Would You Have Given Up Your Jewelry to Fight Napoleon?

If your country asked you to give up something to help fight the enemy, would you do it? Between 1803 and 1815, citizens of Prussia were called upon by members of the royal family to donate their gold and silver jewelry to help finance their country’s efforts in the Napoleonic Wars. In exchange for their precious jewelry, they were given jewelry cast in Berlin iron.

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Berlin iron is a metal that was produced in the Prussian royal foundry. It is a black-lacquered cast iron material that was originally used to make objects such as utensils, candlesticks, and medallions, as well as larger objects such as garden furniture, and fencing. The iron was coated with black lacquer to prevent it from rusting. It is that black appearance that gives Berlin ironwork the look of mourning jewelry. Ironwork jewelry was also produced by iron jewelers such as Johann Conrad Geiss.

Berlin Ironwork Bracelet, ca.1815

Berlin Ironwork Bracelet, ca.1815

Prussian citizen’s wore their ironwork jewelry with a sense of patriotic pride. Many pieces bore slogans like “I gave gold for iron” and “for the welfare of our homeland.” This gentleman’s ring features a center medallion with a pair of clasped hands. This symbol represents loyalty and solidarity. On the ring are inscribed the words “there is an echo in France when we say the words honor and Fatherland.”

19th Century Ironwork Men's Ring

Early Berlin ironwork followed fashion and was typically neo-classical in design. Many pieces included cameos and classical figures.

Berlin_Iron_Necklace_l early 19th century

Around 1815, the designs began to change to feature more natural elements.

 Berlin iron_necklace

By 1825, ironwork jewelry remained in favor and pieces were being designed in the gothic revival style.

Berlin Ironwork Bracelets from the V&AI wonder how many people today would give up their jewelry if their country asked them to?

Resources used:

 

 

Get Your Bling On – Jewelry of the Georgian Era

Thomas Lawrence PortraitI intended to write this post about an entirely different topic, but then I became distracted by the jewelry I saw in this portrait by Thomas Lawrence. Not one to be able to resist a good sidetrack in my historical research, I followed my urge to find out more about the jewelry that was made during the Georgian era.

The Georgian era is defined as the years between 1714 and 1830. We need to remember that back then, jewelry was crafted by hand. Due to the lack of precision cutting machinery, precious stones cut during the Georgian era have a rougher look than stones cut today. These stones were set low into the metal and backed with silver, gold, or colored foil behind them to enhance the color and reflect more light through the stone. Silver was the only white metal used for setting diamonds. White gold didn’t come into use until after about 1925, platinum after about 1890.

Back and Front of Earrings from my collection, ca.1775-1790

Throughout the Georgian era, diamonds were the stone of choice. Rock crystal and colored stones such as pink topaz, green chrysoberyl, and purple amethyst were popular early on.

5 rose cut diamonds set in gold ca. 1770

Rose Cut Diamond Ring, ca.1770

Pearls were fashionable, set alone or mixed with gemstones, and as the years went on emeralds, garnets, rubies, yellow topaz, onyx, coral, and turquoise came into favor as well.

Georgian Red Coral Bracelet

18th Century Red Coral Bracelet

It may surprise some people to hear that fake stones were also used. These stones were known as paste. Paste is faceted leaded glass cut to resemble gems. It is sometimes called “strass” after the 18th century Parisian jeweler, Georges Frederic Strass who became world famous for his paste jewelry which was even prized by the likes of Marie Antoinette. The earrings from my collection and the earrings below are made of paste. They are day/night earrings. This style of earring was developed during the 18th century. Typically this is a two element earring in which the top cluster can be worn separately from the attached drop, making it a more appropriate choice for daytime wear.

18th Century Day Night Paste Earrings

Day/Night Paste Earring, ca.1770

During the day, women wore very little jewelry. In many instances you can see portraits of women wearing a simple black ribbon around their neck.

Mrs. Hugh Bonfoy by Joshua Reynolds, 1754

Mrs. Hugh Bonfoy by Joshua Reynolds, 1754

Evenings for the aristocratic set, were an entirely different matter. Short necklaces were prefered and some of the most desirable styles included the dog collar, now known as a choker, and rivieres. A riviere is a necklace with individually set stones of the same size or graduating to a larger size in the front. It could be worn alone or with a pendant attached. Often a riviere was part of a parure, which is a suite or set of matching jewelry including a necklace, earrings, bracelet, and brooch.

