Bejewelled Museum of London

Shradha Ramesh unearths the tale of green stone ‘The Cheapside Hoard: London’s Lost Jewels’

New York: Like The Castafiore Emerald in The Adventures of Tin Tin, one is found caught in the glittery mystery of hoard found near St. Paul’s Cathedral, London. A collection of 400 pieces of 16th and 17th century jewellery box that belonged to Queen Elizabethan and Jacobean found buried in a cellar in Cheapside. The stories and assumption of the hoard burial is vast and varying. Significance of the hoard as mentioned by curator Hazel Forsyth is “It is the largest hoard of its kind, dating from the very late 16th to the early 17th century. Part of the reason why it’s so important is that jewelry tends to be broken up, refashioned, reworked, and so therefore doesn’t survive. Because this was buried and lay undisturbed for the better part of 300 years, it survived in the condition that it has. And it covers a huge spectrum of jewelry designs and types, but also gem material from many parts of the world, which really underlines London’s role in the international gem and jewelry trade in this period.”

Watch|Colombian emerald crystal|1600 circa

Watch|Colombian emerald crystal|1600 circa. Image Credit: http://www.gia.edu/gems-gemology/FA13-cheapside-hoard-weldon

The sensational jewellery exhibit this year is ‘The Cheapside Hoard: London’s Lost Jewels’ showcased by the Museum of London. With luminous green Columbian emerald watch that allows you to read time through a closed lucid lid that makes one completely spell bound and speechless. And the man-made craftsmanship accentuates the beauty of the gemstone. To further enhance the visual milieu of mineral species of green stones the beryl Gemfields ‘Medusa’ emerald entrapped in its natural existence and being enveloped by crystal quartz adds the much needed emphasis. The emerald permeates light and invites attention of the spectators from across the room.

According to Saffronart jewellery guide, the emeralds from Columbia South America are world renowned and the ‘Emerald belt ‘of America is found in Cordillera Oriental mountain range of the Andes. And among emeralds from around the world, the gemstone is believed to ward off evil and cure diseases like cholera and malaria. The underlying theme and reference to Columbian emeralds were romance and were also subject to adventures of sixteenth-century Spanish plunder and trade. A gemstone with rich history and mystery makes it a must see this winter.

A salamander brooch made from Colombian cabochon emeralds and table-cut diamonds from India, set in gold. It originates from somewhere between the 16th and 17th century, when the salamander had particular symbolic significance.

A salamander brooch made from Colombian cabochon emeralds and table-cut diamonds from India, set in gold. It originates from somewhere between the 16th and 17th century, when the salamander had particular symbolic significance. Image Credit: http://www.thejewelleryeditor.com/2013/10/two-extraordinary-emeralds-are-set-to-draw-the-crowds-at-the-cheapside-hoard-exhibition-in-london/

Gemfields' 'Medusa' emerald from the quartz rock|Discovered in Zambia in 2008

Gemfields’ ‘Medusa’ emerald from the quartz rock|Discovered in Zambia in 2008. Image Credit: http://www.thejewelleryeditor.com/2013/10/two-extraordinary-emeralds-are-set-to-draw-the-crowds-at-the-cheapside-hoard-exhibition-in-london/

The exhibit runs at the Museum of London from 11 October 2013 – 27 April 2014 for a span six months.

To Learn More Click Here

Women’s watches make a strong statement in Geneva

Elizabeth Prendiville of Saffronart discusses the new upward trend of female watch designs at the Geneva Watchmaking Grand Prix this year.

New York: In years past men’s watch designs have completely dominated the market for fine timepieces. Specifically, at the Geneva Watchmaking Grand Prix which documents the strongest designs and most pivotal trends of the year in watches. Designers such as Chanel, Chaumet, and Boucheron are among the lush collection of awarded designers. However, this year more award categories are devoted to feminine designs. This could be because more of these ladies’ watches are getting accolades for their beautiful design and function. The feminine finalists for these awards cover four out of ten of the main categories. This is a staggering amount compared to past years.

The most notable women’s watches of the 2013 Grand Prix include interesting aesthetics in partnership with age old traditional crafting and inventive new concepts. The Hermes Pendentif Boule pendant watch has received much attention for achieving this perfect balance. Rather than being adorned on a traditional wrist bracelet, this unique piece, which includes blue alligator leather, is displayed on a long chain rotating freely. In addition to this inventive design work, some featured watches gracefully skirt the line between jewelry pieces and timepieces. Bocheron Ajouree Hera jewellery watch, featuring a fantastical blue peacock made of sapphire and diamond is a perfect example of this. It was shortlisted for the Jewellery Watch Award alongside the Bulgari Jumping Hour Retrograde Minutes jewellery watch, which features a swath of precious colorful gems.

