Posts Tagged ‘British Arts and Crafts movement

02
Feb
19

Exhibition: ‘Daughters Of The Sun: Christian Waller & Klytie Pate’ at Bendigo Art Gallery, Australia

Exhibition dates: 10th November 2018 – 10th February 2019

Curator: Emma Busowsky Cox

 

 

Christian Waller (1894-1954) 'The daughter of the sun' 1932

 

Christian Waller (Australian, 1894-1954)
The daughter of the sun
1932
Paper lithograph, printed in black ink, from one zinc plate
21.4 x 15.8 cm
National Gallery of Australia, Canberra
Purchased 1983

 

 

I travelled up to Bendigo to see this small gem of an exhibition with a friend of mine… and the trip was so very worthwhile.

Being a ceramic tragic (especially in my love of vases), I was in seventh heaven observing and admiring the sublime work of Klytie Pate – the precision of incised and pierced motifs, the clean, classic forms and the gorgeous, colourful glazes. Absolutely brilliant work.

But the revelation of the exhibition was the work of Christian Waller. Oh My God – literally, religion as “an idiosyncratic fusion of orthodox and alternative spiritual philosophies: Christianity, Theosophy, the Golden Dawn and the International Peace Mission Movement,” portrayed through a personal language of symbols in Waller’s art, used “to express her pantheistic sense of the spiritual and encourage spiritual contemplation…”

To the list of spiritual philosophies you can add the Tarot, Egyptology, and mythology – Arthurian and Irish. The list of influences includes the British Arts and Crafts Movement, the Pre-Raphaelites, and Art Deco. And the list of personal symbols includes the sun, the moon, stars and flowers.

These are mighty works, particularly the impressive linocuts. They had such a depth of form and feeling, the blackness of the ink seeming to draw you into the physical and spiritual structure of the works. The highlight was a darkened room at the centre of the exhibition in which was presented all seven linocuts from Waller’s book The Great Breath: A book of seven designs (1932, below).

Swear to my god (that is, an energy that I believe permeates every atom, tree, animal and pore of the earth and the cosmos), I had a spiritual revelation while contemplating this work. Some might say that the designs are “of their time”, the sentiments expressed romantic and trite. To that I have one word to say: bullshit.

Great art, great design, and great feeling (for/of spirit) never, ever, leaves the creator or the creation.

“The Spirit of Light… Who descended into the depths of Chaos.”
“The Lords of the Flame… Who brought down to Earth the Divine Fire of Heaven.”

Australia has so many hidden gems in their artists. Thank you, thank you Bendigo Art Gallery for showing me two of them. Simply magical.

Marcus

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Many thankx to Bendigo Art Gallery for allowing me to publish the text and photographs in the posting. Please click on the art work for a larger version of the image.

 

 

Christian Waller (1894-1954) 'Destiny' 1916

 

Christian Waller (Australian, 1894-1954)
Destiny
1916
Oil on canvas
51.0 × 61.1 cm
National Gallery of Victoria, Melbourne
Purchased with funds donated from the Estate of Ouida Marston, 2011

 

 

Destiny, 1916, a painting completed by Christian shortly after leaving the school, indicates that the influence of Hall’s teaching extended beyond her student years. She adroitly renders the flesh in paint, yet adds her personal style. Florence modelled for this work and assumes the character of a sorceress watching over a mystical concoction. Through the use of dark, muted tones, Christian suggests a macabre, mystical narrative: the woman dressed in a medieval cloak is depicted bent over a bubbling cauldron, while the naked humans are trapped in the bubbles.15 This work demonstrates that by 1916 she possessed high-level artistic skills and the capacity to develop original compositions informed by her literary and mystical interests.

Extract from Woman of the Sun: Christian Waller by Dr Grace Blakeley-Carroll

 

Christian Waller (1894-1954) The conspirators c. 1920

 

Christian Waller (Australian, 1894-1954)
The conspirators
c. 1920
Drawing in pen and black ink
Image 12.9 h x 25.9 w cm
Sheet 12.9 h x 25.9 w cm
National Gallery of Australia

 

 

The phase of Christian’s practice immediately after she had left the National Gallery School, including the period when she and Napier were developing their home at Fairy Hills, saw her employ dynamic line and decorative expression to create original drawings (mainly in pen and ink) and book illustrations that increasingly reflected her engagement with mysticism and spiritual symbols, such as The Conspirators, c. 1920 (above), one of her finest pen-and-ink drawings. Her intricate line work evokes a sinister scene, one that bears little resemblance to the world in which she lived, suggesting instead a narrative from a medieval story. Her strong graphic abilities and striking use of symbolism were repeatedly singled out in reviews of the Victorian Artists’ Society exhibitions in which she participated from 1913 through to the 1920s.27

Extract from Woman of the Sun: Christian Waller by Dr Grace Blakeley-Carroll

 

Photographer unknown. 'Napier and Christian Waller' 1922

 

Photographer unknown
Napier and Christian Waller
1922
Gelatin silver photograph
Courtesy the Trustees of the Waller Estate, Melbourne

 

 

Christian Waller, in a 1948 interview about her stained glass for the Woman’s Magazine, stated that there were ‘two words printed on my consciousness’, these being ‘work and God’.1 As she implies, Christian created artworks that unified her aesthetic interests with the spiritual values she held so profoundly – her art was inspired by her spiritual thinking. And her evolving artistic and spiritual values were expressed through the array of expressive decorative media harnessed by her, including drawing, illustration, printmaking, painting and stained glass.

Christian was driven by her aim to communicate spiritual values through art, articulating this towards the end of her life in the newspaper interview from which the earlier quotation was obtained: ‘My life is to get the message through, and I am trying to make religion real’.2 Her spirituality was an idiosyncratic fusion of orthodox and alternative spiritual philosophies: Christianity, Theosophy, the Golden Dawn and the International Peace Mission Movement. To express her pantheistic sense of the spiritual and encourage spiritual contemplation, she developed a personal language of symbols, these being predominantly the sun, the moon, stars and flowers. Her engagement with the values associated with the British Arts and Crafts Movement, specifically the privileging of the handmade work of art and its social function, was central to the overall spiritual significance of her work. Christian’s artworks were generally accompanied by – or explicitly responded to – written narratives, with the harmony of word, image and message central to her creative process.

Extract from Woman of the Sun: Christian Waller by Dr Grace Blakeley-Carroll

 

Christian Waller (1894-1954) 'Ethlinn' c. 1921

 

Christian Waller (Australian, 1894-1954)
Ethlinn
c. 1921
Pen and ink on paper
31.0 × 14.2 cm (image and sheet)
National Gallery of Victoria
National Gallery of Victoria, Melbourne
Gift of John McPhee, 2008
© Courtesy of the artist’s estate

 

 

This exhibition tells the story of Christian Waller, celebrated Australian printmaker of the Art Deco era, and her niece, the pioneering ceramic artist, Klytie Pate.

