WHEN THE LOVELY AND NEWLY CROWNED 18˜YEAR˜OLD QUEEN VICTORIA attended the theater carrying fl owers arranged in a bouquet holder, the new accessory—also known as a posy holder, porte- bouquet, or tussie mussie—became essential for a fashionable woman’s evening dress in England. PRODUCING During the years of her reign (1838–1901), indus- trialization put silver holders within reach of a burgeoning middle class in the U.K. In France, imitation gems and pearls in glass, fl irting mir- rors, and ivory cards with a pencil for scheduling POSIES dance partners were added to gilt-brass holders for a similar clientele. Exotic silver fi ligree hold- ers were imported from China, India, and Italy. These were copied in Birmingham, England, and A TECHNICAL STUDY OF THE exported to America for purchase by the wealthy FRANCES JONES POETKER in New York, Boston, and Philadelphia. Producing Posies features Carol A. Grissom’s technical study and analyses of 239 holders in COLLECTION OF the Frances Jones Poetker Collection, donated to Smithsonian Gardens in 1987. The catalog attributes these and related holders in published international collections to places of their BOUQUET manufacture based on materials, manufacturing techniques, and design detail—even report- ing by whom some were made. This evidence-based study and reference guide accompanied by high-resolution photographs fi lls a signifi cant gap in previously available literature. It not HOLDERS only will serve as a resource for museums and collectors, but also will increase the apprecia- tion of posy holders among collectors, curators, and fashion historians. AT SMITHSONIAN GARDENS CAROL A. GRISSOM has been senior objects conservator at the Smithsonian Museum Conser- vation Institute for 40 years. Highlights of her career include an in-depth examination of the Wright Flyer, laboratory excavation and reassembly of 8,000-year-old plaster statues from CAROL A. GRISSOM Jordan, and a 700-page book on American zinc statues. Smithsonian Scholarly Press https://scholarlypress.si.edu ISBN (online): 978-1-944466-74-9 ISBN (print): 978-1-944466-75-6 This publication is open access and available online from the publisher. GRISSOM PPRROODDUUCCIINNGG PPOOSSIIEESS SmithsonianScholarly Press PRODUCING POSIES PRODUCING POSIES A TECHNICAL STUDY OF THE FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS AT SMITHSONIAN GARDENS CAROL A. GRISSOM A SMITHSONIAN CONTRIBUTION TO KNOWLEDGE Smithsonian Scholarly Press WASHINGTON, D.C. 2024 ABSTRACT. This book focuses on small decorative objects for holding fowers, mainly taken by women to the opera, theater, and balls during the nineteenth century and variously known as posy holders, bouquet holders, fower holders, tussie- mussies, and porte-b ouquets. Queen Victoria popularized bouquet holders by appearing with one at the theater shortly after her accession to the throne at age 18, and many refect designs associated with her reign (1838–1901). In England, the earliest holders were probably owned by the wealthy, but in the latter half of the nineteenth century the low cost of silver and silver plating placed this fashion within reach of a burgeoning middle class. In France, early holders were set with precious gems for the nobility, but thereafter most vases were in electrogilded brass often set with faux pearls and gems made of glass. Exotic silver fligree holders were imported from China and India, and fligree production in Birmingham, England, catered to the wealthy in New York, Boston, and Philadelphia. Important catalogs of bouquet holder collections have been published, but bouquet holders are rarely marked, and attributions to place are often without basis. Prompted by a project undertaken by a conservator at the Smithsonian’s Museum Conservation Institute in preparation for digitization of a large collection donated to Smithsonian Gar- dens by Frances J. Poetker, 239 holders in the catalog have been attributed to places of manufacture, often linked by designs and materials to those in other international collections. Research and detailed study of manufacture have even determined by whom some were made. This evidence-b ased technical study and reference guide accompanied by high-r esolution photographs is intended to fll a signifcant gap in the available literature and serve as a resource for museums and collectors. M Published by SMITHSONIAN INSTITUTION SCHOLARLY PRESS P.O. Box 37012, MRC 957, Washington, D.C. 20013- 7012 https://scholarlypress.si.edu Cover images: Front, inset from Plate 65a, heavy gilt- brass tripod posy holder, FJP.1987.114 (see Figure 75 for additional detail). Background image: Chrysanthemums, 1895; [New York: publisher not transcribed] Photograph; https://www.loc.gov/ item /2018696097/. Back, Plate 56b, gilt-brass and red-dyed ivory posy holder, FJP.1987.130. Compilation copyright © 2024 by Smithsonian Institution Excluding content credited to rightsholders and third parties, this work is licensed under a Creative Commons Attribution- NonCommercial 4.0 International (CC BY-NC 4.0) License. For permission to reproduce credited materials, users are responsible for contacting rightsholders directly. Library of Congress Cataloging- in- Publication Data Names: Grissom, Carol A., 1948- author. | Smithsonian Institution Scholarly Press, issuing body. Title: Producing posies : a technical study of the Frances Jones Poetker collection of bouquet holders at Smithsonian Gardens / Carol A. Grissom. Other titles: Technical study of the Frances Jones Poetker collection of bouquet holders at Smithsonian Gardens | Smithsonian contribution to knowledge. Description: Washington, D.C. : Smithsonian Scholarly Press, 2024. | Series: A Smithsonian contribution to knowledge | In scope of the U.S. Government Publishing Ofce Cataloging and Indexing Program (C&I); Federal Depository Library Program (FDLP) distribution status to be determined upon publication. | Includes bibliographical references. Identifers: LCCN 2023056229 (print) | LCCN 2023056230 (ebook) | ISBN 9781944466756 (paperback) | ISBN 9781944466749 (pdf) Subjects: LCSH: Poetker, Frances Jones, 1912– —Art collections—Catalogs. | Smithsonian Gardens (Museum)—C atalogs. | Posy holders—History. | Posy holders— Private collections— Washington (D.C.)- - Catalogs. Classifcation: LCC SB449.2 .G75 2024 (print) | LCC SB449.2 (ebook) | DDC 739.27809753—dc23/eng/20240129 | SUDOC SI 1.60:P 84 LC record available at https://lccn.loc.gov/2023056229 LC ebook record available at https://lccn.loc.gov/2023056230 ISBN- 13: 978- 1- 944466- 74- 9 (online) ISBN- 13: 978- 1- 944466- 75- 6 (print) Publication date (online): 19 July 2024 The paper used in this publication meets the minimum requirements of the American National Standard for Permanence of Paper for Printed Library Materials Z39.48–1992 CONTENTS List of Tables vii Foreword by Peter Kaellgren viii Preface ix Notes to the Reader xi Lists of Abbreviations and Short-F orm References to Other Holders xii Bouquet Holder Groups xii Holders in Museum Collections xii Holders Referenced by Authors xiii 1. OVERVIEW OF BOUQUET HOLDERS Brief History and Usage 1 Forms and Features of Bouquet Holders 5 Subject Matter 6 Important Collections of Bouquet Holders 9 European Collections 9 North American Collections 10 Notes 13 2. MAKERS England 21 English High Quality Holders 23 Birmingham Mass Produced Holders 26 BMP Filigree Subset 26 BMP Elegant Subset 27 BMP Regular Subset 29 Miscellaneous Probably English Holders 42 France 43 French Group 1 45 French Group 2 47 French Group 3 49 Four French Milieus 50 Dating French Holders 51 Distinguishing Characteristics of English and French Holders 52 Germany 58 United States 58 Filigree Holders from Italy, China, and India 58 Italy 58 China 60 India 60 Notes 61 3. MATERIALS AND FABRICATION Materials 73 Metals 73 Silver Filigree 75 Nonmetallic Materials 81 Mother-o f- Pearl 81 Siliceous Materials 83 Alabaster 84 Bone 85 Ivory and Horn 85 Machine Production 85 Drop Stamp 85 England 87 France 90 Roller- Patterned Sheet 93 Fly Press, Lathe, and Knurling Machine 95 Electroplating 96 Assembly 97 Standard Vase-a nd-H andle Bouquet Holders 97 Tripods 98 BMP Filigree Holders 99 Other Parts 101 Devices for Attachment to Clothing 101 Chains 101 Attachment of Chains 106 Floral Pins and Other Means of Securing Flowers 110 Finger Rings 111 Size and Weight 112 Notes 116 4. C ATALOG OF SMITHSONIAN GARDENS’ FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS English Bouquet Holders 125 French Bouquet Holders 180 Holders from Germany 212 Holders from the United States 213 Holders from Genoa, Italy 214 Holders from India 216 Holders from China 218 Appendix: Results of Instrumental Analyses of Bouquet Holder Materials 221 Acknowledgments 250 Bibliography 252 Index 259 vi M CONTENTS TABLES 1. Hallmarked holders 22 2. English and French metals and other materials 53 3. English and French chains 55 4. Heights and weights 114 A.1. Silver holder analyses 234 A.2. Silver fligree analyses 235 A.3. Gilt- silver analyses 236 A.4. Silver- plated brass analyses 237 A.5. Gilt- brass analyses 239 A.6. Trace mercury analyses 241 A.7. Brass full- height vase analyses 242 A.8. Brass multiple vase stamping analyses 244 A.9. French brass analyses 246 A.10. Nickel silver and mixed metal analyses 247 A.11. Glass and paillon analyses 249 PRODUCING POSIES M vii FOREWORD Established scholars of English silver have usually concentrated on major pieces of plate. They often ignore or even dismiss the products of the “small worker.” This is a mistake. Since the 1500s, a signifcant portion of the industry and remunerative com- merce in silver, gold, and fne metalwork derives from the production of small, useful, everyday items and fashion accessories. For this reason, Birmingham earned its title as “Toy Shop to the World.” Carol Grissom’s research examines the Birmingham industry from the perspective of bouquet holders and describes how such small articles were manufactured, marketed, and distributed. Grissom’s diligently researched study of the Frances Jones Poetker Collection of bouquet holders at the Smithsonian Institution provides useful insights for examining and studying these neglected small articles. Based on extensive research in archives, museums, and private collections combined with scientifc analysis, Grissom’s study helps to put into context the scarce examples with known provenance associated with prominent Americans from the 1800s. The catalog includes understandable guidelines for distinguishing bouquet or posy holders made in England from those created in France and other locations. This will increase the appreciation of posy holders among collectors, fashion historians, and curators. As the American novelist Stephen King wrote in Duma Key (2008), “Remember that the truth is in the details.” Peter Kaellgren Curator Emeritus (European Decorative Arts) Royal Ontario Museum Toronto, Ontario, Canada viii M FOREWORD PREFACE The special treat of being an objects conservator is the infnite variety of stimulating ob- jects that one encounters. Over 40 years at the Smithsonian, my work has ranged from a thorough examination of the Wright fyer to laboratory excavation and reassembly of 8,000-y ear-o ld plaster statues from Jordan and a 700- page book on American zinc stat- ues. More recently, I was approached by Smithsonian Gardens’ staf to prepare 252 posy holders in the Frances Jones Poetker Collection for photographic digitization as part of an institutional imperative to make collections more accessible. Since the majority of holders are made of silver or are silver plated, they had tarnished over the years and were not at their best for photography. In the course of performing examination and treatment, it became clear that the many duplicates and interchangeable parts in the large collection had the potential to determine where most were made, previously poorly established. Research in London and Birmingham, England; examination of important collections in Paris and the United States; books; and the internet provided background, but technical study of the bouquet holders themselves was primary for attributions of nearly all holders in the collection. Producing Posies focuses on how, where, and who produced the bouquet holders, and its heart is the catalog of 239 holders in the Smithsonian’s collection. Excellent professional images made for the digitization project have been laid out to visually maximize similarities between six holders on facing pages, enabling the reader to read- ily see how groups were formed and attributions were made. Bouquet holders were mainly made in England and France, and each corpus of those holders was divided into three groups. These are followed by smaller numbers made in Germany and the United States, as well as silver fligree holders made in Genoa (Italy), China, and India. The frst of three chapters provides an overview of the history and use of bouquet holders, with sections summarizing forms, features, and subject matter. Other impor tant collections in both museums and private hands are also surveyed, and a tally of bouquet holders in older museum collections in the United States provides tantalizing data about popularity and importation of bouquet holders in nineteenth- century America. The second chapter, on makers, follows the organization of the catalog by place. Exciting new information came from drawings and actual stampings that match 25 bouquet holders in the Smithsonian’s collection found among design registrations from 1863 to 1880 at the British National Archives, which provided copyright protection for three manufacturing jewelers working in the Jewellery Quarter of Birmingham, En- gland. Astonishingly, the 1866 factory building of the largest maker, Henry Jenkins & Sons, was found to still bear lettering of its name, the Unity Works, referring to the unity of art, science, and manufacturing that epitomizes bouquet holder production. Only one French maker has been identifed by a mark, but four milieus are posited on PRODUCING POSIES M ix the basis of holders in the collection. Curators and collectors will fnd a section titled “Distinguishing Characteristics of English and French Holders” useful for its summary of features (also enumerated Tables 2 and 3). The third chapter, on materials and manufacturing techniques, reveals how the development of the drop stamp and electroplating during the Industrial Revolution were central for making bouquet holders available to the middle class. Copious images support attributions to makers in the previous chapter, often based on the smallest of details. For example, a small, polished brass ring without gilding often attached gilt- brass chains on French holders, whereas similar rings attaching English chains were invariably gilt. An appendix following the catalog summarizes the results of nondestructive in- strumental analyses that generally supported visual estimations of materials, but a few proved surprising. For example, #381 (Plate 17) was found to have a vase made of nickel silver and a handle of brass, both covered with silver plating so that the diference between the white and yellow colors of the base metals would not be apparent at the point of sale. Data from analyses have been incorporated into the catalog and text, and 11 tables of results will be useful to those working on similar material. A principal goal of Producing Posies is to provide owners and collectors with infor- mation enabling them to determine where bouquet holders under their purview were made. It is hoped that the corpus of attributed holders begun in Producing Posies will grow as a result and that more hitherto anonymous makers and dates of production will emerge. Carol A. Grissom Senior Objects Conservator Smithsonian Museum Conservation Institute x M PREFACE NOTES TO THE READER Each page in the catalog is referred to as a plate, and most have three illustrations. The three images on a catalog page (often six on facing pages) were selected to facilitate visual comparison of like holders. They are relatively small, which was acceptable be- cause high-r esolution images of all Smithsonian Gardens’ holders are available online at https://collections. si. edu/search/ and https://www.si.edu/openaccess (search on “bouquet holders”). Each entry in the catalog begins with the accession number: the donor’s initials (FJP) followed by the main accession year of 1987 and a number in consecutive order. For simplicity throughout the text, however, a shortened form is used to identify and easily diferentiate them from those in other collections: a pound sign (#), followed by the fnal number in the sequence; for example, FJP.1987.009 is referred to as #9. The only exception is one holder accessioned in 1980, identifed by its full accession number, #1980.026, to avoid confusion with FJP.1987.026, referred to as #26. For readability, holders cited in other museum collections are generally referred to in notes by the museum’s accession number following an abbreviated version of its name. Those in other published collections are listed by the last name of the author and page number, except for holders in Bilgi Kenber’s collection. They are instead listed by his last name followed by the catalog number since the same numbers were employed in three exhibition catalogs, beginning with an exhibition at the Musée Cognacq- Jay in 2005. Catalogs of the Kenber collection at the Frederic Marès Museum and State Her- mitage Museum also include, respectively, 12 and 19 holders from their own collections; they are referred to by the catalog number and accession number in the endnotes in chapter 1 and thereafter only by the catalog number. Three holders from the collection of the Museo Napoleonico in Rome included with part of the Kenber collection exhib- ited there are cited by accession numbers. See the next section for all abbreviations. PRODUCING POSIES M xi LISTS OF ABBREVIATIONS AND SHORT-F ORM REFERENCES TO OTHER HOLDERS BOUQUET HOLDER GROUPS BMP Birmingham mass produced, divided into overlapping subsets of fligree, elegant, and regular holders in approximate chronological order EHQ English high quality, hallmarked and related holders FG1 French group 1, holders largely made in the same workshop or milieu, probably in Paris FG2 French group 2, holders made using dies diferent from FG1 holders FG3 French group 3, a mixture of holders with French characteristics but generally without stampings in common with those in the other two French groups MPE Miscellaneous probably English, a mixture of holders with English characteristics without stampings in common with those in the other two English groups HOLDERS IN MUSEUM COLLECTIONS BMFA Museum of Fine Arts, Boston C- H Cooper Hewitt, Smithsonian Design Museum, New York Galliera Palais Galliera, Musée de la Mode de la Ville de Paris Hermitage State Hermitage Museum, St. Petersburg1 Marès Frederic Marès Museum, Barcelona2 MCNY Museum of the City of New York MMA Metropolitan Museum of Art Costume Institute, New York 1. B. Kenber and T. N. Kosouro, Portbukety XIX – nachala XX veka iz [Porte- bouquets of the 19th to early 20th century] (St. Petersburg: State Hermitage, 2015). 