The winners of the 2013 Geneva Watchmaking Grand Prix will be announced at the 13th prize-giving ceremony on November 15th at the Grand Theatre de Geneve. Due to these stellar pieces feminine watches are sure to have a strong hold on the award-winning watch market for years to come. To learn more about the finalists for the 2013 Grand Prix, click here.

The Entrapment of Gods

Rashmi Rajgopal of Saffronart tries figuring out what kept the Gods anchored to earth all along.

Mumbai: It’s that day of the week again when you need to pay a visit to your benefactors, Lord Balaji et al.  But today is different: you have a special wish in mind. Your attire is as attention-grabbing as an S.O.S. alert fired from a sinking ship, but that’s the whole point of all the jewellery. You reach your local temple and notice all the dazzling jewellery anchoring the Gods to Earth. Then, out of nowhere, insecurity collides with full force into you. You stare at your feet, suddenly reminded of your mortality and puny insignificance. You gaze dismally at the idols you came to pray to. Their divine magnificence would any day outdo your attire.  Then you forget why you came to the temple in the first place…

“Wish you looked as good as us, eh? No amount of penance will grant you that,” smirks Lord Balaji with Sridevi (l) and Bhudevi (r). Image Credit: http://blogs.houseofgems.com/index.php/2012/11/the-legendary-temple-jewelry-of-india/

“Wish you looked as good as us, eh? No amount of penance will grant you that,” smirks Lord Balaji with Sridevi (l) and Bhudevi (r). Image Credit: http://blogs.houseofgems.com/index.php/2012/11/the-legendary-temple-jewelry-of-india/

Sadly for you (and luckily for the Gods), temple jewellery is made solely to adorn our anthropomorphic idols. Specifications are based on the Gods in question, their roles, the manifestation of their powers in ornamental form etc. When the fad began centuries ago, donors generously flooded temples with customised jewellery for Gods. Temple jewellery varied according to the donor’s social, economic and religious standing (Nigam, M.L., Indian Jewellery, 63). Oh, and secularism scored big time.  Hyder Ali, Tipu Sultan, the Nizam of Hyderabad (Ibid, 65) and other Muslim rulers of the south also lavished these temples with jewellery.

You’re scratching your head, wondering what all this signifies. Deity jewellery symbolises all the heavenly resplendence our earthly minds cannot possibly fathom. It’s painfully obvious that we can never match up to the Gods, hence the distinction. This is all rad, you say, but bear in mind this feat was no assembly-line production. Which is where dedicated goldsmiths and craftsmen feature. Adhering to a rigid set of requirements calls for a back-up of centuries-old family tradition, skill, patience and monetary investment. If you set out looking for skilled artisans, you’re most likely to find them toiling away in Nagercoil and Malaypore in Tamil Nadu, South India. Ah, but I see you lunge for Doc Brown’s DeLorean. Going back in time, you’d want to check out the special workshops of Mysore King Krishnaraja Wodeyar III.

Why are you specifically referring to South India, you ask me. Not because I’m a South Indian, I tell you, slightly offended. Well-preserved specimens are more probable to be found down south compared to the north, which has been subject to invasion over the years. Speaking of the north, there are extant specimens in the Srinathji temple in Nathdwara, Rajasthan (Krishnan, U. R., & Ramamrutham, B., Indian Jewellery – Dance of the Peacock: Jewellery Traditions of India, 196). Which brings me to part two…

Just when you thought Lord Balaji had the last laugh,  the Enamel and Pearl Srinathji Necklace (Lot 23) shows up. Image Credit: http://www.saffronart.com/customauctions/PreWork.aspx?l=9157

Just when you thought Lord Balaji had the last laugh,
the Enamel and Pearl Srinathji Necklace (Lot 23) shows up. Image Credit: http://www.saffronart.com/customauctions/PreWork.aspx?l=9157

The necklace you see here depicts Srinathji, an avatar of Krishna. This is also temple jewellery, and here it becomes crucial to distinguish between the ornamental and the religious. This isn’t for your aesthetic pleasure, oh no. Temple dancers, priests and royalty began wearing temple jewellery metaphorising the overwhelming power I spoke of earlier. Then devotees jumped on the bandwagon. And you’re thinking it would be a good idea to take a cue from all this. What’s the cue? Saffronart.

