows are a good luck charm that are said to give the wearer a safe journey and return home.
Information regarding this maker is relatively scarce.
If we find more we will update this post.
More fabulous fully hallmarked antique gold lockets.
]]>
]]>
The company is noted for its high quality luxury pieces which include baby rattles, bookmarks, boxes, button hooks, card cases, powder compacts, match box holders, napkin rings, pepperettes, shoe horns, spoons, stamp cases and trophy cups.
As you would expect, the company premises and employees were given over to war work during both world wars.
We can see from the entry in the 1918 directory listing below that during WWI the company made many different items for the war effort.
In WWI & WWII it is usual for the number of female employees to be much greater than male staff, as the men would be away fighting.
1918 DIRECTORY OF MANUFACTURERS IN ENGINEERING AND ALLIED TRADES
From the information listed below we can see that this maker was crafting powder compacts for use with either pressed or loose foundation.
This maker's entry in the 1929 British Industries Fair catalogue entry reads as follows:
We can see from this listing that the firm was involved in the creation of manicure cases & dressing sets. These sets would have included shoe horns, button hooks, nail buffers, nail files, cuticle pushers, scissors and powder jars.
These sets were presented in elegant wooden cases clad in black leather and fitted with ornate gilded brass catches. The interior lids were lined with silk which was sometimes stamped with the maker’s name in gilt lettering. The interior bases were fitted with velvet clad carved wooden stands with custom made recesses for each item. The preferred and most practical colours for the silk and velvet linings were royal blue, crimson or garnet red.
The most ornate sets often had subtle hand tooled decorations on the leather cladding.
Sometimes the hand-tooled decorations were embellished with gold accents.
Less expensive versions of the sterling silver sets were made from E.P.N.S. (electroplated nickel silver). The repoussage work on these sets would often be almost as ornate as the hallmarked silver sets.
Sets crafted in fully hallmarked sterling silver would often be as ornate as the set shown above. The shafts of the nail files, button hooks, shoe horns etc were made from steel, which was used for its strength.
The listing also informs us that this firm was commissioned to craft stylish sporting trophies.
On August 17 1926 William Clement Norris submitted his design for a plinth.
Here the inventor describes his invention:
This maker is especially well known for their vanities and baby rattles.
As you can see from the patent drawing below, Crisford & Norris baby rattles are particularly charming.
There are, however, many cases where it is inconvenient and almost impossible to solder and in many such cases the loops or links are left without any permanent securing means.
For instance, in attaching small bells to children's rattles, it is of considerable importance that the bell shall be firmly secured so that it cannot be pulled off.
Such bells are usually provided with wire loops, the ends of the wire abutting but not being permanently secured, while on the body of the rattle complete rings or permanently secured rings are provided.
It is possible to pass the loop on the bell through the loop on the body of the rattle and it is possible to solder the loop on the ring, but such an arrangement is inconvenient inasmuch as the rattle or the bell must be polished after the soldering, and application to the polishing machine is liable to damage the rattle or the bell.
On the other hand, if the loops on the bells are left unsecured, then children are liable to detach the bells.
The object of the present invention is to provide increased security for structures of the kind to which the invention relates without the necessity of soldering or any similar operation.
According to the present invention one member of each adjacent pair of loops or links is constructed in the manner of a split ring so that the other member of the bell can readily be engaged with it, the overlapping sides of the split ring loop subsequently being closed together after assembly.
The substantial loop or ring which is constructed as a split ring may be made from a blank of flat material shaped like the figure 8, the two integral rings thus provided each being severed more or less radially near where the two rings are connected together, the two cuts being oppositely arranged, i.e. on opposite sides of a line joining the centres of the two rings.
When the two integral rings have thus been severed, the blank is folded about a line at right angles to a line joining the centres of the two rings, thus forming what is virtually a split ring with overlapping sides bent apart.
An elegant and dainty Crisford & Norris Art Deco compact mirror which is embellished with splendid Air Force Blue enamel. Set atop the lid is a finely engraved sterling silver pilot's flying badge. A double thumb catch ensures ease of opening. This piece was assayed at Birmingham in 1937. Superb condition!
View more elegant hallmarked silver compact mirrors.
ART DECO CRISFORD & NORRIS VANITY 1939
This enchanting vanity was designed for use with loose face powder or as a handbag mirror. The excellent guilloche enamel lid is adorned with the most quintessentially English wild flower, the Dog Rose. The popularity of embellishments which include Dog Roses dates back hundreds of years. The Academy of Floral Games gifted a sprig of Dog Rose to poets who displayed considerable literary merit. This ancient ritual inspired many references to this flower in poems and plays, including those written by William Shakespeare. The Dog Rose is also known as the wild rose, briar or witches briar.
The guilloche enamel depicts the well known highly stylised Art Deco sunrise.
At the bottom we can see the semi-circle of the rising sun.
Emanating from the sun are powerful rays.
In October 1941 the firm's business premises at 117 - 118 Vyse Street, Birmingham was completely destroyed by the Luftwaffe.
As we can see from the outstandingly beautiful compact shown below, the company continued in business.
Like much of the Birmingham jewellery quarter and industrial areas of Great Britain, the owners and their employees salvaged what they could from the bombed out buildings and began once again to support the war effort with great resilience and dedication.
CRISFORD & NORRIS STERLING & GUILLOCHE ENAMEL COMPACT
A very beautiful sterling silver powder compact which is embellished with flawless guilloche enamel. The white guilloche enamel is decorated with hand painted flowers. This compact was assayed at Birmingham Assay Office in 1956.
THE MARK OF CRISFORD & NORRIS
This hallmark has a gilded appearance. Crisford & Norris were one of the many firms that used the process of electrolysis to bond a layer of gold onto the interior cases of their sterling silver vanities. The vermeil finish is aesthetically pleasing and forms a protective coat which prevents the sterling silver from tarnishing.
View more wonderful hallmarked silver compacts.
Sources:
Patent Office.
Birmingham Assay Office.
Directory of Manufacturers in Engineering & Allied Trades.
The patents provide us with the addresses and peoples’ names, so that we are able to link brand names etc.
The patent drawings shown above relate to improvements in the design of what are known as tap flap powder compacts.
Fig. 3 shows the underside of the inner lid.
Fig. 9 is the tap flap.
When the inner lid is shut the tap flap is depressed to release powder onto the puff. Usually these compacts were turned upside down and the puff was placed onto the tap flap so that when Fig. 9 was depressed the puff was coated with powder.
On June 27 1931 Cedric William Platts Blackmore applied to patent the invention which he describes below:
This invention concerns improvements in boxes or containers for powder, particularly toilet powder, of the kind in which the container for powder is provided with a: lid or cover in which is provided an aperture closed on the underside by a spring pressed plate, the arrangement being that this plate has to be depressed to eject powder from the container.
We were pleased to find reference to the company in The Chemist And Druggist trade journal.
In 1935 the firm was known as Blackmore Howard & Metherell Ltd.
In the same year the company was a listed exhibitor at the British Industries Fair (Stand D 61).
The extract shown below was published in the February 16 1935 edition of The Chemist And Druggist. It gives a good idea of the products the firm was making in the Art Deco era.
We can see that the name of Blackmore Productions must have originated from one director's surname.
This company's registered name was Blackmore Howard & Metherell Ltd.
Vogue Vanities, D 61
(Proprietors, Blackmore Howard & Metherell, Ltd., 52-53 Hatton Garden, London, E.C.1, and Branston Street, Birmingham, 18) are showing the well-known Vogue Vanities, comprising flapjacks and powder cases in all the newest styles.
A large variety of shapes, colours, decorations is shown, together with cigarette cases, many which match the flapjacks, are shown in coloured lacquers.
A range of flapjacks mounted with badges as souvenirs of the Silver Jubilee of their Majesties is a leading novelty.
New pastel shades which are forecast as the new popular styles of women's clothes for 1935 will be shown on flapjacks, one model of which is mounted with real marcasite ornament to retail as low as 4 s. 6 d.
This extract shows that the firm was now styled as Blackmore Productions Ltd.
It was a listed exhibitor at the British Industries Fair in 1939 (STAND D 1115)
A related firm is also shown as a listed exhibitor:
Interesting to note that one of their competitors, Jarrett, Rainsford & Laughton Ltd. are listed as:
We can see from the following patents that Arthur Gilbert Dennison was not only responsible for Vogue Vanities branded patents but also for those belonging to his other firm which was known as the Dennison Watch Case Company. Both companies operated from Villa Road in Birmingham. As the image above shows this area was densely populated with workshops and retail premises
We include images of the patents as well as the patent drawings because they provide us with information about the inventors and owners, as well as the location of the business premises and sometimes the dwellings owned by the company directors etc.
Under the next patent drawing we have included Arthur Gilbert Dennison’s description of his invention.
The next patent is for powder distributors in compact cases.
The home of Arthur Gilbert Dennison is listed as Old Rectory, 6 Wishaw, Warwickshire. The elegant Arts & Crafts building provided him with a tranquil setting away from his business ventures.
The inventor of this neater fitting catch is Alec Hanbrey Swann. The company address is listed as 28 Villa Road, Hansworth, Birmingham 19. The application date is December 13 1946.
On March 14 1947 Alec Hanbury Swann applied to patent a design, on behalf of Vogue Vanities, which would ensure that even when the sifter gauze had been removed from the powder well a seal would still form thus preventing loose powder from spilling.
5 is the felt lining which forms a seal
6 is the sifter gauze
A delightful unused boxed 1950s Vogue Vanities Chinese Bluebird powder compact. This compact has been on our list for sometime. A dream come true!
We are so pleased to find this lovely vanity in the original box with the original pouch, puff, sifter and guarantee leaflet. The original sticker is still in place on the presentation box. It reads: 53/196 Chinese Bluebird
The lid is embellished with gorgeous glossy black enamel and a charming oriental scene. There isn't any loss of enamel or fading. The lid lifts to reveal a mirror which gives a good and accurate reflection. The inner lid is signed VOGUE Vanities TRADEMARK MADE IN ENGLAND. All clasps and hinges work perfectly. The base is decorated with a spiral design. Measures 7.6 cm diameter. Weighs 97 grams.
This maker is known to have crafted compacts with the following brand names La Vogue, Vogue, Vogue Vanity, Vogue Vanitie & Vogue Vanities.
This company was located at Soho Hill, Handsworth, Birmingham 19. Telephone: Birmingham Northern 1334. Cables: "Vovan, Birmingham". The London Office was situated at 26 Holborn Viaduct, EC1. Telephone: Central 6454
A 1947 patent was registered showing improvements connected with cosmetic powder cases.
Documents show that the firm was present at the 1947 British Industries Fair.
Advertisement for Vogue Vanities at the 1948 British Industries Fair:
Manufacturers of Vanity Cases, Powder Boxes, Cigarette Cases, Lipstick Cases and Perfumery Bottle Caps in Metal. (Jewellery, Electroplate, etc. - Olympia, Ground Floor, Stand No. D.1603)
The company produced highly colourful compacts. Many were considered fun or whimsical with witty decorations on the lid. One line of vanities was decorated with Arabian inspired designs. The Arabian Nights themed compacts series was made in the late 1940s.
VOGUE VANITIES PERSIAN LEGEND GIFT SET
The Persian Legend enamel lid decoration is a very well known design.
LARGE VOGUE VANITIES FLAPJACK COMPACT
The compact & lipstick are decorated with scenes portraying characters in Persian dress fighting with dragons. This design was used later by the company that owned the Stratton brand of accessories when they acquired the Vogue Vanities brand.
OUTER BOX WITH MATCHING DECOR
It is unusual to find a lipstick over 70 years old still in the tube. Normally they have been used up. This delightful matching lipstick is in good condition with quite a lot of pale pink lipstick left.
1948 VOGUE VANITIES POWDER COMPACT
An absolutely gorgeous and highly collectible unused 1940s Vogue Vanities loose foundation powder compact. The lid is decorated with a splendid and colourful scene. There isn't any loss of design or fading. The colours are as vivid as they were back in the day. The whole compact is lacquered and so it will retain its lovely appearance. It will never need to be cleaned nor will it tarnish, as long the lacquer is not damaged.The inner lid is signed VOGUE VANITIES MADE IN ENGLAND. The original pouch, information leaflet and puff are present. The inner lid is fitted with the original felt lining and so this compact never required a sifter because the felt forms a barrier when the inner lid is closed.
View more gorgeous vintage powder compacts.
In 1948 Vogue Vanities produced their Arabian Nights Series of powder compacts.
WWII ERA LEAFLET
PHOTO - UNIVERSAL PICTURES
Around this time Arabian themed vanities were very much in vogue.
The 1942 film, Arabian Nights in which Sabu, Maria Montez, Jon Hall & Leif Erickson starred was very popular. The film is derived from The Book of One Thousand and One Nights.
Universal Pictures released a series of exotic tales during WWII which inspired manufacturers of vanities in Great Britain and the U.S.A.
Sources:
Universal Pictures
Patent Office
The Chemist And Druggist
]]>
The enchanting illustration above shows the industrious nature of the Pringle family. At first glance we see a double fronted manufacturing premises fitted out with an elegant showroom on the ground floor. The signage reads as follows 42 ROBERT PRINGLE & SONS 40. The impressive facade only gives us a glimpse of the extent of the premises. The next two buildings on the right (numbers 38 & 36 Clerkenwell Road) were also owned by the firm.
