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Patches worn on the face were a curious fashion trend of the Georgian era. These beauty patches or 'mouches' were popular across Europe throughout the 16th and early 17th centuries. Beauty patches were often small pieces of black velvet, silk or satin that had been cut into shapes. Initially, these artificial beauty marks were a peculiarly French phenomenon, but as the country cemented itself as the leader of European fashion, the rage for beauty patches spread beyond its borders (Oatman-Sanford, 2017).

The wearing of these patches was considered fashionable but were also a great way to hide spots, blemishes or scarring on the skin (Curzon, 2021). Smallpox affected perhaps a quarter of the population and left unsightly facial scarring; therefore, patches were an effective way to easily cover these markings (Rendell, 2014). Other venereal diseases that were treated by mercury would also cause facial disfigurement and were often associated with the work of harlots (Rendell, 2014). Therefore, the wearing of beauty patches could be seen across two distinct groups. The sex workers of the lower classes or in the exaggerated fashions of the elite classes as decoration to emphasize painted white skin.

“The Morning: The Woman at Her Toilet” by Gilles-Edme Petit, c. 1745-1760. Via the Metropolitan Museum of Art.

Patches worn for fashion were contrasted with a white complexion often accentuated by make-up. This represented being a part of high society as darker complexions were associated with working outdoors in the sun (Rendell, 2014). Amongst the elite classes the wearing of beauty patches took on new meaning with a coded language developing relating to the placement on the face. These coded meanings could be symbols of flirtation and courtship or could even relate to political allegiances. In England, a Tory would wear a patch on the right side of the face, whilst their political opponents, Whigs, would wear one on the left (Curzon, 2021). A lady could wear a heart shaped patch on her left cheek if she were engaged or the right if she were married. A patch worn beside the eye could indicate passion or one on the nose could be flirtatious (Oatman-Sanford, 2017). There were many different ways which beauty patches were worn in high society to create intrigue and allure.

A selection of 18th-century fabric patches. Via the Welcome Library, London.

To facilitate this beauty trend, boxes to carry these patches were made for the home and smaller portable ones were also created. The larger patch boxes may also have compartments for jewellery and would sit on a ladies' or gents' dresser. The portable ones were made to be carried easily in a pocket and would contain a layer of fabric inside. Beauty patches were usually applied with saliva which would adhere to the dense layer of make-up. However, they would often need reapplying throughout the day and therefore a portable box containing fresh patches would be warranted.

This patch box is made from ivory and inlayed with gold. It has the original owner's monogram 'F.M' applied to the side. This would have fitted easily into the pocket of a gentleman's waistcoat or lady's skirt.

This item is on permanent display as part of The Vault Collection at Kalmar Antiques.

Sources:

Curzon, Catherine (21 Oct, 2021) '7 weird and wonderful Georgian beauty treatments'

Oatman-Sanford, Hunter (4 May 2017) 'That time French aristocracy were obsessed with sexy face stickers'; Collectors Weekly'

Rendell, Mike (21 July 2014) 'Make-up in the 18th century - a fatal attraction'

Paste jewellery offers us incredible insight into the opulence of the Georgian era. Diamonds had dominated the fashions of the aristocratic classes, with their ability to sparkle brilliantly by candlelight. The taste for Rococo style meant that the larger and more elaborate jewellery designs were sought after to dazzle audiences at the many festivities and balls. Luxuries were reserved for the elite classes and extravagant jewels were unattainable to the lower classes of feudal Britain and France. However, such ostentatious displays of wealth led to many opportunistic crimes committed in desperation by the lower-class citizens. Highway robberies became a common and dangerous occurrence for the elite aristocrats who often travelled by carriage at night between festivities.