“You know you want me,” says the Gowrishankaram (lot 82). Image Credit: http://www.saffronart.com/customauctions/PreWork.aspx?l=9216

“You know you want me,” says the Gowrishankaram (lot 82). Image Credit: http://www.saffronart.com/customauctions/PreWork.aspx?l=9216

Here’s the perfect example of having entrapped Lord Shiva in gold: the Gowrishankaram pendant (Lot 82). You’re relieved to see him in his calmer self, seated with Parvati on his bull, Nandi. You begin thinking you may want to bid for this piece. That’s not all. The lower compartment is an urn to store vibhuti¸ or sacred ash, to mimic Shiva’s ritual of smearing himself with it (Untracht, O., Traditional Jewelery of India, 39). Yes yes, temple jewellery is metaphor-obsessed. Just go for it.

These pieces feature in the Autumn Auction of Fine Jewels and Silver on October 23-24,2013.

To view the online catalogue, please click here.

In the Limelight: Basra Pearls

Rashmi Rajgopal of Saffronart looks at the rise to fame of Basra pearls, their decline and resurrection in relation to some of the magnificent pieces featuring in Saffronart’s forthcoming auction of Fine Jewels and Silver

Mumbai: You’d think I’d start this post with a clichéd “pearls have forever captivated humans”, or some such proclamation heavily lavishing these little beads of calcium carbonate with poetic adulation. I’ll be blunt: they’re an accident of nature, they’re made of carbon just like us and every other organic substance on this planet, and the pearl-forming process doesn’t sound very pleasant. Rolling a foreign particle around in your mantle for years must surely be exhausting. I’ll have to admit though, that’s where we must all accept subservience of our abilities to oysters’ nacre (and insurmountable patience). We all love them for that.

    English can never forgive Chemistry for being so economical with its pearl description.

English can never forgive Chemistry for being so economical with its pearl description.

So much so that the pearl-fisheries down south of India were depleted centuries ago, forcing traders on a merry hunt all the way to Persian waters. Let me rewind a little, back to when the finest pearls came from the Mannar fisheries off the southern coast of India. Jean-Baptiste Tavernier, a French gem-merchant and traveller from the 17th century, noted that the Portuguese at Goa held the honours of having the largest operation in pearl-trading at the time (Oppi Untracht, Traditional Jewelry of India. 334-335). Jewellery consultant and historian Dr. Usha R. Bala Krishnan elaborates on the pearl industry and “Pearl Age in Europe”:

“Between 1524 and 1658… the Portuguese reaped an untold fortune from the pearl fisheries of India and exploited them to such an extent that it was only a matter of time before they were depleted and finally abandoned.” (Saffronart Inaugural Auction of Fine Jewels, 7-8 Oct 2008. 108-109)

Needless to say, Mannar was elbowed out of competition and Basra was pushed into the limelight. It is luck to an extent; these yellow-tinged pearls were considered inferior to Mannar pearls back in the day. You ask if they came from Basra. No, they came from the Persian Gulf and were transported to Basra, a city in south-east Iraq, for trade.

Why are they special? Basra Pearls are bigger in size, more lustrous and regularly shaped than the others. They’re also highly valued for longevity. Yet it isn’t merely luck that propelled them to fame. Besides possessing all the desirable qualities of natural pearls, their aesthetic appeal is undeniable. I’ll turn to the Mughals for support: they’re famed for adorning themselves with unending strings of Basras.  Like the Nizam of Hyderabad’s tantalising Saath Larh Marvareed, the only existing necklace of its kind. Downside is, Basras are out of production now. What happened?

They didn’t just roll them in their mantle, they infused the pearls with colour. Image Credit: basrapearls.com

They didn’t just roll them in their mantle, they infused the pearls with colour. Image Credit: basrapearls.com

A sudden surge in oil demand in the 20th century is to blame. The Persian Gulf area was exploited for petroleum and other resources, which could be attributed to the decline of the oysters there. The city of Basra itself shifted priorities: it came to be at the fulcrum of exporting and refining petroleum.  You know what this means, folks: the pearls must be possessed. Which is why you must join us at our ‘Autumn Auction of Fine Jewels and Silver’, taking place online this month on the 23rd and 24th.

To have a peek into our Basra finds, check out this scintillating piece from our collection: a four-strand natural pearl necklace.

Lot 46, A Majestic four-line natural pearl necklace. Image Credit: http://www.saffronart.com/customauctions/PreWork.aspx?l=9180)

Lot 46, A Majestic four-line natural pearl necklace. Image Credit: http://www.saffronart.com/customauctions/PreWork.aspx?l=9180)

Among our other pieces being auctioned this autumn, this rarity serves as a reminder of the splendour of the Basras.  Other natural-pearl highlights of the auction include a majestic five-strand necklace (Lot 65), a seven-strand (Lot 38) and a sixteen-strand necklaces (Lot 13).