This imposing double fronted building was known as Wilderness Works, 40 - 42 Clerkenwell Road.
As one gazes at this drawing one begins to wonder “How far do the business premises extend towards the next factory in the background?” “Are the bridges in this location because both factories are being used by the same family firm?" The answer is "yes".
Follow the vertical lines of the building until you reach the Dutch gables at the top and cast your eyes to the back of the premises. Here you will see the two bridges which connect the Great Sutton Street building to the Clerkenwell Road factory.
20 GREAT SUTTON STREET
The signage on the shop reads as follows: 20 R. PRINGLE & SONS 20.
The beginnings of this manufacturing dynasty started when Robert Pringle was apprenticed to a jeweller in Perth, Scotland, at the age of thirteen years. After completing his apprenticeship he travelled to London in 1820 where he found work in the jewellery trade
Robert Pringle & Sons was to become one of the most successful jewellery concerns in England.
9 AMWELL STREET CLERKENWELL LONDON
In 1835 Robert Pringle established a workshop as a manufacturing jeweller at a private house located at 9 Amwell Street, Clerkenwell. At various points in time he employed between six and twelve men in this location.
ROBERT PRINGLE & SONS CATALOGUES
Photo - BBC
The image above shows a small collection of Robert Pringle & Sons catalogues.
The catalogues show detailed drawings of a wide variety of luxury items from jewellery to pocket watches.
The ornately embellished locket shown below showcases the high quality work for which this maker is known.
ROBERT PRINGLE LOCKET
View more fully hallmarked gold lockets.
19 GREAT PERCY STREET CLERKENWELL WC
This elegant property was the private residence of Robert Pringle (II) in 1862.
21 WILDERNESS ROW PRIOR TO REDEVELOPMENT
By 1868, Pringle had moved to open a shop at 21 Wilderness Row. His son, also named Robert, was working for his father. Robert (II) was trained in all aspects of the jewellery trade and so on the passing of his father in 1875 Robert (II) was more than capable of running the firm.
By 1881, 21 Wilderness Row had become 42 Clerkenwell Road. The premises were rebuilt and named as the Wilderness Works. The subsequent decades saw a massive redevelopment of the business which expanded to incorporate 36-42 Clerkenwell Road and 17-20 Great Sutton Street, as depicted in the first image.
Some firms, indeed, are already experiencing this increased demand, and having occasion to visit the premises of Messrs. R. Pringle and Co., of Clerkenwell Road, E.C., we had a practical means of judging what an increase all round in this direction would mean.
On the occasion of our visit the firm were very busy making small Hall-marked silver articles, such as cups, children's mugs, serviette suspenders, small spoons, etc. ; and as they make everything throughout from the rough, even to refining and assaying the metals used, one may judge of the effect of any large and sudden influx of trade, notwithstanding a very large staff of workers.
Wilderness Works is now, in fact, becoming recognised in the trade as a kind of refuge for the destitute in the way of getting difficult jobs done which cannot be done elsewhere, and Messrs. Pringle have the reputation of being able to make everything in metal work from a silver brooch to a warming pan that can be manu- factured in London, Birmingham, or Sheffield. They, at all events, are not afraid of the change likely to be, or alreadv brought about by the abolition of plate duties, and are quite prepared, if necessary, to give up the electro-plate altogether, in favour of the solid ware.
1891 ADVERTISEMENT
This wholesale business was involved in "all branches of the trade–gold, silver and gem jewellery making ; gilding, plating, refining, assaying, electro-plate manufactory, and silver-plate making, carried on under one roof, and in the most orderly and scientific manner possible".
Robert Pringle & his sons were able to provide all these services in one large premises.
ROBERT PRINGLE LOCKET
By 1890 the company produced an increasingly wide variety of luxury products which included richly ornamented lockets, timepieces, fancy silver goods and silver mounted glassware.
As you would expect the lockets were embellished with romantic imagery. The wonderful piece shown above is ornamented with forget-me-not flowers and acanthus leaves. Forget-me-not flowers symbolise everlasting love and deep respect. Acanthus leaves represent everlasting life.
Robert Pringle (II) was joined by his sons, James & Robert Pringle (III) in the company bullion / refinery department. His other sons specialised in different departments. William Pringle was in charge of the silversmith department. Edwin Andrew Pringle was a horologist.
When Robert Pringle (II) took his eldest son (Robert III) into partnership the firm was restyled as Robert Pringle & Sons.
In 1907 Robert Pringle (II) died, and Robert Pringle (III) was joined in partnership by his brothers William, James and Edwin.
THE MARK OF ROBERT PRINGLE & SONS
Under the mark of the maker are the two gold purity marks denoting 9 carat gold. The anchor mark represents Birmingham Assay Office. The date letter lower case q in this font & cartouche is for 1915.
ADVERTISEMENT SHOWING RESTYLED COMPANY NAME
The business became a limited liability company, Robert Pringle & Sons (London) Limited, on 1 Jan 1931. The company is still in business today, but have long since moved away from the precious metal trade and are now an engineering firm.
1934 WILDERNESS CATALOGUE
Their 200 page 1934 Wilderness Catalogue depicts a range as diverse as you could imagine. Jewellery, including gem rings, cigarette cases, lighters, dressing sets, candlesticks, tankards, watches and clocks are portrayed by artists' illustrations.
The page shown above is described as follows:
GEM RINGS
Platinum Settings
The Gem Rings illustrated in this list represent only a selection from the large variety of patterns stocked. Many of the designs shown on this and the following pages are available at various prices according to the size and quality of the stones.
The stones are carefully matched and well mounted. It is not claimed that in all cases they are perfect but the general standard is good. Where special quotations are required it is usually possible to submit loose stones and sketches.
In addition to the ordinary stock, a limited selection of second-hand stones re-mounted in modern styles is available.
The prices quoted in this list are correct at the time of compilation, but, owing to market fluctuations, they are liable to variation.
This applies especially to the cheaper rings.
1954 ADVERTISEMENT
Timeline of registered names:
Robert Pringle 1835 – c. 1882
Robert Pringle & Co – 1882 – 1899
Robert Pringle & Sons – 1899 – 1931
Robert Pringle & Sons (London) Ltd – 1931
In 1961 the firm was described as Wholesale Jewellers, Watch and Clock Importers, Silversmiths and Electro-Platers, Wholesale Opticians, Tool And Material Dealers, Gold and Silver Refiners.
By 1983 the company was styled as Robert Pringle (Engineers) Ltd.
The firm is still engaged in the engineering business at the time of writing this post.
Addresses:
1835 — Amwell street, Clerkenwell
1868 – 21 Wilderness Row
1881 — 42 Clerkenwell Road which was re- named Wilderness Works
View our hallmarked gold collection.
Sources:
silvercollection.it
The Watchmaker & Jeweller, Silversmith & Optician
BBC
Islington Local History Centre
british-history.ac.uk/survey-london
The super 1950s Japanese vanity set shown above is presented in the original case with the original luxurious silk pouch, puff and sifter. Both exteriors are adorned with a damascene landscape inlaid with 24 karat gold and sterling silver.
Damascene is considered a symbol of good fortune. The decorations are finely crafted oriental scenes which depict the Ichinomiya, or supreme Shinto shrine of Suruga Province, Mount Fuji can be seen in the background.
Although this set may have been crafted as a souvenir or for export, the symbolism may have a greater resonance for Japanese ladies or those familiar with Shintoism. However, once we delve into the meanings behind the beautiful scene, the set becomes even more fascinating.
Ichinomiya is a Japanese historical term referring to the Shinto shrines with the highest rank in a province. Usually shrines designated Ichinomiya are of ancient origin and are listed in the Engishiki records completed in 927AD. The entire top of Mount Fuji is also considered to be part of the shrine grounds and it is Mount Fuji to which this shrine is dedicated.
The shrine was first built in its current location during the reign of Emperor Keikō. His reign began in 71 AD but the length of it is disputed because this emperor is traditionally believed to have lived until he was 143! During this time the volcanic activity on Mount Fuji posed a great danger to the populace. The shrine was built in order to appease the kami of the mountain. Kami translates to spirit, although this word can have different meanings. Much of Japanese society is deeply spiritual and their daily routines involve activities which show grateful thanks. Many Japanese people say itadakimasu before each meal. To followers of Shintoism this word translates to I humbly and gratefully receive.
KANAGAWA OKI NAMI URA
This stunning picture The Great Wave (Kanagawa Oki Nami Ura) is one of the best-known works by Japanese artist Hokusai Katsushika (1760-1849). Katsushika is one of the most esteemed Japanese artists. Mount Fuji seems small in comparison to the Great Wave but its central location in the composition shows its importance and power.
It is easy to understand how such a spiritual society with a history of devastating volcanic eruptions would include tributes to Mount Fuji, whether they are in art form or rituals.
Mount Fuji is the tallest volcano in Japan and although there have been no eruptions since the Hoei eruption in 1707–1708 many people pay their respects to the kami, hoping that this will prevent further eruptions. The scientific community monitors this volcano 24 hours a day.
Around 400,000 pilgrims, many of whom are Japanese, climb Mount Fuji each year. Most of these climbers stop at the shrine to ask for a safe journey.
Shintoism is a complex way of life. We are attempting to describe the scene depicted on these vanity items and we would like to say that this article is not intended to give a full description of Shintoism.
We have a deep respect for all cultures and customs.
We will use the set below to describe Shinto symbolism and ceremony.
The Symbolism Of The Scene:
The traditional Japanese gate (left) is known as a torii. The torii is the entrance to the jinja. The jinja are the sacred places and the seats of kami. It is polite to bow just before walking through the torii. Anyone can visit a Japanese shrine. No appointment is necessary. You do not have to follow any religion.
If one wishes to pay their respects to the kami they follow the sacred path, also known as sando, up to the sanctuaries. The journey usually involves climbing steps.
The next step is the purification, which is called oharai or misogi. Purification is an important part of Shintoism prior to paying respects to the kami. The priests do not want people to pay tribute to the kami without taking part in the purification ritual.
Suzuki Harunobu is said to have been the first person to produce full-colour prints in 1765. His wonderful print shown above depicts a traditional Shinto purification ritual. The water tank is called the temizuya. Temizuya are filled with clear, running water.
The purification ritual involves taking the ladle in the right hand. This is then filled with water from the temizuya and poured some into the left hand then tipped away into the drain on the floor in front of the temizuya. Then the ladle is transferred to the left hand and more water is taken and poured into the right hand and then tipped away. Then more water from the ladle is poured into the left hand and put into the mouth to rinse the mouth. Then the left hand is purified again and then the ladle is held aloft so that the water runs down the handle to purify the handle. The description detailed in this paragraph is a simplified version of misogi, the full body purification.
On the right side of the compact we can see the prayer hall, which appears to be on stilts. Usually prayers are said outside the hall, where there will be a bell which is rung by pulling on a rope. After ringing the bell a small amount, for example 5 yen, is placed in a collection box.
The ringing of the bell and paying a small token are also seen as purification rituals. Then the devotee completes the paying of respects to the kami by bowing twice, clapping twice and bowing once again. Then they walk away without turning their backs on the kami.
GOLDEN PAGODAS VISIBLE ON BOTH ITEMS
Both the lipstick case and compact depict golden pagodas. These were originally used as reliquaries which makes sense, as the relics would have been kept in a sacred place, which was being visited by pilgrims who wished to pay their respects. The remains of esteemed individuals would naturally receive many pilgrims.
The single sail Japanese ship (wasen) reminds us that the Fuji Five Lake (Fujigoko) region lies at the northern base of Mount Fuji. The lakes are known as Kawaguchio, Saiko, Yamanakako, Shojiko and Motosuko. These lakes were formed by eruptions from Mount Fuji.
Once we researched the history of this lovely set we found it to be even more enchanting. The gilded brass was coated at the point of manufacture with a layer of transparent enamel and so these items will retain their beauty and never require cleaning, as long as the lacquer is not damaged.
This compact is suitable for use with loose face powder, as a display collectible or as a handbag mirror.
The original presentation case is decorated with an elegant gilt border on material which has been rendered to have the appearance of shagreen. The interior lid is also clad with garnet red faux shagreen and a pristine white sash. The compact and lipstick holder sit in custom made recesses which are covered in white silk.
This Japanese maker knew that the set would be so appealing that the owner would like to have it on display and so the case is hinged in such a way that the base can be raised to form a display stand. The numbers 7122 are stamped on the side of the base of the presentation case. This could be an item code.
VIEW THIS JAPANESE DAMASCENE COMPACT MIRROR
VIEW THIS B.S.B. JAPANESE MUSICAL POWDER BOX
This unused Japanese mid-century musical powder box is identical to a Clover brand example. This high quality musical compact mirror is presented with the original box, puff and sifter. The tune (Fur Elise) plays very well. The exterior is adorned with a 24 karat gold and sterling silver Damascene landscape.