2. Porte- bouquets: Insòlites joies de la collecció Kenber, Quaderns del Museu Frederic Marès Exposicions 14 (Barcelona: Ajuntamento de Barcelona, 2008). xii M LISTS OF ABBREVIATIONS MN Museo Napoleonico, Rome3 MNBAQ Musée national des beaux-a rts du Québec, Quebec City NYHS New-Y ork Historical Society PMA Philadelphia Museum of Art RCIN Royal Collection Trust inventory number, London ROM Royal Ontario Museum, Toronto4 SS Sunnyside, Historic Hudson Valley, Pocantico Hills, New York V&A Victoria and Albert Museum, London HOLDERS REFERENCED BY AUTHORS Deitsch Irene Deitsch, Tussie-M ussies: A Collector’s Guide to Victorian Posy Holders (Palo Alto, Calif.: Marene, 2016). Fales Martha Gandy Fales, Jewelry in America 1600–1900 (Woodbridge, Sufolk, U.K.: Antique Collectors’ Club, 1995). Hughes G. Bernard Hughes, Small Antique Silverware (New York: Bramhall House, 1957). [When cited in text—e.g., Hughes 247—the number refers to a fgure rather than a page number.] Kenber Porte- bouquets (Paris: Paris Musées, 2005) and two other catalogs (see the Preface). Laufer Geraldine Adamich Laufer, Tussie- Mussies (New York: Workman, 1993). Moretz James Moretz, Posey Bouquet Holders: An Alluring Victorian Fashion (Chicago: Flowerian, 1984). Roe F. Gordon Roe, Four Hundred Bouquet Holders, Apollo 126 (June 1935): 354–358. Schwartz Jeri Schwartz, Tussie Mussies: Victorian Posey Holders (Hartsdale, N.Y.: Author, 1987). 3. Fiori freschi: Porte-b ouquets, inconsueti gioielli del XIX secolo (Rome: De Luca, 2007). 4. The 42 accessions in 2009 are shortened to the final consecutive number, for example, ROM 2009.123.6 is listed as ROM 6. PRODUCING POSIES M xiii FIGURE 1. Queen Victoria at the Drury Lane Theatre, November 1837 by Edmund Thomas Parris. Royal Collection Trust / © His Majesty King Charles III 2023. 1 OVERVIEW OF BOUQUET HOLDERS BRIEF HISTORY AND USAGE Small decorative objects known as posy holders, bouquet holders, fower holders, tussie- mussies, and porte-b ouquets in the collection of Smithsonian Gardens are the subject of this book. Similar items were occasionally produced during the seventeenth century and popular at court during the eighteenth century in France, mainly as bosom bot- tles to ofset unpleasant odors, but their heyday was the nineteenth century beginning around 1830.1 Bouquet holders were largely made and used in France and England, where they are particularly associated with the reign of Queen Victoria (1837–1901) and often display the profusion of ornament associated with the Victorian era. The end of the fashion is marked by plain, clean lined #76 and #79 (see Plate 6), hallmarked in England just before the First World War. In 1837, her frst year as queen of the United Kingdom, the 18-y ear-o ld Victoria was sketched and subsequently painted by Edmund Thomas Parris with a bouquet holder while at the Drury Lane Theatre (Figure 1), an image widely known through a mezzotint engraving published in 1838.2 Without doubt, the engraving contributed to the popularity of bouquet holders in England, and it is surely not coincidental that the earliest English bouquet holder in the Smithsonian’s collection was hallmarked during 1838–1839, #100 (see Plate 1). Bouquet holders were primarily used by women attending the theater, opera, and balls or calling on friends, and many images of women holding them from contempo- rary fashion magazines, paintings, and photographs have been reproduced in earlier publications.3 Most bouquet holders were owned by middle class women, but they often imitated more costly holders that are better chronicled, such as those owned by Euro- pean royalty. During a state visit to Paris for the Universal Exposition of 1855, Queen Victoria received an enameled gold gem- encrusted bouquet holder from Empress Eugénie4 and a second one (now lost) from the wife of Georges- Eugène Haussmann,5 who had just begun the massive urban renewal project in Paris for Emperor Napoleon III. Others owned by Queen Victoria include a spring- loaded cornucopia tripod set with turquoises hallmarked in London by William Nichols during 1854–1855.6 The Duchess of Kent (1786–1861) had a spiral version of her daughter’s tripod without gems engraved with the following, likely at the queen’s behest upon her mother’s death: PRODUCING POSIES M 1 Used Constantly by H.R.H. the Dutchess of Kent Obt. March 16, 18617 Similar tripods in this collection include #62 and #65 (see Plate 1), and several are in other collections.8 The wedding bouquet of Princess Alexandra of Denmark (1844–1925) was held in a diamond- encrusted crystal holder for her marriage to Queen Victoria’s son Albert, the Prince of Wales, in March 1863;9 and the event was apparently commemorated by Prince of Wales plumes on #112 (see Plate 2), hallmarked during 1863–1864. In her frst year in England the fashion- conscious princess was repeatedly presented with bouquet holders by wives of ofcials, regularly reported by the press. Upon her arrival in England for the wedding, she received a cornucopia holder from the wife of the mayor of Gravesend, where she debarked from the royal yacht fetching her from Denmark, then another from the wife of the lord mayor of London during her progress through the city toward Windsor Castle.10 In April of that year, she received one from the mayoress of Wisbech when the royal couple passed through on their return from Sandring- ham Hall, and in August she received one from the mayoress of Scarborough enroute from Wales.11 During a visit with Prince Albert to Birmingham in 1874, the mayoress presented her with a bouquet holder made by the city’s B.  H. Joseph & Co. (Figure  2),12 which also made two holders in this collection, #1 (see Plate 4) and #107 (see Plate 48). Princess Alexandra was famously close to her younger sister, Princess Dagmar of Den- mark (1847–1928), to the extent that during a visit of Dagmar and her family to London in the summer of 1873, they dressed in identical outfts 13 times.13 In 1866 Dagmar had married Tsarevich Alexander of Russia, and in 1883 her husband was crowned Emperor Alexander III, and she became Empress Maria Feodorovna. A FIGURE 2. B. H. Joseph & Co.’s bouquet holder collection assembled along with her daughter, presented to the Princess of Wales in Birmingham in November 1874. From the Illustrated London News the Grand Duchess Olga Alexandrovna (1882– Supplement, 14 November 1874. 1960), contained at least 39 holders, itemized in a 1920 inventory.14 In England, ladies of the court and at fashionable social gatherings would have had bouquet holders made entirely by hand like their other jewelry,15 whereas upper- class women likely owned the relatively small number of hallmarked holders and middle- class women owned the much larger number that were mass- produced. Silver jewelry manufactured in Britain, stimulated by inexpensive and plentiful silver from the Com- 2 M OVERVIEW OF BOUQUET HOLDERS stock Lode discovered in Nevada in 1859, is said to even have become “within the range of some artisans and even working girls.”16 Well- known Parisian jewelers won most of the top jewelry prizes at the seminal Great Exhibition in London in 1851, including the most prestigious prize won by F.- D. Froment- Meurice,17 and Empress Eugénie owned high- end bouquet holders in gold and gilt silver made by Froment- Meurice and Fossin.18 In 1840, a new era for French industry was said to have dawned, however, when “an ever- increasing number of industrial arts are winning patronage with their inventiveness and skill. A wide variety of small deco- rative objects and furnishings became accessible to people of quite modest means.”19 In 1862, makers of French imitation jewelry in gilt brass set with colored glass rather than precious gems received honors at the International Exhibition in London,20 their mate- rials matching in description those of French holders in the Smithsonian’s collection. Usage of bouquet holders was apparently less common in the United States, where little jewelry was worn until the mid- nineteenth century.21 A 30% tarif on silver im- posed by the Tarif Act of 1842 made imported silver jewelry expensive,22 but bouquet holders were nonetheless listed among the “most tasteful selection of rare and beautiful articles, suitable for presents, to be found in the city” in an 1846 advertisement for Thomas Crane Banks’s shop at 311 Broadway in New York City.23 The tarifs contributed to the development of domestic jewelry centers in Providence and Newark during the latter half of the century that produced bouquet holders #146 and #211 (see Plate 79), stamped “STERLING” by Providence- based Gorham.24 Two Birmingham-m ade holders in American museum collections owned by priv- ileged American women have rare, well-d ocumented dates for production ante quem in the industrial heart of England. The earlier holder is in the collection of Historic Hudson Valley at Sunnyside, then the home of the author Washington Irving. His niece Charlotte Irving lived there with her family while her uncle was ambassador to Spain from 1842 to 1846, and the holder was given to her by her husband, William R. Grinell, when they married in 1847 (Figure 3).25 Its box is marked with the name of the New York City jeweler Gelston & Treadwell at #1 Astor House, the address supporting the 1847 date.26 This silver bouquet holder has a mid-v ase collar with the same three stamped bifurcated petal fowers as those on Birmingham mass produced (BMP) fli- gree tripods #103 and #104 (see Plate 7) and four of six BMP fligree holders with extant fowers and the same curved handles end- ing in spheres on Plates 11, 13, and 14. Four of six with curved handles on Plates 13 and 14 also have curb chains like the Irving holder. Eight holders in older museum col- lections in New York, Boston, and Philadel- phia have similar curved handles ending in spheres, and six of them have the same curb chains and bifurcated petal fowers on FIGURE 3. Charlotte Irving’s bouquet holder (1847), mid-v ase collars (the other two have collars Sunnyside cottage. Historic Hudson Valley, Pocantico Hills, of oak leaves and acorns).27 Irvington, N.Y. (SS.75.21 a). PRODUCING POSIES M 3 A silver fligree tripod dated a decade later in the collection of the Museum of the City of New York has an oval plaque attached by a chain inscribed with the initials of Mary O. Havemeyer (1834–1865) and “Jan. 13th, 1858,” fve days before she wed J. Lawrence Elder (Figure  4). Thus, it provides important evidence for fligree production in Birmingham during the 1850s; notably, dates on it and on the Ir- ving holder are before designs began to be registered and employed on a BMP regular holder in 1863. The Havemeyer holder has the same stamped legs and small feet as four BMP fligree tripods (see Plates 8, 9) and the same fligree oak leaf and stamped acorn collar as BMP fligree #109 (Plate 9), #224 (see Plate 10), and two similar holders in other collections.28 Construction on in- ternal brass posts is no doubt similar for both dated holders to most BMP fligree holders in this collection. Mary Havemeyer was well- connected, a member of the wealthy Havemeyer family, a daughter of Frederick Christian Have- meyer (1807–1891), who was a cousin and partner of William Frederick Havemeyer (1804–1874) in one of the frst sugar refner- ies in New York City until William became New York City’s mayor. Her father subse- FIGURE 4. Silver tripod with filigree oak leaves and stamped quently formed Havemeyers & Elder, which acorns around rim and neck, married to stamped diamond- patterned tripod legs with small feet. An oval plaque on a included her husband and much younger chain at top of front leg is inscribed with initials of Mary O. brother Henry O. Havemeyer (1847–1907). Havemeyer and dated 13 January 1858. Courtesy of Museum In 1883, Henry married Louisine Waldron of the City of New York (MCNY 33.126.2). Elder, and with Mary Cassatt’s assistance, the couple formed an important collection of works by Degas, impressionists, and postimpressionists, many of which were be- queathed by Louisine to the Metropolitan Museum of Art in 1929. A gold fligree tripod inscribed “Consuelo,” also in the collection of the Museum of the City of New York, was owned by another member of New York society, Consuelo Yznaga (1853–1909), who is said to have carried it to the Prince of Wales ball feting Prince Albert during his visit to New York in 1860 when she was seven.29 Later, she and Consuelo Vanderbilt (1877–1964), her namesake and goddaughter, were among Ameri- can heiresses who married into the British aristocracy—termed buccaneers by Edith Wharton in her novel of that title.30 Consuelo Vanderbilt was one of the models for the protagonist of The Buccaneers, her enormous wealth having led to a famously unhappy marriage to the Duke of Marlborough in 1895, followed by a scandalous divorce in 1921. 4 M OVERVIEW OF BOUQUET HOLDERS FORMS AND FEATURES OF BOUQUET HOLDERS Most bouquet holders consist of a vase for a relatively small bouquet of fowers and a handle. Vases are more or less cone shaped, suitable for displaying fowers, and handles are more or less vertical for holding. Nearly all holders have a pair of chains for attach- ing accoutrements, a foral pin and a fnger ring. Among early types of holders is French #173 (see Plate 50), which matches an image among Parisian costumes in an 1834 French journal.31 Referred to here as a “sliding ring” holder (à lamelles et coulant in French), it has leaves that open for placement of fowers and a ring that slides upward to secure them. Since electroplating was not com- mercially available until about 1850, sliding ring #173 is largely made of brass coated with a lacquer to imitate gold. Other sliding ring holders of the same period were made out of horn, tortoiseshell, ivory, or gold, such as one marked by Fossin et fls in another collection dated between 1819 and 1838.32 This type of holder is mainly French, but a few later English holders can be described as sliding ring.33 Two other types of bouquet holders seem to have been made exclusively in France. Seven French firting mirror holders in this collection and 22 in other collections have reducing optics that enabled the user to surreptitiously observe who might be standing nearby at a ball or other social event.34 Dance card holder #129 (see Plate 57) and nine dance card holders in other collections include pencils for scheduling partners on ivory sheets.35 In England, holders that converted to tripods were popular, having the advantage that they could be set down with legs outspread, allowing one to more easily eat, drink, or dance. The earliest known tripod was hallmarked during 1844–1845 in Birmingham,36 and 21 English tripods are in this collection.37 Indian fligree tripod #64 (see Plate  82) essentially copied English tripods in form; and French tripods #216 (Plate  64), #114 (Plate 65), and at least fve in other collections follow English tripods in a general way. In contrast to most English tripods, however, French tripods were made mainly in gilt brass rather than silver and have curved rather than bifurcated legs and diferent feet. Twelve English holders mostly made in Birmingham refect the curving shape of an animal horn, including the early cornucopia-t ype brooch #100 hallmarked in Birming- ham during 1838–1839, English high quality (EHQ) tripods #62 and #65 (see Plate 1), BMP fligree mesh #122 (Plate 12), the six curved handled BMP fligree holders ending in spheres (Plates 11–14), miscellaneous probably English (MPE) oak leaf #11 (Plate 47), and MPE boar tusk #227 (Plate 48). Indian and Genoese fligree pin brooches #72 (Plate 83) and #239 (Plate 81) are also horn shaped, and German #231 (Plate 78) recalls a hunting horn, whereas none of the French holders are horn shaped. Among accoutrements attached by chains, a foral pin secured fowers in the vase by insertion through a hole or pair of opposite holes, sometimes reinforced by rings or short tubes, and the chain was usually attached mid-h older below one of the insertion holes. Alternative and/or additional methods for securing fowers include prongs inside the vase of seven English holders, beginning with the seminal brooch #100 (see Plate 1) hallmarked during 1838–1839 and followed by fve small BMP elegant holders and an elegant-t ype MPE brooch.38 Two or four prongs placed inside were angled downward “so that the fower stalks could be pushed in but not easily withdrawn.”39 As an alternative, fowers were kept in place by a long vertical spike at center of the vase inside seven PRODUCING POSIES M 5 French holders in this collection, 6 in the #216 subgroup on Plates 64 and 65 and French group 3 (FG3) #124, and 19 in other collections.40 A fnger ring secured the holder to its owner as a safety feature. More recent lit- erature reports that the holder was “usually suspended from a small ring, so that the bouquet could dangle while its wearer was dancing”41 and that “dancers would slip the rings over their fngers and swing the bouquets,”42 but such use has not been found in nineteenth- century literature. To this author a bouquet swinging back and forth upside down is preposterous. Blossoms would be damaged or lost, confrmed by an experiment using a nonmuseum bouquet holder. In lieu of a fnger ring, two small French bouquet holders for children have chain carrying loops, #148 and #222 (see Plate 63). If a holder is English, however, loops are probably later adaptations made after a foral pin and fnger ring were lost, as remain- ing chains were attached to each other.43 Attachment of holders to clothing on 16 English holders, most if not all made in Birmingham, again follows brooch #100 (see Plate 1) in attaching a good- sized wire- loop clip to the back of the vase (see Plate 84). Many with wire- loop clips have fnger rings as well, implying that they were also intended to be held. Two French holders, #136 (see Plate 59) and one in another collection,44 have a pair of sharp prongs on the back for attachment, but it is unlikely that they could be comfortably held, and neither has a fnger ring. Among six English vase brooches in Plates 45 and 46, three were attached by pins, two by wire- loop clips, and one by a clip at the top of a boutonniere; late Chinese vase brooch #116 (see Plate 85) was attached by a heavier fat clip with a rounded end. Indian fligree #72 and #98 (see Plate 83) and Genoese #229 and #239 (see Plate 81) have pins with barrel hinges for attachment.45 This collection does not have any brooches made in France, but two tubular glass pin brooches in other collections have foral designs painted in enamel and gilded, one of them retaining its original box with a French address.46 The majority of chains attaching accoutrements on bouquet holders are composed of round links, but a few other chains appear to be indicative of English or French makers and may be helpful in identifying the origin of a bouquet holder. On a given holder, chains were invariably of the same type when made, but it is hardly unusual to fnd dissimilar chains, indicating that at least one is a replacement. SUBJECT MATTER Subject matter varies to some extent according to country of manufacture. English hold- ers often feature plants and trees associated with England, such as thistles, acorns, and oak leaves.47 Also found are acanthus leaves with ancient world associations,48 and many holders have grape leaves, grape vines, and grapes, likely because of their design possibil- ities as well as associations with Bacchus and wine. Three diferent grape leaf and grape designs in this collection are found on nine BMP regular holders, and unique grape leaf designs are found on fve others.49 Other fruits are peaches or plums, pomegranates, strawberries, and cherries.50 Flowers include roses, pansies, morning glories, fuchsias, crocuses, clematis, and an edelweiss.51 Other fowers are generic or unidentifable52 and indiscriminately mixed with leaves. Ferns do not even have fowers, but Birmingham- 6 M OVERVIEW OF BOUQUET HOLDERS based Henry Jenkins & Sons registered a design with stylized fowers on ferns employed on #192 (see Plate 33) just two weeks after it had registered another design for a butterfy with the same small fowers on its wings.53 Butterfies were popular, and other fauna include birds and bees, usually amid fowers and foliage.54 Henry Jenkins & Sons also registered a design of a fox stretching his head upward toward grapes that illustrated one of Aesop’s Fables, which had become popular on ceramics for the moral education of children in the