Christian Waller, born in Castlemaine in Central Victoria in 1894, had a deep personal interest in spiritualism, symbolism and the mystical philosophies of the modern theosophical movement. Her print work is characterised by a complex symbolism, combining ancient classical and literary subjects alongside occult motifs in a dynamic style owing much to the bold geometry of Art Deco and the handmade ethos of the Arts and Crafts movement. In 1954, aged 59, Waller died a virtual recluse in the Fairy Hills home she shared with her artist husband, Napier Waller. At this time, she had also established a reputation as one of Australia’s leading stained glass artists, having produced some 65 windows for churches in Victoria, South Australia and New South Wales.

Christian Waller’s niece, Klytie Pate, came to live with the Wallers as a young teenager. As Pate’s maternal figure from a formative age, Christian Waller was an influential force in Pate’s life, directing her notable artistic talent into formal studies and guiding her early career. Klytie Pate mastered her chosen craft of ceramic art, forging innovations in design and glazing to become one of Australia’s foremost studio potters of the 20th century. Her aunt’s influence, in design and in subject, continued in Pate’s work for the whole of her long and successful career.

Daughters of the Sun: Christian Waller & Klytie Pate explores the intertwining lives and work of these artists, bringing together works from Bendigo Art Gallery’s own collection, as well as the Klytie Pate Treasury at Beleura, Napier Waller House, the National Gallery of Victoria, the National Gallery of Australia and other lenders. A major publication will accompany the exhibition, with essays by the exhibition curator, Emma Busowsky Cox, and art historian Dr Grace Blakeley-Carroll.

Text from the Bendigo Art Gallery website

 

Christian Waller. 'Morgan Le Fay' c. 1925

 

Christian Waller (Australian, 1894-1954)
Morgan Le Fay [Morgan the fairy]
c. 1925
Oil on wood panel
Collection of Dennis O’Hoy, AM

 

Christian Waller (1894-1954) 'Morgan Le Fay' c. 1927

 

Christian Waller (Australian, 1894-1954)
Morgan Le Fay  [Morgan the fairy]
c. 1927
Linocut on paper, printed in colour, hand coloured
Sheet: 27.5 x 18.9 cm
Collection: Art Gallery of Ballarat
Purchased, 1976

 

 

Daughters of the Sun: Christian Waller & Klytie Pate tells a story with its origins in Central Victoria. Christian Waller was born in Castlemaine in 1894, and received some of her early artistic tuition in Bendigo. A child prodigy, Waller first exhibited her work at Bendigo Art Gallery in 1909 with a classically themed painting called A Petition. She was just fourteen years old.

Christian Waller’s notable artistic talent saw the family move to Melbourne so she could attend the National Gallery School. Establishing a reputation in book illustration, printmaking and stained glass (both design and execution), Waller’s interests in the occult, ancient mythology, literature and theosophy are brought together in dazzling, original works. With her husband, the artist Napier Waller, she established a superb Arts and Crafts style home in an area of Melbourne’s Ivanhoe, fittingly called Fairy Hills.

In around 1925, following difficult family circumstances, Christian Waller’s young niece, Klytie Pate, came to live with the Wallers under their guardianship. As Pate’s maternal figure from a formative age, Christian Waller was an influential force in Pate’s life, directing her notable artistic talent into formal studies and guiding her early career. Klytie Pate mastered her chosen craft of ceramic art, forging innovations in design and glazing to become one of Australia’s foremost studio potters of the twentieth century. Her aunt’s influence, in design and in subjects, can be seen throughout Pate’s oeuvre – a career that spanned more than sixty years.

Karen Quinlan, Director of Bendigo Art Gallery

 

Installation view of the exhibition 'Daughters of the Sun' at Bendigo Art Gallery

Installation view of the exhibition 'Daughters of the Sun' at Bendigo Art Gallery

 

Installation views of the exhibition Daughters of the Sun showing the work Christian Waller with Baldur, Undine and Siren at Fairy Hills by Napier Waller, 1932

 

Napier Waller (Australian, 1893-1972) 'Christian Waller with Baldur, Undine and Siren at Fairy Hills' 1932

 

Napier Waller (Australian, 1893-1972)
Christian Waller with Baldur, Undine and Siren at Fairy Hills
1932
Oil and tempera on canvas mounted on composition board
121.5 x 205.5 cm
National Gallery of Australia, Canberra
Purchased 1984

 

Napier Waller (Australian, 1893-1972) 'Christian Waller with Baldur, Undine and Siren at Fairy Hills' 1932 (detail)

 

Napier Waller (Australian, 1893-1972)
Christian Waller with Baldur, Undine and Siren at Fairy Hills (detail)
1932
Oil and tempera on canvas mounted on composition board
121.5 x 205.5 cm
National Gallery of Australia, Canberra
Purchased 1984

 

Christian Waller (Australian, 1894-1954) 'Ex Libris: Klytie' c. 1932

 

Christian Waller (Australian, 1894-1954)
Ex Libris: Klytie
c. 1932
Linocut
13.6 x 7.8 cm
Irreg. (block) 15.4 x 9.5 cm irreg. (sheet)
National Gallery of Victoria, Melbourne Presented through The Art Foundation of Victoria by Ms Klytie Pate, Member, 1999

 

Christian Waller (1894-1954) 'Untitled (Thomas and the Persian)' 1932

 

Christian Waller (Australian, 1894-1954)
Untitled (Thomas and the Persian)
1932
Paper lithograph, printed in black ink, from one zinc plate
22.8 x 17.4 cm
National Gallery of Australia, Canberra
Purchased 1979

 

Installation view of the exhibition 'Daughters of the Sun' at Bendigo Art Gallery

Installation view of the exhibition 'Daughters of the Sun' at Bendigo Art Gallery

 

Installation views of the exhibition Daughters of the Sun showing the 7 linocuts from the The Great Breath: A book of seven designs by Christian Waller, 1932

 

Christian Waller (Australian, 1894-1954) 'The Lords of Venus' from 'The Great Breath: A book of seven designs' 1932

 

Christian Waller (Australian, 1894-1954)
The Lords of Venus from The Great Breath: A book of seven designs
1932
Linocut 31.8 x 13.5 cm (block)
35.3 x 16.6 cm irreg. (sheet)
Bendigo Art Gallery
R.H.S. Abbott Bequest Fund, 1990

 