]]>
VIEW THIS JAPANESE VANITY SET
Set atop the mother of pearl lid is a person pulling a rickshaw. One occupant of the rickshaw is holding a parasol.
This scene depicted on the lid is possibly that of a bride and groom. Rickshaws are still used in Shinto weddings. Both the bride and groom are taken by this form of transport to the shrine. Japanese wedding ceremonies are usually attended by a small group of close family members who will walk to the shrine. Traditional Shinto weddings would often take place at a shrine which might be in the home town.
A Japanese almanack would be consulted so that the bride and groom could be guided to pick a fortuitous date. If the ceremony is taking place outdoors in the shrine pavilion it would have to be a spring or autumn wedding to guarantee suitable weather as far as possible.
At some point in time during the wedding ceremony it is quite usual for both the bride and groom to hold wagasa (parasols). These can also feature in the formal photographs. If the wagasa is decorated with a pattern the screen can give the appearance of movement.
Wagasa are made from bamboo and paper. As well as shielding people from the heat of the sun, wagasa are believed to protect the owner from evil spirits.
If our assumption that the lid decoration depicts a bride and groom is correct, it is highly likely that these sets were made as wedding gifts for brides, although money is usually the preferred Japanese wedding gift.
Mother of pearl is said to attract prosperity.
Japanese Mother Of Pearl & Abalone Harvesting
We are sure that you know that mother of pearl (nacre) is harvested from the shells of sea creatures, which include pearl oysters and abalone.
The ama are Japanese divers who are famed for their diving skills and pearl oyster catches.
Traditionally the ama were diving for food and nacre to decorate Shinto shrines.
In the 21st century the few Ama divers still working are principally tasked with sourcing seaweed.
Most ama are women. This ancient Japanese tradition dates back to Japan’s Heian period (794-1185). The ama were given the honour to dive for abalone and mother of pearl which would adorn the shrines and palaces of the emperors. The traditional costume of the ama was made out white material because this colour represents purity. There is a belief that white clothing will protect against shark attacks.
The ama are remarkably tough. Japanese waters are home for sharks and often the water is quite cold. In winter the water is often as cold as 12 degrees. The great physical endurance required to prise oysters and abalone from rocks is admirable and even more so when you realise that these divers are free diving. They do not use oxygen tanks and they have only recently begun to dive in wetsuits which hold in the body heat.
Recently a world champion freediver spent time with a middle aged ama diving for oysters. Very few people on earth would be able to compete with the diving abilities and endurance of the Japanese ama. The ama kept diving long after the world champion who was half her age was exhausted.
For centuries the ama would follow in their mother’s footsteps so to speak. Generation after generation would practise this way of making a living. It is possible that the physical endurance capabilities of the ama could be passed down, especially when children were brought up in this traditional way of life. Girls as young as 12 would be taught by an older ama. Many ama would continue to dive into their 70s.
The ama are deeply spiritual people. They have Shinto shrines where they worship and pray for their safety. They are also dedicated to conservation. Pearl oysters, abalone etc are measured and put back into the sea if they are not mature enough to be harvested. The ama practice rock turning to make new habitats for the sea creatures, particularly abalone. Rock turning can result in fatalities because heavy rocks can fall back trapping the ama who would quickly run out of breath.
You may think that it is a little strange that these ladies would choose not to wear breathing apparatus to help them carry out their work and to also make rock turning safer. After much consultation the ama decided that overfishing could result if ama had the benefit of oxygen tanks and so they decided against using them. Their deep respect for the sea and the creatures of the sea is evident. All ama must abide by rules which prevent overfishing.
Some of the shellfish are eaten freshly cooked in the ama hut but most of the shellfish are sold at the market.
The shells are often sold to processors who cut them into strips using motorised saws. Strips of mother of pearl and abalone are processed and put into hot fired presses which straighten them. The straightened strips are stuck onto boards to keep them lying flat. Processing the mother of pearl and abalone is hazardous work because the fine dust created during the sawing process can not be removed from the lungs if it is inhaled.
We have the greatest respect for the ama.
We have even more appreciation for this traditional Japanese set now that we know the processes involved to create it.
This set is lacquered and so it should not require cleaning, as long as the lacquer is not damaged.
The mother of pearl should be protected from perfume as it can damage the nacre and dull its appearance.
VIEW THIS VINTAGE JAPANESE VANITY SET
CLOSEUP VIEW OF JAPANESE VANITY SET
Mother of pearl music boxes crafted in Japan are often presented in boxes just like the one shown below. The Japanese Clover & B.S.B. brands are well known for their adorable musical powder boxes. These are often fitted with musical movements crafted by Sankyo. Many music boxes were destined for the export market and so they often play music which appeals to westerners.
The music box featured below plays Killarney.
More vintage vanity sets & compact mirrors.
]]>
In 1855 Alexander Hudnut opened his first pharmacy in Brooklyn. His son, Richard, was also born in 1855 & so it was a busy time for the Hudnut family. The pharmacy was very successful, so much so that in 1870 Alexander moved to premises on the ground floor of the newly opened New York Herald Building, Broadway.
When Richard was eighteen years old he began working for his father. He spent seven years learning every aspect of this business. He & his father were eager to learn the secrets of the French perfume houses success.
RICHARD HUDNUT
1856-1928
French perfume and toiletries were and still are renowned throughout the world. American & English perfumers wished to replicate this success. Alexander and Richard visited Europe to study how the Europeans, most particularly the French, conducted their business affairs and formulated their perfumes and toiletries.
By the age of 59 Alexander had decided to retire due to ill health. He sold Hudnut’s Pharmacy & another NY based store for a reported quarter of a million dollars. The stores kept the name as this ensured future custom. Although this was confusing as his son, Richard was still trading.
A third pharmacy on 925 Broadway was operated by Richard Hudnut.
Although Hudnut's Pharmacy and Richard Hudnut made efforts to distinguish each-other's products it was easy to associate both entities with each other. Often the two Hudnut brands can only be identified by the addresses on the advertisements and labels. In 1893 Richard Hudnut launched the Hudnutine’brand. This brand included tooth powder, face powder, rouge and cold cream.
HUDNUTINE LAVENDER CRYSTALS
MADE ONLY BY RICHARD HUDNUT NEW YORK
Lavender essential oil is one of the best known oils. It is reputed to promote pain relief, calm and soothe while boosting your mood. It is attributed with anti-viral, antibacterial, antiseptic and anti-inflammatory properties.
Lavender oil can help protect and barrier your skin and is said to improve blood circulation.
Lavender crystals were often used during bathing and also as smelling salts to revive ladies who had fainted.
The wonderful green glass stoppers and bottles shown above bear the Richard Hudnut signature.
The very appealing green glass served a purpose. The darker the glass the more protection it offers against oxidation. Amber (brown) glass offers the most protection. Oxidation breaks down and negates the therapeutic value of medicines and essential oils over time and so many pharmacies offer medicine in coloured glass bottles and jars.
While blue and green bottles do not afford as much protection as amber glass and are more expensive to manufacture they do attract more attention and therefore sales.
We think that you will agree that these adorable little green bottles are so beautiful.
The green glass protects the contents from visual light but not from UV rays.
The company produced many successful brands.
Here are some famous Richard Hudnut lines:
1885 Extreme Violet
1895 Indianotis & Superba
1896 Violet Sec
RICHARD HUDNUT VIOLET SEC VANITY SET
1914 VIOLET SEC ADVERTISEMENT
Violet Sec was promoted as a perfume for ultra chic women.
Violets have also been used throughout history in preparations for the treatment of dry skin, eczema and even to calm skin inflamed from insect bites. Until the middle of the twentieth century many villages had more herbalists than doctors and few people could afford to see a doctor. Herbalists made brews tailored to treat their customer’s illnesses.
Violets are attributed with antioxidant, anti-inflammatory healing properties.
Herbalists gathered wild violets which they brewed and sold as a blood cleanser and cough remedy.
The following information is provided for its historical interest.
We recommend seeking advice from a medical professional if you have any health issues.
The herbalist would pour cold water over the wild violet leaves, place the mixture in a cool area and let it soak all night. In the morning the mixture would be brought to a simmer for 15 minutes then the liquid would be strained to separate the leaves from the fluid. The leaves were saved to add to bathwater. Then honey was stirred into the mixture which was then warmed on a very low heat.
The herbalist took care not to let the brew get too hot, as this would destroy the benefits of raw honey.
The Violet Sec line talcum powder featured the Richard Hudnut brand logo set atop the lid.
RICHARD HUDNUT VIOLET SEC TALCUM POWDER
Henry Genet Dusenbury (1876-1939) was Richard Hudnut’s resident perfumer and company treasurer. He worked for the company for twenty-nine years until his retirement in 1938.
The Richard Hudnut logo featured in a patented design (1236070) invented by Henry G. Dusenbury.
Here the inventor describes the device he would like to patent:
This invention relates to containers and more particularly to closures therefor. The invention seeks to provide a closure durable in structure, neat in appearance and convenient and reliable in operation.
In the accompanying drawings forming part of this specification, and in which like reference numerals designate corresponding parts, the invention is shown as applied to a container adapted to hold tooth powder, talcum powder, or other similar powdered or comminuted material.
PATENT NO. 1236070
This delightful patent describes a turnkey in the shape of the Richard Hudnut logo.
PATENT NO. 1236070
Figure 1 is a side elevation of a container embodying the invention.
1 is the body of the container, cylindrical in form, and having a circular, permanently fixed top 2 to which the closure is applied.
The top 2 is provided with an outlet opening 3 through which the contents of the container may be ejected.
On the under side of the top is fixed a rotatable valve member 4 designed to open and close the opening 3.
Fig. 2 is a plan view of the top thereof showing in dotted lines parts of the closure in open position which are secured on the under side of the top.
Fig 3 is a plan view of the under side of the top showing the closure in closed position.
Other popular brands include:1898 Gardenia18 & Yanky
1899 Violet Superba Face Powder
1900 Du Barry
In 1900 Richard Hudnut launched the DuBarry line which was successful and long lived. The brand was subject to changes in the design of its packaging in 1929 which saw the presentation modernised to appeal to younger consumers.
It is no accident that the firm chose a French name for this line of cosmetics. The kudos linked to French names enhanced sales for many American & English companies, whose customers desired French products above all others. The Du Barry cosmetic line was named after the famous beauty, Countess Jeanne duBarry, who was present at the court of King Louis XV.
COUNTESS JEANNE DUBARRY
Oil on canvas Jean-Baptiste Greuze
VIEW THIS VINTAGE DU BARRY POWDER BOX
Whether Richard Hudnut products are housed in glass, paper or cardboard, they are enchantingly beautiful.
The American depression affected the sales of all brands of cosmetics.
However, by 1936 there were new additions to the Du Barry line.
These were:
Du Barry Derma-Sec Formula (1936)
Du Barry Stimulating Cream (1936)
Du Barry Eye Cream (1936)
Du Barry Rose Cream Mask (1936)
Du Barry Cleansing Cream for Dry Skin (1938)
DU BARRY BEAUTY PREPARATIONS 1934
VOGUE ADVERTISEMENT 1941
DU BARRY PERSONALITY MAKE-UP ADVERTISEMENT 1941
VOGUE 1941
Two years after the launch of the Du Barry line the company introduced Marvelous Cold Cream. This was a historically important line as Richard Hudnut decided to market this cold cream in Paris. It is believed that he was the first American perfumer to sell cosmetics directly to the French market.
The company avoided competing with French perfumes which would have been a venture doomed to fail even though Richard Hudnut was much admired for his fragrances, cosmetics and also for the innovative containers used to hold their cosmetics.
Instead the firm concentrated on selling cosmetics, rather than perfume to the French market.
As we can see from the image of the Violet Sec vanity set Richard Hudnut cosmetics had a luxurious presentation which would appeal to even the most discerning ladies.
FRENCH ADVERTISEMENT FOR MARVELOUS COLD CREAM
The increasing demand for Richard Hudnut products meant that the firm needed larger premises by 1905.
The healthy company profits allowed the purchase of land at 115-117 East 29th Street, New York.
The two dwellings located on the site were demolished to make way for an impressive purpose-built six-storey building.
The elegant showroom in their own building further enhanced the brand in the eyes of New Yorkers.
The building also contained manufacturing premises and a shipping department as well as offices.
IMAGE FROM HUDNUT PROMOTIONAL LITERATURE
The following patent shows the exquisite beauty of Richard Hudnut brand containers.
PATENT NO. 1494006
More antique & vintage vanities.
Sources:
Michael Hetherington's collectingcompactsblogspot
Cosmetics and Skin
Patent Office
The decision of Tsar Nicholas II to leave Petrograd in 1915 to go to the front as Commander-in-chief of the Imperial army ensured that he was blamed for the heavy losses suffered in the Brusilov Offensive. By February 1917 the Russian Revolution had begun.
In the WWI era Kasdan’s was employed in the aeronautical industry.
During his years of employment he had many ideas of how to improve items that he was making.
He would go on to become a prolific inventor with many patented designs to his name.
Kasdan was not employed by others for that long because in 1918, Majestic Machine and Tool Company leased space from Charles B. Walker at 178 Centre St., New York.
The company filed for incorporation two years later.
It appears as though Kasdan’s first patent application (US1469562) was filed on January 18 1923.