The Invention of Paste Jewellery

The invention of paste gemstones answered the needs of the emerging middle classes of Europe and of the aristocratic partygoers of high society. Paste is a term given to imitation gemstones that are made from glass. The production of glass stones had been underway in Venice for many centuries, however, these glass imitations were molded and lacked the sparkle of real gemstones (5.1). It wasn't until 1675 that English glassmaker, George Ravenscroft, developed a version of flint glass that contained a high lead content. This version had high dispersion and a higher refractive index than molded glass or rock crystal and was hard enough to withstand faceting and polishing (5.2). This version was met with widespread popularity across England and thrived for the next 200 years.

Parisian jeweller, George Frederic Strass, continued to pioneer the invention of paste jewellery and in the 1720's he created a superior material that would become synonymous with the trade of paste jewellery. "His shop on the Quai des Orfevres was the most famous paste jewellers, with pieces designed in the latest fashions and set in silver with as much care as if they were diamonds" (3.2). Strass's version was polished with metal powder to create a higher brilliance to the stones, making them a convincing imitation to diamonds, particularly when worn in the nighttime in the flickering candlelight. The popularity of Strass's version of paste jewellery become so significant that he was appointed jeweller to the French Crown. This recognition led to paste jewellery in France being referred to as strass jewellery.

Rhinestone Jewellery

Another popular substitute of the time were rhinestones. In modern times, we associate rhinestones as a part of costume jewellery, however, rhinestones in their truest form refers to rock crystal of a specific geographical origin. Rock crystal from the Rhine (Rhein) River in Germany were cut, faceted and polished to create a colourless gemstone substitute for diamond. The term rhinestone is indicative of this geographical origin, however, throughout history the term was widely applied to rock crystal from other locations and then later to glass or even plastic versions.

This Georgian era portrait miniature brooch and pendant is crafted in silver with rhinestones set into the border. The woman in the portrait is portrayed in Regency era garb with a black choker ribbon and feather headdress. The ribbon motif at the top of the pendant was also common during Georgian era jewellery.

Georgian era paste jewellery allowed for the developing middle class to participate in the opulent fashions of the time but at a price point which they could afford to pay. For the elite classes, they were able to have jewellery pieces made to keep up with current fashions, without having to remodel their family jewels. A trend also developed to have expensive jewellery pieces recreated using paste stones. This was implemented by the elite classes and even the royal families, as it allowed them to wear their jewellery to events without the fear of having them stolen by highway robbers.

Paste jewellery is now highly collectable as they serve as rare examples of designs from the Georgian era. These are sort after as many jewels from this era were remodelled or destroyed to compete with changing fashions.

These items are currently on display at Kalmar Antiques.

Sources:

Navette Jewellery (29th May 2017) 'History of imitation gemstones: glass and paste', History of Imitation Gemstones – Paste and glass gemstones – navette jewellery

Phillips, Clare (2019) 'Jewels & jewellery'; Thames & Hudson V&A

If you've had the chance to visit Kalmar Antiques recently you may have noticed some interesting developments happening in the retail space next door. The signage is up and the secret is out that after many months of careful planning, not to mention the uncertainty of a city lockdown, the wheels are in motion for the next exciting chapter at Kalmar Antiques. The long-standing QVB residents have plans to renovate the store, acquiring an additional retail space and expanding their extensive offering of antique jewellery and timepieces.

The new store will feature an incredible front window display spanning over 13 metres that will house antique jewellery and object D'art items from as early as the Georgian era. A specialised showcase will feature historical items that have never been available for public display before. Kalmar Antiques will also be increasing their offering of vintage watches and timepieces, and in addition to this, will be expanding their watch repair services with the addition of a state-of-the-art watchmaking workshop to be built on site.

Professional valuers and gemologists will continue to be available for consultations if you have items you are wishing to have valued or are looking to sell. This expansion will make Kalmar Antiques the largest antique jewellery store in the Queen Victoria Building and a must-see for collectors.  

The Kalmar family have been in business for over 30 years with Charles and Marlene Kalmar commencing trade at the Hyde Park Antique Centre in 1986. After three years they opened a storefront in the Imperial Arcade in 1989 where they traded for nineteen years before moving into the Queen Victoria Building. Their expertise and experience in the antiques trade puts them at the forefront of antique dealing in Sydney. 