Georgian Riviere Necklace

18th Century Diamond Riviera Necklace

The girandole was also popular and used in pendants, brooches, and earrings. This design is composed of three hanging pendants that are set with single or multiple stones hanging from a centerpiece. Georgian girandole jewelry were often embellished with bows, foliate motifs and/or garlands. The popularity of this style began to wan around 1790 as neoclassicism began to dominate the styles of the era.

Georgian Emerald and Diamond Girandole Pendant, ca.1780

Diamond and Emerald Girandole Pendant, ca.1780

As the 19th century approached and we move into the Regency era, dress styles changed dramatically and women began to favor delicate empire waist dresses with short sleeves and low necklines. This style of dress was inspired by Europe’s fascination with ancient Greek and Roman culture. Like the style of dresses, the style of jewelry followed suit. Armlets were worn on the upper arms and could be used as a garter to hold up a woman’s glove.

armlets

Gold chain esclavage necklaces were part of this neoclassical movement and were worn with drop earrings. These necklaces are comprised of several rows of chains, beads or jewels. In the portrait I was studying, the sitter is wearing an esclavage of pearls.

Georgian Esclavage Necklace ca.1815

Esclavage Necklace, ca.1815

A simpler style of jewelry also complimented the style of Regency era dresses. If your economic condition did not allow for costly pieces, you could adorn yourself with a simple gold chain and a small pendant.

Topaz Crosses That Belonged to Jane and Cassandra Austen

Topaz Crosses That Belonged to Jane and Cassandra Austen

And finally, this was the era that introduced us to one of my favorite pieces of jewelry: the lover’s eyes. The eye miniature set into jewelry is believed to have originated with the Prince of Wales (later George IV) and his secret wife, Maria Fitzherbert. Their relationship was frowned upon by court, so a miniaturist was employed to paint only the eye and thereby preserve anonymity and decorum. The couple married in 1785, though all present knew the marriage was invalid by the Royal Marriages Act, since George III had not approved. It is believed that Maria’s eye miniature was worn by George IV, hidden under his lapel from the time of their courtship. Apparently George’s lover’s eye must not have been much of a secret since this supposedly led to the lover’s eye becoming fashionable between 1790 and the 1820s.

Lover's Eye Brooch from my collection, ca.1800

Lover’s Eye Brooch from my collection, ca.1800

If you lived in London during the Georgian era and were in the market to purchase something lovely to wear to the opera or to a ball, you could have visited these fine establishments for your jewelry:

  • Rundell and Bridge at 32 Ludgate Hill (Rundell, Bridge & Rundell after 1805)
  • Phillip’s on Bond Street
  • Thomas Gray’s on Sackville Street
  • Stedman and Vardon at 36 New Bond Street

Sadly, a large majority of Georgian jewelry has not survived to the present. Many families restyled the pieces to keep up with trends, or they sold them off and the components were taken apart for their value. Brooches and rings are the most common types of Georgian era jewelry still in existence. Earrings and necklaces remain available to a lesser extent. I love the fact that these pieces were all crafted by hand, and I’ll continue to admire them in portraits, and search them out in some of my favorite antique shops.

Resources used include:

 

 

A Peek at the 18th Century Dining Room from Kirtlington Park

Dining Room of Kirtlington Park

So I fully admit, I might have a “slight” addiction to the Metropolitan Museum of Art’s period rooms. During a recent visit to the museum, I spent some time in the Dining Room of Kirtlington Park, which the museum acquired in 1933. I thought I’d take you back to the 18th century, to show you where you might have dined if you were a guest of Sir James Dashwood.

Kirtlington Park was built for the English Tory politician Sir James Dashwood, 2nd Baronet (1715-1779). The building was designed by a number of different architects, including William Smith and John Sanderson. It was built between 1742 and 1746, at a cost of over £32,000. The house and its park, which was laid out by Lancelot “Capability” Brown, are approximately ten miles north of Oxford, England. This was a convenient location for Dashwood, who was high steward at the University of Oxford from 1759 till his death. I imagine in that position, he held many dinners at Kirtlington Park.