At this time Kasdan described himself as a citizen of Russia. The co-inventor of this device is listed as Daniel Pollack, who he employed as his manager.
The Majestic Metal Specialities Company of New York would go on to design and manufacture vanities for other companies who did not possess manufacturing premises. The company’s groundbreaking designs gained the firm a huge following and many commissions from well known American companies followed. These companies included Marinello and Dorothy Gray.
The compact shown above is named Majestry. It bears the patent numbers 1847948, 1847949, and 1855170. This stylish Cubist inspired Art Deco compact has such an eye-catching 3D design. Truncated square pyramids alternate with a design of panels embellished with repeated rectangles. The lid lifts to reveal a metal powder well lid with a grill through which powder is dispensed. This powder well lid is signed Majestry.
The mirror bezel is signed Majestic U.S.A. The M is formed into a simplified crown, orbs set atop.
VIEW THIS MAJESTIC MAJESTRY COMPACT MIRROR
The base is fitted with a lid through which loose powder is installed. The original puff is present too.
We are delighted to have found the patent for this interesting compact mirror. The patent description details an extremely complex design of loose powder compact.
The patent drawings show that this model was also available with a recess near to the mirror which was designed to hold a lipstick. See Fig. 9.
We have to wonder how ladies felt about the instructions given regarding the refilling of the powder compartment. The inventors went to great pains to ensure that this compact would not spill powder and in doing so created complex mechanisms.
64 can be seen on Fig. 4.
17 is a little door (back member) which once open allows access to the powder container 12 (Fig. 4) into which loose powder is placed. Fig. 2 shows 17 open to reveal a Z shaped spring 16.
The compact has a recessed top plate which is ideal to store the powder puff.
Around the time this compact was crafted the Majestic Metal Specialities Company bought machines and equipment from the National Trading Company after it was declared bankrupt in 1930. The National Trading Company was founded by Joseph Baer in the early 1920s. The company was located in Chicago, Illinois. The firm produced a variety of Norida branded cases. By November 1926 they had moved to New York. This firm also manufactured JC Penney and D’Haussy branded cases.
It is highly likely that the Majestic Metal Specialities Company also purchased the client list from the National Trading Company.
PINAUD COMPACT
The Pinaud compact shown above is from the private collection of Jenny Bacon.
The compact was made to the US patented design 1847949.
Fig. 9 and Jenny’s Pinaud compact both show provision is made for a lipstick.
The cover for the lipstick is denoted by 70.
The bevelled perforations 18 in the stationary top plate on both brands of compact are shown on here. This Pinaud model also has is a little door (back member) which once open allows access to the powder container.
PATENT 1847949
The exterior of the Pinaud compact looks exactly the patent drawings above.
You may also see the similarity between some Majestic and Dorothy Gray brand vanities. This is because they were contracted by Dorothy Gray to make vanities, which include the Swashbuckle case, which was made to look like a wallet with a shagreen (sharkskin) effect.
A larger version of this adorable little case was made with a lipstick holder attached to the case.
The interior case of the Swashbuckle Triple Compact contains rouge and face powder.
We have included an advertisement which showcases the triple compact.
This advert was placed in Harper's Bazaar in 1947.
It is interesting to note the similarities between the compact shown above and the Dorothy Gray Picture Hat loose powder compact. The dimensions and design are very similar. The base is identical.
The lid is gorgeous and shows a golden ship in full sail on a choppy dark green sea with a beautiful blue sky and three clouds in the background. The lid is decorated with brushed gold tone & a border detail. The inner lid is signed Majestic & decorated with a golden spiral.
The original presentation box is marked:
Majestic FIFTH AVENUE NEW YORK NO.7547 COLOR .....BLUE
The Majestic Metal Specialities Company of New York also manufactured bags and purses. The wide variety of goods, many of which had groundbreaking designs, gained the firm a huge following and many commissions from well known American companies.
During WWII the company played a vital part in the war effort by manufacturing parts for planes and even bombs.
It is thought that manufacturing of vanities and accessories continued throughout this era.
NOVEMBER 1953
The advertisement shows various brands of compacts which include Shalimar by Guerlain at the apex of the tree of beauty. Faberge (top left), Wind Song by Prince Matchabelli (top right).
On the second row we can see three Majestic brand compacts which are described as follows middle left to right:
Majestic gold coloured square compact with a powder sifter built into the base to release just the right amount.
Majestic Compact, Sunburst of rhinestones on gold coloured fluting, for her to show and use with pride.
Majestic compact and lipstick set in coral or jade for her to carry at all times of the day.
The bottom line of compacts show (left to right) Marhill and two Elgin American models.
The five bags are all Majestic accessories described as Majestic Fitted Kits.
All Majestic Kits fitted with comb and compact.
1950 ADVERTISEMENT
.
The company was liquidated in 1958.
More beautiful vintage compact mirrors.
Sources:
Michael Hetherington's collectingcompactsblogspot
Patent Office
Jenny Bacon
]]>
At one time this business was the largest company in the world specialising in the production of silverware.
]]>At one time this business was the largest company in the world specialising in the production of silverware.
The following companies formed the International Silver Company:
Meriden Britannia Company, Meriden Silver Plate Co., Middletown Plate Company, C. Rogers & Brother, Simpson, Hall, Miller & Co., Simpson Nickel Company, Watrous Manufacturing Company, and the Wilcox Silver Co.
These companies were located in Meriden, Wallingford or Middletown.
The following Hartford companies also joined the corporation:
Barbour Silver Company, Rogers Cutlery and William Rogers Manufacturing Company. Other Connecticut companies that became part of the corporation also include Holmes & Edwards Silver Company in Bridgeport, Derby Silver Company (Derby), Norwich Cutlery (Norwich), Rogers and Brothers & Rogers & Brothers and Roger and Rogers & Hamilton (Waterbury)
This huge enterprise was also joined by Manhattan Silver Plate ( New York) and Standard Silver Company Ltd (Toronto).
These companies often carried on using their own brand names or their wares were stamped International Silver Company or International Sterling. Often more than one of these registered names appear stamped on their silver products, as you can see on the image below.
The image is taken from a 1920s sterling silver Twinette compact mirror. The letter W is almost encircled by what appears to be a large C. Some people state that this character is a half moon, rather than a letter. This is the maker’s mark of the Watrous Manufacturing Company. In this instance the character does appear rather like a letter.
MARK OF WATROUS MANUFACTURING COMPANY
There are other variations of the mark in which the character does look much more like a crescent moon.
The image of the maker’s mark on the base of the compact also gives information about the date of a patented design. But if you look for a patent with that date applied for by the Watrous Manufacturing Company you will not find one. This is because the company purchased the patent from the inventor, Oswald Cathcart in 1922. The inventor was the General and Advertising Manager of Lazell Perfumer. This firm was one of the earliest perfume manufacturers in America. Cathcart wished to design a vanity case which offered a much larger area for face powder and a smaller compartment for rouge.
He stated:
The quantity of rouge which will be used during any given period will ordinarily be very much less than the quantity of powder required.
VIEW THIS RARE WATROUS TWINETTE VANITY CASE
Our notes:
We are grateful to Michael Hetherington for his research which dates this compact to 1923 - 1924 and also provides the name of the inventor.
Fig. 1 represents a perspective view of vanity case embodying one form of my invention in which the rouge compartment is located in an aperture in the cover of the main box or powder compartment, the cover of the rouge compartment being illustrated in open position.
Our notes:
As you can see from the image above left, the Twinette was made in shapes other than round. The catches may also vary. The compact on the left is fitted with a clasp which is suitable for a wrist strap with a slider to tighten the strap around the wrist. The base of the compact is also fitted with a bale on to which a tassel would have been attached.
Scroll down the page to see the 1924 advertisement which the firm placed in Vogue to picture these appendages.
FACE POWDER COMPARTMENT
Fig. 2 is a view of the same case showing the main cover raised to open the powder compartment.
DETACHABLE SIFTER PLATE & MIRROR
Here you can see the detachable mirror, 10, which forms the base of the rouge compartment.
PATENT NO. 1423079
In the bottom of the main body member, 1 is placed the supply of powder which is preferably in the form of a solid cake indicated as 7 (Fig. 3) supported by the usual plate, 8, of metal or other suitable material.
Our notes:
The solid cake (pressed face powder) sits on a metal plate.
This design of vanity box is also suitable for loose foundation.
More information from the inventor:
It will be understood, however, that powder in other forms may be placed in the powder compartment although I prefer to employ the solid form in order to avoid the possibility of the powder being spilled as it is used.
VOGUE 1924
Unedited text on the main body of the advertisement which appeared in Vogue in 1924.
The advertisement shown previously has the image shown above attached to the bottom.
It reads as follows:
We cropped this off the bottom to make the advertisement large enough to read.
PATENT NO. 1423079
PATENT NO. 1423079
PATENT NO. 1423079
In Figs. 4 and 5 I have illustrated another embodiment of the invention.
Our notes:
The illustrations above show another design of this vanity case with the rouge 122 at the bottom of the case
PATENT NO. 1423079
PATENT NO. 1423079
We have included four pages from the Watrous Manufacturing Co. / Sterling International Co. 1929 catalogue.
More hallmarked silver compacts and vanities.
Sources:
Michael Hetherington's collectingcompactsblogspot
silvercollection.it
Patent Office
]]>William Colgate founded his business in New York. The warehouse premises were located at 6 Dutch Street, NY. The firm was involved in the manufacturing of soap and candles. It may seem a little strange to us but their range of soap included brown soap, as well as pale coloured soap. They also offered fancy soaps which were fashioned into unusual shapes.
1807
William Colgate formed a partnership with Francis Smith. The firm then became known as Smith and Colgate.
1813
Colgate bought out Francis Smith’s share of the business and went into partnership with his brother, Bowles Colgate until 1844. The business was now styled as William Colgate & Company. The company was now the largest manufacturer of perfumes in America.
1817
The advertising copy welcomes orders which are needed urgently. Even clients requiring goods for export were promised -
ORDERS FOR EXPORTATION EXECUTED ON THE SHORTEST NOTICE.
The company offered -
The highest price given for TALLOW.
Tallow is animal fat.
You may wonder if 21st century cosmetic companies still use animal fat. The answer is “yes”. Vegan soaps are made by Beauty Without Cruelty and a few other brands but many soaps contain animal fat. You may like to research whether your favourite soap comprises animal products and whether the company uses animals for research.
1847
By 1847 the company was so successful that a much larger factory was required and so the soap-making plant was moved to New Jersey.
1854
Advertisements are such a good source of information.
The one above lists the proprietors as -
1857
On March 25 1857 William Colgate passed away. He was laid to rest in Greenwood Cemetery, Brooklyn, New York.
1858
Following the founder’s passing Bowles Colgate’s son, Charles Carrol Colgate and William Colgate’s son, Samuel Colgate, became partners and the firm was reorganised as Colgate & Company.
1872
The stylish advertisement shown above lists imaginatively fragranced soaps and handkerchief extracts. During this and the previous centuries it was customary for gloves and handkerchiefs to be dabbed in perfume.
Late 1800s
As you can see from the advertisements the Colgate range included much more than soap and candles. Toothpaste and talcum powder were also manufactured by this firm which also formulated perfumes to scent their cosmetics, especially their soap. Perfumes were also sold in luxurious scent bottles.
1900s
By the 1900s Colgate dominated the American cosmetics market.
1901
SPECIFICATION forming part of Letters Patent No. 709,292, dated September 16, 1902.
Application filed February 27, 1902. Serial No. 95,854. (No model.) To all whom it may concern:
Be it known that I, GEORGE J. ADAMS, a citizen of the United States, and a resident of the city of New York, borough of Brooklyn, in the county of Kings and State of New York, have invented a new and Improved Bottle-Closure, of which the following is a full, complete and exact description.
This invention relates to improvements in closures or stoppers for packages containing toilet powder or the like and of that class having two parts provided with outlet-openings and arranged to rotate one part relatively to the other, so as to cause a register of the openings or to close the same; and the object is to provide a closure of this type in which the two perforated parts will be automatically held close together at all times, thus preventing an accumulation of powder between the parts.
1909
1914
Colgate established its first international subsidiary in Canada c.1914.
1918
The Canadian manufacturing premises were located at 8 St Helens Street, Montreal c.1918.
1924
On September 24 1924 the patent application submitted by Samuel Bayard Colgate and Martin Hill Ittner, assignors to Colgate & Company, was accepted.
Their description of the invention:
This invention relates to collapsible tubes commonly used for containing plastic or pasty materials which are to be discharged in small quantities from time to time.
More specifically the invention is directed to the provision of a tube with a discharge nozzle which has an improved closure cap by which the orifice may be sealed so as to prevent contamination or accidental loss of the contents.
PATENT 1509419
PATENT 1509419
1927
The Pompeian Manufacturing Company was bought out by Colgate.
1928
The company launched a new perfume which they named Seventeen. They trademarked this brand name and in the same year face powder, rouge and other facial preparations were added to this line of cosmetics. The company also offered high end compact cases to house their facial preparations.
Colgate merged with Palmolive-Peet just before the Wall Street Crash in 1929
1929
The Great Depression followed the Wall Street Crash.
