plaque
Plaque
1800-1860 (made)
1800-1860 (made)
| Artist/Maker | |
| Place of origin |
This silver filigree plaque was bought new at the Paris International Exhibition of 1867, for 14s 6d. The Museum had bought the Castellani Collection of Italian Peasant Jewellery at the same exhibition, and chose a number of other pieces from other countries to show the differences and similarities between traditional jewellery from different places. The main purpose of all these acquisitions was to help improve the quality of design among British artisans.
It was described as modern Turkish when it was acquired, but it could have come from almost anywhere in the Ottoman sphere of influence at the time, including the Balkans and the Levant. When it was first displayed in the Museum it was shown with the ends of the crescent pointing down, but it is more likely to have been worn facing up, sewn to clothing as an applique.
It was described as modern Turkish when it was acquired, but it could have come from almost anywhere in the Ottoman sphere of influence at the time, including the Balkans and the Levant. When it was first displayed in the Museum it was shown with the ends of the crescent pointing down, but it is more likely to have been worn facing up, sewn to clothing as an applique.
Object details
| Categories | |
| Object type | |
| Title | plaque (generic title) |
| Materials and techniques | Open silver filigree set with coloured pastes |
| Brief description | Silver filigree plaque set with coloured pastes, Turkey, 1800-1860. |
| Physical description | Flat silver open filigree motif, consisting of a cone resting on a crescent. The whole is decorated with 11 red, blue and green pastes in closed settings, seven missing, and numerous granules. |
| Dimensions |
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| Summary | This silver filigree plaque was bought new at the Paris International Exhibition of 1867, for 14s 6d. The Museum had bought the Castellani Collection of Italian Peasant Jewellery at the same exhibition, and chose a number of other pieces from other countries to show the differences and similarities between traditional jewellery from different places. The main purpose of all these acquisitions was to help improve the quality of design among British artisans. It was described as modern Turkish when it was acquired, but it could have come from almost anywhere in the Ottoman sphere of influence at the time, including the Balkans and the Levant. When it was first displayed in the Museum it was shown with the ends of the crescent pointing down, but it is more likely to have been worn facing up, sewn to clothing as an applique. |
| Bibliographic reference | Illustrated in:
'Italian Jewellery as worn by The Peasants of Italy. Collected by Signor Castellani, and purchased from the Paris Universal Exhibition for The South Kensington Museum', London, Arundel Society for Promoting the Knowledge of Art, 1868, plate 12, 'Peasant Jewellery. Modern Turkish, Norwegian, Danish', where it was included under:
'A collection of Modern Turkish Popular Jewellery. Bought in the Turkish section of the Paris Exhibition, 1867.’ |
| Collection | |
| Accession number | 578-1868 |
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| Record created | April 1, 2003 |
| Record URL |
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