Sir James Dashwood by Enoch Seeman the Younger (1737)

The original Dining Room from Kirtlington Park was housed behind the three windows on the first floor of the right wing.

Kirtlington_Park

Aside from the vibrant color, the other thing that hit me when I first walked into the room was all the beautiful plasterwork. The plaster decoration was designed by John Sanderson.

IMG_4610

John Sanderson's drawing for the Dining Room at Kirtlington Park ca. 1747-1748

John Sanderson’s drawing for the Dining Room at Kirtlington Park ca. 1747-1748

The four corners of the ceiling contain panels that represent each of the seasons.

Ceiling of Kirtlington Park

The marble chimneypiece might have been crafted by either John Cheere or Sir Henry Cheere.

Chimneypiece Kirtlington Park

The painting over the mantel is by John Wootton, dated 1748. It’s entitled, Classical Landscape with Gypsies, and it is the only painting that was executed for the room. Additional landscape paintings which were intended for this room were never completed.

Classical Landscape with Gypsies by John Wootton, ca. 1748

Classical Landscape with Gypsies by John Wootton, ca. 1748

As I walked around the room, it was nice to see the enormous mahogany doors and shutters still had their original gilt-bronze hardware.

Door to the Dining Room at Kirtlington Park

Kirtlington Park Dining Room

And, the oak floor was probably cut from trees felled on the estate. The color of the room is an approximate to what was on the walls when Dashwood first moved in. The museum was able to determine this through a microscopic examination of the various layers of paint.

Dining Room Kirtlington Park

I can only imagine what conversations these walls were privy to.

Resources used:

A Fashionable Georgian Address: Berkeley Square

Berkeley Square c.1816

Berkeley Square c.1816

Since the Georgian era, Mayfair has been one of the most prestigious places to live in London.  And during the Georgian era, Berkeley Square was one of the most desirable addresses.

Berkeley Square is actually an oblong garden that was, and is, surrounded by residential and commercial buildings. It’s named after John Berkeley, the 1st Lord Berkeley of Stratton (1602-1678). When Lord Berkeley built his town home on Piccadilly in 1675 for £30,000, he purchased the adjacent land north of his property. In 1692, Berkeley House was sold to William Cavendish, the 1st Duke of Devonshire and the house was renamed Devonshire House. From this 1830’s map, you can see the relationship between Devonshire House and Berkeley Square.

Berkeley Square

The five acres that encompass Berkeley Square were designed in 1730 by William Kent and is home to approximately 30 Maple trees. An equestrian statue of George III originally sat in the square, commissioned by his daughter, the Princess Amelia. The statue was removed in 1827 due to structural problems and a gazebo was erected on the site.

Berkeley Square

During my last visit to London, I stayed near Berkeley Square and took frequent walks around the Square. Sadly, only a few of the original buildings remain. Lansdowne House is one of those buildings, except the structure has been altered over the years. It is now an office building and private club. It stood next to Devonshire House until that building was torn down in 1920. Lansdowne House was designed by Robert Adam for Prime Minister John Stuart, 3rd Earl of Bute. In 1765 it was sold, unfinished, to William Petty-Fitzmaurice (1737-1805), Earl of Shelburne, later 1st Marquess of Lansdowne and a leading Whig statesman of the period. His home was a popular meeting place for social and political circles. Information on the dining room of this home can be found elsewhere on this website.

Lansdowne House

Lansdowne House

And speaking of dining, Gunter’s Tea Shop was a fixture on Berkeley Square beginning in 1757. This shop was housed in Nos. 7 and 8, and was one of the finest confectioners in London. They sold syrups, candied fruits, cakes, biscuits, ices, delicate sugar spun fantasies, and elaborate table decorations. In addition to eating your ice or ice cream inside the shop, you could also order from the convenience of your carriage. A waiter would bring your order out to you, giving you the opportunity to eat your treat in your carriage under the shade of Berkeley Square. It was a popular destination during the Regency era, since it was the only establishment in London where a lady could be seen eating alone with a gentleman who was not her relative, without it harming her reputation.