This is such a beauty & ideal as a film prop too. The whole exterior case is fine enamel. The lid is decorated with the classic laurel leaves in a circular band.
As we can see from the original instruction leaflet this compact would have been black when it was first manufactured in the 1920s.
The antique powder plate is still in place & so is a certain amount of the very pale pink powder. The image above shows one of the two metal clips holding the face powder plate in place. This powder plate is removable.
This vanity is made all the more charming by the presence of the original high quality golden silk & lambs wool puff, which is in superb condition & the instruction leaflets too.
The compact is signed:
COLGATE & CO. NEW YORK U.S.A.
View our wonderful collection of powder compacts.
Sources:
Colgate
Wikipedia
Cosmetics & Skin
]]>
Approximately 10,000 children were saved from Nazi persecution by the British Government’s participation in the Kindertransport rescue. This was just one of the measures put in place after the dreadful events of Kristallnacht.
Kindertransport
As you can imagine the Nazis did not make this process easy for the organisers. The Nazi Party would not permit evacuees to interfere with the military activities in German ports and so most of the children were evacuated from Germany via trains which travelled to the Netherlands. The children and the organisers then travelled from the Netherlands to Great Britain by ferry. These journeys usually began at the Hook of Holland, near Rotterdam. The ferries docked at Harwich, Essex. Often this journey would be completed by train to Liverpool Street station in London.
The first Kindertransport was organised by Florence Nankivell. After a week of almost never ending work, during which time the Berlin police were most unhelpful, she managed to rescue 196 children. On 1 December 1938 the train transporting the children left Berlin. The children and their carers arrived in Harwich on 2 December. Most of the children had been orphaned. Their ‘home’ had been a Berlin orphanage, which the Nazis subsequently decided to burn down! The other children were originally from Hamburg.
The Kindertransport also evacuated children from Vienna. The first train left Vienna on 10 December 1938. Approximately 600 children were on the train. The organisers were led by Mrs. Gertruida Wijsmuller-Meijer, who had been helping to save people from as early as 1933. She travelled to Vienna with the intention of negotiating face to face with Adolf Eichmann. She was denied access to him but she was so relentless that eventually Eichmann suddenly gave her 600 children with the clear intent of overloading her and making transport on such short notice impossible.
Undeterred, Mrs Wijsmuller-Meijer organised safe passage for all 600 of the children. 500 of them travelled to Harwich where they were housed in a holiday camp at Dovercourt. The other 100 children were granted refugee status in the Netherlands.
A young English stockbroker named Nicholas Winton also played a part too. In 1938 he went to Prague to help refugees who had been forced out of Sudetenland. There were so many people that Nicholas decided to focus on saving the children. The team put together by the Winton family and other organisations saved 669 children.
British Home Secretary, Sir Samuel Hoare was advised that issuing documents to groups rather than individuals would speed up the process and therefore save more lives. The children were sponsored by Jewish and non-Jewish organisations, so that they did not become a burden to the British taxpayers. Every child had a guarantee of £50 to finance their eventual repatriation, as everyone assumed that eventually the children would be reunited with their families. Sadly this was not usually the case, as many members of Jewish community perished in the Nazi concentration camps.
The Movement for the Care of Children from Germany, later known as the Refugee Children’s Movement (RCM), sent representatives to Germany and Austria to arrange the safe transportation of the youngsters.
On 25 November the BBC Home Service made an appeal for foster homes for the children.
Manfred Durst Career
These were the circumstances in which 14 year old Manfred Durst arrived in England in January 1939. Manfred was placed in the care of a hostel which was located in Kensington, London. He attended Salomon Wolfson School in London NW.
Within two years of his arrival he was apprenticed to a company of diamond mounters in Hatton Garden. Although his first job in the jewellery trade involved running errands and sweeping the floors, Manfred was eager to learn. He worked long hours and after work he attended the Central School of Arts & Crafts.
As with most manufacturing concerns during WWII, the diamond mounters company was given over to war work and by 1942 Manfred was involved in the vital task of servicing R.A.F. technical equipment.
Within a year of the end of WWII he and John Najmann founded Fred Manshaw Ltd. This firm of manufacturing jewellers would go on to provide employment to survivors of Bergen Belsen concentration camp. The partners, company and the jewellery that they crafted were highly regarded. Eventually, the number of staff employed by Fred Manshaw Ltd. rose to several hundred.
In recognition of his goldsmithing and entrepreneurial talents Durst was awarded these highly prestigious positions:
Liveryman of the Worshipful Company of Goldsmiths
Freeman of the City of London
Member of the British Jewellery Association’s Hallmarking Council
President of the British Jewellery & Giftware Federation
We can see from the catalogue page shown above that the firm was listed as having premises at 22-24 Kirby Street, Hatton Garden, London, E. C. 1.
Manfred Durst Business & Charity Work
MANFRED DURST
Manfred was far sighted. He tried to warn fellow jewellers about how damaging it would be for the Ratner Group to take over the high street. Some of the jewellers which Fred Manshaw Ltd. had supplied were bought out by the Ratner Group. Durst's predictions were considered to be correct by many people.
In 1990 the Ratner Group of companies owned 50% of the UK jewellery market. In 1991 Gerald Ratner made the now infamous speech referring to the inferior quality of some Ratner gifts and jewellery. His unwise choice of words would go on to cost the Ratner Group an estimated billion dollars.
As well as providing employment for many families, Manfred Durst also supported charitable causes in Britain, Israel and Munich, including children's homes.
Fred Manshaw Ltd. was in business from 26 Apr 1946 - 01 Sep 1988.
After this period in time the private limited company was known as Duna Trading Limited.
Manfred Durst was a director of Duna Trading Limited until June 2020 just prior to his passing on June 7.
His son Michael Bernard Durst is still a director of the firm. Micheal is a chartered accountant.
Phillip Najmann, a relative of his partner, John Najmann, is still a director of this company and currently residing in Switzerland.
A splendid engraved fully hallmarked 9ct gold padlock heart pendant. The heart shaped padlock symbolises love and commitment.
The design of the quartered heart on this maker’s mark is probably a reference to Bleeding Heart Yard.
The Legend of Bleeding Heart Yard
Until the mid 1950s the firm was listed at premises which were located at Bleeding Heart Yard, near Hatton Garden. This area is said to have been named after Lady Elizabeth Hatton was found murdered in the yard. Legend has it that the dismembered body of Lady Hatton was discovered with its heart still beating and bleeding.
Lady Elizabeth was one of many guests hosted at the ball which took place at Hatton House in the mid-seventeenth century. Unfortunately, Lady Elizabeth, left the ballroom with a finely dressed man with whom she had been dancing. It is said that they danced their way out through the doors which led to the garden.
This scandalous behaviour caused quite a sensation, especially when neither of them returned to the ballroom. Why no one was chaperoning Lady Hatton or went outside to see if she was safe is a mystery.
Her body was discovered the next morning in the courtyard of the stables belonging to Hatton Hall.
However, like many legends it is probably untrue and the events are subject to much confusion.
An article found in a Wordpress document named The Cabinet of Dennis Callegari states that the sheer number of ladies with the name of Elizabeth Hatton at this time probably caused this confusion.
One Lady Elizabeth Hatton was the second wife of Sir William Hatton. Sir William was the nephew and heir of Sir Christopher Hatton. After the death of her husband, Lady Elizabeth married Edward Coke. She argued with her second husband and refused to take his name. Even today well known women with a strong characters often attract rumour and innuendo.
Sir Christopher Hatton is said to have been the father of an illegitimate daughter, also named Elizabeth Hatton.
No one knows the truth of the origins which give the name to Bleeding Heart Yard.
Hatton Garden
Hatton Garden is an area of London which is especially well known for its jewellery shops and its diamond trade. This reputation was established in the early 19th century. However, this part of London has been associated with the jewellery trade since the Mediaeval era.
The area was named after one of Queen Elizabeth I’s favourites, Sir Christopher Hatton who was born in 1540 at Holdenby in Northamptonshire. He studied law in the Inner Temple.
He came to the Queen’s notice when he was enrolled as one of her bodyguards.
As you can imagine Sir Christopher benefited financially from his favoured position.
In 1577 he was gifted the property known as Ely Place by Queen Elizabeth I.
Since the 1200s Ely Place had been the residence of the senior clergy.
This estate remained in the Hatton family’s possession until the reign of King Charles II.
From 1564 to 1587 Hatton was in almost daily attendance upon the Queen.
Queen Elizabeth promoted Sir Christopher to the offices of:
Captain of the Guard
Vice-Chamberlain of the Queen's Household
Lord Chancellor, 29 April, 1587.
Knight of the Garter, 23 April, 1588.
Sources:
wordpress.com/elizabeth-hatton-and-the-legend-of-bleeding-heart-yard/
The British Museum
Wikipedia
925 - 1000.com
]]>
Joseph Ettlinger became the Master of the Worshipful Fan Makers Company in 1904.
This guild of fan makers has been in existence since the reign of Charles II and may be before that time.
Throughout recorded history the amount of foreign imported fans was damaging to the domestic fan making trade. From time to time monarchs would be petitioned to help boost domestic trade.
Queen Ann was petitioned for the grant of a charter which established The Master, Wardens, Assistants and Society of the Art and Mystery of Fan Makers of London and Westminster and Twenty Miles Round.
The company was incorporated in 1709.
One of the duties of the company was to protect English fan makers from cheap imports. The company also set wages, offered training for apprentices and ensured the quality of products.
By the Victorian era most fan makers were also jewellers, goldsmiths or haberdashers, as it was unlikely that having the sole occupation of fan maker would be sufficient to make a living.
French fans and accessories were immensely popular in Victorian England. The Ettlingers were well known importers of luxury goods which originated from France and as the demand for French fans was high it is possible that they imported luxurious fans from this country for resale, as well as making their own.
English fan makers sought help to increase the demand for their wares and in response Queen Victoria donated £400 for prizes which would be given to the winners of a fan competition which took place at the South Kensington Museum in 1870.
The listing in this London directory details -
We believe that the relevant Ettlinger references are those ones shown above in italics.
Ettlinger K. & Co were metal merchants located at 40 Great Tower Street E C. This was a business concerned with trading manganese / chrome in India. We do not think they are operating in conjunction with the Ettlinger family who were jewellers.
We are delighted to have found two of Joseph Ettlinger’s patents for improved designs of fans.
One of these patents is for a fan with a handle which retracts automatically when the fan is closed.
The patent and drawings are shown below.
Joseph Ettlinger’s next invention was for a fan which opens automatically when it is drawn out of the handle.
The address of 30 Lawrence Lane is listed on this 1902 patent.
In the same year Paul Ettlinger applied to patent An Improved Pocket Case for Containing Various Articles for Ladies’ use.
This patent application was accepted on 29 January 1903.
His business address is listed as 176 Regent Street, London W.
Joseph Ettlinger is also listed at this address.
They were listed as -
Fan makers, silk and fancy bag makers
At this time purses made from precious metals were much in demand.
View antique hallmarked silver purses.
The next two patents were applied for by Paul Ettlinger.
As well as including the patent applications and patent drawings we have one of Paul Ettlinger’s splendid pocket cases.
This superb treasure is hallmarked on the lid, base & interior compartments. The exterior case is the most exquisitely beautiful hammered gold & comes complete with the original writing implement and snake skin cover. The main thumb catch & the three other access points are set with ruby cabochons.
From 1842 it was illegal to sell imported gold or silver in Great Britain until it had been presented to be tested (assayed) at a British assay office. In 1867 the Foreign Mark was added.
The fully hallmarked 9 carat gold pocket case shown above was most probably crafted in France and since Paul Ettlinger applied to patent this design two years prior to its assaying in London it is likely that it was crafted by the Ettlinger’s Parisian partners, as this design was protected by his patent. The workmanship is superb.
On importation into Great Britain the sponsor, Paul Ettlinger, presented this vanity to be assayed at London. During its assaying the original hallmarks were obliterated, which was customary practice.
The new marks were struck in 1904 and are shown below.
From 1904 the carat value of gold was also shown and the decimal value of the standard was used.
The importer's mark P E, the gold purity marks 9 .375 (9 carat gold) are shown first. Followed by the Foreign Mark, the date letter i and the leopard's head which represents London Assay Office.
Not all of the pocket cases were fitted with spring pieces (f) for securing cards in the portion a1.
The patent diagrams show slightly different case designs.
Fig. 1 shows how the case can be adapted to affix a chain.
Fig. 2 is a combination case with money and powder compartments on one side. A hinged flap is fitted with a mirror and writing tablet. Once the hinged flap is pulled over the money and powder compartments it reveals a deep recess for cigarettes or larger amounts of paper money.
Each solid gold tongue is set with ruby cabochons.
In this image the compartment for money is shown top left.
The compartment for face powder and puff is larger and located bottom left.
In the middle the hinged flap is fitted with a mirror on one side and note tablet on the other side.
The image above shows the deep recess in which cigarettes or paper money could be stored.