Christian Waller (Australian, 1894-1954) 'The Magician of the Beautiful' from 'The Great Breath: A book of seven designs' 1932

 

Christian Waller (Australian, 1894-1954)
The Magician of the Beautiful from The Great Breath: A book of seven designs
1932
Linocut 31.8 x 13.5 cm (block)
35.3 x 16.6 cm irreg. (sheet)
Bendigo Art Gallery
R.H.S. Abbott Bequest Fund, 1990

 

Christian Waller (Australian, 1894-1954) 'The Spirit of Light' from 'The Great Breath: A book of seven designs' 1932

 

Christian Waller (Australian, 1894-1954)
The Spirit of Light from The Great Breath: A book of seven designs
1932
Linocut 31.8 x 13.5 cm (block)
35.3 x 16.6 cm irreg. (sheet)
Bendigo Art Gallery
R.H.S. Abbott Bequest Fund, 1990

 

Installation view of the exhibition 'Daughters of the Sun' at Bendigo Art Gallery

 

Installation view of the exhibition Daughters of the Sun showing the work The robe of glory by Christian Waller, 1937

 

Christian Waller (1894-1954) 'The robe of glory' 1937

 

Christian Waller (Australian, 1894-1954)
The robe of glory
1937
Oil on canvas
172.0 x 267.0 cm
Collection of the Greater Metropolitan Cemeteries Trust

 

Christian Waller (1894-1954) 'The robe of glory' 1937 (detail)

 

Christian Waller (Australian, 1894-1954)
The robe of glory (detail)
1937
Oil on canvas
172.0 x 267.0 cm
Collection of the Greater Metropolitan Cemeteries Trust

 

Christian Waller (1894-1954) 'Untitled (Angus Og and Caer Ormaith)' c. 1930s

 

Christian Waller (Australian, 1894-1954)
Untitled (Angus Og and Caer Ormaith)
c. 1930s
Stained glass, lead
32 cm diameter
The Hilda Johns Collection on loan from Peter Johns

 

Installation view of the exhibition 'Daughters of the Sun' at Bendigo Art Gallery

Installation view of the exhibition 'Daughters of the Sun' at Bendigo Art Gallery

 

Installation views of the exhibition Daughters of the Sun showing the work East of the Sun and West of the Moon by Christian Waller, c. 1940

 

Christian Waller (1894-1954) 'East of the Sun and West of the Moon' c. 1940

 

Christian Waller (Australian, 1894-1954)
East of the Sun and West of the Moon
c. 1940
Stained glass window
Beleura House & Garden

 

 

One of Christian’s most impressive windows is also one of her only known secular windows, the baptistery-sized window East of the Sun and West of the Moon. It was made for her friend Tallis, whom she and her husband had met while travelling to London on the boat Otranto in 1929; the then teenager recorded his impressions of the ‘terribly imaginative and emotional’ Christian in his diary, which she illustrated.50 The window is located alongside a collection of Christian’s art and that of her niece at Beleura House & Garden in Mornington, Victoria. The use of pattern, symbols and sinuous line in East of the Sun and West of the Moon owes a stylistic debt to Danish illustrator Kay Nielsen, specifically his work in East of the Sun and West of the Moon: Tales from the North (1914), from which Christian derived the name for the window.51

Extract from Woman of the Sun: Christian Waller by Dr Grace Blakeley-Carroll

 

Jack Cato (1889-1971) 'Untitled (Christian Waller)' 1930s

 

Jack Cato (1889-1971)
Untitled (Christian Waller)
1930s
Gelatin silver photograph
24.3 × 18.8 cm
National Gallery of Victoria, Melbourne
Presented through The Art Foundation of Victoria by Ms Klytie Pate, Member, 1999

 

Photographer unknown. 'Untitled (Klytie Pate and cat)' c. 1930

 

Photographer unknown
Untitled (Klytie Pate and cat)
c. 1930
Gelatin silver photograph
Klytie Pate Archive, Shaw Research Library, National Gallery of Victoria

 

Klytie Pate (1912-2010) Studies for the linocut 'Limpang Tung' 1932

 

Klytie Pate (Australian, 1912-2010)
Studies for the linocut Limpang Tung
1932
Pencil
19.9 × 27.0 cm irreg. (image)
National Gallery of Victoria, Melbourne
Presented through The Art Foundation of Victoria by the artist, Member, 1999
© Courtesy of the artist

 

Photographer unknown. 'Untitled (Klytie Pate [centre] at Melbourne Technical College)' early 1930s

 

Photographer unknown
Untitled (Klytie Pate [centre] at Melbourne Technical College)
early 1930s
Gelatin silver photograph courtesy Dr Will Twycross

 

Klytie Pate (Australian, 1912-2010) 'Scarab beetle plate' c 1932

 

Klytie Pate (Australian, 1912-2010)
Scarab beetle plate
c 1932
Earthenware
22.0 cm (diameter)
Beleura House & Garden

 

Christian Waller (1894-1954) 'The sun, plaque' 1932

 

Klytie Pate (Australian, 1912-2010)
The sun, plaque
1932
Earth pigments on plaster, glass, wire
38.5 x 22.8 x 2.6 cm
National Gallery of Victoria, Melbourne
Purchased, 1984
© Courtesy of the artist

 

Klytie Pate (Australian, 1912-2010) 'Youth and girl' c. 1936 (detail)

 

Klytie Pate (Australian, 1912-2010)
Youth and girl (detail)
c. 1936
Brush and ink over pencil
11.9 x 21.0 cm irreg. (image and comp.) 18.5 x 29.3 irreg. (sheet)
National Gallery of Victoria, Melbourne
Purchased, 1981

 

Klytie Pate (Australian, 1912-2010) 'Youth and girl' c. 1936

 

Klytie Pate (Australian, 1912-2010)
Youth and girl
c. 1936
Brush and ink over pencil
11.9 x 21.0 cm irreg. (image and comp.) 18.5 x 29.3 irreg. (sheet)
National Gallery of Victoria, Melbourne
Purchased, 1981

 

Klytie Pate (Australian, 1912-2010) 'Youth and girl, plaque' 1932-1936

 

Klytie Pate (Australian, 1912-2010)
Youth and girl, plaque
1932-1936
Plaster
31.9 x 55.7 x 2.4 cm irreg.
National Gallery of Victoria, Melbourne
Purchased from the artist, 1984

 

Installation view of the exhibition 'Daughters of the Sun' at Bendigo Art Gallery

 

Installation view of the exhibition Daughters of the Sun showing the ceramics of Klytie Pate

Klytie Pate (Australian, 1912-2010)
Spirit of the trees (back)
Terracota
Collection John McPhee