John Linnell's design for a State Bed, 1765

John Linnell’s design for a State Bed, 1765

Another business located on Berkeley Square belonged to cabinetmaker John Linnell (1729-1796), who occupied No. 28. He was one of the first English furniture makers to be educated in design, studying at St. Martin’s Lane Academy. During his lifetime, John Linnell produced high-quality furniture that rivaled other leading craftsmen of the day such as Thomas Chippendale. Aside from producing beautiful furniture, Linnell submitted designs for the State Coach of George III and produced the designs for the boxes at Drury Lane Theater. These boxes might have been occupied, at one time or another, by some of his notable neighbors.

Horace Walpole by Joshua Reynolds

Horace Walpole by Joshua Reynolds

Horace Walpole, the Whig politician, lived at no. 11 from 1779 until his death in 1797.

Sarah Child Villiers, Lady Jersey

Sarah Child Villiers, Lady Jersey

No. 38 was the Jersey Residence. On May 23, 1804, in the drawing room of that home, Lady Sarah Sophia Fane, the daughter of the 10th Earl of Westmorland, married George, Viscount Villiers, and became Lady Jersey when her husband inherited the title. She was a patroness of Almack’s and a prominent figure in Society. Her Berkeley Square town house was her London residence throughout her marriage, and she died there in 1867 at the age of 81.

George Bryan "Beau" Brummell

George Bryan “Beau” Brummell

Beau Brummell, the arbiter of men’s fashion, lived at No. 42 in 1792.

Major-General Robert Clive, 1st Baron Clive

Major-General Robert Clive, 1st Baron Clive

No. 45 was home to Major-General Robert Clive, 1st Baron Clive, (1725–1774), also known as Clive of India. He was a British officer who established the military and political supremacy of the East India Company in Bengal. He’s credited with securing India, and the wealth that followed, for the British crown. After returning home, he sat as a Tory Member of Parliament. In 1774, Clive died in his Berkeley Square home. There was no inquest into his death, however there was speculation he died from a self-inflicted wound or an overdose.

The Right Honorable George Canning

The Right Honorable George Canning

A few doors down, the Right Honorable George Canning, a former Prime Minister, called No. 50 his London home, until his death in 1827. It was then leased by a Miss Curzon, who lived there until she died at the age of 90. The next resident is responsible for giving this house its reputation as one of the most haunted houses in London. A Mr. Meyers was soon to be married and took possession of the house, furnishing it for his bride. Shortly before the wedding, the woman jilted him. He moved into a tiny room at the top of the building and shut himself off from the world. Years later, a number of people died while spending time in that room, and in each instance their deaths were preceded by terrible screams. If you want to read more about this haunted house, check out the 50 Berkeley Square website listed below. And if you are every around Berkeley Square, you might want to look for No. 50. The house is still standing.

50 Berkeley Square

50 Berkeley Square

Resources used include:

50 Berkeley Square – http://www.haunted-london.com/50-berkeley-square

Jane Austen’s World – https://janeaustensworld.wordpress.com/tag/gunters-tea-shop/

British History Online – http://www.british-history.ac.uk/old-new-london/vol4/pp326-338

Number One London – http://onelondonone.blogspot.com/2012/03/death-of-lady-jersey-in-1867.html

Regency History – http://www.regencyhistory.net/2011/11/lady-jersey-1785-1867.html

The Devoted Classicist – http://tdclassicist.blogspot.com/2011/10/duke-of-devonshires-lost-london-house.html

The Georgian Index – http://www.georgianindex.net/Gunters/gunters.html

The Victoria and Albert Museum – http://www.vam.ac.uk/content/articles/d/design-for-a-state-bed-by-john-linnell/

 

A Peek at the Prince Regent’s Art Collection

Aside from his passion for women and food, King George IV adored fine art. While he was Prince of Wales, he began collecting paintings and by 1816, 136 paintings decorated the suite of staterooms at Carlton House. His bedroom suite alone showcased an additional 67 paintings, and he had 250 other paintings in storage.

Amassing a collection this large took some help, and George turned to men who were influential and informed collectors of art in their own right. He looked to Sir Charles Long (later the 1st Baron Farnborough), Walsh Porter, and Sir Thomas Lawrence for advice on paintings to add to his collection. Lord Yarmouth, who became the 3rd Marquess of Hertford, served as the Prince Regent’s agent at art sales from 1810 to 1819.