eighteenth century.55 Unable to reach the grapes, the fox fnally said that he did not want sour grapes anyway, supplying the meaning for the term sour grapes. Because of the importance of beavers in Canada’s early history, they are on three regular BMP holders in Canadian museum collections.56 Anthropomorphic forms on English holders include putti (or cupids) and neoclassi- cal heads.57 Mermaids and mermen that provided an excuse to depict the female body frequently appeared around this time on majolica,58 and three mermaid designs are on bouquet holders. In 1871 Henry Jenkins & Sons registered the design for a pair of naked winged mermaids in profle holding a garland, which appears on #187 (see Plate 29). A similar pair of belly-t o-b elly winged mermaids is on #141 and tripod #85 (both Plate 35), likely made by the frm, but its design was not registered. In 1872, Henry Jenkins & Sons registered a second mermaid (or siren from Greek mythology), this time full frontal holding her tentacles, which is employed on #199 (Plate 35). English motifs include three plumed ostrich feathers above a collet representing the Prince of Wales on EHQ #112 (see Plate 2), which was hallmarked in the year of his marriage (1863); a similar tripod in the Royal Collection; and BMP elegant holders in other collections likely also made then.59 The 1862 International Exhibition in London marked a movement toward classical and archaeological designs, notably the much- admired Castellani display in the style of “Etruscan” and Roman jewelry.60 Techniques such as granulation practiced by the Castellani may have been imitated by dies stamped on BMP regular holders thereafter.61 A Greek key motif on a piece by the French jeweler Mellerio lauded at the exhibition was also employed on EHQ tripod #158 (see Plate 3) and on a number of BMP regular holders.62 A half-n aked Native American woman with fowing curls wearing a feathered head- dress and bear claw necklace and holding tobacco leaves strategically across her chest is found on both BMP regular holders (Figure 5) and a French holder in another col- lection.63 Close examination showed that the English holders were not stamped using the same die as the French one; rather, they were likely copied from the same source, probably a tobacco advertisement similar to Figure 6. The fgure is in the tradition of a Native American woman representing America from the sixteenth century onward, such as the Allegory of America from the Four Continents (1580–1600) by the Netherlandish artist Adriaen Collaert.64 French holders most frequently reference eighteenth-c entury designs featuring scrolls, fowers, and foliage. Seven small French holders in le style cathédrale are known, such as FG1 #222 (see Plate 63) with tracery and the triforium passage of a French Gothic cathedral,65 and eight French holders have crown-l ike vases.66 Tulips and roses are represented, and foliage is mixed with the odd animal, mainly birds.67 A coiled snake, popular for the era’s bracelets and rings, rises above leaves on the vase of #28 (Plate 58). Replicates of cupid’s arrows form the vase of identical FG2 #138 and #185 (Plate 71). Anthropomorphic references are limited to silhouettes on FG1 #40 (Plate 51) and baby Bacchus heads on #54 (Plate 50), also on several French holders in other collections.68 PRODUCING POSIES M 7 FIGURE 5. Detail of half- naked Native American woman #88 (Plate 20) with long flowing curls wearing a feathered headdress and bear claw necklace and bearing tobacco leaves. FIGURE 6. James Moran & Co. advertisement for chewing tobacco (circa 1845) featuring a half-n aked Native American woman with long flowing curls holding tobacco flowers and leaves, likely similar to a tobacco advertisement that was the source for slightly different English and French Native American woman vases on bouquet holders. Library of Congress Prints and Photographs Division. Not surprisingly, fowers were also favored motifs for holders made in other coun- tries, including American #146 and #211 (see Plate  79) and German #170 and #183 (Plate 78). Four fligree holders made in Genoa have vases imitating fower petals, three of which also have heavier wire borders delineating fower petals atop leaves (Plates 80, 81), and Genoese vase brooch #229 (Plate 81) features a large three-d imensional silver fligree fower, bud, and leaves (see Figure 38). Similar twisted-w ire vases on three Chi- nese fligree holders probably depict the opening of fowers at diferent stages and holes for the insertion of foral pins are at the center of delicate wire fower petals (Plate 84). A fourth Chinese holder has a vase of diaphanous mesh leaves (#379, Plate 85). All four of these have essentially the same handle of fowers and leaves delineated in thick wire atop fne fligree mesh, a traditional Chinese technique,69 and three-d imensional wire- petal fowers with domical centers are on handle knobs (see Figures 29, 30). A later Chinese brooch (#116, Plate  85) has two fowers delineated on a small wire mesh vase atop a large, three- lobed leaf with thick veins (see Figure 31). Flowers in three diferent 8 M OVERVIEW OF BOUQUET HOLDERS sizes appear on the elaborate Indian fligree tripod #64 (Plate 82), the largest with many ball-h eaded stamens known as a Cuttack rose in reference to a major fligree center in India (see Figure 33). Small delicate fowers of wire petals with domical centers are also on #64 and the much fner fligree Indian #60 (see Figure 34, Plate 82), probably adopted from Chinese fligree, which by the late sixteenth century had a strong infuence on fligree in the Portuguese colony of Goa on the Indian subcontinent, an important stop on the trade route from China to Portugal.70 IMPORTANT COLLECTIONS OF BOUQUET HOLDERS Collections of bouquet holders in other museums and private hands, particularly those that have been published with good photographs, proved crucial for making connections between holders that resulted in attributions to country of origin. Relative numbers of holders in other collections may also approximate production in diferent countries and importation to the United States from diferent places. EUROPEAN COLLECTIONS The British Royal Collection has several of the most well-k nown bouquet holders in England. It has the two English tripods owned by Queen Victoria and her mother, the French holder given to her by Empress Eugénie, and Edmund Parris’s painting of Queen Victoria holding one at the Drury Lane Theatre (Figure 1). In addition, fve are identifed as English, and three are probably French, including one at Buckingham Palace with a pierced gold vase and mother-o f-p earl handle.71 Filigree bouquet holders collected in India for the India Museum and later acquired by the Victoria and Albert Museum (V&A) establish the origin of three similar fligree bouquet holders in this collection as Indian (see Plates 82, 83). Other bouquet holders are scattered in diferent departments at the V&A, including a second nearly identical Indian tripod, two holders made in Birmingham, and two made in France.72 In Paris, the collection of the Palais Galliera, the fashion museum of the city of Paris, is dominated by fve French holders.73 One or possibly two others are English, and one is German.74 Without equal is Bilgi Kenber’s collection begun in 1992, frst published in a 2005 catalog for an exhibition at the Musée Cognacq- Jay in Paris and subsequent catalogs for exhibits at three other venues. Not only are photographs of high quality, but essays are informative, and excellent detailed catalog notes by Wilfried Zeisler proved especially helpful for determining attributions of holders in this collection.75 As might be expected for a Parisian collection, 46% of the 110 identifed are attributed to France;76 33% are at- tributed to England, 6% to Germany, 5% to Genoa, and a few to each to six other places.77 Ten of the 12 holders in the collection of the Frederic Marès Museum in Barcelona exhibited along with the Kenber collection were also made in France. The 11th has a de- sign registered in Birmingham, and the 12th is a fligree holder likely made in Genoa.78 The catalog for part of the Kenber collection exhibited in Rome includes three high- quality French holders originally owned by Empress Eugénie, now in the collection of PRODUCING POSIES M 9 the Museo Napoleonico there. One was made by Émile Froment-M eurice and another by (Jules?) Fossin.79 Admiration of French culture by upper class Russians presupposes that French bou- quet holders would be popular in Russia, and among 19 holders from the Hermitage collection exhibited with the Kenber collection in St. Petersburg,80 15 are identifed as French.81 Some descriptions in an inventory of the Empress Maria Feodorovna and her daughter’s collection also ft French holders, which may have been imported or were gifts to please them.82 The empress enjoyed fne jewelry; the famous Fabergé easter eggs originated as a gift to her from the emperor in 1885.83 In addition to the French holders exhibited with the Kenber collection in St. Peters- burg, three Chinese holders from the Hermitage collection include one similar to three holders resembling fowers opening on Plate 84 but without a handle and two similar to #379 (see Plate 85).84 A catalog of a 2006 exhibition from the Hermitage at the Rijks- museum includes one of them and also has detail images of three multipiece fligree toiletry sets owned by Catherine the Great (two Chinese and one Indian) and other Asian fligree objects, providing useful documentation of fligree made in those places.85 A silver holder in the Hermitage collection quite diferent from other known holders has designs recalling the Asian steppe and seems likely to have been made in Russia.86 Two silver bouquet holders are listed in an 1899 Fabergé Moscow catalog.87 Sixteen of 39 bouquet holders in the inventory of the collection made by Empress Feodorovna and her daughter name places in the Russian orbit and were likely made in Russia. Inscriptions indicate that at least some were gifts during royal visits like those given to her sister, Princess Alexandra. One ofered by artisans of Narva, a town in Estonia on the Russian border, would surely have been made there. Another, one of three inscribed with the Russian name for Tbilisi in Georgia, is listed as being from the “2nd boy’s gymnasium” there.88 NORTH AMERICAN COLLECTIONS During the nineteenth century, Paris is said to have been favored for good-q uality jew- elry in the United States, whereas quantities of less expensive jewelry were imported to North America from London and Birmingham.89 Forty bouquet holders in older mu- seum collections on the Eastern Seaboard donated by descendants of the original own- ers are of particular interest as a measure of usage and importation to the United States. Among 16 holders in the collection of the Museum of the City of New York, 12 are equally divided among those made in England and France. Two others are almost cer- tainly Asian; and two ivory holders in the collection may be Asian but are of less certain origin, thus they are excluded from the total sum of imported holders.90 All six English MCNY holders were made in Birmingham: three BMP fligree-t ype tripods, one BMP fligree-t ype holder with a curved handle ending in a sphere, one cylindrically handled BMP fligree-t ype holder, and one BMP elegant-t ype holder with a pattern-i mpressed handle.91 Among the six MCNY holders made in France are two that are more elaborate and one probably made in Bresse.92 The origin of a gold fligree tripod said to have been taken by Consuelo Yznaga to the Prince of Wales ball has not been identifed with certainty, but India seems the most likely possibility; and a second Asian holder is Chinese.93 Of six holders in the collection of the New-Y ork Historical Society, four were made in 10 M OVERVIEW OF BOUQUET HOLDERS Birmingham. Three are BMP fligree- type holders, two tripods and one with a curved handle ending in a sphere; the fourth is a combined bouquet holder and watch stand matching a design registered by a Birmingham frm.94 Two others are French, one of them said to have been used at an 1855 wedding of prominent New Yorkers.95 All three holders in the collection of the Cooper Hewitt Museum were made in Birmingham. One is a BMP fligree- type tripod with an asymmetrical fligree vase, and a second is a BMP fligree- type holder with a curved handle ending in a sphere.96 The third is a tripod with a stamped vase indirectly related to BMP elegant holders in other collections.97 Of four holders in the collection of the Museum of Fine Arts, Boston, three are BMP fligree- type holders with stamped vases and curved handles ending in spheres.98 The fourth has a butterfy design registered by Robert & Josiah Walsham of Birmingham in 1870 and a spade- shaped handle associated with them, given to the museum by Mrs. Ralph Lowell, whose husband was considered the patriarch of Boston society.99 Of nine bouquet holders in the collection of the Philadelphia Museum of Art, six were made in Birmingham: four BMP fligree- type holders and two others.100 Two were made in France, and a Genoese fligree holder is nearly identical to #71 (see Plate 80), which has a Genoese lion- head mark.101 The Peabody Essex Museum in Salem, Massachusetts, one of the oldest continuously operating museums in the United States, has objects collected by the East India Marine Society (1799) obtained in China by ships that sailed from Salem. Of particular impor- tance is Chinese bouquet holder E45981, which retains its original box with a paper label reading “Cutshing Gold and Silversmith, New Street No. 8.” 102 The Costume Institute collection at the Metropolitan Museum of Art has three typi- cal gifts from female donors: a BMP fligree- type holder with a stamped vase and curved handle ending in a sphere, a gilt- brass French holder set with glass pearls, and a silver fligree holder probably made in India.103 Five others donated in 1938 by an architect and stage set designer are French (three FG2 types and two FG1 types); since it seemed unlikely that these holders were inherited, they were excluded when holders in older museum collections were tallied.104 In total, 24 of 40 bouquet holders in these seven museum collections were made in Birmingham, and none originated elsewhere in England. They comprise 60% of the total number of holders, surprisingly close to the 62% share of English holders in this collection. Of the 24, 19 BMP fligree- type holders include 9 tripods similar to 11 tri- pods in this collection beginning in Plate 7; 8 holders with curved handles ending in spheres similar to the 6 in Plates 11–14; and 2 with cylindrical handles similar to 4 in Plates 10 and 11. At 79% (of the 24), the percentage of BMP fligree-t ype holders among BMP holders in these older American museum collections is far higher than the 16% in this collection, and it supports a hypothesis that their purchase by wealthy Americans contributed to the ability of the most likely maker, Henry Jenkins & Sons, to build a large factory in Birmingham’s Jewellery Quarter in 1866 (see chapter 2). Of fve other BMP holders, three are related to BMP regular holders in this collection, the fourth is a tripod with the same stampings as the vase of BMP elegant #152 (see Plate 18), and the ffth is a bouquet holder/watch stand similar to a design registered by a Birmingham- based maker in 1874. Eleven French holders, all in gilt brass, are in these American collections at 28% of the total, again surprisingly close to the percentage in this collection at 30%. French PRODUCING POSIES M 11 holders also comprise slightly less than half the number of English holders, approxi- mately the same proportion as in this col- lection. Of fve other fligree holders in these American collections, two are likely from China, two are from India, and one is from Genoa; at 13% this number is twice as high as the 6% in this collection. Among more recent museum collections of bouquet holders, arguably the most selec- tive is at the Royal Ontario Museum (ROM) in Toronto after the 2009 acquisition of 42 high- quality bouquet holders from the col- lection of photographer Ed Gilbert, who had purchased them for use as props in Victorian- style photographs. Among the ROM dona- tion, 21 are identifed as English, of which at least 18 were made in Birmingham, and 17 are identifed as French.105 The French tri- pod shown in Figure 7 is key to connecting tripod #216 and other #216 subgroup holders to France.106 Already in ROM’s collection were two BMP regular holders featuring beavers, which match the earliest design on a bouquet holder vase registered in 1863 by Birmingham- based Henry Jenkins & Sons.107 The Musée national des beaux- arts du Québec has the same Jenkins beaver holder FIGURE 7. French gilt-b rass tripod with the same as two at the ROM. It also has two BMP reg- neckpiece and legs as #216 (Plate 64) and the same ular holders and a French holder.108 vase stampings as French group 1–type holders in other collections. Courtesy of Royal Ontario Museum (ROM In Tussie- Mussies (2016), Irene Deitsch 2009.123.38), Toronto, Canada. © ROM. illustrates her collection of 126 bouquet holders, the largest published in the United States prior to this one. Like those in the Kenber catalogs, the good- quality images proved essential for assigning attributions of holders in the Smithsonian’s collection.109 Of 103 holders identifed, French holders in the collection are more common at 53% than English holders at 35%.110 Three were made in Germany, one was made in the United States, and three each in silver fligree were made in China, Italy, and India. Finally, the slim 1987 volume of 75 holders by Jeri Schwartz flls many gaps in spite of its small black- and- white images. Of 64 holders identifed, half are English, and 1 is Scottish; 17 (27%) are French, 1 is German, 1 is American, and 12 are in fligree (6 proba- bly Genoese, 3 Indian, and 3 Chinese).111 12 M OVERVIEW OF BOUQUET HOLDERS NOTES 1. For a more detailed history, see Bilgi Kenber and Wilfried Zeisler, Qu’est- ce qu’un porte bouquet?, in Porte- bouquets (Paris: Paris Musées, 2005), 14–26. An updated English version (also in Catalan and Spanish) is available in Bouquet- Holders, Porte-b ouquets: Insòlites joies de la collecció Kenber, Quaderns del Museu Frederic Marès Exposicions 14 (Barcelona: Ajuntamento de Barcelona, 2008), 364–378. A rather breathless early account of bouquet holders at a Paris ball is in the Parisian Manual of Taste and Fashion, World of Fashion and Continental Feuilletons, 1 March 1834, 57. 2. Charlotte Gere and Judy Rudoe, Jewellery in the Age of Queen Victoria: A Mirror to the World (London: British Museum, 2010), 23. 3. Porte- bouquets, 14, 16, 23, 40, 42, 44, 45, 46, 47, 51; Porte- bouquets: Insòlites joies, 28, 87; Irene Deitsch, Tussie- Mussies: A Collector’s Guide to Victorian Posy Holders (Palo Alto, Calif.: Marene, 2016), 9, 27, 43; B. Kenber and T. N. Kosouro, Portbukety XIX – nachala XX veka iz [Porte- bouquets of the 19th to early 20th century] (St. Petersburg: Hermitage, 2015), 26, 29, 35, 36. It is usually impossible to identify holders in these images. 4. RCIN 4786, illustrated in Gere and Rudoe, Jewellery in the Age of Queen Victoria, 50. 5. Porte- Bouquets, 20. 6. RCIN 4785. 7. RCIN 52626. 8. Kenber 107, Deitsch 45 and 77, and Schwartz 18 (bottom right). Jeri Schwartz, Tussie Mussies: Victorian Posey Holders (Hartsdale, N.Y.: Author, 1987). 9. The bridal bouquet holder was a present from Albert’s friend, the Maharajah Duleep Singh, illustrated in Gere and Rudoe, Jewellery in the Age of Queen Victoria, 60, 62. 10. Facts in Art, Science, and Literature, John Bull, 21 February 1863, 124; Arrival and Reception of the Princess Alexandra, John Bull, 14 March 1863, 164. 