Figure 4 depicts the version of Paul Ettlinger’s case which appears not to have two compartments on the same side or we would see the x marking the place on the top and bottom where the tongues would go, as we do on the left hand side on Fig. 2.
e is the writing tablet on the hinged flap c. In this version the hinged flap c would be moved over to the right to reveal a single deep recess. On the right hand side of Fig. 4 is another deep recess for calling cards or paper money which would be secured by the spring piece f.
Paul Ettlinger was attempting to patent all the possible designs for his improved pocket case.
The diagram shows that the puff is fitted with a ribbon which is attached to a ring which would probably have been made from Celluloid.
g is the cover for the money compartment which is shown raised. This compartment could also have housed vestas. At this time everyone needed vestas / matches to light stoves and candles even if they did not smoke cigarettes. Although, an Edwardian lady who was wealthy enough to own one of Paul Ettlinger’s solid gold pocket cases would probably have had servants to perform these tasks.
We have seen necessaires from this era fitted with cigarette compartments.
Fig. 1 shows the position of the gold pencil inside the case by means of two broken lines (k)
The compartment revealed is fitted with a custom made anchor onto which a strap could be placed.
As our histories are usually compiled in chronological order we would now like to refer once again to Joseph Ettlinger’s fan making.
On 22 June 1911 the coronation of King George V and Queen Mary took place at Westminster Abbey, London.
The King & Queen were showered with gifts from all over the world.
Many of these presents were crafted by British makers of luxury accessories.
The Worshipful Company of Fan Makers presented an exquisitely beautiful fan to Queen Mary on the occasion of the coronation.
The fan was made from Honiton lace. The lace leaf was made in the workshop of Miss Fowler of Honiton. The fan was designed by George Woolliscroft Rhead. The guards and sticks were carved by Robert Gleeson.
Joseph Ettlinger, Past Master of the Fan Makers Company, was the person tasked with the supervision of Mr. Gleeson.
Queen Mary was very appreciative of their efforts. The fan was used by the Queen when she visited India during the Durbar celebrations in December 1911. This formal ceremonial gathering marked King George V’s succession as King Emperor of India.
This fan featured in the exhibition titled -
Unfolding Pictures: The Queen's Gallery, Buckingham Palace
On November 15 2011 Paul Ettlinger applied to patent Improvements in Sovereign and other Coin cases.
This patent was accepted on February 29, 1912.
View our hallmarked gold jewellery.
Sources:
Royal Collection Trust
Fanmakers.com
The Sydney Morning Herald
925 - 1000.com
The Illustrated London News
]]>There has been a fascination for ancient Egypt for hundreds if not thousands of years.
William Shakespeare’s play Antony and Cleopatra was first performed by the King’s Men in London c.1607. The plot is based on Thomas North's 1579 translation from Plutarch's Lives. Plutarch (c. AD 46 – after AD 119) was a Greek historian, philosopher and a priest at the Temple of Apollo in Delphi.
In recent history interest in the rituals, architecture and customs of the Ancient Egyptians was increased significantly by the Napoleonic War in the Middle East.
1798
France was at war with Britain. At this time Britannia really did rule the waves and France sought to end Britain's dominance of the seas and trade routes with India. If France could conquer Egypt it would be able to expand its influence in the Mediterranean.
Napoleon Bonaparte was given command of the mission. Napoleon led French forces into Egypt in 1798 to fight against the Ottoman rulers who were known as the Mamluks. The French won the battle against the Mamluks by holding their lines in a square formation and firing at the charging Mamluks at close range. Although they won the battle they did not win the war due to the intervention of the Royal Navy.
Rear-Admiral Horatio Nelson led the Royal Navy in the Battle of the Nile which was a major naval battle fought with the French at Aboukir Bay from the 1st to the 3rd of August 1798. The British fleet won the battle decisively when the French gunpowder boat L’Orient was destroyed by the Franklin. The 120 gun ship, L’Orient, was Vice-Admiral Brueys' flagship. L’Orient was destroyed a couple of hours before midnight. The massive explosion rocked the other ships, killed the Admiral and most of the ship's company. The Franklin narrowly missed destruction, as the explosion sent flaming debris high up into the air.
Napoleon took scientists, botanists, artists, engravers and architects on this military campaign. These men were officially known as the Commission des sciences et arts d’Egypte. Although his military campaign was seen as a failure, the scientific expedition was seen as a great success, as it produced the first complete scientific survey of Egypt. The Description de l’Égypte detailed Egyptian antiquities, language, natural history and way of life, including agriculture, customs, music and dress.
1801
By 1801 the war was over. The fascination for ancient Egyptian culture was fuelled by the drawings, engravings and descriptions by the Commission des sciences et arts d’Egypte.
The cover of the publication reads as follows -
Victorian Era
All over Europe, Britain & America the mania for the history of Egypt spread far and wide. This would increase when two obelisks which were gifted to Britain and America began their travels to their new homes. Obelisks were traditionally placed in pairs before the entrance of Egyptian temples.
1877
In this year the obelisk known as Cleopatra’s Needle arrived in England after having been towed by a steamship named The Olga, lost at sea during a storm in the Bay of Biscay and then claimed by another boat (Fitzmaurice) as salvage. The British followed the dramatic journey of the needle, as regular bulletins about its journey were published in the London Illustrated News. The court case instigated by the transporters and the owners of the Fitzmaurice regarding the ownership of the obelisk caused a sensation.
1880
The Americans had seen how the British decision to tow their obelisk back to England by sea had almost ended in disaster and so they decided to modify the steamship SS Dessoug.
Lieutenant Commander Henry Honychurch Gorringe was tasked with overseeing the operation. The 200 ton granite obelisk was manoeuvred into place in the ship's hold by rolling it along on top of cannon balls. The obelisk arrived in America in July 1880.
The masons believed that they had a special connection with this huge granite structure and the messages contained in the hieroglyphics. The Grand Master of Masons in the State of New York, Jesse B. Anthony, presided over the laying of the cornerstone for the obelisk which took place on October 2 1880. Tens of thousands of spectators and over 9000 masons lined the route of the parade.
Throughout the Victorian era cosmetics, advertisements, cigarette tins, cigarettes, jewellery, interior decor, architecture, fashion, mausoleums, art and theatrical plays took their inspiration from Egypt!
The popular actress Lillie Langtry was cast as Cleopatra in a performance at the Princess's Theatre, London, 1890.
Egyptian themed mausoleums can be found in cemeteries in the wealthier parts of New York and London. Many of these magnificent structures date to the 1880s. One of the very appealing aspects of Ancient Egyptian culture was the belief in the afterlife. Victorian families who had been bereaved found great comfort believing that their relatives lived on in another dimension.
At a time when infant mortality was so high the Victorians sought comfort from their mourning rituals just as high ranking Ancient Egyptians did thousands of years before. Egyptian influences can be seen in mourning jewellery which are often embellished with obelisks and scarab beetles. The Ancient Egyptians attributed the scarab beetle with magical powers of rebirth and renewal. Many Victorians would also find comfort from Egyptian symbols and motifs.
The fascination for Egypt had not waned by the Edwardian era.
1909
In this year Samuel Davis applied to patent a vanity box on behalf of The Cleopatra Vanity Box Company of New York (patent no. 963212 ). Prior to this application most patent applications for boxes to hold face powder were known as powder boxes, toilet powder boxes or toilet boxes. For example, the patent drawings below belong to a patent application made by Warren Hill for a Toilet Powder Box (patent no. 472217, which was patented on April 5 1892.
Warren Hill made the following claims.
1910
The patenting process for the vanity box invented by Samuel Davis was complete by July 5 1910.
Extracts from the patent description that we found interesting or helpful:
COMBINED POWDER PUFF AND PIN HOLDER
The combined powder puff and pin holder will be made subject of a separate application for a patent.
Note:
We have not been able to find any more patent applications by this inventor.
Fig. 4 is a like view of the moveable perforated disk located over the powder holder.
The well known compact historian, Michael Hetherington found an original instruction leaflet for this model which states the following -
View more enchanting antique & vintage vanities.
Sources:
Michael Heatherington’s Collectingcompactsblog.spot
Bob Brier
Harvard Museum of the Ancient Near East
Hathi Trust Princeton University
Wikipedia
]]>]]>
(1837 - 1907)
Barnet Henry Joseph was born in Penzance, England in 1837. His father was Henry Joseph & his mother was Amelia Emily Joseph.
Barnet married Isabelle Blanckensee, who was the daughter of the well known jeweller Solomon Blanckensee and Julia Joseph.
1865
In 1865 this manufacturing and wholesale jewellers was founded by Barnet Henry Joseph and his brother Henry Joseph. The site they occupied was set in the heart of the Birmingham Jewellery Quarter. The address of the manufacturing premises is listed as 18, 19 & 20 Frederick Street.
The photo above shows the premises after it had been enlarged and modernised by the company.
1869
Another brother named Joseph Joseph joined the firm. He was already an experienced jeweller.
The company was noted for exacting standards and a very strict quality control system which ensured that only high quality products were released onto the market. The slightest flaw would prevent items from making the journey to their retail showrooms.
B. H. Joseph & Co. were one of the first manufacturing jewellers that could be described as both manufacturers & factors. The firm was well known for the quality of their gold and silversmithing and electroplate goods which were destined to be sent to elegant London showrooms and all corners of the earth.
During this time it was usual for work to be outsourced to individuals or firms which specialised in one particular process. For example - silver piercing. Workers known as garret & back-room workers played their part in many trades, including the jewellery business. These workers would often work in the back of a rented house or rent a room in someone else’s house to carry out their trade.
Some manufacturers would sell semi-finished articles to a factor who would then engage a garret-master who would organise garret workers to finish the products. This process would keep the costs of manufacturing lower but often these workers would have fared better if they had been in the employ of a large company.
This maker also used the services of garret workmen. A building known as the rough warehouse was the place to which jewellery at various stages of its crafting was presented to the firm’s supervisors. The garret workmen were provided with gold, silver and precious stones by the firm. These valuable materials would be accounted for and the workers took them to their garret workshops to carry out their employment. The company placed great trust in these workers.
At this time the word garret was used to describe a habitable attic. Attics had sloping ceilings and due to their cramped living or working space they were often cheaper to rent than a room at the bottom of the house. Many of the processes used by the garret workmen in the jewellery trade were carried on in back rooms with access to a small yard at the back of the dwelling.
1878
In May of this year B. H. Joseph & Co opened showrooms in London at Ely House, Charterhouse Street, EC. The company was a hugely successful jewellery concern which supplied Liberty & Co. with some of their most enchanting Arts & Crafts pieces.
The firm was styled as B. H. Joseph & Co.
The Birmingham manufacturing premises also undertook refining work. Scrap silver and gold was melted down into a liquid state in the melting shop. The refinery provided a large income for the business and also raw materials for their creations.
As you can imagine, the company's strong room was a large and well fortified place.
1880
In the Silversmith's Trade Journal 5 April 1880 issue the firm's Anti-Oxide formulation was promoted as follows -
Messes. B. H. Joseph and Co., of 20, Frederick Street,
Birmingham, have sent us a sample bottle of liquid
termed "Anti-Oxide" which, after several practical applications,
we may declare to be one of the greatest boons the
jewellery trade has ever received. It removes tarnish from coloured
gold and silver goods almost instantaneously,
restoring to either the bloom they receive from the colouring pot or the battery.
A bottleful, the price of which is one shilling, is sufficient to clean a silversmith's stock.
1883
The company was a most inventive enterprise which patented devices such as bracelet-sizers, which could be used by jewellers to measure the wrist accurately. The firm sent one of their bracelet-sizers to the publishers of The Watchmaker, Jeweller and Silversmith who proceeded to publicise this patented invention in their 5th May issue (1883).
An extract from the November edition of The Watchmaker, Jeweller and Silversmith details the exhibits of B. H. Joseph & Co. at The Calcutta Exhibition which took place in 1883.
Among the most conspicuous examples of the artistic manufactures of Birmingham to be seen at the Calcutta Exhibition, says the Birmingham, Daily Mail, will be a case of best finished jewellery exhibited by Messrs. B. H. Joseph and Co., of Frederick Street.
Messrs. Joseph produce nothing but the best finished work, in practical contradistinction to the wares which have, rightly or wrongly, earned the uncomplimentary designation of "Brummagem." Some of the gold and silver goods are works of art in the most literal sense.
Messrs. Joseph exercise the greatest care in selecting and matching their precious gems, and the finish upon the gold work is particularly striking. Apart from the more costly gems, Messrs. Joseph have some specialities of their own, notably their renaissance silver jewellery made by the oxydising and gilding process. The card cases, fusee boxes, cigarette cases, and smelling bottles made by this interesting process are beautiful objects of art. There are some exquisite copies of the antique in silver ware, and some very fine Etruscan work.
In one compartment will be shown the entire process of jewellery manufacture, from the metal in its rough state to the flattening, piercing, and stamping stages. A die will also be taken out to show the finished work.
Among the curiosities of the collection is a large topaz of fine quality nearly two ounces in weight. Some of the silver brooches made by the electro-gilding process are of charming design and workmanship. The case altogether will give a good idea of the best qualities of jewellery Birmingham can produce.
1884
By 1884 the London showroom had been relocated to 9 Swinton Street, Gray’s Inn Road, London WC.