Klytie Pate (Australian, 1912-2010)
Fauna (right)
1937
wood engraving
On loan courtesy of the Klytie Pate Collection at Beleura, Mornington

 

Installation view of the exhibition 'Daughters of the Sun' at Bendigo Art Gallery

 

Installation view of the exhibition Daughters of the Sun showing the ceramics of Klytie Pate

Klytie Pate (Australian, 1912-2010)
Vase
1936
Incised and glazed earthenware
On loan courtesy of the Klytie Pate Collection at Beleura, Mornington

Klytie Pate (Australian, 1912-2010)
Vase
1936
Incised and glazed earthenware
The Trustees of the Waller Estate, Melbourne

Klytie Pate (Australian, 1912-2010)
Vase
1936
Incised and glazed earthenware
The Trustees of the Waller Estate, Melbourne

 

Klytie Pate (1912-2010) 'Vase' 1936

 

Klytie Pate (Australian, 1912-2010)
Vase
1936
Earthenware
The Trustees of the Waller Estate, Melbourne

 

Installation view of the exhibition 'Daughters of the Sun' at Bendigo Art Gallery

Installation view of the exhibition 'Daughters of the Sun' at Bendigo Art Gallery

Installation view of the exhibition 'Daughters of the Sun' at Bendigo Art Gallery

Installation view of the exhibition 'Daughters of the Sun' at Bendigo Art Gallery

 

Installation views of the exhibition Daughters of the Sun showing the ceramics of Klytie Pate

Klytie Pate (Australian, 1912-2010)
Bottle-brush, vase
c. 1939
Earthenware
24.6 × 19.4 cm diameter
National Gallery of Victoria, Melbourne
Purchased with the assistance of the Crafts Board of the Australia Council, 1980
© Courtesy of the artist

Klytie Pate (Australian, 1912-2010)
Milky Way vase
c. 1956
Earthenware
National Gallery of Victoria, Melbourne
Gift of Mrs Anne Howett Molan, 1984

Klytie Pate (Australian, 1912-2010)
Antelope vase
Nd
Earthenware
On loan courtesy of the Klytie Pate Collection at Beleura, Mornington

Klytie Pate (Australian, 1912-2010)
Ceramic vase
1988
Earthenware
On loan courtesy of the Klytie Pate Collection at Beleura, Mornington

 

'Bottle-brush, vase' c. 1939

 

Klytie Pate (Australian, 1912-2010)
Bottle-brush, vase
c. 1939
Earthenware
24.6 × 19.4 cm diameter
National Gallery of Victoria, Melbourne
Purchased with the assistance of the Crafts Board of the Australia Council, 1980
© Courtesy of the artist

 

Klytie Pate (Australian, 1912-2010) 'Milky way vase' c. 1956

 

Klytie Pate (Australian, 1912-2010)
Milky way, vase
c. 1956
Earthenware
32.4 × 22.5 cm diameter
National Gallery of Victoria, Melbourne
Gift of Mrs Anne Howett Molan, 1984
© Courtesy of the artist

 

 

Pate’s work from the late 1930s through to the 1940s indicates a maturing of her personal style and approach. Covered jar of 1939 embodies her deference both to the ginger jar form and the monochrome glaze, elements taken from the Chinese tradition and to which she would continuously return. The ginger jar, with its large globular body, provided the ideal vehicle to showcase her spectacular glazing technique and skilful decorative incising. Pate took a highly experimental approach to glazing, one adopted in the lean years of the Depression, when materials were scarce. (She was known to grind up mosaic tiles from Napier’s commissions to use in her glazes, and on a later occasion, employed sand pocketed during a trip to the Grand Canyon, to glittering effect.) However, the serene sea blue so favoured by Pate, known as ‘Klytie blue’, became a hallmark of her work.49 Pate acquired glazes from a range of sources, including England, with her recipes closely guarded secrets.50 Applied with a spray gun, their successes were garnered through trial and error and a bit of luck in the final firing, after which the kiln was not opened for three days. About the process, she said: ‘The suspense is awful’.51

Both the natural and spiritual worlds provided Pate with a wellspring of imagery and readily translated into designs for the ceramic form. Bottle-brush vase of c. 1939, to which the artist wrote a poetic ode for a competition, takes its motif from the plant Banksia serrata, and is a stunning conceptualisation of subject and form.52 The motif of her namesake and symbol of modern Spiritualism, the sunflower, repeatedly appears, as does the Tudor rose; it is also seen dotted throughout Christian’s work and that of Vienna Secession artist Michael Powolny, to whom Christian is arguably indebted. The Ouija board used as a plinth, and celestially themed works such as Milky Way vase, c. 1956, show that the formative influence of her spiritualist aunt continued as a tangible presence.53

Animals, often her adored cats, commonly appear in both incised frieze-like filigree decorations and in sculptural form. Material collected and kept by Pate indicates her admiration for the animal works of the late nineteenth-century Italian sculptor, Rembrandt Bugatti, as well as Sumerian animal sculpture from Ur.54 Dragons, gryphons and more earthly, but no less bizarre, sea creatures are favoured motifs for both non-functional and functional ceramic forms. Theatre and music are also recurring themes: Pate fondly recalls Christian taking her to piano recitals at Melbourne Town Hall in the 1930s.55 The pianist Roy Shepherd became a close friend and urged Pate to design pots for particular records. Mahler, Monteverdi, Chopin and Debussy were amongst her favourite composers.56

Pate remained true to the earthenware tradition, despite the proliferation of stoneware in the 1950s, which was ushered in by the ready availability of higher temperature kilns and a shift towards the utilitarian simplicity espoused by influential British studio potter Bernard Leach. In the first of many subsequent trips abroad, Pate took extended leave in 1951, travelling to Britain with Bill aboard the Otranto. It was the same elegant passenger ship that Christian and Napier had taken to the UK twenty one years earlier, a trip during which they had made the acquaintance of the young composer, John (Jack) Tallis. The trip was the foundation of a lifelong friendship between Tallis and the Wallers.57 Tallis later became a significant supporter of Pate’s work and also the final owner of Beleura, the splendid mansion on the Mornington Peninsula, built in 1863 by Scottish immigrant James Butchart. Tallis bequeathed Beleura to the people of Victoria in 1996 as a memorial to his late father, Sir George Tallis, the well-known theatre entrepreneur and head of J.C. Williamson Ltd. Several works by Christian Waller adorn Beleura, which now operates as a house museum, including the wonderful stained glass window, East of the Sun and West of the Moon, in what was Tallis’s bedroom. The Klytie Pate ceramics that Tallis collected over the years became the nucleus of the largest collection of her work in any museum. Anthony Knight, Director of Beleura and one of the trustees of the Tallis Foundation, has considerably expanded Beleura’s collection of Pate’s work. In 2015, Dr Will Twycross, whose parents had been lifelong friends of the Pates, donated significant pieces from their collection to Beleura. The Twycross family also contributed to the construction of the Klytie Pate Treasury to ensure the ongoing display, preservation and enjoyment of her work.