11. General Intelligence, John Bull, 25 April 1863, 268; The Royal Visit to Halifax, Ripon, and the North, John Bull, 8 August 1863, 54. 12. The Royal Visit to Birmingham, Illustrated London News Supplement, 14 November 1874, 470. 13. Jane Ridley, Heir Apparent (New York: Random House, 2013), 204. 14. The collection has not survived, but the inventory at the Gatchina Palace outside St. Petersburg where the family lived has been transcribed into French by Wilfried Zeisler. Porte- bouquets, 214–215. 15. Charlotte Gere, American and European Jewelry 1830–1914 (New York: Crown, 1975), 32. 16. Shirley Bury, Jewellery 1789–1910: The International Era (Woodbridge, Suffolk, U.K.: Antique Collectors’ Club, 1991), 347, 362; Shena Mason, Jewellery Making in Birmingham 1750–1995 (Chichester, U.K.: Phillimore, 1998), 68. 17. Henri Vever, French Jewelry of the Nineteenth Century (1908), trans. Katherine Purcell (London: Thames & Hudson, 2001), 253, 469. 18. Three bouquet holders in the collection of the Museo Napoleonico in Rome came down from Empress Eugénie to the Bonaparte family. Gold sliding ring holder MN 469 made circa 1855–1860 by (Jules?) Fossin has leaves similar to Kenber sliding ring 8, marked Fossin et fils (1819–1838). MN 467 by Émile Froment- Meurice in gilt silver and enamel set with pearls is dated 1866–1867, similar to Kenber 70 also with his mark. MN 471, in gilt silver enameled and set with pearls, is similar to Kenber 100 marked by Georges Kienlé. Fiori freschi: Porte- bouquets, inconsueti gioielli del XIX secolo (Rome: De Luca, 2007), 4–5. 19. The Duc de Luynes is quoted by Vever, French Jewelry, 450. 20. Gere and Rudoe, Jewellery in the Age of Queen Victoria, 270; The French Court at the International Exhibition, London Times, 27 June 1862, 10. 21. Gere, American and European Jewelry, 28 22. Tariff protection continued through the century. Charles L. Venable, Silver in America, 1840–1940: A Century of Splendor (New York: Abrams, 1995), 19. 23. Morris National Press, 14 February 1846, 3. 24. American makers often stamped “STERLING” on silver during the latter half of the nineteenth century and twentieth century without official assays. A holder with decoration similar to #211 has Gorham stamps followed by “STERLING 61” (accessed 25 May 2023 as Gorham Sterling Tussie #61 on the website of Antique Cupboard, https://www.antiquecupboard.com, but after being sold the item is no longer listed). The only other American holder found in other collections is high- quality gilt- silver Kenber 85, stamped “STERLING SILVER,” probably made by an elite jeweler in a major American city. 25. Historic Hudson Valley SS.75.21. Cynthia Smith, Silver and Sentiment: WHI Fellow Cynthia Smith on Charlotte Irving’s Bouquet Holder, https://hudsonvalley.org/article/silver- and- sentiment- whi- fellow- cynthia- smith- on- charlotte- irvings- bouquet- holder/ (accessed 5 June 2023). 26. Gelston & Treadwell was located at the Astor House address from 1844 to 1848. Martha Gandy Fales, Jewelry in America 1600–1900 (Woodbridge, Suffolk, U.K.: Antique Collectors’ Club, 1995), 269. The firm received goods in New York from the Steamship Cambria arriving in 1848 from Liverpool, a likely port for exportation from Birmingham. Foreign Importations, New York Herald, 20 January 1848, 4. 27. Of the eight in other collections, three are at the BMFA, and one each is in the collections of MCNY, NYHS, C- H, PMA, and MMA, detailed in endnotes for the respective museums. Two without collar flowers are C- H 1959- 58- 1 and BMFA 45.534, having instead oak- related collars and round- link chains, elongated on the latter; whereas the other six have the same bifurcated collar flowers and curb chains as the Irving holder. 28. Tripod MCNY 39.172 has the same collar and legs, and C- H 1959- 58- 1 has the same collar with a curved handle ending in a sphere. 29. MCNY 32.271.1. Consuelo Yznaga was an heiress, born and raised in New York, where her father was a Cuban diplomat. The tripod was given to the museum in 1933 by her younger sister, Natica Yznaga (1856–1943), who became Lady Natica Lister- Kaye when she married Sir John Pepys Lister- Kaye. 30. In 1876, Consuelo Yznaga married George, Viscount Mandeville, becoming the Duchess of Manchester when her husband succeeded to the dukedom in March 1890. Edith Wharton adopted the term buccaneer for American heiresses who “invaded” the British aristocracy (by marriage) during the Gilded Age from John Esquemeling’s The Buccaneers of America (1678), which was about the entry of gentle pirates into American society during the seventeenth century. Edith Wharton, The Buccaneers (1938), completed by Marion Mainwaring (New York: Viking, 1993). PRODUCING POSIES M 13 31. The image matching #173 is among “Costumes parisiens” in the Journal des dames & des môdes (30 September 1834), pl. 3227; reprinted in Porte- bouquets, 22. In 1835, sliding ring holders were identified for potential patenting in France. Porte-b ouquets, 28–29. 32. Early French sliding ring holders include Kenber 5 in horn, Kenber 6 in ivory, Kenber 7 in tortoiseshell inlaid with gold, and Kenber 8 in gold and turquoise by Fossin et fils (1819–1838). A sliding ring holder by Jules(?) Fossin was owned by Empress Eugénie (see Note 18). 33. Sliding ring leaves are on the vase of English Hughes tripod 247 (top row, left), which has the same stamped floral legs as BMP filigree #382. BMP elegant- type gilt- brass Kenber 34 and Deitsch 84 have sliding ring vases with the same handles as elegant gilt- brass #74. G. Bernard Hughes, Small Antique Silverware (New York: Bramhall House, 1957). 34. Mirrored holders are FG1 #55 and FG2 #9, #42, #137, #145, #240, and #383 (mirrors missing); #38 has related frames containing glass ovals. In other collections, 13 FG1- type mirrored holders are Deitsch 48, 62, 79, and 89; Kenber 23, 24, 25, and 62; Schwartz 21 (upper left); ROM tripod 39; and Hermitage 1, 2, and 3. Nine FG2- type mirrored holders are Kenber 22; Deitsch 21, 71, 85, 94, and 106; MMA 38.23.410; MNBAQ 1958- 502; and Hermitage 15 (mirrors missing). 35. Six similar FG1- type dance card holders in other collections are Kenber 25, Deitsch 40, Schwartz 12 (bottom left), Laufer 90, Moretz 17, and Hermitage 1. Three others—Kenber 54 and Deitsch 78 and 79— seem more evolved and were probably made later in the same workshop. Geraldine Adamich Laufer, Tussie- Mussies. New York: Workman, 1993; James Moretz, Posey Bouquet Holders: An Alluring Victorian Fashion, Chicago: Flowerian, 1984. 36. Deitsch tripod 122 hallmarked by Nathaniel Mills. 37. Seven EHQ, 11 BMP filigree, and 3 BMP regular tripods. 38. Later holders with interior prongs are BMP elegant #27, #29, #51, #152, and #223 and MPE brooch #78, which has elegant- type stampings. Kenber catalog notes report four elegant- type holders with prongs, but such details have not been reported for holders in other collections. 39. G. Bernard Hughes, Small Antique Silverware (New York: Bramhall House, 1957), 189. 40. In other collections a spike is in Kenber 20, 21, 28, 46, 48, 63, 109, and 113; Deitsch 57, 71, 85, 96, and 105; Marès 6 and 9; Schwartz 21 (two, bottom center and right); ROM 16; and Hermitage 16. 41. Margaret Flower, Victorian Jewellery (South Brunswick, N.J.: Barnes, 1967), 142. 42. Gary James, Posy Holder Collection Revives Memories of the Victorian Age, Florists’ Review, 17 April 1980, 31. 43. The floral pin chain on BMP filigree tripod #67 now forms a loop with the finger ring in the middle, apparently following loss of the floral pin. BMP elegant #27 was further changed; its adjustable finger ring is now around the handle, and the other end of its chain is now attached to the floral pin chain, apparently after the floral pin was lost (an irregularity near the middle of the new chain indicates where the two chains were combined). This does not create a viable carrying chain, however, because the finger ring is too large to stay in place on the handle. The likely original configuration can be seen on Deitsch 99, a similar holder that also has an adjustable finger ring. A French example of chains joined after accoutrements were lost is Hermitage 2, a mirrored holder with an enameled copper handle that now appears to have a carrying loop. 44. French Schwartz 20 (upper right) has a similar pair of prongs on the back of a vase married to a French enameled copper handle. 45. The three attached by pins are MPE #101, #119, and #257, and the two attached by wire-l oop clips are MPE #78 and #93; the sixth is attached by a clip for a lapel buttonhole, boutonniere #238. Gilt-s ilver Chinese filigree holder #116 is attached by a heavy clip on the back. Indian filigree pin brooches #72 and #98 have barrel-h inged pins, as do Genoese filigree brooch #239 and filigree-a nd-b lue-g lass brooch #229. 46. Deitsch pin brooch 18, of tubular glass, has its original box with a printed label reading “Arthur Bertrand & Beranger, 46 Rue de Rennes, Paris.” Kenber 123 is a similar glass pin brooch. 47. Thistles are featured on the neck of elegant #51, but on other holders they are more subsidiary: below a rose on regular #166 and at the base of fox-a nd-g rapes stampings on #4, #7, #56, and #182. Filigree oak leaves are on vases of BMP filigree #113 and #384, and collars of filigree oak leaves with stamped acorns are on BMP filigree #109 and #224. Stamped oak leaves and acorns are also on regular #139, MPE #83, and MPE boutonniere #238, and an acorn is the tail on the loop handle of BMP elegant #51. 48. Acanthus leaves are on BMP filigree #61 and #382. 49. The three designs of grapes leaves and/or grapes on multiple BMP regular holders are (1) #8, #22, #57, and #197; (2) #12, #214, and #220; and (3) #33 and #162. Unique grape leaves are on BMP filigree #89; elegant #37; and regular #14, #172, and #212. 50. Large round fruit, probably peaches or plums, are on regular #90 and #143. Pomegranates are on regular #380. The same strawberry stamping with its calyx is on filigree #135 and #203. Different depictions of smallish round fruit hanging from stems, probably cherries, are on regular #17 and #25 and Birmingham- made MPE #32. 51. The same large roses are on regular #186 and #236, and a smaller version of that rose is on #166 with thistles below. Pansies are on elegant #237 and regular #168, morning glories are on regular #87, fuchsias are on regular #13, crocus petals are on the neck of filigree #209 and regular #1980.026, clematis are on regular #69 and #87, and an edelweiss is on MPE #257. 52. Difficult- to- identify or generic flowers are on BMP regular #192 and #204 and atop wire- mesh panels forming the upper vase of BMP filigree tripod #67. 53. Henry Jenkins & Sons registered the fern design on #192 as no. 229631 on 27 May 1869. The firm had registered the same flowers on butterfly wings as no. 229393 two weeks earlier on 13 May 1869. 54. A butterfly stamping registered by Robert & Josiah Walsham appears on regular #59 and #191; another version registered by Henry Jenkins & Sons is on two Hughes 247 holders married to tripod legs and a hexagonal handle (top row, second from left, and second row, fifth from left, respectively). Different birds are on regular #13, #17 (a diving duck), #164, and #204 and MPE #32 and #78. A bee is on a leaf adjacent to a flower on regular #171. 55. The fox-a nd-g rapes design registered in 1871 by Henry Jenkins & Sons is on regular #4, #7, #56, and #182. A different design of the same fable is on an eighteenth-c entury Worcester jug. Aileen Dawson, The Art of Worcester Porcelain 1751–1788: Masterpieces from the British Museum Collection (London: British Museum, 2007), 46–47. 56. Beavers are featured on two BMP regular holders in the collection of ROM in Toronto (983.10.2.1 and 983.10.2.1.2) and one in the collection of MNBAQ (1967.162). They match design no. 167551 for “a basket &c.” registered by Henry Jenkins & Sons in 1863, except that leaves were trimmed to fit on the vases. A third bouquet holder with a similar beaver and maple leaf design is also in the ROM collection (994.69.1). 14 M OVERVIEW OF BOUQUET HOLDERS 57. Putti are on BMP regular #110, a design registered by Henry Jenkins & Sons in 1871, and classical heads are on EHQ #91 (three helmeted warriors in profile) and MPE #202 (a goddess-t ype head on the crest). 58. For example, back-t o-b ack winged mermaids holding garlands form the handles of Minton & Co.’s Azeglio Vase (circa 1857–1860) designed by Thomas Kirby and are also on Wedgwood & Sons’ Mermaid Clock and Vase (circa 1871) by Hugues Protât. Susan Weber, Catherine Arbuthnott, Jo Briggs, Eleanor Hughes, Earl Martin, and Laura Microulis, eds. Majolica Mania: Transatlantic Pottery in England and the United States, 1850–1915 (New Haven, Conn.: Yale, 2020), 2.62, 2.138–139, 2:142–143, 2:173–174. 59. RCIN 46276 is almost identical to #112, and ROM tripod 15 has Prince of Wales plumes above faux- filigree spirals between acorn stampings and five loops above a flower around the rim, providing it with an elegant- type attribution. 60. Gere and Rudoe, Jewellery in the Age of Queen Victoria, 265–270, 398–436. 61. For example, stamped imitation granulation on BMP #5, #15, # 59, #70, and #73. 62. “The best French jewelry will be found in the case of Mellerio . . . Take the diamond head ornament, in which the Greek key prevails.” Robert Hunt, Handbook of the Industrial Department of the Universal Exhibition 1862 (London: Stanford, 1862), 2:454. Mellerio’s Greek key ornament is illustrated in Gere and Rudoe, Jewellery in the Age of Queen Victoria, 265–266. A crystal tripod with a Greek key band at the rim was shown at the 1862 London exhibition by Howell, James & Co., illustrated in Bury, Jewellery, 457; and it was copied in gilt silver by Alexander Macrae on #158 and others not long thereafter. The same Greek key stamping is on the vases of five BMP regular holders in this collection, #6, #163, #180, #189, and #217, as well as rotated 90° on Hughes 247 (bottom row, third from left). On the vase of #163, Greek key stampings were so closely mixed with a cruet handle registered by Henry Jenkins & Sons in 1873 that it would seem almost certain that the firm owned the Greek key die, too. In addition, a fragment of a Greek key design is found at the base of winged mermaids on #187, registered by Henry Jenkins & Sons in 1872 as no. 261193. Knight & Durant’s #190 registered in 1874 also has a Greek key band in the middle of the vase. 63. The Native American woman is on the vases of BMP regular #1980.026, #10, #88, and #160 and forms the handle of #88 as well. Nearly the same Native American woman is on Deitsch 90 atop a French enameled handle. 64. Adriaen Collaert, Allegory of America, from The Four Continents, 1580–1600, https://www.metmuseum.org/art/collection/search/385674 (accessed 25 May 2023). 65. Gere, American and European Jewelry, 20–21. Similar medieval cathedral-i nspired vases are on Deitsch 72 and 96, Marès 2, Schwartz 24 (top, third from left), Kenber 29, and Galliera 1990.121.1. 66. Perhaps the best example of a crown-l ike vase rim is on FG1 #94, but similar features are on #44, #53, #142, #148, #155, #156, and #218. 67. The same small, red-d yed ivory tulips are on FG1 #155 and #130, and three small carved red-d yed ivory roses are on #130. A large ivy leaf alternates with mirrors on opposite faces of FG2 #38, and grape leaves and grapes decorate FG1 #221. Birds are on FG1 #40 and #235, which also has a floral swag, and silhouettes of a flower and bird are on #40. 68. The baby Bacchus head with grapes around his temple is on Kenber 113, Deitsch 57, and ROM 16. 69. Notably, part of a headdress of filigree net dragons from the tomb of Emperor Wanli (1573–1620). Maria Menshikova, Silver Wonders from the East: Filigree of the Tsars (Amsterdam: Lund Humphries, 2006), 22. 70. Two small gold filigree baskets made in Goa during the late sixteenth century owned by the Hapsburg Juana of Austria (1535–1573), daughter of Charles V and sister of Phillip II of Spain, apparently made their way through the family to Vienna and are now nos. 995 and 1000 in the Kunstkammer of the Vienna Kunsthistorisches Museum. Karl Rudolf, Exotica bei Karl V., Philipp II. und in der Kunstkammer Rudolfs II, in Exotica: Portugals Entdeckungen im Spiegel fürstlicher Kunst- und Wunderkammern der Renaissance, ed. H. Trnek and S. Haag, Jahrbuch des Kunsthistorischen Museums Wien 3 (Mainz, Germany: von Zabern, 2001), 185–187; Menshikova, Silver Wonders from the East, 21–23. 71. Five other English accessions in the Royal Collection include RCIN 60643, a pair of vases for an automobile, hallmarked during 1901–1902; RCIN 1634 (not seen), a fox-a nd-g rapes vase (likely the same vase as BMP regular #4, #7, #56, and #182); RCIN 1636 (not seen), a gilt-b rass vase with spirals decorated with pink “stones” and a fancy carved mother-o f-p earl handle ending in a two-d imensional feather scroll (probably the same faux-f iligree spirals as BMP elegant #29 and #223 and handle as #37 and #225); RCIN 1637 (not seen), a gilt-b rass vase with an alternating acorn design, a wire-l oop clip on the back, and a fancy carved mother-o f-p earl handle ending in a two-d imensional “scroll” (probably the same holder as elegant #152 with a wire-l oop clip similar to four elegant holders and a carved mother-o f-p earl handle similar to those on Plates 18, 19); and RCIN 46276, a silver tripod with Prince of Wales plumes (same tripod as EHQ #112, including the chain). RCIN 3461 has French characteristics, a pierced gold blossom-l ike vase and mother-o f-p earl handle, which could qualify as the lost Haussmann holder along with two additional holders unavailable for examination, RCIN 1635 in gold filigree, and RCIN 53901, a gilt and tortoiseshell holder. Three items listed in Porte-b ouquets could not be found on the website of the Royal Collection: RCIN 18303, a faceted glass holder; RCIN 484560, a silver holder; and RCIN 1014431, “used by Queen Victoria at the opening of the Great Exhibition.” Porte-b ouquets, 214. 72. V&A S.11-1 987 in the Cyril Beaumont Bequest is similar to tripod #64 and one from the India Museum. V&A 67-1 899 is a BMP elegant-t ype holder with the same flower stampings on the vase as #51 and #152, acorn stampings as #152, and handle as #74. Brooch M.20-1 977 in the form of a hand holding a vase bears a “patent” stamp referring to Joseph Joseph’s 1873 patent, similar to those on EHQ #1 and MPE #107. It also has registry marks for no. 274802 submitted 4 August 1873 by B. H. Joseph & Co. Two FG1-t ype holders given by Messrs. Harrods Ltd. the same year have typical FG1-t ype mother-o f-p earl handles with bands around them for attachment of finger-r ing chains. T.744-1 913 has an FG1-t ype gilt-b rass vase, the same plain neck funnel as FG1 #215 and Kenber 29, and an FG1-t ype petal cap like them. T.743B-1 913 has a gilt- and silver- plated brass vase and a gilt- brass crimpable chain on the handle similar to #49 and #216 in the FG1 #216 subgroup; the same five-t orc collar as FG1 #53, #142, and #156; and the same partial-f lower neckband as FG1 #142, #156, and #235. 73. Galliera 1993.349 is an ivory sliding ring; its handle is shaped similarly to ivory handles of sliding ring holders Kenber 6 and Deitsch 101 and gold-c oated brass ROM 1 and ROM 2. Four FG1-t ype holders are 1990.121.1, with a crocket in le style cathédrale on the vase and an engaged glass handle (the same cup at the base of the vase, engaged glass handle, and pointed cap as FG1 #148); 1990.117.1, a gilt-b rass vase with mirrors and a mother-o f-p earl handle (same neckpiece as FG1 #77, Hermitage 5, and Deitsch 83, with an enameled copper handle); 1990.117.2, a gilt-b rass cutout sheet vase with a ball-h eaded floral pin, mother-o f-p earl handle, and an FG1-t ype band for attachment of the handle chain (sheet vase similar to FG1 #136, same petal cap as FG1 #43, #45, and #228; and same plain neck funnel as FG1 #215 and Kenber 29); and 1920.1.2774, a gilt-b rass vase of wire loops encompassing coral and leaves to which small glass beads are PRODUCING POSIES M 15 attached by wires, a ball- headed floral pin, a flat petal collar atop a plain neckband, and a bold mother- of pearl handle (coral and beaded leaves similar to Kenber #55, Hermitage 5, and Deitsch 76; ball- headed floral pin similar to Hermitage 5 and Deitsch 76; and the same flat petal collar as FG3 #124). 