1885
B. H. Joseph announced their successful application to patent a new glove fastener. The glove fastener was available in gold and silver which was embellished with ornate engravings.
We have not been able to find any of their patents lodged with the patent office yet.
The firm also introduced a clear fast drying solution which they made available to the jewellery trade. This finish would prevent silver from tarnishing. This is likely to have been transparent enamel. Many firms, especially those who crafted vanities made from precious and non-precious metals also used this type of finish to prevent tarnishing. As long as the layer of enamel was not damaged the silver would not tarnish.
The solid gold articles did not need to be finished in this way, as gold is the most non-reactive of metals.
B. H. Joseph & Co. opened much larger London showrooms at 29 Ely Place, EC.
1889
By the late Victorian era the company was said to be one of the most prominent manufacturing jewellers employing over 250 men. It was a noted specialist firm with an excellent reputation for goldsmithing, diamond and gem work. As well as jewellers, the staff included a large number of male and female clerks, warehouse staff and quality control personnel who were supervised by one of the partners.
1891
The firm was to go on to absorb other well known jewellers such as D. L. Davis & Brothers of Vyse Street Birmingham.
The business expanded overseas. A Spanish office was opened in Madrid.
Their gold and silver jewellery and accessories were also much in demand in the colonies. It was noted that religious subjects such as crosses and mourning lockets were especially popular in the Latin countries.
Demand for the firm’s jewellery and silverware was also high in Australia & the Cape.
1903
Barnet Henry Joseph retired from the business.
In this same year Joseph Joseph went into partnership with their sons George L. Joseph, Leslie Joseph & Percy Joseph.
The firm purchased more jewellery businesses based in the Birmingham jewellery quarter.
Exquisite fully hallmarked gold keepsake lockets by this maker are still sought-after today.
1904
A richly ornamented fully hallmarked 9 carat gold antique locket pendant crafted by B. H. Joseph & Co. The locket is typical for the Edwardian era, as it is elaborately ornamented with deeply symbolic motifs to both sides. Acanthus and ivy leaves adorn the front and back. Acanthus leaves represent immortality. Ivy leaves have symbolised everlasting love, fidelity and deep friendship for hundreds of years.
The maker's mark appears to be B. H. J into a chamfered rectangle for B. H. Joseph & Co.
This enchanting Edwardian keepsake pendant was assayed at Chester in 1904.
More high quality antique hallmarked gold lockets.
1906
The firm took over the business of Arthur E. Cohen which was located next door to their Birmingham manufacturing premises at 21 Frederick Street, Birmingham.
WITTON CEMETERY
1907
Barnet Henry Joseph passed away on April 5 1907. His funeral was held three days later at Witton Cemetery.
1910
The Frederick Street premises were modernised and enlarged.
Business prospered and this hard working family of jewellers offered employment to many families all over the country. Including domestic staff to help them with the upkeep their private dwellings.
1913
I think that the family owned the houses shown below in 1913 and maybe during the Edwardian era.
The first image shows a most enchanting property. You can just imagine one of the Joseph brothers arriving in a horse drawn carriage!
9 CARPENTER ROAD EDGBASTON BIRMINGHAM
The impressive abode shown above is located in one of the most prestigious areas of Birmingham.
Number 9 Carpenter Road is a Grade II Regency style house complete with a coach house. At this time the coach house would have also included stabling for several horses. The house dates to 1830 - 1840. The photograph of the two storey white stucco villa is shown as it is in the 21st century.
It is so pleasing to see that this delightful villa has not been demolished to make way for modern houses.
2 CARISBROOKE ROAD EDGBASTON BIRMINGHAM
B. H. Joseph & Co. were listed at British Industries Fairs throughout the time of the business.
1915
In the 1915 British Industries Fair exhibition catalogue the firm was listed as exhibiting the following jewellery -
Diamond and platinum set necklets and pendants,
rings set with diamonds and other stones, earrings and bracelets
and 9ct and 15ct brooches, pendants, necklets, set with pearls, amethyst, peridots etc
The company was well known for its high quality gold lockets, novelty vinaigrettes and gemset pieces.
One notable vinaigrette was fashioned in the shape of an eagle’s claw.
Walter George Myers Ltd. of 68 Northampton Street, Birmingham was another company taken over by the firm.
1929
B. H. Joseph & Co. was a listed exhibitor at the 1929 British Industries Fair.
The catalogue entry details -
929 Listed Exhibitor. Manufacturers of fine Platinum, Diamond and Gem-set Rings, Brooches, Bracelets, Earrings, etc. Gold, Gem-set, Enamelled and Mother-of-Pearl Links, Buttons and Studs, and Gold Signet Rings. Birmingham Jewellers' and Silversmiths' Association. (Stand Nos. J.43 and J.54)
In 1929 the firm was incorporated with Payton, Pepper & Sons Ltd.
More splendid antique hallmarked gold jewellery.
Sources:
925-1000.com
Graces Guide
Christies
Google Maps
]]>
On the right hand side we can see a modern impression on clay of the frieze-like stamp this seal produces. The hunting scene depicts an important way of life, as much of the food was derived from hunting wild animals. The symmetry of the trees give this stamped impression uniformity. The hunter has captured an ibex. The owner of the seal is shown in cuneiform lettering above the head of the ibex. Balu-ili was a court official who was a cupbearer. Whilst this may not appear to be an important role, the name belies its significance. As well as being responsible for the king’s wine and beverages, the cupbearer would often hold positions of great trust. The king would rely on the cupbearer to prevent him from being poisoned.
Some cupbearers were chosen for their ability to analyse dreams or to predict the future.
Sargon I was a King of Kish. He was a cupbearer who drove the king from power. Sargon’s supposed ability to analyse the king’s dreams aided him in his mission to overthrow the king. Kish was a city to the north of Babylon. Sargon I founded the Akkadian Empire, which spanned approximately two centuries.
The artisans who created the seals used intaglio. They engraved or incised figures in stone or other hard material depressed below the surface so that an impression from the design yields an image in relief when pressed upon a softer material such as clay, wax or heated metal.
The scene above could be a hunting or sporting scene or one that had spiritual meaning. On the right a figure that has the appearance of half-man half-bull is fighting with a lion. A star and a crescent can be seen between them. On the right a bearded man is attacking a water buffalo.
The inscription in Akkadian reads -
Shusiba, servant of the house/temple of the god Ishkur
Religious beliefs and ancient rituals were the most popular designs seen on important seals at this time.
As food was principally sourced from hunting, this activity was of paramount importance and so it was often portrayed in art.
Cylinder seals were often hollow and worn around the neck of notable officials. This ensured their security. The seal was used to give the stamp of authority to a document. These early forms of jewellery were also worn as talismans and given apotropaic powers.
Lumps of clay stamped by the cylinder seals were also used to seal doors to prevent entry by unauthorised people and even jars of food or boxes containing jewels were sealed.
Commercial transactions were recorded on seals stamped on the relevant consignments.
As well as fired clay, metal and stone impressions have been found.
In the Middle Ages the practice of sealing with wax seals would have been reserved for the ruling elite and wealthy classes. By the 13th century this method of sealing documents was widespread. Monasteries, guilds and merchants have been recorded as sealing documents. As many people were illiterate, a seal with a symbol was an ideal way to lay claim to property or goods. Easily portable seals were also worn as jewellery. The signet ring dates back to the ancient Egyptian era. The stamp of the signet ring in wax prevented forgeries and thefts. It served the same purpose a signature does today. On the death of the owner the signet ring would either be buried with them or destroyed.
Important people, nobles and members of royal families had their own seals.
The Great Seal
In England the term Great Seal is given to seals used by monarchs. The Chancellor would keep possession of the Great Seal. A new Great Seal was made for each reign. Old seals were ceremonially broken up once the reign had ended. Since the 11th century the Great Seal has been the seal of authentication for English and Scottish monarchs. It was seen as the signature of the monarch and it was sometimes referred to as the key to the kingdom.
When a Great Seal was decommissioned it would be destroyed in front of witnesses to prevent its use or copies being made. Forging the Great Seal was considered treason and punishable by death
In mediaeval times the seal matrix was pushed into hot beeswax and then stamped onto documents to seal them closed and authenticate the source. Sometimes other soft materials were used. A matrix was cast to form the seal. The preferred materials were bronze, silver and gold. Gold was usually reserved for the monarch seal matrixes, especially the Great Seals. The single-sided seals were stamped onto the parchment. Double-sided seals are known as pendant seals. Pendant seals were attached to documents on silk, strips of material, hemp or parchment.
King John was crowned when his brother, Richard the Lionheart died in 1199. His loss of the duchy of Normandy (1214) was seen as a huge failure. The taxes he levied on the English nobility to pay for his foreign wars created much resentment. The barons demanded that their rights be respected by King John and subsequently on 15 June 1215 a royal charter of rights was agreed to by King John. The document, Magna Carta Libertatum (Great Charter of Freedoms) is commonly known as the Magna Carta. The royal charter was sealed at Runnymede, near Windsor, England. It was drafted by the Archbishop of Canterbury, Cardinal Stephen Langton.
The charter promised the protection of church rights and it also offered protection for the barons from illegal imprisonment and gave them access to swift justice. It placed limitations on feudal payments & taxes to the Crown.
It was intended that a council of 25 barons would ensure the conditions were met. However, neither King John nor the barons adhered to the charter. On 24 August 1215 the charter was annulled by Pope Innocent III. This led to the First Barons War.
Despite the difficulties which arose, the document was remarkable in that it implied there were laws the king was bound to observe.
Clause 39 stated that -
No free man shall be arrested or imprisoned or disseised [dispossessed] or outlawed or exiled or in any way victimised…except by the lawful judgement of his peers or by the law of the land.
This clause has been rightly celebrated as guarantee of trial by jury and of habeas corpus.
This clause inspired England’s Petition of Right (1628) and the Habeas Corpus Act (1679).
The Middle Ages were followed by the early Modern era. This time is most well known for the battle Henry VIII had with the catholic church, Pope Clement VII and the beginning of Protestantism.
In 1530 a group of English noblemen wrote to the Pope urging him to annul Henry VIII's marriage to his first wife, Catherine of Aragon, so that Henry could marry Anne Boleyn. The King’s desire was not only for a son, but a legitimate heir. It was argued that Catherine’s marriage to Arthur (Henry’s brother) had been consummated and so Henry & Catherine were not legitimately married.
The document was signed by Thomas Cranmer, the Archbishop of Canterbury, other senior clergymen, members of parliament and leading noblemen. In the document they stated the extreme remedies they could pursue if Pope Clement VII refused their request.
The document measures 3 feet wide. 81 wax seals are attached to the parchment by red silk ribbons. It is clear from this document that the seals are used in the way that signatures are today. Although the document is also signed, the seals provide legitimacy to the signatures. Above the seals, in order of the seals arrangements are the relevant signatures.
The well documented desire of Henry VIII to have his marriage with Catherine of Aragon annulled led to his breakaway from the Catholic Church and the establishment of the Church of England.
The letter to Clement VII was recently discovered in 1926 by Angelo Mercati, Prefect of the Archives. It was hidden in a chest built under a chair.
It was sent to the Pope in July 1530 and took two months to arrive in Rome.
When the Pope refused to annul the marriage it led to a chain of events which culminated in the English Reformation.
The fabulous Great Seal shown above was designed for Queen Elizabeth I by Sir Nicholas Hilliard.
The motto around the edges of the seal reads as -
ELIZABETH DEI GRACIA ANGLIE FRANCIE ET HIBERNIE REGINA FIDEI DEFENSOR
(ELIZABETH BY THE GRACE OF GOD QUEEN OF ENGLAND FRANCE & IRELAND DEFENDER OF THE FAITH)
Royal Ciphers
We can trace the use of royal cyphers in Commonwealth countries. This practice originates from England. Public display of the royal initials dates at least from the early Tudor era. Early ciphers display the monarch’s initial. After Henry VIII’s reign the initial was affixed with the letter R which represented Rex or Regina. The letter I for Imperatrix was added to Queen Victoria's monogram after she became Empress of India in 1877.
The royal ciphers set down the initials in no particular order. Often royal arms or a crown would be incorporated into the design. Royal palaces would often have royal ciphers engraved into the stonework.
The remarkable solid gold pencil case shown above was from the collection of Queen Charlotte. Queen Charlotte’s cipher is engraved into a citrine seal set into an ornate repoussage mounting. The maker is believed to be Alexander James Strachan.
The reign of Queen Victoria was so long that she had two Great Seals. The first became worn through use. The second Great Seal matrix is shown above. Queen Victoria is depicted mounted on an elaborately decorated horse which is being led by a page. The seal matrix is crafted in solid silver.
Inscribed around the edge in Latin -
VICTORIA.DEI.GRATIAE.
VICTORIA BY THE GRACE OF GOD QUEEN OF BRITAIN.DEFENDER OF THE FAITH
The maker’s details are stamped onto the matrix -
JOSEPH S. WYON CHIEF ENGRAVER OF HER MAJESTY'S SEALS
Fobs & Intaglio Fobs
By the Victorian era most fashionable men of standing wore solid silver or gold watches suspended on chains affixed to their waistcoats. Symmetry was required and so the length of chain would reach from both waistcoat pockets. The chain not holding the pocket watch would often be adorned with medals, fobs and intaglio fobs which could be used to stamp documents with a wax seal.