So, if you strolled through the rooms at Carlton House during the Regency era, what would you have seen? Here is just a very small sample:

“The Shipbuilder and his Wife” by Rembrandt van Rijn (dated 1633)

The Shipbuilder and His Wife

This painting was purchased by George in 1811 for 5,000 guineas. The couple were identified as Jan Rijcksen and his wife Griet Jans. He was a shareholder in the Dutch East India Company and their master shipbuilder. This painting is part of George’s substantial collection of Dutch and Flemish masters. It hung in the Blue Velvet Room in Carlton House as shown in this 1818 watercolor by Charles Wild for The History of Royal Residences by William Henry Pyne.

The Blue Velvet Room at Carlton House

 “Self-Portrait in a Flat Cap” by Rembrandt van Rijn (dated 1642)

Self-Portrait in a Flat Cap by Rembrandt van Rijn

George purchased this self-portrait by Rembrandt in 1814 from Sir Thomas Baring along with of a group of 85 Dutch and Flemish paintings. Most of them were collected by Sir Thomas’s father, Sir Frances Baring. The self-portrait is dated 1642, when Rembrandt was 36 years old. It is comparable in many respects with his self-portrait of 1640, which is in the National Gallery in London. Unlike the earlier portrait, this one does not possess a ledge along the lower edge of the composition.

“A Kermis on St. George’s Day” by David Teniers the Younger (dated 1649)

A Kermis on St. George's Day by David Teniers the Younger

David Teniers’s work was much sought after in the early 19th century. This painting was the most expensive of Teniers’s work in George’s collection. It was valued in his 1819 inventory at 1,500 guineas.

“A Stag Hunt at Versailles” by Jean-Baptiste Martin (c.1700)

A Stag Hunt at Versailles by Jean-Baptiste Martin

This painting was purchased for George from M. De la Hante in Paris. In the center of this painting, the Duc de Bourgogne is sitting a grey charger and holding out his sword to kill the stag. In the background is Versailles, the Orangerie, and the city.

“A Woman at her Toilet” by Jan Steen (dated 1663)

A Woman at her Toilet by Jan Steen

It didn’t surprise me when I found a painting like this one in George’s collection. This is an allegorical painting about seduction and temptation. The woman is shown partially undressed, putting on her stocking. She looks straight out at the viewer with an inviting expression. The viewer is kept out by the arched doorway, which no sensible person should cross, however strong the temptation. The images on the doorway symbolize constancy, domestic virtue and chastised profane love. The objects scattered throughout the room signify the effects of misdirected sensual pleasure. Steen implies that to pass through the doorway would be to risk the loss of virtue.

“The Prince of Wales’s Phaeton” by George Stubbs (dated 1793)

The Prince of Wales's Phaeton by George Stubbs

This is a scene designed to appeal to the discerning eye of a man of fashion, who in this era would have possessed an understanding of horseflesh and an appreciation for an efficiently run mews and well turned-out servants. These things mattered, because they were a reflection on the owner and master—in this case the Prince of Wales. The depiction of his phaeton shows the viewer that George was unstuffy enough to drive his own carriage. The pomp of a Prince is replaced by the elegance of a man of fashion. The men in the painting are George’s portly coachman and the man’s assistant.

“The Three Eldest Princesses: Charlotte, Princess Royal, Augusta, and Elizabeth” by Thomas Gainsborough (dated 1784)

The Three Eldest Princesses: Charlotte, Augusta, and Elizabeth by Thomas GainsboroughGeorge commissioned Gainsborough to paint his three eldest sisters in a full-length group at the cost of 300 guineas. Gainsborough placed Princess Augusta on the left, Princess Charlotte in the center, and Princess Elizabeth on the right. Their arms are affectionately entwined, reminiscent of the intimate depictions of the Three Graces. The work was originally to be shown at the Royal Academy in 1784, however Gainsborough and the hanging committee could not agree on where the painting should be hung. He withdrew the work, showing it instead in his studio in Schomberg House before it was hung in Carlton House.