74. Galliera’s English 1990.121.2 is a gilt- brass holder with a vase of alternating acorn and flower stampings and a curled diamond- patterned- sheet handle (same alternating acorn and flower stampings on the vase as BMP elegant #152 and essentially the same sheet handle as elegant #74 with lozenge patterning). Holder 1995.97.2 is a silver holder set with a large glass gem, most likely English because it is in silver, but it could have been made elsewhere (same as Roe 355). Holder 1995.97.1 has the same neck, accoutrements, and handle as German #170, and its vase stampings are also similar. F. Gordon Roe, Four Hundred Bouquet Holders, Apollo 126 (June 1935):354–358. 75. Porte- bouquets, 66–191. 76. Kenber holders identified as made in France include 2–8, 11, 13–15, 18–30, 42–48, 53–56, 61–65, 70, 99–104, 109–110, 113, and 123, for a total of 51. 77. English holders in the Kenber collection include 12, 31–35, 49–52, 57, 66, 67, 84, 86–88, 90–95, 97, 98, 105, 106–108, 111, 112, 116, 117, 122, and 124, for a total of 37. They are mainly high- quality and elegant types made in Birmingham, but four are BMP regular holders. Kenber gilt- brass 105 has registry marks on the same vase as regular #201 submitted in 1870 by Robert & Josiah Walsham. It is married to a cornucopia handle that is the same as on regular #33, #162, #236, and another holder married to a butterfly vase registered by the Walshams in 1871 with a ball chain (accessed as j1283 on 2 May 2023 but no longer available on the Antique Cupboard website, https:// www.antiquecupboard.com). In addition, Kenber gilt- brass 106 has a cornucopia vase registered by Robert & Josiah Walsham in 1870, a ball chain, and a plain figure- eight loop handle. The same cornucopia vase is on a holder with the same handle as regular #70 and #165 (https://www.1stdibs.com/furniture/more- furniture- collectibles/collectibles- curiosities/collectible- jewelry/antique- victorian- silver - plated- tussie- mussie- wedding- bouquet- holder/id- f_30360882/ [accessed 15 June 2023]), and it has the same plain figure- eight loop handle as regular- type ROM 26, which has a vase with stampings separated by a row of dots like regular #31, married to a plain loop handle like three other regular holders in Plates 21 and 22. Kenber gilt- brass 11 has grape leaves and grapes similar to regular #172; and Kenber gilt- brass 112 is the same holder as regular #90 and #243 except that it also has green glass gems. Those from other locations include Germany (16, 17, 36–40, for a total of 7); Genoa, Italy (41, 73, 74, 80, and 81, for a total of 5); and India (76, 78, 79, and 83, for a total of 4). Two each were made in China (71, 72) and Russia (118, 120?), and one each was made in Sweden (69), the United States (85), the Netherlands (119), and Austria- Hungary (125). Fourteen holders of uncertain origin are 1, 58, 60, 68, 75, 77, 82, 89, 96, 114, 115, 121, 126, and 127. 78. Porte- bouquets: Insòlites joies. The 10 FG1- type holders in the Marès collection are catalog 1, no. S- 1886, French- type gilt- brass stampings set with glass gems and mother- of- pearl handle (same as Deitsch 82); catalog 2, no. S- 1889, a gilt- brass Gothic- style vase and teardrop engaged glass handle (same engaged glass handle and gilt- brass cap as FG1 #148); catalog 3, no. S- 1883, a gilt- brass vase, oval loop- in- loop chains including a carrying chain, and engaged glass spiral handle (same chains, carrying loop, engaged glass spiral handle, and gilt- brass cap, as FG1 #222; and ornaments hanging from the rim are similar to those on FG1- type Kenber 71); catalog 4, no. S- 1884, a gilt- brass vase of leaves, torc collar, and mother- of- pearl handle (same torc collar as FG1 #53, #142, and #156; leaves and torc collar as FG1- type Kenber 27); catalog 5, no. S- 1885, gilt- brass vase with cupids and swags, partial- flower neckband, and mother- of- pearl handle with an FG1- type band for the finger ring chain (same swags as FG1 #235 and partial- flower neckband as FG1 #142, #156, and #235); catalog 6, no. S- 1887, an enameled gilt- brass vase with a spike, bold mother- of- pearl handle, and an FG1- type band for the finger ring chain (same spike as six FG1 #216 subgroup vases and FG3 #124; and handle as FG3 #150 and #157); catalog 7, no. S- 1888, an enameled gilt- brass vase with a guilloche strip at the rim, spiral J- shaped mother- of- pearl handle, and oval loop- in- loop sheet link chain (same guilloche strip as FG1 #52, #80 in part, and #142; and oval- link chain as FG1 #148 and #222 and 17 French holders in other collections); catalog 8, S- 1890, a silver vase and stamped neckband, a distinctive chain ending in a ball- headed floral pin, and a bold mother- of- pearl handle (handle similar to those on FG3 holders and same chain as FG1- type Kenber 19, Deitsch 25, and Deitsch 93); catalog 9, S- 1892, a stamped silver vase with a center spike and silver neckband, contrasting gilt- brass ornaments and handle cap, separately attached crimpable gilt- brass chains, and an FG1- type enameled handle (same neckband as FG1 #130, Kenber 21, and ROM 16; center spike, contrasting ornaments, and separately attached crimpable chains as holders in the FG1 #216 subgroup); and catalog 10, S- 1894, a gilt- brass vase and bold mother- of- pearl handle with an FG1- type band for attachment of the finger ring chain (typically French materials and similarly shaped mother- of- pearl handle to ROM 34 and 36). Catalog 11, S- 1891, is a silver holder with registry marks on the vase for no. 237928, submitted 3 January 1870 by Robert & Josiah Walsham of Birmingham, with a spade handle associated with them and an English- type cotter pin (same holder as regular #201). Catalog 12, S- 1893, is a silver filigree vase with Genoese- type filigree (flower petal vase similar to four Genoese holders in this collection, loose spirals similar to brooch #237, and raised bands similar to Schwartz 16 at lower right). 79. See Note 18. 80. Little seems to be known regarding the provenience of Hermitage holders before Soviet Russia, but it seems likely that at least some came from Russian imperial collections. Kenber and Kosouro, Portbukety XIX – nachala XX veka iz, 202–223. 81. Hermitage holders identified as French are catalog 1, no. 852, a mirrored FG1- type gilt- brass dance card vase with small loops around the rim, a petal cap above the neckband, and a mother- of- pearl handle (dance card holder similar to Moretz 17, Schwartz 12 at bottom left, and Deitsch 89; and the same petal cap as FG1 #43, #45, and #228; Hermitage 7 and 11); catalog 2, no. 857, a mirrored FG1- type gilt- brass vase with points around rim, an enameled copper handle with gold and silver paillons, and an oval loop- in- loop sheet chain, almost certainly two chains joined after their accoutrements were lost (same vase points, petal cap, and chain as FG1- type Kenber 13, same paillons as FG1 #52 and #232, and same chain as FG1 holders); catalog 3, no. 853, a mirrored gilt- brass vase with Atlas figures upholding shells, torc collar, and bold mother- of- pearl handle with an FG1- type band around the handle (same Atlas figure as FG1- type MCNY 45.61.1 and torc collar as FG1 #53, #142, and #156); catalog 4, no. 860, a gilt- brass vase with bright enameling (green leaves, purple grapes, and red roses) and large hanging fruit shaped like footballs, graduated dot strips on the upper vase and spanning the vase and neck, and a spiral mother- of- pearl handle (graduated dot strips similar to FG1 #235 and a mother- of- pearl handle similar to FG1 #184 and Hermitage 5); catalog 5, no. 854, gilt- brass vase loops encompassing coral and leaves with small wire- attached coral- colored glass beads, gilt- brass neckpiece, mother- of- pearl spiral handle, and ball- headed floral pin (vase encompassing coral and beads similar to Deitsch 76, Kenber 55, and Galliera 1926.1.2774, which also have ball- headed floral pins; same neckpiece as FG1 #77; and mother- of- pearl handle similar to the previous holder); catalog 7, no. 855, a large bold gilt- brass vase with graduated dot strips, petal cap above a stamped neckband, and bold mother- of- pearl handle with an FG1- type band around it (same petal cap as FG1 #43, #45, and #228 and FG1- type Hermitage 1 16 M OVERVIEW OF BOUQUET HOLDERS and 11, same graduated dot strips as FG1 #235 and Hermitage 4, and handle similar to FG3 holders); catalog 8, no. 856, a gilt- brass vase of feathers enclosed by a loop, oval cups above a plain neckband, and mother- of- pearl handle (same feathers as FG2 #138 and #185 and FG2- type Kenber 53; multiple oval cups above the neckband as FG2 #240, Deitsch 71, and Kenber 65; and handle similar to FG2- type ROM 36); catalog 9, no. 861, an enameled gilt- brass vase with turquoise and red glass gems, also on the finger ring; and an FG2- type mother- of- pearl handle with an FG2- type keyhole loop attaching a double finger ring chain (same bejeweled holder as Kenber 47 without enameling); catalog 10, no. 858, an FG1-t ype enameled gilt- brass vase with a guilloche strip at the neck and an enameled flower- painted copper handle with a gold sun paillon and gilt- brass cap (same guilloche strip as FG1 #52, #80 in part, and #142; flower painting similar to FG1 #48 with same sun paillon as #40 and the same handle cap as enameled handled Kenber 42); catalog 11, no. 859, a gilt- brass FG3- type holder set with dark glass gems, an FG1- type petal cap above a stamped neckband, and a mother- of- pearl handle (holder similar to PMA 1903- 87, same petal cap as FG1 #43, #45, #228, and FG1- type Hermitage 1 and 7); catalog 15, no. 3429, an FG2-t ype gilt-b rass vase with frames (missing mirrors) above a leaf, a six- petal crosshatched collar above a plain neckband, and an FG2- type mother- of- pearl handle with an FG2- type gilt- brass keyhole- shaped loop for the finger ring chain (same holder as FG2 #42 and almost the same as FG2 #137 except for its leaf collar, both with mirrors); catalog 16, no. 6365, a gilt- brass vase of loops encompassing flowers with dark glass or enameled petals and a center spike, a flat eight- petal collar above a plain neckband, and a mother- of- pearl handle with an FG1- type gilt- brass band attaching an FG1- type loop- in- loop sheet chain (same spike as the #216 subgroup and FG3 #124, same flat eight- petal collar as #124 and six other FG3- type holders); catalog 17, no. 15707, identified in the catalog as possibly by Frederique Boucheron, a gilt- brass vase with a snake wound through enameled circles, a stamped grape leaf neckband, a bold mother- of- pearl handle, and an FG1- type figure- eight loop- in- loop sheet chain ending in a ball- headed floral pin (neckband, chains, ball- headed floral pin, and handle similar to Kenber 56, and the same ball- headed floral pin also as ROM 34, FG3 #157, and #176); catalog 18, no. 14796, in the Art Department of the People’s Education since 1921, identified as possibly by Boucheron, a small holder with a gilt- brass vase of branches wound by a snake and a mother- of- pearl handle with a small gilt- brass cap (snake similar to the previous holder, handle similar to FG1 #28, and the same handle cap as FG1- type Marès 9 on an enameled handle); catalog 19, no. 4740, in the Museum of Ethnography since 1941, a large holder (19 cm) with a turquoise blue enameled vase decorated with two rows of gold- backed enamel pearls around a painted flower- and- leaf band, a bold gilt- brass neckband, and a mother- of- pearl handle (holder similar to large FG1 #92 with enameling similar to enamelwork in Bresse, France). 82. For example, the entry for no. 274 is plausible for a French bouquet holder: “Porte- bouquet, doré avec des émaux polychromes.” Porte- bouquets, 214–215. 83. Géza von Habsburg, Fabergé Revealed at the Virginia Museum of Fine Arts (Richmond: Virginia Museum of Fine Arts, 2011), 24; Wilfried Zeisler, Fabergé Rediscovered (Washington, D.C.: Hillwood Estate, Museum & Gardens, 2018), 27. 84. Chinese filigree holders from the Hermitage collection include catalog 12, no. 5396, an openwork twisted- wire vase without a handle (otherwise similar to the vase of Chinese #111); and catalog 13, no. 5037, and catalog 14, no. 598, both similar to #379. Acquired in 1920 according to an earlier catalog, Hermitage 14 has its original box with a Canton paper label. Menshikova, Silver Wonders from the East, 28, 109. 85. Two over- the- top Chinese toiletry sets owned by Catherine the Great employing filigree mesh are related to mesh on nineteenth- century Chinese bouquet holders in the Smithsonian collection. Menshikova, Silver Wonders from the East, 58–62, 115–118. The Indian filigree toiletry set may have been made in Karimnagar. Balagouni Krishna Goud and M. V. Subrahmenyeswra Sarma, Karimnagar Filigree Art Works in the Salar Jung Museum, Indian Journal of Traditional Knowledge 4 (October 2005):386–391. 86. Exhibited with the Kenber collection, catalog 6, no. 1562, previously in the collection of F. M. Plushkin and then the Ethnographic Museums, has an exotic openwork vase, a long dotted neck, an ivory(?) handle shaped like FG2 handles, and a handle band (FG1 type?) for the finger ring chain attachment. 87. Porte- bouquets: Insòlites joies, 369. 88. Two others from Tbilisi are dated 1888. Porte- bouquets, 215. 89. Gere, American and European Jewelry, 29, 44. 90. Origins have not been determined for ivory cornucopia- shaped 34.241.32 and ivory- handled 41.35.13 with a silver neck and vase, but they appear to be Asian. 91. Three MCNY BMP filigree- type tripods are the Havemeyer tripod 33.126.2 (same legs as filigree #67, #102, #109, and #378; same acorn collar as #109 and #204); tripod 39.172 (same legs and acorn collar as the previous one); and tripod 32.130, a filigree vase with Geneva- style enameled scenes interspersed between filigree leaves set with turquoise blue gems and sheet silver support strips between leaves at the base, a mid- vase collar of filigree leaves and stamped flowers, and filigree legs with stamped claw feet (same flower- and- filigree leaf collar as #103 and filigree legs similar to it). Two other BMP filigree- type holders are 34.10.1, with a curved handle ending in a sphere (same holder as #75 with the same curved handle as five others in this collection and eight in other collections), and cylindrically handled holder 33.252.8 (same as #153). The sixth is BMP elegant- type 58.144.12, which has a pattern- impressed curved handle and low- relief neck sphere (essentially the same as elegant #15 and #169). 92. Among six French- made MCNY holders are two FG1- type holders. Holder 51.71.2 has a gilt- brass vase with graduated oxidized silver- plated brass beads, a torc collar, and a mother- of- pearl handle (contrasting silver beads similar to #49 in the FG1 #216 subgroup and same torc collar as FG1 #53, #142, and #156); and 45.61.1 has a gilt- brass vase with an Atlas figure and mother- of- pearl handle (same Atlas figure as FG1- type Hermitage 3, stamping at the base of the vase as FG1 #34, funnel at the neck as FG1 #215, and torc collar as the previous one). Two other holders are more elaborate: 33.125.1, a gilt- brass vase with a cameo, glass pearls, and gilt- brass drops married to a mother- of- pearl handle (same stamped arrow on the vase as FG1 #184, #228, and #377); and 36.352.29, a gilt- brass vase with enameled rings featuring star paillons, an FG1 whole- flower neckband, and a mother- of- pearl handle (same whole- flower neckband as FG1 #34, #45, #55, #155, and #228). Sliding ring holder 41.35.12 has a vase of pierced gilt- brass leaves, bold gilt- brass neckpiece, and a slightly faceted mother- of- pearl handle ending in a J- shaped dog head (holder similar to FG3 sliding ring #198 and pierced leaves and bold neck piece similar to FG3 sliding ring Kenber 101 and Deitsch 98, which has the same palmettes as FG1- type Deitsch 57 and the same neckpiece as the FG1 #35, #216, and #221). Turquoise- blue enameled vase holder 44.75.4 has rows of gold- backed pearls (pearls similar to FG1 #92 and turquoise- blue enamel similar to Hermitage 19, Deitsch 44, and S2013.08.02 in the Departmental Museum in Bresse, illustrated in Émaux de Bresse: joyaux du quotidien [Bourg- en- Bresse, France: Snoeck, 2014], 159). PRODUCING POSIES M 17 93. MCNY 33.271.1, the gold filigree tripod owned by Consuelo Yznaga, was most likely made in India following English typology, although no similar examples are known. Wire-p etal flowers with domical centers on their necks are typical of both Indian and Chinese filigree, but China seems unlikely in the absence of filigree mesh typical of other Chinese filigree holders. Gold sheet supports between filigree vase leaves, leaf feet, cotter pin, and some awkwardness recall BMP filigree bouquet holders in silver, but the filigree is unlike any known BMP filigree. MCNY 33.30 has a silver filigree vase similar to Chinese #111 married to a mother-o f-p earl handle. 94. Among the three BMP filigree-t ype holders in the collection of NYHS are tripod 1931.79, with a filigree vase and diamond-p atterned stamped legs (vase similar to #103 and the same legs as #67, #102, and #109); tripod 1948.44, with a vase of large upright oak leaves and a strawberry with its calyx between oak leaf tips at the rim (same vase as #203 and legs and neck collar as #382); and 1951.307, with a vase of large upright oak leaves topped by a strawberry and calyx, a strawberry leaf between their tips, and a curved handle ending in a sphere (same oak leaves on the vase and handle as #203 and five others in the collection). The combination watch stand and boutonniere 8738 is similar to design no. 283375 registered by Antrobus and Gyde of Birmingham on 2 July 1874. 95. The first of two French holders is NYHS 1944.88, which has a gilt-s ilver vase and carved ivory handle accompanied by a leather box marked “M. M. S.” in gold; it was held at the wedding of Margaret Antoinette Morris to the businessman and American historian John Austin Stevens Jr. in 1855 (same holder as Roe 356, except that the Roe holder has a tortoiseshell handle, and the same cap at the tip as Deitsch 90 with a French enameled handle). The other is Z.2049, which has a gilt-b rass vase with heart-s haped stampings in a cage-l ike sphere above the neckband and a mother-o f-p earl handle with a FG1-t ype band (same heart-s haped stampings as FG1-t ype Kenber 15 and 26, a French-t ype stamped collar, and an FG1-t ype loop-i n-l oop sheet chain attached by an FG1-t ype brass connector without gold plating). 96. The two BMP filigree-t ype holders at C-H are tripod 1941-1 08-3 with an asymmetrical vase similar to holders in Plate 8 and same stamped legs as #382. Holder 1959-5 8-1 has vase filigree similar to #209; the same acorn collar as #109, #224, and the Havemeyer holder; and the same curved handle ending in a sphere as six holders in Plates 11–14). 97. The vase of C- H tripod 1946- 50- 63 is indirectly connected to BMP elegant holders by the same mandorla as Schwartz 21 (bottom left). A three-p art leafy stamping around the base of Schwartz 21 is linked to the same stamping on two elegant holders: near the top of the vase of elegant-t ype Kenber 32 married to the same carved mother-o f-p earl handle as elegant #152 and #27, and atop scroll-i mpressed sheet on elegant-t ype ROM 11 married to a similar mother-o f-p earl handle. In addition, the tripod legs of 1946-5 0-6 3 have scroll-l ike designs and are closed by a sphere similar to engraved legs closed by a sphere on elegant-t ype ROM tripod 15, married to the same vase as elegant #152, and the legs are similar to those on Kenber tripod 95, which has the same pansy on its vase as elegant #237. 