Extract from Daughter of the Sun: Klytie Pate by Emma Busowsky Cox

 

Installation view of the exhibition 'Daughters of the Sun' at Bendigo Art Gallery

Installation view of the exhibition 'Daughters of the Sun' at Bendigo Art Gallery

 

Installation views of the exhibition Daughters of the Sun showing the ceramics of Klytie Pate

Klytie Pate (Australian, 1912-2010)
Lidded jar (Tragedy and Comedy)
c. 1943
Earthenware
On loan courtesy of the Klytie Pate Collection, Beleura, Mornington

Klytie Pate (Australian, 1912-2010)
Display plate
Nd
Earthenware with wax resist glaze
On loan courtesy of the Klytie Pate Collection, Beleura, Mornington

Klytie Pate (Australian, 1912-2010)
Incised ginger jar
Nd
Earthenware
On loan courtesy of the Klytie Pate Collection, Beleura, Mornington

Klytie Pate (Australian, 1912-2010)
Incised urn-shaped vase with carved seahorse lugs (flying fish motif)
Nd
Earthenware
On loan courtesy of the Klytie Pate Collection, Beleura, Mornington

 

Klytie Pate (Australian, 1912-2010) 'Incised urn-shaped vase with carved seahorse lugs (flying fish motif)' Date unknown

 

Klytie Pate (Australian, 1912-2010)
Incised urn-shaped vase with carved seahorse lugs (flying fish motif)
Date unknown
Earthenware with biscuit glaze
36.5 x 25.5 cm
Beleura House & Garden

 

Installation view of the exhibition 'Daughters of the Sun' at Bendigo Art Gallery

Installation view of the exhibition 'Daughters of the Sun' at Bendigo Art Gallery

 

Installation views of the exhibition Daughters of the Sun showing the ceramics of Klytie Pate

Klytie Pate (Australian, 1912-2010)
Vase (ovoid shape with rimmed neck) (left)
Nd
Earthenware
On loan courtesy of the Klytie Pate Collection, Beleura, Mornington

Klytie Pate (Australian, 1912-2010)
Sunflower plate (front)
Nd
Earthenware
On loan courtesy of the Klytie Pate Collection, Beleura, Mornington

Klytie Pate (Australian, 1912-2010)
Lidded jar (sunflower buds) (middle)
Nd
Earthenware
On loan courtesy of the Klytie Pate Collection, Beleura, Mornington

Klytie Pate (Australian, 1912-2010)
Covered jar (right)
c. 1943
Earthenware
National Gallery of Victoria, Melbourne

 

Klytie Pate (Australian, 1912-2010) 'Covered jar' c. 1943

 

Klytie Pate (Australian, 1912-2010)
Covered jar
c. 1943
Earthenware
23.2 × 24.2 cm diameter (overall)
National Gallery of Victoria, Melbourne
Purchased, 1977
© Courtesy of the artist

 

Klytie Pate (Australian, 1912-2010) 'Covered jar' c. 1943 (detail)

 

Klytie Pate (Australian, 1912-2010)
Covered jar (detail)
c. 1943
Earthenware
23.2 × 24.2 cm diameter (overall)
National Gallery of Victoria, Melbourne
Purchased, 1977
© Courtesy of the artist

 

Klytie Pate (Australian, 1912-2010) 'Lidded jar' (sunflower buds) Date unknown

 

Klytie Pate (Australian, 1912-2010)
Lidded jar (sunflower buds)
Date unknown
Glazed earthenware, incised
Beleura House & Garden

 

Klytie Pate (Australian, 1912-2010) 'Lidded jar' (sunflower buds) Date unknown (detail)

 

Klytie Pate (Australian, 1912-2010)
Lidded jar (sunflower buds) (detail)
Date unknown
Glazed earthenware, incised
Beleura House & Garden

 

Installation view of the exhibition 'Daughters of the Sun' at Bendigo Art Gallery

 

Installation view of the exhibition Daughters of the Sun showing the ceramics of Klytie Pate

Klytie Pate (Australian, 1912-2010)
Covered jar
1971
Earthenware
National Gallery of Victoria, Melbourne
Gift of Mrs Anne Howett Molan through the Australian Government’s Cultural Gifts Program, 2009

Klytie Pate (Australian, 1912-2010)
Ginger jar
1981
Earthenware
On loan courtesy of the Klytie Pate Collection at Beleura, Mornington

Klytie Pate (Australian, 1912-2010)
Zodiac plates (from a suite)
Nd
Earthenware
On loan courtesy of the Klytie Pate Collection at Beleura, Mornington

Klytie Pate (Australian, 1912-2010)
Ginger jar (music)
Nd
Earthenware
On loan courtesy of the Klytie Pate Collection at Beleura, Mornington

Klytie Pate (Australian, 1912-2010)
Lidded bottle
1981
Earthenware
On loan courtesy of the Klytie Pate Collection at Beleura, Mornington

Klytie Pate (Australian, 1912-2010)
Urn
Nd
Earthenware
On loan courtesy of the Klytie Pate Collection at Beleura, Mornington

 

Installation view of the exhibition 'Daughters of the Sun' at Bendigo Art Gallery

Installation view of the exhibition 'Daughters of the Sun' at Bendigo Art Gallery

Installation view of the exhibition 'Daughters of the Sun' at Bendigo Art Gallery

 

Installation views of the exhibition Daughters of the Sun showing the ceramics of Klytie Pate

Klytie Pate (Australian, 1912-2010)
Ginger jar
1977
Terracota
On loan courtesy of the Klytie Pate Collection at Beleura, Mornington

Klytie Pate (Australian, 1912-2010)
Ginger jar
Nd (late 1970s)
Terracota
On loan courtesy of the Klytie Pate Collection at Beleura, Mornington

Klytie Pate (Australian, 1912-2010)
Bowl
Nd (late 1970s)
Terracota
On loan courtesy of the Klytie Pate Collection at Beleura, Mornington

Klytie Pate (Australian, 1912-2010)
Candleholder (central cross design)
Nd (late 1970s)
Terracota
On loan courtesy of the Klytie Pate Collection at Beleura, Mornington

Klytie Pate (Australian, 1912-2010)
Candleholder (filigree design)
1979
Terracota
On loan courtesy of the Klytie Pate Collection at Beleura, Mornington