I think my favorite is the Gainsborough, but that might be because I am very partial to portraits. Let me know which one caught your eye.

Resources used:

http://www.georgianindex.net/Prinny/Prinny.html

http://www.royalcollection.org.uk

 

Museum Exhibitions to Keep You Busy on a Cold Day

White leather boot c. 1845

When the cold weather hits, I’m always looking for interesting things to do indoors. Here are a few museum exhibitions that caught my eye. If only I had my own private plane, I would lace up my boots and visit each one.

IN GREAT BRITAIN:

Wedding Dresses, 1775-2014 at the V&A

Now through March 15, 2015, visit the V&A in London to see romantic and iconic wedding dresses.

http://www.vam.ac.uk/content/exhibitions/wedding-dress-1775-2014/

The Lost Art of Writing also at the V&A

For anyone who still enjoys putting pen to paper, this is for you. This small display explores some of the objects used in writing, from a medieval penner to an ingenious 18th century globe inkstand. This exhibition runs through April 19, 2015.

http://www.vam.ac.uk/whatson/event/2885/the-lost-art-of-writing-4256/

Bonaparte and the British at The British Museum

This exhibition at The British Museum in London, focuses on the printed propaganda that either reviled or glorified Napoleon Bonaparte, on both sides of the English Channel. It explores how his formidable career coincided with the peak of political satire as an art form.

http://www.britishmuseum.org/whats_on/exhibitions/bonaparte_and_the_british.aspx

Georgians – Dress for Polite Society at The Fashion Museum

The Fashion Museum in Bath holds a world-class collection of contemporary and historic dresses. Now through January 1, 2016, you can see over 30 original 18th century outfits and ensembles drawn from the museum’s collection.

http://www.fashionmuseum.co.uk/events/georgians

Waterloo Life and Times at The Fan Museum

2015 marks the bicentenary of the Battle of Waterloo and The Fan Museum in Greenwich, London has an exhibition that includes fans printed with portraits of heroic figures like Nelson and Wellington. The exhibition runs through May 10, 2015.

http://www.thefanmuseum.org.uk/exhibitions/waterloo-life-and-times

IN THE UNITED STATES:

Cosmopolitan Consumption: New England Shoe Stories, 1750-1850 at the Portsmouth Athenaeum

This is a great exhibition for anyone with a fondness for footwear. The Portsmouth Athenaeum in Portsmouth, N.H. is presenting an exhibition on the process of how shoes were made, sold, and worn in New England. Some beautiful shoes are included in this exhibition. It runs through June 5, 2015.

http://portsmouthathenaeum.org/exhibits.html

Downton Abbey Comes to the Biltmore Estate

If you love Downton Abbey, you’ll love this exhibition. The curators at the Biltmore Estate in Asheville, N.C. have installed 47 costumes from the television series throughout the rooms of the house. As you wander the halls, you will see both the upstairs and the downstairs portions of life from Downton Abbey. The exhibition runs through May 25, 2015.

http://www.biltmore.com/media/newsarticle/downton-abbey-costumes-at-biltmore

An Intimate History of the Silhouette at the Bard Graduate Center

This exhibition examines the extraordinary ways in which women and men have shaped their bodies into distinctive silhouettes in the name of Fashion. The Bard Graduate Center is located in New York City. This exhibition runs from April 3 through July 26, 2015.

http://www.bgc.bard.edu/gallery/gallery-at-bgc/fashioning-the-body.html

Masterpieces of American Furniture 1700-1830 at the National Gallery of Art

The National Gallery of Art in Washington D.C. has one of the largest and most refined collections of early American furniture. This exhibition is now part of their permanent collection.

http://www.nga.gov/content/ngaweb/exhibitions/permanent/kaufman_furniture.html

UPCOMING:

Luminous Worlds: British Works on Paper, 1770-1870 at Legion of Honor

The Legion of Honor museum in San Francisco will present an exhibition that reflects the 18th century vogue of portraiture and caricature, and the rise of landscape painting. This exhibition will run from July 18, 2015 through November 22, 2015.

http://legionofhonor.famsf.org/exhibitions/luminous-worlds-british-works-paper-1770-1870

If there are other exhibitions you are excited about seeing, please let me know. And if you are lucky enough to catch any of these exhibitions, I’d love to hear about it.