For the complete list of works, view our online catalogue and claim some of these beauties for yourself.

The Splendors of India’s Royal Courts Displaying In The Forbidden City.

Emily Jane Cushing suggests ‘The Splendors of India’s Royal Courts’, an exhibition curated by the Victoria and Albert Museum for the Palace Museum, Beijing.

Detail of Religious procession. A scroll showing, About 1825-1830. Image Credit; http://www.vam.ac.uk/content/articles/m/maharaja-the-splendour-of-indias-royal-courts/

Detail of Religious procession. A scroll showing, About 1825-1830. Image Credit; http://www.vam.ac.uk/content/articles/m/maharaja-the-splendour-of-indias-royal-courts/

London: For the first time the arts of Royal India are coming to China.

The exhibition will take place in the Palace Museum in the Forbidden City until 31st July 2013. This setting results in a collision of two of the greatest and richest civilizations in one place.

The 113 especially selected works are from London’s V&A collection, the range of objects is vast, including paintings, textiles, jewelry, thrones and arms and armor as well as instruments; all spanning from the 18th-19th century.

Stringed instrument, North India, 1800-1880, Image Credit,http://www.chinadaily.com.cn/cndy/2013-06/14/content_16618619.htm

Stringed instrument, North India, 1800-1880; Image Credit, http://www.chinadaily.com.cn/cndy/2013-06/14/content_16618619.htm

The works are symbolic of the wealth, power and influence of the Maharajah of the period. The magnificent works were intended to enhance status and royal identity and also reflect the shifts of power within the Royal kingdom.

The diverse exhibition is separated into four parts; the Darbar, Palace Life, Beyond the Palace and The Influence of the West.

The Darbar, meaning Royal court, is the area in which private rituals would take place which were attended by only courtiers and nobles. Formal events such as the King’s birthday however, were celebrated in public view. During these events the public would see their ruler drenched in the finest textiles and jewelry and surrounded by ceremonial weapons and royal regalia, all of which signified his wealth and power and examples of such on display here.

Turban Ornament, Mughal Court, 1700-1750; Image Credit; http://www.chinadaily.com.cn/cndy/2013-06/14/content_16618619.htm

Turban Ornament, Mughal Court, 1700-1750; Image Credit; http://www.chinadaily.com.cn/cndy/2013-06/14/content_16618619.htm

This turban ornament is a small example of the ornate decoration used on objects for ceremonial use that are displayed in this exhibition. The craftsmanship is evident here with the hand cut emerald, rubies and jade delicately placed. Interestingly, these objects of finery were often made by the private courts makers, intended for the sole use of the royal family and made only from the finest materials.

The second section of the exhibition, Palace Life, explores the private lives of the rulers and their consorts; there are examples of instruments, board games and costumes which were used as past-times and for pleasure.

The below work of a woman holding a kite is from this part of the exhibition, the kite symbolizing a distant lover; interesting to note is the figures and images in these works are not factual and are always imaginary scenes with symbolic value, usually evoking romantic notions.

Lady Flying a Kite, Bikaner or Jodhpur, 1730-1750; Image Credit, http://www.chinadaily.com.cn/cndy/2013-06/14/content_16618619.htm

Lady Flying a Kite, Bikaner or Jodhpur, 1730-1750; Image Credit, http://www.chinadaily.com.cn/cndy/2013-06/14/content_16618619.htm

The third section of the exhibition, Beyond the Palace, shows the life of the King outside of the royal palace. These images of a richly adorned king joined by his horses and elephants are believed to show the kings ability to protect his country from threats.

Painting of procession on Ram Singh II of Kota, India, Circa 1850; Image Credit, http://www.vam.ac.uk/content/articles/m/maharaja-the-splendour-of-indias-royal-courts/

Painting of procession on Ram Singh II of Kota, India, Circa 1850; Image Credit, http://www.vam.ac.uk/content/articles/m/maharaja-the-splendour-of-indias-royal-courts/

The final section, The Influence of the West, examines the impact of Western culture on the Indian Royal courts and includes portraiture by British artist Tilly Kettle and others. These works exhibit western painting techniques such as chiaroscuro and perspective.

I hope you like the look of this exhibition; I do! This diverse and exciting collection is showing until 31st July at the Palace Museum, Beijing.

Further information can be found here.