VICTORIAN DATE HALLMARKED 9CT YELLOW GOLD FOB
Depicted above is a typically elegant fully hallmarked Victorian 9ct gold fob set with bloodstone. This elaborate and finely wrought piece was assayed at London in 1867. Bloodstone is deeply symbolic and sought-after. The green jasper has red inclusions of hematite and some also have white inclusions. The red inclusions are said to resemble spots of blood, hence the name bloodstone.
VIEW THIS VICTORIAN 9CT YELLOW GOLD & CARNELIAN FOB
The elegant fob shown above is fully hallmarked 9ct yellow gold. This Victorian fob is presented on an ornate chain. Crafted in the mid-Victorian era, the fob was tested for purity at Birmingham Assay Office in 1861. This splendid piece is set with carnelian. Carnelian has been described as a stone of courage, endurance, energy, leadership, and motivation. The fob and bale are hallmarked.
Ancient Egyptians called carnelians the setting sun.
EDWARDIAN HALLMARKED 9CT GOLD BLOODSTONE & CARNELIAN FOB
Christian legend refers to the stone being covered in the blood of Christ during the Crucifixion. Bloodstone is considered to be a powerful talisman giving the wearer courage & success and having the powers to dispel 'melancholy'.
VIEW THIS ORNATE HALLMARKED GOLD SWIVEL FOB
Antique fobs set with bloodstone are highly collectible & sought-after.
The fob shown above has red and white inclusions of hematite.
VIEW THIS ANTIQUE 10 CARAT GOLD WATCH WINDER FOB
Until modern times all men would wear watches or pocket watches. The materials used to fashion these necessary accessories gave an indication of the wearer's status. Only relatively wealthy individuals would possess watches and watch fobs crafted from solid gold. Elaborately wrought hallmarked gold watch fobs are as sought-after today as they were in the Victorian era.
VIEW HALLMARKED GOLD THIS EAGLE FOB
Three dimensional figural fobs are highly collectible. This charming and well modelled fully hallmarked 9 carat gold eagle fob is suspended from an eighteen inch 9 carat gold cable chain necklace. The fob is set with black onyx.
Black onyx is said to help the wearer to feel well balanced enough to make wise decisions.
In the twenty-first century these solid gold watch accessories are often paired with chains so that they can be worn around the neck.
FULLY HALLMARKED GOLD CENTURION INTAGLIO FOB
What is an intaglio fob?
Although intaglio seals are known to date from ancient Egyptian & Roman times they became hugely popular in the 18th and 19th centuries. The intaglio is used to secure documents with wax seals. The written material would be enclosed and private. The recipient would know if the communication had been viewed because the seal had to be broken to see its contents. The seal would also allow the recipient to know prior to opening who the sender was. The intaglios were also known as ciphers when they were engraved with the monogram and emblem. For example a royal cipher or that of a Roman emperor.
The impressive 9ct gold fob shown above is fully hallmarked. The fob is set with a carnelian & it is no accident that this gemstone was chosen for the adornment.
In ancient times carnelians were given to those who needed to become bold. Warriors wore carnelian around their necks to give them great physical power & courage. This gemstone was also used to show the higher rank of the Egyptian master architects. At one time it was believed to prevent illness & the Plague.
The carnelian is engraved with the image of a Roman centurion.
In the 21st century ladies as well as gentlemen like to wear fobs.
Fobs make an ideal and unique addition to necklaces and chains.
Art Nouveau Wax Seals
Some of the most enchanting fobs and wax seals date to the Art Nouveau era.
ART NOUVEAU FRENCH HALLMARKED SILVER FIGURAL WAX SEAL
The most gorgeous fully hallmarked sterling silver Art Nouveau figural dog seal! This beautiful seal has the most ornate foliate motifs in relief. The surfaces are rendered so that no finger-prints or marks show, except for the engraved stamp at the base which bears the initial L M in Gothic script.
ANTIQUE FRENCH SILVER GILT WAX SEAL
An exceptional French Art Nouveau fully hallmarked sterling silver and vermeil wax seal in the original case. This divine French silver creation epitomises the superlative skill of French silversmiths of this era. Sinuous vermeil tendrils swirl around exquisite lilies and even the texture of the water is captured beautifully.
The seal stamps the monogram / initials R G or G R . The leather clad case is just as delightful. The seal nestles in the most exquisite green velvet which has the appearance of beautiful moss. The silk lid is signed Guerineau and the location of this establishment, QUIMPER, is also given. This piece is stamped with the maker's mark in multiple places and it also bears the poinçon sanglier.
SILVER GILT LILY WAX SEAL
The choice of the lily to adorn this piece is no accident. French Catholicism naturally adopted symbols which the Roman Catholic Church used to convey messages to the faithful.
The lily, especially the white lily, came to be known as the Madonna lily. The lily is the most well recognised symbol for the Virgin Mary. The whiteness represents Mary’s purity, innocence, fertility and divine connection.
The highly stylized version of the lily has been known since ancient times as the fleur-de-lis.
The fleur-de-lis has been used by French royalty ever since the Franks were united by the actions of King Clovis I. At the coronation of Clovis an ampulla with a fleur-de-lis insignia was used to anoint him as king. The symbol came to represent the French monarch's divine right to rule.
Sources:
The British Museum
The National Archives Kew
Royal Collection Trust
Wikipedia
Nationalarchives.com
The company which manufactured Le Rage brand accessories was known as Evans Components Co. Ltd. The firm was located at the Paragon Works, 37 Hockley Hill, Birmingham 18, England.
]]>
PHOTOGRAPH SHOWING THE PARAGON WORKS c.1961
The company which manufactured Le Rage brand vanities and accessories was known as Evans Components Co. Ltd. The firm was located at the Paragon Works, 37 Hockley Hill, Birmingham 18, England. It is likely that the premises also housed other businesses, as a manufacturing jeweller named Walter Needham Ltd. was also using this address for business.
The car on the far right is parked nearest to The Paragon Works, Hockley Hill. On the facade we can just about see the end of the signage…GON WORKS.
It is thought that the firm began trading in the 1940s.
The brand name Le Rage probably originated from the phrase it’s all the rage. When I was growing up in the 1960s and 1970s I remember my mother saying "It’s all the rage" when describing fashions and the latest crazes. The origins of the rage can be traced back to 1785 when an extract from the European Magazine detailed the favourite phrases being used at the time as the Rage, the Thing, the Twaddle and the Bore. The full phrase it’s all the rage did not appear in print until 1870. In this context rage refers to passion and desire for something, as opposed to anger.
The prefix of Le was no doubt the desire of the company to appear exotic and stylish. Many British and American manufacturers of accessories, vanities and cosmetics borrow French sounding names to lend an air of sophistication to their brand.
Certainly, Le Rage powder compacts and vanities are sought-after, elegant and highly collectible.
At the height of production in the 1950s this manufacturer stated that they had a range of over 500 designs.
For some reason it has proved difficult to find these designs, although we have found patents which relate to this company.
1949 BRITISH INDUSTRIES FAIR CATALOGUE LE RAGE ADVERTISEMENT
This listing is promoting the firm’s large loose foundation compacts which measure 4 inches diameter.
These were often referred to as flapjacks.
1951 BRITISH INDUSTRIES FAIR LE RAGE ADVERTISEMENT
In this charming advertisement we can see a Le Rage London souvenir compact top left, a square loose foundation compact as well as the Rendezvous compact (middle) and also the Six-in-One Wonder Vanity Case (right).
On March 31 1954 the patent for Le Rage Six-in-One Wonder Vanity Case was published.
The inventors are listed as Henry Chaim Lerner and Robert Neuschul.
PATENT DRAWING FOR LE RAGE SIX-IN-ONE WONDER VANITY CASE
Figure 1 shows the aerial view of the vanity case when closed.
Figure 2 shows the vanity case open with a mirror secured by a bezel. The inner lid is shut. The fitted combination comb brush sits neatly on the inner lid.
PATENT 706617
PATENT DRAWING FOR LE RAGE SIX-IN-ONE WONDER VANITY CASE
101 and 102 are compartments. 101 is the larger compartment and it is fitted with a powder sifter and the powder puff (25).
The smaller compartment 102 serves to contain a flat sheet metal scent bottle (26) of an arcuate formation and dimensions such that it will fit snugly within the compartment 102
PATENT NO. 706617 PAGE TWO
PATENT DRAWING FOR LE RAGE SIX-IN-ONE WONDER VANITY CASE
PATENT NO. 706617 PAGE THREE
FIGURE 5 SHOWS A PERSPECTIVE VIEW OF THE VANITY CASE
PATENT DRAWING SHOWING VANITY CASE ON THE WRIST
The coronation of Princess Elizabeth in 1953 and the popularity of Queen Elizabeth II provided a much needed boost for British trade. At this time most manufacturers of vanities and accessories liked to trade on their links to the royal family through their British history. The advertisement shown above depicts one of the Le Rage Coronation souvenirs.
Queen Elizabeth II is looking resplendent holding a large bouquet of flowers.
This same image can be found on Gwenda brand (Hussey Dawson Ltd.) loose foundation compacts.
VIEW THIS 1950S LE RAGE ROYALTY THEMED COMPACT MIRROR
Another Le Rage Coronation souvenir compact is shown above. HM The Queen is looking extraordinarily beautiful in this delightful portrait.
The makers described the compact as -
Finished in highly polished jewellers’ gilt
A year later the company published an advertisement with the tagline of -
Fit for a Queen!
Evans Components Co. Ltd. were exhibitors at The British Industries Fair in 1953.
Their trade listing shown below gives an indication of the range of goods they manufactured.
Evans Components Co, Ltd. Olympia, Ground Floor, Stand L.315 “Paragon Works,” 37, Hockley Hill, Birmingham, 18. Teleph. : Birmingham, Northern 4581-2-3. Cables : “ Evansco, Birmingham.”—Manufacturers Of Powder Compacts, Flapjacks, “ Six-In-One ” Vanity Case , Presentation Sets, Make-Up and Magnifying Mirrors, Lipstick Mirrors, Powder Bowls, Brush Sets, Fancy Metal Novelties. ‘“Lerage ” (Registered) Products.
ADVERTISEMENT PLACED IN THE FANCY GOODS TRADER OCT 1954
The clam-shell shaped loose foundation compacts shown above were named The Duchess.
One of the most collectible of The Duchess models is one which features a mermaid. The whole compact has a gilt finish just like the example in the middle of this listing which features ornate engine turned designs.
The other compact shown with its lid shut is The Duchess 277/AM. This model was available in red, blue or green enamel with a marcasite set jewel mount.
Other Le Rage models were adorned with marcasite encrusted decorations. As with all accessories the marcasite is actually pyrite.
Jewellers & collectors refer to pyrite used as a gemstone, as marcasite. It sounds a little confusing but marcasite jewellery is made from pyrite & not marcasite. Both have the same chemical composition but different crystal structures. Marcasite is brittle & unstable which is why it is never used in jewellery or accessories. When exposed to moisture marcasite may release sulfuric acid.
When you are sold jewellery and collectibles said to contain marcasite you can be sure it is actually pyrite. In the late mediaeval era the word marcasite meant both marcasite & pyrite and so the borrowing of the term marcasite continues.
VIEW THIS MARCASITE SET LE RAGE COMPACT MIRROR
The magnificent Le Rage compact case with mirror shown above was designed for loose face powder. This super handbag mirror was made in the 1950s. The lid is decorated with an engine turned clam-shell design which resembles a stylized flower. In the middle embossed gilded floral motifs and a marcasite ring which completes the eye-catching composition. The original puff and sifter are present. The inner lid is signed Le Rage MADE IN ENGLAND.
As you can imagine the coronation in 1953 created great interest around the world, especially in the Commonwealth. As a result of this there was an increase in the numbers of tourists visiting Great Britain, particularly London.
Le Rage brand souvenir compacts are sought after and often portray minutely detailed scenes.
EARLY 1950S LE RAGE LONDON SOUVENIR COMPACT
The loose foundation Le Rage compact shown above is decorated with white enamel.
Famous landmarks are shown in remarkably fine detail - London Bridge, Windsor Castle, St Paul's Cathedral, Nelson's Column, Palace of Westminster, Westminster Abbey and The Shaftesbury Memorial Fountain, which is often referred to as the Statue of Eros, when it is in fact Anteros.
On the Thames a steam tug chugging along & above a plane.
Four London red buses are also depicted
The buses are the Wartime London AEC RT Buses and they are seen in full wartime livery with regulation blackout lighting.
A flower seller is seated on the steps. A traffic policeman & a member of The Household Cavalry can also be seen.
1954 LE RAGE BRAND BRITISH INDUSTRIES FAIR ADVERTISEMENT
The compact depicted in the advert looks as though it is fitted with a Perspex (Lucite) floral decoration which would have been protected by a clear Lucite dome.
As we find more information we will update this blog post, as we do with regularly with our other histories.
View our collection of vintage powder compacts.
More history of your favourite brands.
Sources:
Graces Guide
The Patent Office
]]>