Like so many small businesses in Australia the Kalmar's have faced two difficult years of Covid restrictions and lockdowns. Despite these challenges the Kalmar's passion for the antiques trade has shone through. The store expansion is the next chapter for the Kalmar family and is fantastic for the future of the antiques industry in Sydney.  

For the latest updates be sure to subscribe to the monthly newsletter or follow Kalmar Antiques via Instagram or Facebook.

Objects are important as they tell our human history by connecting us to past places and people. These tangible bonds offer us the rare opportunity to touch history. Never has this sentiment rung truer than in the instance of this imperial half pint measuring cup. One of the humbler items in the Kalmar's collection, although it may not be crafted from the highest carat gold or covered with the finest jewels, the unique instrument offers us a direct lineage to our local history. From this measuring cup, the redemption tale of James Blanch, a convict, instrument maker and perhaps Australia's first metrologist unfolds.

A Convict's Tale

James Blanch was born in England in 1784 and at the age of fourteen it is surmised that he was apprenticed in the trade of mathematical instrument making. By the end of the 18th century, London had become the world's leading centre for scientific instrument making with numerous piece-makers and wholesalers specialising in the manufacture of optical, mathematical and philosophical instruments (Holland, 2000). Despite this training, the first recorded occupation of James Blanch was from 1814 as a Customs House Officer working on the London docks. It was during his time working on the docks that opportunity mixed with poor judgement would lead Blanch to commit an act of petty theft. Together with a fellow official, Blanch stole ten yards of Russia Duck, a heavy linen fabric, worth 30 shillings from the ship, Lord Harlington. This misdemeanor would see the pair sentenced and bound for Botany Bay aboard the convict ship which landed on Sydney shores in 1816. 

Having served his time in the colony, Blanch gained his Ticket of Leave in 1821 and just one year later, his wife Sarah sailed out on the 'Brixton' to join him. Now open to start his life as a free member of society, Blanch set up his professional trade and established the Sydney Foundry and Engineering Works. “Blanch set up business in Pitt Street as a mathematical and philosophical instrument maker, brass founder, brazier, plater and general worker in silver and brass" (Holland, 2000). He would later move his business to the central location of George Street where he would also acquire further properties. Accompanied by other convicts and an apprentice of his own, Blanch would achieve reasonable success with his business whilst supporting his growing family. However, it would be the 'Bill for preventing the use of false and deficient Weights and Measures' passed in August 1832 that would forever weave the work of James Blanch into our country's history. 

The Measure of a Man

It was accountant and mathematician, Patrick Kelly, who first recorded the term of metrology in an 1816 text in which he proposed universal standards, a central remit of discipline, aimed at the development of agreed standards for weights and measures in science and industry (MAAS, 2022). As it stood, Victorian England and Colonial Australia were awash with interpretations about reliable and agreed standards, and the construction of artefacts to accurately measure them" (MAAS, 2022). It was therefore decided, that with the passing of the new bill the infant colony of New South Wales would develop a uniformed approach to measurement and weight based upon the imperial system of England.

The provision of these items was awarded to James Blanch with the task of creating seven sets of instruments accurately determining weights, volume measurements and a standard yard. The sets were to include the below;

Series of weights: 1, 2, 4, and 8 drams, 1, 2, 4, and 8 ounces, 1, 2, 4, 7, 14, 28, and 56 pounds. 

Series of volume measures: half gill, gill, half pint, pint, quart, half gallon, gallon, peck, half bushel and bushel. 

An instrument the length of one standard yard, better known as a yard stick. 

The seven sets were “distributed to police offices in various regional towns - Parramatta, Windsor, Bong-Bong, Goulburn, Bathurst, Maitland - as well as one to the police office in Sydney" (Holland, 2000). These instrument sets would be the foundations of accurate and cohesive measurement units across the colony of New South Wales. 