98. Three BMFA holders have the same curved handles ending in spheres as the six BMP filigree holders in this collection in Plates 11–14. BMFA 46.701 and 52.1493 have the same strawberries and leaves as #89, mixed with the same or similar oak leaves as on #203, and both have curb chains like most curved handled holders in this and other collections. BMFA 45.534 has different strawberries and leaves but the same pointed petal collar as BMP filigree tripods #67, #102, and #378 and an elongated round- link chain like six BMP filigree holders. 99. The butterfly design on the vase of BMFA 1971.320 was registered as no. 238170 on 20 January 1870 by Robert & Josiah Walsham, not including the long leaves below the butterfly. Its engraved handle has the same shape as the engraved handle of regular #165 and the plain handle of regular #70. Mrs. Ralph Lowell (1897–1984), née Charlotte Loring, gave the holder in memory of her grandmother, Mary Lynde Sullivan (Mrs. Alexander Cochrane). 100. Among English holders in the PMA collection, the four identified as BMP filigree types are 1902- 339, with Joseph Wilmore–type veined textured leaves above acanthus leaves and a curved handle ending in a sphere (same holder as #226 except that the PMA holder has an intact handle, the same vase as #61 with a cylindrical handle, and the same curb chain as nine BMP filigree holders, including four of five filigree holders with extant chains and curved handles ending in spheres); 1932- 44- 5a, with stamped vase feathers and a cylindrical handle wound with a long leaf (same vase as BMP filigree #18 and same cylindrical handle as BMP filigree #61 and #20); tripod 1932- 44- 5b, a vase of strawberries hung from a wire vine rim between upright oak leaves, stamped pointed collar leaves and flowers, and stamped floral legs (same holder as #203, almost the same holder as NYHS 1948.44 except that the NYHS holder has filigree collar leaves and the same legs as filigree #382); and 1928- 32- 6, a filigree vase married to a plain cylindrical handle (simple stretched spiral filigree typical of Birmingham soldered behind larger plain wires married to a handle unique to date). The first of other BMP holders is regular- type 1909- 9, with grapes and grape leaves and a plain loop handle notched at the top (same holder as #14 and same plain loop handle also as #31, #160, and #220). The second is 1932- 44- c, a silver magpie- type holder with a thick wire vase, stamped grapes and grape leaves around the middle of the vase alternating with knots, and a multi- wire handle wound with long leaves (wire vase similar to Birmingham- made MPE #11, knots similar to those on BMP filigree #224, and the same long leaves around the handle as regular magpie- type #73). 101. The first of two PMA French holders is 1921- 34- 224, with a gilt- brass vase and neckband, double- lobed threaded floral pin, and bold mother- of- pearl handle broken off at the bottom, probably at the narrow place where the band for the finger ring chain was attached (double- lobed floral pin similar to FG1 #40 and Deitsch 90, 92, and 112 with French enameled handles; and handle similar to FG1 #28 and #129). The second is 1903- 87, a silver- plated brass vase set with red glass gems, a stamped cage below, floral- decorated curved stampings at top corners and the neck, and a mother- of- pearl handle with an FG1- type band for the finger ring chain attachment (essentially the same holder as gilt- brass Hermitage 11, except that the Hermitage holder has the same petal cap above the neckband as FG1 #43, #45, and #228). Filigree 1901- 203 is almost identical to Genoese #71, which has a lion- head mark. 102. Carl L. Crossman, The Decorative Arts of the China Trade (Woodbridge, Suffolk, U.K.: Antique Collectors’ Club, 1991), 350–353. 103. MMA X.52.1.3 has the same replicates of a strawberry and calyx on the vase and curved handle as BMP filigree #203 and five others with the same handles in Plates 11–14. Elaborate FG3- type 43.7.39 has glass pearls set like gems similar to French Kenber 104 and the same handle cap as FG1 #40. Probably Indian 40.19.4 has filigree spheres on the handle similar to V&A 0339 (IS) acquired from the India Museum. 104. Holders donated by the architect and set designer Lee Simonson in 1938 identified as French are MMA 38.23.406, a gilt- brass FG2- type holder with portraits of a young man in a French uniform with a Maltese cross and a young woman dressed in white, which may have been used at their marriage in 1850, although it is not clear to what extent electroplating would have been available in France then, and a stubby FG2- type handle with a keyhole- shaped wire for attachment of the handle chain (same frames and six- leaf collar as FG2 #19); 38.23.410, an FG2- type gilt- brass holder with a pair of opposite framed mirrors above enameled ovals and a mother- of- pearl handle with an FG2- type keyhole- shaped loop for attachment of the finger ring chain (same enameled ovals as FG2 #41); 38.23. 411, an enameled FG2- 18 M OVERVIEW OF BOUQUET HOLDERS type holder with the same four ovals as the previous one above bow- topped spirals and flowers atop wires at the corners (same vase and neck as FG2 #41); 38.23.409, a gilt- brass FG1- type holder with a basketlike vase, a sphere atop a stamped neckband, and a mother- of- pearl handle with its end broken off, probably where an FG1- type band had been attached for the finger ring chain (same vase as French Moretz 19, neckband as Kenber 110, and sphere atop the neckband as FG1 #129 and #377; and MPE #202, #233, and #234); and 38.23.54, an FG1- type holder with a gilt- brass vase inlaid with linear enamel in a geometric pattern, a center spike, and an FG1- type mother- of- pearl handle (vase similar to FG1 tripod #114 and center spike similar to all six holders in the #216 subgroup and FG3 #124). 105. The ROM collection has 21 holders identified as made in England: 4, 6–9, 11, 15, 17–30, of which at least 18 were made in Birmingham, excepting only 9, 21, and 27. The 17 identified as French are 1, 2, 5, 12–14, 16, 31–39, and 41. Holder 3 was made in Belgium, and two (10 and 40) are of unidentified origins. ROM 42 is a filigree eyeglass case with a Genoese- type loop border and zigzags next to thicker cell perimeter wires, as well as a decorative chain with tiny flowers similar to those of a lorgnette made in Genoa. Gianna Roccatagliata, Orafi e argentieri Genovesi tra neoclassico e liberty (Genoa, Italy: Tolozzi, 1982), 116. Its looped border is similar to a Genoese crucifix in Gere and Rudoe, Jewellery in the Age of Queen Victoria, 318. 106. ROM tripods 38 and 39 have the same neckpieces and legs as FG1 #216 and FG1- type Kenber 113 and the same neckpieces also as FG1 #35 and #221. ROM 38 is well connected to French holders by the same vase stampings as Kenber 15, which has the same whole- flower neckband as FG1 #34, #45, #53, #155, and #228. Other vase stampings are similar to those on Kenber 26, which has the same whole- flower neckband and torc collar as FG1 #53. 107. See Note 56. 108. MNBAQ 1967.162 has the beaver design registered in 1863 by Henry Jenkins & Sons married to an engraved regular BMP- type hexagonal handle and an English- type cotter pin. Two other BMP regular- type holders are 1955.538, with a vase design registered by Robert & Josiah Walsham in 1870, a spade handle associated with the firm, and a plain broad finger ring (same holder as regular BMP #201, including the finger ring); and 1958.503, a grape leaf vase married to a loop leaf handle with three notches (same handle also as BMP regular #12, #139, #214, and ROM 6). Holder 1958.504 is similar to BMP regular holders but is not an exact match: it has a large grape leaf and vine vase with the vine seemingly cut off at the top and an English cotter pin. The grape leaves are close but not identical to those on BMP regular #12, #214, and #220, nor does the leaf handle ending in a curl match any known handles. French 1958.502 has FG2- type flirting mirrors and stampings, an FG2- type four- dot and crescent neckband, and an FG2- type mother- of- pearl handle with an FG2- type keyhole- shaped gilt- brass loop for the finger ring chain (same as #9 and others). 109. Fifty- five holders in the Deitsch collection are identified as made in France (l = left image on the page and r = right): 9–11, 18, 21, 22 (r), 25, 28, 34 (r), 35, 40, 41 (l, r), 44, 48, 57, 60, 62, 70, 71 (l, r), 72, 74 (l) , 76 (l, r), 78, 79, 80, 83 (l, r), 85 (l, r), 86 (l, r), 88 (r), 89, 90, 91 (l, r), 92, 93 (l), 94 (l, r), 95, 96 (l, r), 97, 98, 102 (r), 105, 106, 112 (l, handle only), 112 (r), and cover. Thirty- six are identified as being made in England: 17, 22 (l), 26 (l, r), 31, 43, 45, 58, 65, 68, 74 (r), 75, 77, 81, 84, 88 (l), 93 (r), 99, 104 (l), 107 (r), 108 (l, r), 109 (r), 110, 112 (r), 112 (l, vase only), 114 (r), 115 (r), 117–122, 124, and 126. Three filigree holders each were made in China (32, 114 [l], and 115 [l]), India (73, 104, and 113), and Italy (16, 42, and 69 [r]). Three regular holders were made in Germany (12, 36, and 77), and one was made in the United States (107 [l]). Twenty- two with uncertain identifications are 30, 33, 34 (l), 36, 37, 38 (l, r), 46, 47, 49, 50, 69 (l), 82, 87, 100 (l, r), 101 (l, r), 102 (l), 103, 109 (l), and 116. 110. The lower number of English holders may be attributed to culling of Birmingham- made holders from her collection over time. Irene Deitsch, author of Tussie- Mussies, personal communication, September 2019. 111. Among the 64 holders, the 32 English holders include Schwartz 1 (two examples), 13 (top left), 15 (two, bottom), 16 (top left), 17 (lower right), 18 (six, except upper right), 19 (four, except upper right), 20 (lower right), 21 (lower left), 22 (four, except rightmost), 23 (all five), 24 (bottom three), and 25; additionally, a Scottish thistle pin brooch was hallmarked in Edinburgh (22, right). The 17 French holders include 13 (top center), 14 (lower left), 15 (top), 16 (lower left), 17 (top two and lower left), 20 (top two), 21 (four except lower left), and 24 (four, top). Six were likely made in Genoa (10, three at bottom; 14, lower right; and 16, two at right). Three were made in China (11, three at top), and three were made in India (11, two at bottom; 16, center). One was stamped in Germany (12, lower right), and one was made in the United States (20, lower left). Jeri Schwartz, Tussie Mussies: Victorian Posey Holders, Hartsdale, N.Y.: Author, 1987. PRODUCING POSIES M 19 2 MAKERS Most bouquet holders are without markings, and attributions to countries of manufac- ture in published collections are often incorrect or followed by question marks; through technical study of 239 bouquet holders in the Smithsonian’s collection and related hold- ers in other collections, groups of like holders revealed where nearly all were made. By far the greatest number (147) were produced in England, and at least 80% of those were made in Birmingham, primarily by two little- known manufacturing jewelers. Nearly half that number (72) were made in France, most almost certainly in the center of the jewelry trade, Paris. Six or fewer were made in each of fve other places: stamped holders in Germany and the United States and fligree holders in Genoa (Italy), China, and India. Characteristics of each group are presented here with background information regarding makers, their practices, milieus in which they worked, and approximate dates. ENGLAND England started the practice of hallmarking in 1317, when Edward II gave the Wor- shipful Company of Goldsmiths in London the frst royal charter for hallmarking.1 As jewelry, bouquet holders were exempted from hallmarking, but purveyors found hallmarks advantageous for sales, and seven sterling silver bouquet holders in the col- lection were hallmarked by silversmiths (Table 1). These form the core of a group of 18 holders named English high quality, or EHQ; others in the group are mostly made of sterling and related in style. Traditional silversmithing techniques were employed for some, whereas a drop stamp that could quickly reproduce designs was used for others, notably the earliest dated English holder in the collection hallmarked during 1838–1839 in Birmingham, brooch #100 (Plate 1). Metalworking in brass and silver fourished in Birmingham by the eighteenth cen- tury, in part because of subcontracts to manufacturers in London,2 where the most pres- tigious English jewelers were located. In Birmingham, the ambitious Matthew Boulton (1728–1809) spurred metalworking through his showplace Soho Works (1762–1767), built in Handsworth northwest of the city’s center; his successful eforts to establish an assay ofce in the city in 1773; and his development of steam-p owered machinery with James Watt, which underlay industrial growth in Birmingham during the nineteenth century. PRODUCING POSIES M 21 TABLE 1. Hallmarked holders in the Smithsonian’s Frances J. Poetker (FJP) collection. FJP#a Maker Assay Location Date #100 (Plate 1) Joseph Willmore (1790–1855) Birmingham 1838–1839 #112 (Plate 2) Henry Hyde Aston (1837–1869) Birmingham 1863–1864 #158 (Plate 3) Alexander Macrae London 1869–1870 #194 (Plate 4) Roberts & Belk Shefeld 1869–1870 #126 (Plate 6) “P(?) & M” [Parkin & Marshall? 1837–1900] Missing [Shefeld] Missing #76 (Plate 6) James Deakin & Sons Chester 1912–1913 #79 (Plate 6) Adie & Lovekin, Ltd. Birmingham 1913–1914 a FJP# = short form of accession number. See Notes to Reader for explanation. Metalworkers gradually congregated between the city center and Handsworth in an area that became known as the “Jewellery Quarter.”3 Later institutions located in the quarter included Elkington & Co.’s huge factory, where in 1838 commercial electrolytic plating was frst implemented, and the Birmingham Assay Ofce (1877) on Newhall Street, which moved to a new building there in 2015. The focus in the Jewellery Quarter was mainly on lower-c ost jewelry. In 1866, about the middle of the bouquet holder era, it was reported that London now depends mainly upon Birmingham for the supply of articles suitable for the middle classes. Since 1836 the trade may be said to have been in a fourishing condition, but during the last twenty years its progress has been almost marvellous. The discovery of gold in Australia and Cali- fornia, the vastly increased wealth of England and her Colonies together with the desire for personal adornment, have united to give an unparalleled prosperity to this branch of industry, which now directly and indirectly afords employment to a larger number of persons than any other trade in Birmingham.4 At frst most businesses in the Jewellery Quarter were small operations, often an entire family working in one room of their brick home.5 As more workspace was needed, narrow ranges were built on rear garden plots, well lit for close work by large multi- paneled windows; by midcentury, large factories began to be built. Jewelers were said to be “the best paid of the Birmingham artisans,” occupying “a higher social position than other artisans. They reside in comfortable dwellings; their clothes are generally good, and do not betray the ‘working man.’”6 At its zenith just before World War I, the quarter is said to have employed an astonishing 50,000 people directly in the jewelry trade and another 20,000 less directly in jewelry manufacture.7 A second English group, named Birmingham mass produced (BMP), totals 114 hold- ers divided into three subsets. The frst subset, named BMP fligree, consists of 24 silver holders dated in the 1840s and 1850s. They employ considerable handwork because of the innumerable wires constituting fligree and other small, stamped parts. Electroplat- ing was “fully established” by about 1850,8 but at the 1851 Great Exhibition in London, the jury still refused to comment on the merits of electroplating, “a refusal worded in such a way as to make it plain that it distrusted and disliked the process.”9 Exactly when 22 M MAKERS bouquet holders for the middle class began to be electroplated has not been found, but it may not have been until some years later, perhaps only after patents held by Elk- ington & Co. had expired around 1860.10 Once holders began to be electroplated, mass production began to take of, as inexpensive brass sheet was die stamped and plated to imitate more precious metals. Gold plating was favored for the second subset of 15 holders, named BMP elegant. Still, elegant holders employed considerable handwork. The third and largest subset of 72 holders, named BMP regular, generally maximized production by replication of stampings at full height on the vase and handle, the major- ity in silver-p lated brass. At that point, it made sense for makers to copyright designs, and 25 BMP regular holders in the collection employ designs registered by Birmingham manufacturers beginning in 1863.11 These registrations anchor the 114 BMP holders in Birmingham because of continuity of dies used on holders in the fligree, elegant, and regular subsets. The fnal English group, named miscellaneous probably English (MPE), has mate- rials and characteristics found among holders in the frst two groups but is without any stampings congruent with them. They are a mixture, including heavy holders probably made relatively early, brooches similar to elegant holders, and a few functional designs made just before the First World War. ENGLISH HIGH QUALITY HOLDERS PLATES 1–6 The seven hallmarked holders forming the core of EHQ bouquet holders are dated from 1838 to 1913, spanning the period of bouquet holder popularity (Table 1). One hallmarked in London was made by a prolifc manufacturing jeweler there, and those hallmarked elsewhere were made by known silversmiths, who often had ofces and agents in Lon- don. Most in this group were made of silver, and analyses confrmed that compositions of many unmarked silver holders are similar to hallmarked holders (see Appendix Table A.1). Six silver holders were electrogilded,12 and two tripods are in gilt brass, #62 (Plate 1) and #106 (Plate 3). Only one English holder in the collection has enameling, EHQ #106, inlaid similarly to enameled jewelry made in Birmingham by T. & J. Bragg.13 Birmingham-b ased Joseph Willmore hallmarked the earliest holder in this collec- tion (#100, Plate  1), also known in another copy,14 and he is arguably the best- known silversmith among those who hallmarked holders in the collection. He registered his frst mark at the London Assay Ofce in 1805 and at the Birmingham Assay Ofce in 1808, becoming a prestigious guardian of that ofce in 1824.15 Willmore is known for introduction of “natural motifs” in the 1820s,16 and BMP fligree #61 and #226 (Plate 11) have prominently veined leaves that copy those of Will- more objects made around 1830.17 A Willmore mustard pot hallmarked in 1838 and a pair of scissors hallmarked in 1839 are also antecedents for many BMP regular holders decorated with grapes, grape leaves, and grape vines.18 Finally, his hallmarked #100 has prongs on the interior for securing fowers and a large wire- loop clip for attachment to clothing, precursors for prongs in six later BMP holders19 and wire- loop clips on the backs of 15.20 Willmore’s relationships with two other Birmingham silversmiths illustrate the small, intimately connected world of silversmiths working in the Jewellery Quarter. In 1810, Willmore apprenticed George Unite (died 1896), who went on to have “his own extremely successful silversmithing business.”21 Unite registered his mark in the PRODUCING POSIES M 23 Birmingham Assay Ofce in 1832, and the