 

Klytie Pate (Australian, 1912-2010) 'Ginger jar' Date unknown

 

Klytie Pate (Australian, 1912-2010)
Ginger jar
Date unknown
Terracotta, turquoise glaze
Beleura House & Garden

 

Klytie Pate (Australian, 1912-2010) 'Large pierced ginger jar (woven waterlily motif)' 1950

 

Klytie Pate (Australian, 1912-2010)
Large pierced ginger jar (woven waterlily motif)
1950
Glazed earthenware
51 x 28 cm
Beleura House & Garden

 

Installation view of the exhibition 'Daughters of the Sun' at Bendigo Art Gallery

Installation view of the exhibition 'Daughters of the Sun' at Bendigo Art Gallery

 

Installation views of the exhibition Daughters of the Sun showing the ceramics of Klytie Pate

Klytie Pate (Australian, 1912-2010)
Magnificent cat (left)
1980
Earthenware

Klytie Pate (Australian, 1912-2010)
Candlestick holder (filigree pheasant motif) (right)
1979
Earthenware
Bendigo Art Gallery
Purchased with a gift from the Bendigo Rotary Club and the assistance of the Crafts Board of the Australia Council, 1982

 

Klytie Pate (Australian, 1912-2010) 'Magnificent cat' 1980

 

Klytie Pate (Australian, 1912-2010)
Magnificent cat
1980
Earthenware
Beleura House & Garden

 

Klytie Pate (Australian, 1912-2010) 'Magnificent cat' 1980 (detail)

 

Klytie Pate (Australian, 1912-2010)
Magnificent cat (detail)
1980
Earthenware
Beleura House & Garden

 

Installation view of the exhibition 'Daughters of the Sun' at Bendigo Art Gallery

 

Installation view of the exhibition Daughters of the Sun showing the ceramics of Klytie Pate

Klytie Pate (Australian, 1912-2010)
Vase (Mask of Venus)
Vase (Apollo)
1991
Earthenware
On loan courtesy of the Klytie Pate Collection, Beleura, Mornington

 

Installation view of the exhibition 'Daughters of the Sun' at Bendigo Art Gallery

Installation view of the exhibition 'Daughters of the Sun' at Bendigo Art Gallery

 

Installation view of the exhibition Daughters of the Sun showing the ceramics of Klytie Pate

Klytie Pate (Australian, 1912-2010)
Covered jar
1999
Earthenware
National Gallery of Victoria, Melbourne

 

 

Bendigo Art Gallery
42 View Street Bendigo
Victoria Australia 3550
Phone: 03 5434 6088

Opening hours:
Open daily including public holidays (closed Christmas Day), 10am – 5pm

Bendigo Art Gallery website

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19
Oct
12

Exhibition: ‘Jewels, Gems, and Treasures: Ancient to Modern’ at the Museum of Fine Arts, Boston

Exhibition dates: 19th July 2011 – 25th November 2012

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“Today, in the West, we have come to regard diamond, pearl, emerald, sapphire, and ruby as the most precious of materials. That has not always been the case. Other substances have commanded equal attention, from feathers, claws, and mica appliqués to coral and rock crystal, serving a protective role, guarding their wearer from dangerous circumstances or malevolent forces. Other substances, especially those that are rare and available to a select few, are signifiers of wealth and power.”

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Museum of Fine Arts, Boston

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Continuing my love affair with exquisite jewellery. What splendour! I love them all…

Many, many thankx to the Museum of Fine Arts, Boston for allowing me to publish the reproduction of the jewellery in the posting. Please click on the photographs for a larger version of the art works.

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Anon
Bracelets
about 40-20 BC
Gold, emeralds, and pearls (modern)
Classical Department Exchange Fund
Photograph © Museum of Fine Arts, Boston

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Anon
Armlet with feline-head terminals
Late 5th century BC
Gold
John Michael Rodocanachi Fund
Photograph © Museum of Fine Arts, Boston

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Anon
Spool earring
Italic, Etruscan, Late Archaic or Classical Period
early 5th century BC
Gold
Francis Bartlett Donation of 1900
Photograph © Museum of Fine Arts, Boston

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Anon
Cameo with portrait busts of an Imperial Julio-Claudian couple
mid-1st century AD
Sardonyx
Henry Lillie Pierce Fund
Photograph © Museum of Fine Arts, Boston

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Paul Lienard (French, 1849)
Seaweed brooch
French, about 1908
Gold and mabe pearl
Height x width x depth: 5.4 x 11 x 1 cm
Photograph © Museum of Fine Arts, Boston

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As the saying goes, “diamonds are a girl’s best friend” – at least in modern times – but as the exhibition Jewels, Gem, and Treasures: Ancient to Modern illustrates, ornaments made of ivory, shell, and rock crystal were prized in antiquity, while jewelry made of diamonds, emeralds, sapphires, rubies, and pearls became fashionable in later years. On view July 19, 2011, through November 25, 2012, this exhibition at the Museum of Fine Arts, Boston (MFA), highlights some 75 objects representing the rich variety of jewels, gems, and treasures that have been valued over the course of four millennia.

Drawn from the MFA’s collection and select loans, these range from a 24th-century BC Nubian conch shell amulet, to Mary Todd Lincoln’s 19th-century diamond and gold suite, to a 20th-century platinum, diamond, ruby, and sapphire Flag brooch honoring the sacrifices of the Doughboys in World War I. Jewels, Gems, and Treasures is the inaugural exhibition in the MFA’s new Rita J. and Stanley H. Kaplan Family Foundation Gallery, which debuts on July 19. The gallery – one of only a few at US museums solely dedicated to jewelry – will feature works from the Museum’s outstanding collection of approximately 11,000 ornaments. It is named in recognition of the generosity of the Rita J. and Stanley H. Kaplan Family Foundation.

“The opening of the Museum’s first jewelry gallery provides an ongoing opportunity for the MFA’s collection to shine,” said Malcolm Rogers, Ann and Graham Gund Director of the MFA. “In this inaugural exhibition, visitors will see a wide range of gems that will both inform and dazzle in a beautiful new space that will allow the MFA to showcase its stellar assemblage of jewelry, which ranges from ancient to modern.”