Embossed in the metal of the measuring cup is the maker's mark 'J.Blanch' and the date '1833'. There is another symbol etched into the side of the measuring cup that resembles an arrow. This mark is described as the 'broad arrow' and was used across England and colonial Australia. "Every item made or used by government convicts had to be marked or stamped with a broad arrow, the mark of government property, to prevent theft and the selling-on of government goods and tools. The broad arrow was so widely used to mark objects used by convicts, that it became associated with the convict system itself, rather than just a symbol of government property" (Sydney Living Museums, 2022). At the time of this item being commissioned by the government James Blanch was a free member of society. Therefore, a distinction can be made that this mark was associated with the sets belonging to government property as opposed to being included due to Blanch's prior convict status.

An Instrumental Legacy

From convict to successful businessman and pioneer of engineering practices within Australia, the tale of James Blanch is a true under-dog story. James Blanch passed away in 1841 with multiple properties to his name and is listed at number 182 of all time richest Australians (Past Lives, 2012). His foundry was taken over after his death by Peter Nicol Russell who continued its operation with his two brothers under the company P.N Russell and Company. Peter Nicol Russell would live on to become a pioneering figure of the engineering industry within Australia and was a significant benefactor to the University of Sydney.

Workers photographed in front of the Sydney Foundry & Engineering Works operated by PN Russell & Co circa 1870-1875

Image source: The State Library of New South Wales Collections

The legacy of James Blanch and his contributions to engineering and instrument making within Australia live on, although they are far less noted than that of his successor. It is through objects such as this imperial half pint measuring cup, which bears his name, that the tale of James Blanch endures. Undoubtedly, there are many objects crafted by the hands of Blanch that would remain scattered across the state of New South Wales and afar, the imperial half pint measuring cup in the private collection of the Kalmar's is but one example of his work. Another is an Imperial half bushel which can be viewed at the Powerhouse Museum in Sydney.  

Image source: Powerhouse Museum Collections

Sources:

Australian Government National Measurement Institute (2010), 'History of Measurement in Australia'; 'History of Metric Conversion', www.measurement.gov.au/measurementsystem/Pages/HistoryofMeasuremtin

Holland, Julia (2000), 'James Blanch - Australia's first meterologist?'; The Australian Metrologist, http://members.optusnet.com.au/jph8524/JHjames_blanch.htm

Museum of Applied Arts & Sciences (2022), Imperial half bushel measure; Powerhouse Museum Collection, https://collection.maas.museum/object/550907

Past Lives (2012), 'James Blanch (1784 -1841): custom house officer, convict, and mathematical instrument maker', https://mprobb.wordpress.com/2012/03/23/james-blanch-1754-1841-custom-house-officer-convict-and-mathematical-instrument-maker/

State Library of New South Wales (2022), 'Fanny voyage to New South Wales, Australia in 1815 with 175 passengers'; Convict Records, https://convictrecords.com.au/ships/fanny/1815

Sydney Living Museums (2022), 'Branding iron early to mid 19th century'; Objects Records, https://sydneylivingmuseums.com.au/taxonomy/term/18636#object-107796

As we celebrate the month of love it seems only appropriate to take a look into some of the most romantic jewels in our collection. Although the gifting of jewellery has been a symbol of love and affection since ancient times, it was in the Victorian era that sentimental jewellery surged in popularity. Jewellery of this time was all about expressing your deepest affections to those you loved the most. Packed with layers of meaning, secret messages of love and personal mementos jewellery of this era was deeply personal and achingly sentimental.  antique-regard-brooch-64-4

This trend of sentimentalism can be traced from the societal shifts in France following the French Revolution. The revolution challenged established monarchy and religious institutions within France and a new value system for its society emerged. The ideals of liberty, equality and fraternity became the basis of the value system for the French population. These shared ideals of a society based in freedom, equality and companionship saw an emphasis placed on personal relationships and affection between individuals. The development of these ideals saw a greater focus on sentimentality and this concept was soon being depicted across all creative pursuits including art, literature, music, architecture, fashion and jewellery. British fashion was heavily influenced by French culture and these values of sentimentality resonated with Queen Victoria. It was the British monarch's affinity for sentimental jewels that resulted in them becoming highly popularized across the Victorian era