Note: Thank you to Dr. Kimberly Alexander, who is co-curator of Portsmouth Athenaeum’s shoe exhibition, for providing me with the photograph of the white leather boot I used in this post. In case you’re wondering, it’s c.1845. Kimberly writes a wonderful blog entitled Silk Damask, where she discusses historical costumes. Here is the link to her blog: http://silkdamask.blogspot.com/

Discovering the Life of a Regency Era Gentleman

Once again January rolls around, and I find myself at the Winter Antiques Show in New York City. It is one of America’s premier antiques shows, and it provides curators, established collectors, dealers, design professionals, and first-time buyers with opportunities to view, learn about, and purchase lovely pieces showcased by the exhibitors. For me, on a cold day in January, I can’t think of a better place to be with one of my dearest friends.

This year I went with the intention of purchasing another miniature portrait to add to my collection. Unfortunately, I didn’t see any that caught my eye. I did, however, see a few items that were beautiful, intriguing, and/or just plain fun. It wasn’t until I began looking through my photographs that I discovered I’d been given a glimpse into the life of a Regency era gentleman. Let me show you what I mean.

Portrait of Anthony Groves by James Peale, c. 1810

The first portrait that caught my eye, was of this handsome gentleman showcased by Schwarz Gallery. This portrait was painted in 1810 by the renown American artist, James Peale (1749-1831). The sitter is Mr. Anthony Groves, who was a prominent Philadelphia merchant. One of the things I like best about this portrait, is the charming dimple Mr. Groves sports on his left cheek.

Stickpins from Wartski

On the lookout for stunning pieces of jewelry, we stopped by Wartski’s exhibit and saw this selection of stylish stickpins to adorn a man’s cravat.

George III Secretaire Bookcase

Over at Hyde Park Antiques, where I could easily live if they’d let me, I found this rare Thomas Weeks Cabinet. It is a George III stainwood and mahogany secretaire bookcase attributed to George Simpson for Thomas Weeks c.1805. The best part of this piece, to me, was discovering a complete men’s dressing drawer above the fold out desk. Those stickpins would fit quite nicely into that drawer. I liked this piece so much, that I plan to devote an entire blog post to it in the coming weeks.

First Edition of Emma

And what novel would be a wonderful addition to that bookcase? I think the first edition of Jane Austen’s Emma would fit nicely behind those glass doors. Emma was the last novel Jane Austen published in her lifetime. It was first printed in 1816 in London as a three-volume set. This set is offered by Bauman Rare Books. Perhaps a gentleman might store the volumes inside his bookcase for his wife.

English Four-Barrelled Flintlock c 1810

If you read or write books about Regency era spies, you might find this piece fun. It is an English four-barrelled flintlock “Duck’s Foot” type volley pistol, by Lea of Mansfield. It was made around 1810 and is showcased by Peter Finer.

Wine Cooler or Cellaret, c. 1810

And after a long day of spying, a gentleman might just need a drink. This is a very fine English Regency wine cooler or cellaret made of mahogany (c.1810) from Georgian Manor Antiques.

Regency gilt bronze and marble cassolettes c. 1815

If he’d like to enjoy his drink by candlelight, a gentleman could have used this gilt bronze and marble casolette (ca.1815) to hold his candle. This piece was also showcased by Hyde Park Antiques. The top portion flips over, revealing a candleholder that rests back into the base.

"The Ruined Girl" 1800 by Joseph Allinson

And finally, if a gentleman wasn’t really a gentleman, he might find himself with a ruined girl. I adore this piece, from Nathan Liverant and Sons. It’s a watercolor and ink on paper by the artist, Joseph Allinson. It is either English or American and is dated 1800. The title of the piece is “The Ruined Girl.”

At the bottom it reads:

“Oh! fatal Day when to my Virtuous wrong, I fondly listened to his flattering Tongue, But oh! more fatal Moment when he gained, That vile Consent which all my Glory stain’d.”

I hope you enjoyed taking a short tour of the Winter Antiques Show with me and getting a peek at some of the objects that a Regency era gentleman might have used. I’d love to know which one is your favorite.