frm became George Unite & Sons around 1865.22 BMP regular tripods #134 and #217 (Plate 28) have the same tripod mechanism as a Unite tripod hallmarked in 1873, which has three leaves that spread out around a fattened sphere when set down.23 George Unite is also said to have registered designs for Scottish pebble brooches, the genre of #131 (Plate 19).24 Willmore, Unite, and a third Birmingham frm, Nathaniel Mills & Son, had the same London address at 16 Thavies Inn in 1841.25 In 1836, when Unite built new premises at 65 Caroline Street in the Jewellery Quarter, he sold his former ones at 42 Caroline Street to the elder Nathaniel Mills, inherited by his sons William and Nathaniel when he died in 1843.26 The younger Nathaniel Mills (1810–1873) is said to have brought an “infusion of new ideas and multiple production techniques of stamping, casting and en- gine turning, manufacturing vast quantities of articles.”27 In 1844–1845, he hallmarked a bouquet holder with the same curved lower handle as BMP fligree #209 (Plate 14) and BMP regular #10 (Plate 20), also employing the vase stampings on the earliest known tripod hallmarked that same year.28 Like Willmore, Mills was known for naturalistic designs of “fower, foliate and scrollwork” found on many Birmingham- made bouquet holders and is said to have had “various tasks no doubt being carried out by a network of craftsmen.”29 However, in 1841 he is listed as a merchant; in 1849 as a merchant and partner in Shenstone & Mills at 25 Mary Ann Street near St. Paul’s Square; in 1852–1853 as a factor and merchant; and in 1861 as a “Hardware Commission Merchant.”30 Factors and merchants were middlemen between manufacturing jewelers and retailers, factors for domestic sales and merchants for foreign sales.31 Such occupations were almost cer- tainly the source of income for the large sum of ₤30,000 Mills left when he died.32 Henry Hyde Aston (1837–1869) is identifed as the maker of the second holder hall- marked during 1863–1864, tripod #112 (Plate 2),33 which features Prince of Wales plumes in reference to Prince Albert’s marriage in 1863 and is identical to one in the British Royal Collection.34 In 1862, Henry had registered his mark and succeeded T. Aston & Son at 12–15 Regent Place, a substantial works in the Jewellery Quarter;35 his address in London was at 28 Ely Place, Holborn.36 His father, Thomas Aston (1802–1882), had been a prominent fgure in Birmingham. In 1845, the elder Aston’s “enameled brooch and bracelet variously set with diamonds, pearls, and rubies” were given to Queen Victoria by a delegation of Birmingham jewelers seeking royal support for the city’s industry.37 During 1869–1870, Alexander Macrae hallmarked the only bouquet holder in the collection in London (#158, Plate 3), an oft-c opied design frst made in crystal and ex- hibited at the 1862 International Exhibition in London by Howell, James & Company of Regent Street, a London department store.38 Macrae was a manufacturing silversmith recorded at 32 Bow Street in Covent Garden in 1856, and he retailed pieces through at least six major London jewelers, including Harry Emanuel and Hunt & Roskell, until at least 1870.39 The business subsequently became Macrae & Goldstein; in 1886 it became C. J. Vander Ltd.40 and then was acquired by the Boston-b ased Syratech Corporation in 1996. Holder #194 (Plate 4) was hallmarked in Shefeld during 1869–1870 by Roberts & Belk, a partnership begun in 1863 by S. Roberts (retired 1879) and Charles Belk (died 1904).41 Its vase is similar to Henry Aston’s #112 hallmarked a few years earlier, and its handle is similar to another Robert & Belk holder hallmarked in 1878.42 The maker’s mark on #126 (Plate 6) is doubly struck “P [or B or R] & M” and inter- rupted by a hole for the foral pin. The best match is an 1866 hallmark of Shefeld’s Par- kin & Marshall,43 but city and date marks are missing, and the marks may be spurious. 24 M MAKERS FIGURE 9. Detail of Figure 9 from Joseph Joseph’s 1873 English Patent 440 for dress or bouquet holders, which illustrates serrated FIGURE 8. Detail of serrated jaws that hold flowers in place spring covers m and n, to be deflected by on the top surface of #1 (Plate 4). The jaws are activated by pressing projections at o (left) and p (right), pressing projections on the sides, each stamped with “PATENT” matching holder #1 shown in Figure 8. in the center. The holder’s plain hexagonal handle is related to 10 BMP regular hexagonal handles in the collection, although all of them are decorated.44 Finally, two similar bouquet holders hallmarked a year apart in the early twentieth century are plain by comparison to earlier holders, almost certainly infuenced by the functionalism advocated by Christopher Dresser (1834–1904), who had designed works for Elkington & Co. and another Birmingham frm, Hukin and Heath.45 In about 1885, James Deakin & Sons imitated Dresser’s design for a decanter,46 and in 1912–1913 the frm hallmarked #76 (Plate 6) in Chester. James Deakin (1822–1900) established the eponymous frm in Shefeld around 1865; its Sidney Works was located on Matilda Street. By 1886, he was joined by three sons, and the frm had ofces and showrooms in London and then Glasgow and Belfast by 1888. Although it was primarily a cutlery frm, in 1886 a visitor reported “a very large collection of fower stands of all descriptions in various metals.”47 Manufacturing jewelers Adie & Lovekin hallmarked the latest holder made in Birmingham during 1913–1914 (#79, Plate 6).48 A few holders in the Smithsonian’s collection are closely related to hallmarked hold- ers in other collections. For example, #1 (Plate 4) lacks a hallmark but is essentially identical to an example hallmarked during 1874–1875 by B. H. Joseph & Co. in the collection of the Royal Ontario Museum.49 Both holders and two similar ones in other collections have spring-l oaded jaws holding fowers in place and bear “PATENT” stamps (Figure  8),50 which match an illustration in a patent received by Joseph Joseph of that frm in 1873 (Figure 9).51 The company also seems to have made MPE #107 (Plate 48), which has similar “PATENT” stamps and jaws. From its inception, the Birmingham-b ased B.  H. Joseph & Co. (1865–1929) was located at 18–20 Frederick Street in the Jewellery Quarter and by 1878 had its own showrooms in London.52 The frm aggressively merchandised its products, gambling on events with potential for sales, such as registering designs for an “Ashantee” earring related to Sir Garnet Wolseley’s African adventure in November 1873 before his troops had even arrived in Africa in January 1874.53 In November 1874, Birmingham’s mayoress presented one of its bouquet holders featuring “patent springs to prevent the fowers PRODUCING POSIES M 25 getting loose” to Alexandra, Princess of Wales, during a visit to the city with the future King Edward VII (Figure 2).54 Taking advantage of this marketing opportunity, the frm registered a “Princess of Wales bouquet holder” on 5 November 1874.55 Barnet Henry Joseph (1837–1907), a principal of the frm, was the frst vice-c hairman of the Birming- ham Jewellers and Silversmiths Association established in 1887, the city’s main trade association for jewelers for more than a century thereafter.56 In 1899, the frm “was said to be one of the largest jewellery houses in the trade, employing over 250 workmen.”57 BIRMINGHAM MASS PRODUCED HOLDERS PLATES 7–49 The three BMP subsets of bouquet holders made from about 1840 onward are presented in approximate historical order. Some stampings are found on holders in two or even all three subsets, evidence of continuous use of the same dies over time, and they are anchored in Birmingham by design submissions naming Birmingham manufacturing jewelers, who registered designs employed on bouquet holders from 1863 to 1880. BMP FILIGREE SUBSET PLATES 7–14 The BMP fligree subset, the earliest of the BMP holders, is so named because 16 of its 24 holders are partially or almost entirely made using silver fligree.58 The other eight with- out fligree are well connected to those with fligree by identical silver stampings and similar construction on a threaded brass post that allowed assembly and disassembly.59 The history of fligree production in Birmingham dates back at least to 1737, when the Encyclopaedia of Geography named it among the main trades of the town,60 and fligree is on a similar list of products in Sketchley’s 1767 Directory for Birmingham.61 In 1770, Matthew Boulton’s Soho Works were producing a variety of small fligree boxes and other items.62 Samuel Pemberton (1771–1836) specialized in fligree around 1800, building a showplace around 1808 in the Jewellery Quarter.63 At least four of his fligree objects are in the collection of the Birmingham Assay Ofce: a nutmeg grater for toddies and three caddy spoons for tea.64 Around 1820, the elder Nathaniel Mills hallmarked a card case with inset fligree also in the Birmingham Assay Ofce collection,65 but around that time fligree production began to wane. In 1878, George Wallis (1811–1891), then senior keeper of the art collection at the South Kensington Museum (now the Victoria & Albert Museum, or V&A), wrote that “about twenty years ago an efort was made in Birmingham to introduce, or rather revive, the production of silver fligree work as applied to various articles of personal decoration, and although some good work was done, the efort failed, and I believe that nothing of the kind is now done in England.”66 As head master of the Birmingham School of Design from 1852 to 1857, Wallis would have been known about fligree eforts in Bir- mingham 20 years earlier, and the date referred to in his essay corresponds exactly to the 1858 date inscribed on Mary Havemeyer’s Birmingham- made fligree tripod (Fig- ure 4). Eleven years before, Charlotte Irving’s holder (Figure 3) had employed features similar to those of the Havemeyer tripod and six closely related BMP fligree holders with curved handles in this collection (Plates 11–14). Most of those with curved handles like the Irving holder lack fligree, suggesting that production of fligree holders could have occurred after those with curved handles.67 It seems most likely that construction 26 M MAKERS around a threaded brass post was invented for fligree tripods, however, because it would have facilitated assembly of the multiple components. The 24 holders in the BMP fligree subset were made using sterling for stamped parts and an alloy slightly higher in silver for fligree (see Appendix Table A.2), because the softer silver wire was easier to manipulate. The 16 with actual fligree include 5 tri- pods and horn- shaped #122 (Plate 12), made almost completely in fligree; 8 with fligree on half of the holder; and 2 with fligree just on collar leaves. The eight stamped holders without fligree include fve with curved handles ending in spheres (#18, # 89, #135, #203, and #226), two with cylindrical handles (#20 and #61), and tripod #382. Fabrication of fligree was labor- intensive, requiring assembly of many small wires, even though the fligree employed on BMP fligree holders is basic, consisting mainly of stretched spirals. In particular, tripods were assembled from many pieces, totaling 54 for tripod #68 (Plate 12) without counting chains, accoutrements, and innumerable fligree wires. Small collars, sleeves, and other pieces were fabricated in silver to cover the brass post used for assembly, efectively making the post invisible. A few fligree holders made in Birmingham have features similar to Genoese fligree (see chapter 3), perhaps inspired by Genoese fligree jewelry available in London by at least 1843.68 Holders #68 and #122 (both Plate 12) also employ fligree mesh similar to Chinese holders. Among 40 holders in older American museum collections, 19 fligree holders were identifed among 24 BMP- type holders, suggesting that it was the most common type sold in the United States (see chapter 1, “North American Collections”). Between trans- port and 30% tarifs on silver beginning in 1842,69 they would have been costly. BMP ELEGANT SUBSET PLATES 15–19 The BMP elegant subset is so named because of the attractiveness of most of its 15 related holders, such as two with gilt- brass imitation- fligree spirals. The vase of #223 (Plate 17) has pink glass gems topping each spiral and a star- patterned fnger ring, and #29 (Plate 18) has a fancy dotted chain.70 The catalog of another collection posited 5 similar holders as being made in the same milieu and reported connections to 8 other holders, for a total of 13 that qualify as elegant holders;71 and 21 identifed in other collections bring the total for similar holders in other collections to 34, a measure of their desirability.72 Following the seminal EHQ #100 (Plate 1), prongs for holding fowers are inside fve elegant holders among six others in this collection, and four are identifed in the catalog of 15 FG2- type holders. Wire- loop clips for attachment to clothing, also following #100, are on seven in this group, among 16 altogether.73 Because elegant holders display greater handwork than regular holders, they seem to have been made before regular holders, but features found on both indicate that the subsets overlap to some extent. Twelve of the 15 elegant holders in this collection and 30 of 34 in other collections were made of electroplated brass, which indicates that they were made after about 1850. The remaining three in this collection and four in other collections are in sterling, pos- sibly made before electroplating had become available, although the sterling holders are closely related to electroplated examples. The majority of electroplated holders in this collection74 and all 30 plated holders in other collections were electrogilded, percentages far higher than in other English groups. Gilt vases on #51 (Plate 16), #152 (Plate 18), and eight similar holders in other collections also have contrasting textured and polished PRODUCING POSIES M 27 petals, leaves, and acorns recalling “Etruscan” and Roman- style goldwork made by the Castellani in Rome, which caused a sensation at the 1862 exhibition in London,75 sug- gesting that they may have been made around that time. Also supporting a date in the 1860s is an elegant- type holder with Prince of Wales plumes likely associated with Prince Albert’s marriage in 1863.76 Finely patterned roller- impressed sheet, patented in 1852, is employed primarily on seven handles and two neckbands in this subset.77 Notable pattern- impressed sheet on #223 (Plate 17) has raised star- patterned sheet on the handle, reversed on the vase, show- ing recessed stars. Roller- impressed net sheets form the vase of #29 (Plate 18), with their edges covered by faux- fligree spirals. A roller- impressed scaly pattern on the curved handle of the frst elegant holder in the catalog, #237 (Plate 15), is identical to that on the next three elegant handles and also on the handle of BMP regular #1980.026 (Plate 20). In addition, the curved handle of #237 recalls curved handles ending in spheres on six fligree holders in Plates 11–14 and has further links to other subsets. Its vase has the same stamped pansies as a tripod in another collection, also with BMP fligree-t ype stamped fowers atop wires and the same four crocus-l ike petals at the neck as the upper neck of fligree #209 and regular #10.78 Holder #179 (Plate 16) was included in this group because it has the same scaly pat- terned sheet on its handle as the frst three elegant holders, but the handle comprises four sheets rather than one or two like the other handles. As a result, at 51 g, it is atyp- ically heavy for an elegant holder, which are otherwise relatively light, averaging 30 g, including #179. Its vase also has four seemingly unrelated stampings for each replicate, suggesting formation by a magpie and supported by analyses showing diferent brass compositions for the pieces (see Appendix Table A.8). Finally, the handle of #179 is shaped similarly to that of BMP regular magpie #73 (Plate 25), also heavy at 61 g, linking it to the regular subset. Stampings employed on elegant holders were versatile and often repeated in difer- ent places, such as on a foral plaquette among four separate vase stampings on magpie #179, separating primary stampings on #169 (Plate 15),79 and at the end of the sheet loop handle on #3 (Plate 16). A stamping with fve loops atop a fower was popular, appearing in strips around the rim on two holders in other collections and singly at the neck of #74 (Plate 17) and fve others.80 Holder #381 is included in this group because it has the same vase stamping as a holder in another collection that has the stamping with fve loops above a fower at its neck married to the same pattern-s tamped handle as elegant #74 (Plate 17).81 The handle of #381, however, is a truncated version of those on three regular holders (Plate 43), and its twisted-w ire chain is more typical of regular holders, also linking it to the regular subset. Elegant #3 and #51 (Plate 16) and fve similar holders in other collections have the unusual attachment of their fnger ring chains by a small ring around a closed loop handle.82 Elegant holder #27 (Plate 18) also has its fnger ring chain attached around the handle; it has an unusual expandable fnger ring probably meant for growing girls along with elegant #223 (Plate 17) and three elegant-t ype holders in other collections with similar fnger rings.83 After the foral pin was lost from #27, however, the adjustable ring appears to have been placed around the handle and its other end attached to the broken foral pin chain, forming a failed carrying chain. All six English holders with mother-o f-p earl handles in this collection are in the elegant subset, and the handles end in two-d imensional low reliefs, precluding use of a lathe employed for making spindle handles on French holders. Shafts were intentionally 28 M MAKERS faceted on #29,84 whereas others have slightly faceted shafts that are apparently arti- facts of production, as on #152 (both Plate 18). Atypical for English holders, tangs of the mother-o f-p earl handles were adhered inside metal neckbands. “Scottish pebble” #131 (Plate 19) is included in this subset because it has a typical Birmingham wire-l oop clip on the back of the vase and a mother-o f-p earl handle,85 although its stampings do not have congruencies with other BMP holders, and it could be by another maker.86 Pebble jewelry was popular in Victorian England, because of both passion for the poems and novels of the Scotsman Sir Walter Scott and the royal couple’s enthusiasm for Scotland.87 As Scottish granite became scarce, agates exported from Brazil like the eight on #131 were polished in Germany and set in Birmingham, even on many pieces sold by jewelers in Scotland.88 BMP REGULAR SUBSET PLATES 20–44 The 75 holders in the large BMP regular subset generally employed minimum labor in stamping and assembly. Vases of 51 (68%) have full-h eight vase stampings made with a single die and comprise 91% of vases if those that have small connectors or small parts of the main stamping flling gaps are counted.89 Nearly all handles consist of just two replicates of the same stamping or a pair of mirror-i mage stampings, and neck-l ike parts are almost always integral with the handle stamping.90 In lieu of two chains that required more labor, a single chain was often attached near its middle, with one end culminating in a foral pin and the other ending in a fnger ring. This subset could be formed because so many duplicate stampings were intermixed on the vases and handles of holders in the Smithsonian’s large collection.91 For example, fve vases with replicates of a Greek key stamping are paired with fve diferent stamped handles (Plates 27, 28), four with Aesop’s Fables’ fox and grapes are paired with four dif- ferent handles (Plates 31, 32), four with