A mixture of French and English sayings became widely popular across jewellery design and were exchanged as tokens of love between couples and friends. The French term 'souvenir' which translates to 'memory' became a popular sentiment displayed on jewellery pieces. Other popular sentiments of deep affection included; regard, love, dearest, mizpah and AEI, which stands for 'amity, eternity and infinity'.  These sentiments were available across a range of different jewels including rings, lockets, brooches, bracelets and pendants.

antique-regard-ring-es6453-02

One of the most creative ways that such sentiments were incorporated into jewellery design was through acrostic jewellery. Coloured gemstones would be ordered so that their first letters would spell out a word. “The Napoleonic taste for the symbolism of gemstones, and for names and mottoes spelt out with the initial letter of appropriate gemstones, quickly spread" (Bennett & Mascetti, 1989). The above brooch features a lock of hair in the centre with coloured gemstones set into the border. The first letters of each gemstone spell out the word 'Regard' - ruby, emerald, garnet, amethyst, ruby and diamond. The hidden sentiment accompanied by the personal relic of a lock of hair shows how deeply personal this piece of jewellery was to the wearer. Read more about acrostic jewellery here.

Shop Acrostic Jewellery
Regard-brooch-ES8194-8
Shop Regard Brooch

Lockets were another highly popular keepsake to be exchanged between couples and family. Lockets during this time would be used to store mementos of their loved one, most commonly being a lock of hair or a photograph. 

“Women of the 19th century would swap locks of hair as a love token the way young girls today might wear friendship bracelets" (Little, 2016).

antique-enamel-locket-es6897-1It's not surprising then, that so many Victorian Era rings and pendants feature lockets on the reverse to house these personal relics. “Locks of hair were still concealed in small compartments at the back of jewels. Veiled and unveiled messages of love, rebuses and mottoes, were inscribed at the back of brooches and pendants or inside ring shanks" (Bennett & Mascett, 1989).

Floriography, also known as the language of flowers, was another popular past time of the Victorian era. The attributing of particular meanings and sentiments to flowers and their arrangements created a whole world of cryptic communications.

"The language of flowers was used as a secret code and the flowers that most often appeared in romantic jewels were those able to convey sentiments of love, friendship and affection, such as ivy leaves and forget-me-nots" (Bennett & Mascetti, 1989).

Shop All Lockets

This adaptation of floriography into jewellery design calls for close consideration of all design elements. What could appear as a floral motif for decorative purposes could have layered meanings of affection intended for the wearer.

antique-locket-ET154-1

The change in societal values after the French Revolution saw the emergence of sentimentality throughout the Victorian era. The jewellery from the time reflects these cultural shifts and their influence on art and fashion within France and abroad. Love token jewellery from this era so strongly evokes the kinship between the gift-giver and recipient. The sentiments that rose in popularity are bold and deeply romantic. The exchange of personal relics in the form of hair, although no longer fashionable, creates a tangible connection to the wearers of these jewels and their connections to their loved ones. The creation of acrostic jewellery and the Victorian language of flowers causes us to read deeper into the design of these jewels and search for the hidden sentiments. These jewels are just a few examples of how meaning was incorporated into jewellery design during the Victorian era, though there are plenty more examples that have not been discussed here. These incredible pieces tell us the story of our human history and the connections of those who came before us.  

Shop Victorian Era Jewellery

Sources:

Bennett, D & Mascetti, D (1989)"Understanding Jewellery": ACC.

Little, B (2016) "Trendy Victorian Era Jewelry Made From Hair": National Geographic.

Peters, Hayden (2022) "Georgian Heart Regard Locket", The Art of Mourning.

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Shop 23, Level 2, Queen Victoria Building, George Street, Sydney 
NSW, Australia.

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