Jewels, Gems, and Treasures sheds light on how various cultures throughout history have defined the concept of “treasure,” showcasing an exquisite array of necklaces, rings, bracelets, pendants, and brooches, as well as mineral specimens. In addition, the exhibition explains the significance of jewelry, which can be functional (pins, clasps, buckles, combs, and barrettes); protective (talismans endowed with healing or magical properties); and ornamental, making the wearer feel beautiful, loved, and remembered. Beyond functionality and adornment, jewelry can also establish one’s status and role in society. Rare gems and precious metals, made into fabulous designs by renowned craftsmen, have often served as symbols of wealth and power. This is especially evident in a section of the show where jewelry worn by celebrities is on view, including fashion designer Coco Chanel’s enameled cuff bracelets accented with jeweled Maltese crosses (Verdura, New York, first half of 20th century) and socialite Betsey Cushing Whitney’s gold and diamond “American Indian” Tiara (Verdura, New York, about 1955), which she wore to her presentation to Queen Elizabeth II in 1956 as the wife of the US Ambassador to the Court of St. James.

The significance of precious materials in jewelry in the 20th century is explored in the exhibition, where several modern adornments from the MFA’s Daphne Farago Collection examine jewelry’s traditional roles in society. Among them are a 1985 brooch of iron, pyrite, and diamond rough by Falko Marx and a 1993 ring by Dutch jeweler Liesbeth Fit entitled Diamonds Are a Girl’s Best Friend. (The Daphne Farago Collection comprises 650 pieces of contemporary craft jewelry made by leading American and European artists from about 1940 to the present.)

Jewels, Gems, and Treasures begins with a look at jewelry made of organic materials – substances readily available and easy to work with, such as ivory, shell, wood, and coral. These range from a pair of ivory cuff bracelets from Early Kerma culture in modern Sudan (2400-2050 BC) to more sophisticated creations made possible through the advancement of tools. Examples include a gold, silver, carnelian and glass Egyptian Pectoral (1783-1550 BC) and a Nubian gold and rock crystal Hathor-headed crystal pendant (743-712 BC) recovered from the burial of a queen of King Piye, the great Kushite ruler who conquered Egypt in the eighth century BC. In addition to having magical properties that protected the wearer against malevolent forces, adornments such as these were often buried with their owners as their amuletic capabilities were needed during the arduous journey to the afterlife. On the other side of the globe, Mayans wore ear flares – conduits of spiritual energy – made of sacred green jadeite that represented key elements of human life. Various cultures throughout the ages at one point believed that amber could cure maladies, coral could safeguard children, an animal’s tooth or claw could invest the wearer with strength and ferocity, and gold and silver invoked the cosmic power of the sun and moon. In Medieval and Renaissance Europe, many hard stones were believed to have magical properties (some were even ground and consumed), and pendant reliquaries containing a holy person’s cremated ashes or bone fragments were often donned, along with rosaries (Rosary, South German, mid-17th century), as sacred adornments. Even today, zodiac ornaments and good luck charms are sometimes worn as tokens, recalling their earlier mystical importance.

Throughout much of history, jewelry’s role as a symbol of one’s elevated status has inspired the wealthy to seek out stones that sparkle, gold that gleams, and designs that reflect the greatest artistry money can buy. To illustrate this, Jewels, Gems, and Treasures features some of the most opulent works from the Museum’s jewelry collection, including an 1856 diamond wedding necklace and earrings suite given by arms merchant Samuel Colt to his wife (the 41.73-carat suite, purchased for $8,000, is now valued at $190,000) and Mary Todd Lincoln’s gold, enamel, and diamond brooch with matching earrings, which she acquired around 1864, shortly after the death of the Lincolns’ beloved son, Willy, and then sold in 1867 to pay mounting debts. Also on view is a Kashmir sapphire and diamond brooch (around 1900); a gold and diamond necklace made by August Holmström for Peter Carl Fabergé, the famous Russian jeweler to the czars; and cereal heiress Marjorie Merriweather Post’s lavish platinum brooch from the 1920s, featuring a spectacular 60-carat carved Mughal emerald surrounded by diamonds, which she purchased in anticipation of her presentation at the British court in 1929.

Also on view in the exhibition are superb adornments made by leading French Art Nouveau jewelers, which were fashioned for a wealthy and artistic clientele in the late 19th to early 20th centuries. The Art Nouveau movement, which originated in Europe, embraced an aesthetic that was avant-garde, sensuous, and symbolic – one that looked to the natural world, the Impressionists, and the arts of Japan for inspiration. In response to the “tyranny of the diamond” – the all white platinum and diamond jewelry previously in vogue – these elaborate, one-of-a kind pieces often featured colored gems and unusual materials, such as horn, enamel, irregularly shaped pearls, steel, and glass. Examples in the show include René Lalique’s fanciful gold, silver, steel, and diamond Hair ornament with antennae (about 1900), and Paul Lienard’s gold and mabe pearl Seaweed brooch (about 1908). The Arts and Crafts movement, which emerged in Britain during the 1870s as a reaction to the mechanization and poor working conditions of the Industrial Revolution, is represented by Marsh-bird brooch (1901-02) by Charles Robert Ashbee, who sought to create a delicate stained-glass effect with this piece. The refined techniques of the Art Deco movement are evident in Japanesque brooch (about 1925), incorporating platinum, gold, enamel, diamonds, rubies, and onyx. The movement arose after World War I and continued through the 1930s. It was influenced by avant-garde ideology, as was the Art Nouveau and Arts and Crafts movements, but instead chose to express its aesthetic through geometric shapes, linear stylization, and a return to platinum and diamonds.

Jewels, Gems, and Treasures also highlights a variety of interesting and unique pieces, such as a Suite of hummingbird jewelry (brooch and earrings, about 1870), made out of gold, ruby, and taxidermied hummingbirds; an ebony, ivory, silver lapis lazuli, and amber casket designed to showcase the amber cameos and intaglios collected by Arnold Buffum (about 1880-85); an Indian silver and tiger claw necklace (19th century); and a gold, silver, agate, diamond, and ruby animal sculpture, The Balletta Bulldog (about 1910) made by the workshop of Peter Carl Fabergé Fabergé. In addition, the exhibition features jewelry as seen in William McGregor Paxton’s painting, The New Necklace (1910).”

Press release from the Museum of Fine Arts, Boston website

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René Lalique (French, 1860–1945)
Hair ornament with antennae
c. 1900
Gold, silver, steel, and diamond
Height x width x depth: 8.8 x 12.5 x 7 cm
Museum of Fine Arts, Boston. Gift of the Sataloff and Cluchey Family
© 2011 Artists Rights Society (ARS), New York/ADAGP, Paris
Photo: © Museum of Fine Arts, Boston

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This hair ornament with its whimsical character is a unique piece by Lalique. It features the unusual exclusive use of diamonds which were sparingly used by the Art Nouveau jewelers who preferred less precious stones and enamel to provide color and opalescence. From the gold wire headband emerge two antenna composed of hollow silver cubes in which are set graduated brilliants each secured by four prongs. A steel wire runs through the cubes to form the curved shape of each antenna. Except for the scroll terminals of the antennae, each cube is individually mounted and stacked without being attached to each other so that they tremble when the wearer moves, accentuating the sparkle of the diamonds.

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Probably by Lacloche Frères, Spanish, founded in 1875 (also working in Paris)
Japanesque brooch
French, about 1925
Platinum, gold, enamel, diamond, ruby, and onyx
Height x width x depth: 3.6 x 5.2 x 0.6 cm
Photo: © Museum of Fine Arts, Boston

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Anon
Brooch worn by Mary Todd Lincoln (American, 1818-1882)
American, about 1860
Gold, enamel, and diamond
Depth x diameter: 1.3 x 3 cm
Photo: © Museum of Fine Arts, Boston

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The brooch is part of a suite with matching earrings. Each element is quatrefoil in shape and has a central diamond with a diamond surround. Eight smaller diamonds form a second tier of stones. The stones are all mine-cut and are probably original to the suite. The color range is J-K with VS-VS1 clarity. there are some losses to the tracery enamel. The suite was featured in Frank Lesley’s Illustrated Newspaper (Oct. 26, 1867). It was part of a large group of Mrs. Lincoln’s clothes, jewelry, and furnishings that were offered for sale through Brady & Company of New York City. Apparently, Mrs. Lincoln fell into dire financial circumstances after the assassination of her husband, Abraham Lincoln. The sale price was listed as $350.00.

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Charles Robert Ashbee (English, 1863-1942)
Marsh-bird brooch
1901-02
Gold, silver, enamel, moonstone, topaz, and freshwater pearl
Height x width x depth: 9 x 10.5 x 1.5 cm
Photo: © Museum of Fine Arts, Boston

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The brooch was originally a hair ornament that was converted to a brooch (silver pin stem and “C” hook added). Conversion probably occurred shortly after the ornament was made. The hair comb was fabricated by A. Gebhardt and enamelist William Mark, both members of the Guild of Handicraft.

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Anon
Hathor-headed crystal pendant
Napatan Period, reign of King Piye
743-712 BC
from el-Kurru, tomb Ku 55 (Sudan)
Gold, rock crystal
Height x diameter: 5.4 x 3.3 cm
Photo: © Museum of Fine Arts, Boston

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John Paul Cooper (English, 1869-1933)
English Arts and Crafts brooch
1908
Gold (15 kt), ruby, moonstone, pearl, amethyst, and chrysoprase
Height x width x depth: 14 x 9.6 x 0.8 cm
Photo: © Museum of Fine Arts, Boston

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John Paul Cooper, a leading figure in the British Arts and Crafts movement, was an architect, designer, and metalsmith. Born into an affluent Leicester family, Cooper prepared for a career as a writer but was discouraged from pursuing this endeavor by his industrialist father. Instead, he apprenticed to London architect John D. Sedding, a strong proponent of the ideas of John Ruskin and Henry Wilson, an architect with interests in craft, especially metalwork and jewelry. Afterwards, Cooper joined the “Birmingham Group” and served as head of the Metalwork Department of the Birmingham Municipal Art School (1901-1906). He exhibited regularly at the Arts and Crafts Society exhibitions and completed several important public commissions, including two crosses and a pair of altar vases for Birmingham Cathedral. Additionally, his work often appeared in article published in Studio and Art Journal.

Cooper’s interest in jewelry design and fabrication began shortly after his association with Wilson. Like Wilson, he eventually employed others to fabricate his jewelry designs although he sometimes did the chasing and repoussé work himself. The jewelry was crafted primarily in 15 kt gold, utilizing semi-precious cabochons (domed, unfaceted stones) and mother-of-pearl. Unlike many Arts and Crafts jewelry designers, Cooper often worked his designs from a selection of stones, rather than creating a design and then finding suitable gems. He once commented that stones should “… play on one another as two notes of music…”

In addition to jewelry, Cooper’s workshop designed and fabricated ecclesiastical objects and various decorative arts, including hollowware and frames. Many of the objects incorporate unusual materials, such as coconut shell, ostrich-egg shell, and narwhal tusk. At the beginning of his career, he often used gesso and plaster modeling to decorate surfaces and, at the end of the 1890s, he began making wooden boxes which he covered with shagreen, a decorative veneer made from the skin of certain sharks and rays.

This brooch is a major work by Cooper. Created during a period when the artist relied less on chased representational imagery and more on stones, the ornament conveys a sense of refined opulence. Inspired by medieval and Celtic design, the brooch is both airy and graceful. The goldwork is decorated with finely chased leaves and tendrils and the bezel-set stones include ruby, pearl, moonstone, amethyst, and chrysoprase. It took 273 hours to produce the brooch and Lorenzo Colarosi, Cooper’s chief craftsman, was the primary fabricator. It’s possible that Cooper did the chasework. The drawing for the brooch, which is dated 3 December 1908, can be found in Stockbook I, p. 81 in the Cooper Family Archives. Cooper entitled the piece Big double gold brooch.

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Anon
Earring with Nike driving a two-horse chariot
about 350-325 BC
Gold
Henry Lillie Pierce Fund
Photograph © Museum of Fine Arts, Boston

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Possibly by Oscar Heyman & Bros., American, founded in 1912 for Marcus & Co., American, 1892-1941
Marjorie Merriweather Post’s platinum brooch
American, late 1920s
Platinum, diamond, and emerald featuring a spectacular 60-ct carved Mughal emerald surrounded by diamonds, which she purchased in anticipation of her presentation at the British court in 1929
Overall: 5.3 x 5.4 x 1.1 cm
Photograph © Museum of Fine Arts, Boston

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The brooch was purchased by Marjorie Merriweather Post (1887-1973) and is documented by two portraits; one by Frank O. Salisbury (Palm Beach Bath and Tennis Club) and the other by Douglas Chador (Hillwood Museum). Both date to 1952. The central stone in the brooch is a mid-17th century carved emerald that was purchased by Marcus and Co.’s agent in Bombay in the 1920s. Oscar Heyman & Bros. made many of the jewels marketed by Marcus & Co. during the 1920s.

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Anon
Pin with sphinxes, lions, and bees
Late 5th century BC
Gold
Catharine Page Perkins Fund
Photograph © Museum of Fine Arts, Boston.

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Museum of Fine Arts, Boston
Avenue of the Arts
465 Huntington Avenue
Boston, Massachusetts

Opening hours:
Monday and Tuesday 10am – 4.45pm
Wednesday – Friday 10am – 9.45pm
Saturday and Sunday 10am – 4.45pm

Museum of Fine Arts, Boston website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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