a Native American woman bearing tobacco leaves are paired with four diferent handles (Plates 20, 21), four with large leaves and grapes are paired with two diferent handles (Plates 37, 38), and three with smaller leaves and grapes are paired with two diferent handles (Plate 22). These fve vase designs on 20 holders link a total of 53 holders. Moreover, vase designs on 38 holders are unique, such as the cupids on #110 (Plate 23); however, the cupids are paired with a bud-t opped loop handle, which is married to nine other holders in the collection. The most replicated handles are 11 with spade-s haped tips married to eight diferent vase designs (Plates 31, 35, 37–40),92 10 with a bud-t opped loop married to eight difer- ent vase designs (Plates 22–24),93 7 with bud tops similar to the previous design but with curled ends married to seven diferent vase designs,94 and 8 with hexagonal handles married to eight diferent vase designs (Plates 28–30).95 Initially forming a group of 36, these handles form a group of 45 holders. Nine other handle designs are unique, includ- ing two replicates of a Native American woman that form the handle of #88 (Plate 20), and fve replicates form its vase; other replicates are on vases of three more holders in the collection. Once dies had been sunk, pieces could be easily and inexpensively stamped in quan- tity, making it worthwhile to register designs employed at full height on a variety of ob- jects, including bouquet holders. A lower cost of registration may also have contributed to submissions for designs employed on holders registered by the three manufacturing jewelers in Birmingham from 1863 to 1880.96 PRODUCING POSIES M 29 Henry Jenkins & Sons and Robert & Josiah Walsham registered nearly all designs employed on bouquet holders, and they apparently had a working relationship, which is discussed in more detail below. A third maker, Knight & Durant, was located not far from the other two frms in the Jewellery Quarter but apparently did not work with them and registered only one design for a holder in the collection. Registered Design Marks Following the Design Copyright Act of 1839 and Ornamental Designs Act of 1842, ar- ticles registered between 1842 and 1883 could be punched with a diamond- shaped reg- istry mark, which usually protected the design for three years.97 In order to obtain a registry mark, two sheets were submitted to the Designs Registry at Somerset House in London bearing a representation of the design,98 the proprietor’s name and address, and sometimes other information. Submissions in a range of materials were assigned a consecutive number in the Design Register, followed by the proprietor’s information and category of material. The number was stamped on submission sheets in red; one copy was pasted into the representation volume for its material (metalwork in the case of bouquet holders), and the other was returned to the proprietor, who punched relevant pieces with the diamond- shaped registry mark encoding the date. An online search can provide names and addresses of submitters and limited descriptions,99 but for the most part volumes containing the representations have not been digitized. Registrations re- produced in this volume were photographed at the Public Record Ofce in the National Archives at Kew near London. A good impression of a registry stamp shown in Fig- ure  10 has the number 1 encircled at the top of the diamond, identifying the category as metalwork, which includes ev- erything from jewelry to iron bedsteads and gas chande- liers. Just below the 1 is the number 22, which identifes the day of the month that the item was registered. The letter A at the right indicates the year 1871, and the letter D at the bottom indicates the month of September; thus, the date is 22 September 1871.100 Registry stamps are tiny on holders and are often distorted on the thin stamped metal, usually requiring magnifcation to be read, and many are partially or completely illegible. Magnifcation proved useful for FIGURE 10. Detail of registry mark identifying registry marks as well as maker’s marks, and about 3 mm in height on the spade a Hirox microscope was used to produce composite digital handle of #164 (Plate 39) and seven other spade handles, coded to images, such as Figure 10. indicate the registration date of Registry marks provide invaluable information about 22 September 1871. The spade handle the maker, but their dates should be considered approx- is not in the Design Registry, but it seems likely that Robert & Josiah imate. They are absent on 11 of 25 holders in the collec- Walsham of Birmingham intended to tion with registered designs, which could indicate that register it. the holder was made before or after the copyright period. Robert & Josiah Walsham also punched marks on all of their known holders, whereas Henry Jenkins & Sons rarely did. It seems likely that the latter chose not to do so, per- haps to avoid spoiling designs, which would surely have occurred on the Aesop’s Fables’ fox-a nd-g rapes stamping (Plates 30–32). Dies were expensive to make and considered valuable assets, and frms stored them carefully, potentially using them over long pe- 30 M MAKERS riods of time. If a popular item was stored for later use after a registry mark had been applied, it might be out of copyright by the time it was used. In addition, one can easily imagine that registry marks were sometimes applied beyond the copyright date or to diferent designs from those that were registered, whether by accident or design. The representation volumes containing design registrations from 1850 through the mid-1 880s at the National Archives in Kew were examined. Ultimately, eight designs for holders in the collection were found to have been submitted by Henry Jenkins & Sons and three by Robert & Josiah Walsham. Six design registrations submitted by the two frms were also found on holders in other collections. Each manufacturer registered a hundred or more designs; thus, those on bouquet holders represent only a small frac- tion of the total. The third frm, Knight & Durant, submitted two designs for bouquet holders among 15 registrations. Three Birmingham Firms As manufacturing jewelers, the three Birmingham frms would have sold their products through a factor or merchant to “shopkeepers through the country  .  .  . through his travellers and other connections,”101 although Birmingham was said to be special in so far as “the large number of small manufacturers are practically independent of the nu- merous factors and merchants they supply.”102 The names of manufacturing jewelers are little known, however, because their domestic products were largely retailed by others in London. At the London exhibitions in 1851 and 1862, it was said that makers “could not have exhibited their productions without diverting trade from their customers, and thus eventually injuring themselves . . . The shopkeeper will not voluntarily admit that his articles are Birmingham manufacture, yet . . . at least one-h alf of all gold and silver work seen in the shops of the London jewellers is the production of this town.”103 Henry Jenkins & Sons Henry Jenkins & Sons was almost certainly the largest Birmingham manufacturer of regular holders. The business was established in 1830 by Henry Jenkins (1809–1885),104 and Jenkins was listed in city directories in 1835 as a die sinker at Brook Street, St. Paul’s, in the heart of the Jewellery Quarter; in 1839 as a die sinker, stamper, and piercer at court between 93 and 94 Mott Street; and in 1849 as a stamper and piercer at 11 Spen- cer Street,105 where the business remained until it moved to a new purpose-b uilt factory in 1866. In 1855, the frm is listed as Henry Jenkins & Son, probably when he was joined by his eldest son, James Jenkins (1831–1872).106 That same year, it added “dealers in all kinds of fancy metal and wire” to its capacities, and in 1858, it added “dealers in jewellers’ composition wire and metal of a superior quality.”107 The name Henry Jenkins & Sons was found frst in 1858,108 including James, Frederick Jenkins (1834–1900), and Samuel Jenkins (1840–1917).109 Henry Jenkins stamped many items in sterling for decades, such as the cupid design registered in 1871 (Figure 11) found on #110 (Plate 23; Figure 12). Its hallmarking punch was registered at the Birmingham Assay Ofce only in 1886,110 which was probably when it began to retail products on its own. The frm was still in business in 1981, headed by William Percival Townsend,111 who apparently married into the family when he wed Deidre V. Jenkins in 1941.112 Henry Jenkins & Sons moved to the new purpose- built three-s tory factory in 1866 (Figure 13), coincidentally the same year that a contemporary wrote that “whenever the business has overgrown its early home, and it is necessary to remove or to rebuild, a PRODUCING POSIES M 31 FIGURE 11. Detail of no. 256845 registered 17 October 1871 by Henry FIGURE 12. Detail of the silver vase of #110 Jenkins & Sons as “An Ornamental Design to be repeated and continued for (Plate 23) on which the design in Figure 11 was Baskets &c.” employed. better class of building is invariably adopted.”113 The building was extended in 1881 and 1898, ultimately running from nos. 36 to 46 on Vittoria Street.114 The impressive size of its three-s tory frontage and two deep ranges for workshops can be seen in an aerial view (Figure 14). To announce the move, the frm placed notices in the Birmingham Daily Post as well as a half-p age advertisement at the end of a city directory in 1867 (Figure 15).115 Factories in the English Midlands usually had names other than those of the frm, and Henry Jenkins & Sons named its factory the “Unity Works,” of which four remain- ing letters can be seen on the building in Figure 13. The name surely referred to “Art, Science and Manufacture as a Unity,” an essay by George Wallis in The Art Journal related to the 1851 Great Exhibition in London, for which he was a deputy commissioner for juries. Wallis had been head master of the Birmingham School of Design from 1852 to 1857, and the Jenkins family must have been delighted by his favorable comments about their intelligence: Strange to say, it has been argued that the use of machinery deadens the energies of the worker, renders him to a machine, and lessens his interest in his work. Experience proves the contrary, and it is most unhesitatingly de- clared, from long personal observation and an intimate acquaintance with the respective employments in which machinery is most largely used, that the workers are, without exception, the most intelligent of their class.116 Birmingham’s inexpensive products were often negatively referred to as “Brummagem,” and Wallis’s somewhat defensive remarks should be taken in the context of his birth in nearby Wolverhampton, now contiguous with Birmingham. The advertisement in Figure 15 states that Henry Jenkins & Sons were “MANU- FACTURERS of the Stamped and Pierced parts of ELECTRO-P LATED WARES” with- out professing they did the electroplating itself. Metalworking and plating are quite 32 M MAKERS FIGURE 13. Henry Jenkins & Sons’ Unity Works (1866), 36–46 Vittoria Street, Birmingham, U.K., in 2018. The 17- bay building extends from the pair of doors to the carriage entrance at left and nearly the same distance to the right. © Clare Finn. FIGURE 14. Aerial view (1999) showing the Unity Works factory’s two deep workshop ranges with large windows. Courtesy of Historic England (nmr_18494_01). FIGURE 15. Advertisement for Henry Jenkins & Sons in Kelly’s 1867 Post Office Directory of Birmingham, announcing the move to the new factory on Vittoria Street. Among listed wares are flower holders, apparently referring to bouquet holders. PRODUCING POSIES M 33 diferent skills, and both were done only in very large establishments like Elkington & Co., which had patented the process.117 The year after Henry Jenkins & Sons’ move to Vittoria Street in 1866, an 1867 directory listed 93 electroplaters and gilders besides Elkington & Co., mostly in the Jewellery Quarter,118 and at least three facilities were located on Vittoria Street, including one at no. 20 and another directly across the street at no. 35.119 In total, Henry Jenkins & Sons submitted 155 designs for registration from 18 Sep- tember 1861 to February 1882, mostly stated to be for jewelry, cruet frames, and baskets; and “baskets & c.” are cited for all designs employed on its bouquet holder vases. Exam- ples of the same bouquet holder designs on baskets were sought for without success, but the cupid design in Figure 11 has been identifed on a letter holder.120 Henry Jenkins & Sons maximized productivity by registering stamped designs oc- cupying the full height of bouquet holder vases, usually employing more than two rep- licates. The earliest registration employed on a bouquet holder, dated 14 October 1863, was cut of a cruet frame (see designs below mainly employed on handles). Ten days later, the earliest registration employed on a vase was a beaver design, as found on three holders in Canadian museum collections.121 That design is horizontally oriented, and the beaver’s heads were placed at the top of the vase; but thereafter, vertically oriented designs more suitable for bouquet holder vases were employed.122 Nine designs employed on bouquet holder vases are listed here chronologically, six on holders in this collection and three in other collections: • 24 October 1863, no. 167551: a beaver on a branch on three examples in other collections123 • 27 May 1869, no. 229631: curled fern fronds topped by small fowers on #192 (Plate 33) and one in another collection124 • 30 September 1870, no. 245343: a butterfy atop a fgure-e ight loop on three holders in other collections125 • 17 October 1871, no. 256845 (Figure 11): pair of cupids with swags on #110 (Plate 23, Figure 12) and a letter holder in another collection126 • 14 December 1871, no. 258692: Aesop’s Fables’ fox and grapes on #4 and #7 (Plate 31), #56 (Plate 30), and #182 (Plate 34) and two in other collections127 • 18 March 1872, no. 261193: a pair of winged mermaids in profle holding a swag on #187 (Plate 29) • 14 September 1872, no. 266012: a frontal mermaid (or siren) holding her tenta- cles on #199 (Plate 35) • 3 June 1879, no. 335810: a bow atop a long, pointed leaf curled at the bottom in another collection128 • 10 April 1880, no. 348505: a palmette amid leaves on #188 (Plate 25) Two designs registered by Henry Jenkins & Sons “for a Cruet Frame” were employed mainly for handles, but the earliest registration employed on a bouquet holder was also mixed with a Greek key stamping: • 14 October 1863, no. 167278: a stylized petal and leaf shaft atop an inverted beaded-r im funnel with a leafy pointed tip serving as handles on #5 and #196 (Plate 26) and a third in another collection.129 It is also in between three 34 M MAKERS full-h eight Greek key stampings on the vase of #163 (Plate 27), so closely inter- twined that it seems likely that the Greek key die was owned by Henry Jenkins & Sons as well. • 24 June 1869, no. 230376: a plain octagonal collar atop a four-s ided shaft with beaded corners and a diamond- shaped tip serving as the handle of #193 (Plate 26). Among the 13 holders in this collection with designs that the frm registered, registry marks are found only at the base of the urn between the mermaids on #187 (Plate 29), in an inconspicuous place at the base of palmette holder #188 (Plate 25), and at the top of the handle of #196. Two similar bud-t opped loop handles on 17 holders and stamped hexagonal handles on 8 others have excellent connections to vases registered by Henry Jenkins & Sons, in- dicating that the frm probably made those handles, too. Ten bud- topped looped handles are married to vases with three registered designs: the cupid vase of #110 (Plate 23), the palmette vase of #188 (Plate 25), and a bow- topped vase in another collection registered as no. 335810.130 The similar bud-t opped looped handle with ends curled around the stem is married to seven vases that also have three designs that the frm registered: the mermaid design on #187 (Plate 29), the fox and grapes on #56 (Plate 30), and Greek key stampings on the vase of #163 (Plate 27) mixed with the cruet frame handle. The eight stamped hexagonal handles are also married to four designs that Henry Jenkins & Sons registered: the fox- and- grapes design on #182 (Plate 34), the fern design on #192 (Plate 33), the frontal mermaid design on #199 (Plate 35), and butterfy design no. 245343 registered in 1870 on a holder in another collection.131 Robert & Josiah Walsham The partnership of Robert Walsham (1828–1889) and his brother Josiah Walsham (1830–1913) was frst found in Birmingham directories in 1855, identifying them as die sinkers, stampers, piercers, and press tool makers at 2 Vittoria Street.132 By 1858, the business is listed at 15 Warstone Lane in the Jewellery Quarter,133 although design registrations from 1862 to 1878 and in an 1865 newspaper advertisement list the frm’s business simply as Warstone Works on Warstone Lane (Figure 16).134 In 1871, the busi- ness was substantial, when Robert Walsham reported that he employed “jointly with FIGURE 16. Notice for Robert & Josiah Walsham, Birmingham Gazette, 28 January 1865. Like the previous advertisement, flower holders are listed among its products, apparently referring to bouquet holders. PRODUCING POSIES M 35 my Partner 43 men” in the England Census,135 and an 1873 directory shows addresses from nos. 10 to 18 Warstone Lane, likely workshops in former houses torn down for the Big Peg (1971).136 The brothers had been born in Birmingham as Robert and Josiah Welchman to parents Robert and Eliza Welchman, changing their surname to Walsham by the time that they started the partnership. The 1841 England Census listed the Welchman family at 30 Camden Street in the Jewellery Quarter, identifying the occupations of Robert and Josiah’s paternal grandfather, father, and even Robert at the age of 12 as Button Brassmakers.137 By 1851, the England Census lists both brothers as die sinkers, Robert Welschmer [sic], age 22, lodging at 109 Albion Street in the quarter, and Josiah Welch- man, age 21, still on Camden Street with his grandfather, age 74.138 Josiah Walsham’s obituary noted that he had become “identifed with the metal business when a young man and worked for many years in English factories.” 139 An- other document sheds light on his personality. While riding on a Birmingham Tram- way, signage clearly indicated “smoking on the platform” outside the compartment, but the compartment was smoky, and he preferred to stay outside. The conductor insisted that his orders were for “none but smokers on the platform,” however, and required him to go into the smoky compartment or else leave the car, which he did at the frst opportunity, extracting his revenge with a description of the incident in a letter to the editor of a local newspaper.140 In 1878, probably as a result of the worldwide depression that began afecting the jewelry trade in Birmingham around 1875,141 he emigrated with his wife and daughters to the American jewelry center of Providence, Rhode Island, be- coming a naturalized U.S. citizen fve years later. He opened “the frst wholesale jewelry fndings establishment in this country,” the Josiah Walsham Company, moving it to new premises in 1896.142 His burial plot in Providence’s Swan Point Cemetery is marked by an impressive granite obelisk143 that indicates success in his new homeland. Robert & Josiah Walsham began registering designs a year after Henry Jenkins & Sons on 25 September 1862, and Robert Walsham continued a year longer, his last regis- tration occurring on 29 June 1883. Ultimately, the frm’s registrations totaled 100, about two- thirds the number of Henry Jenkins & Sons, which seems to have been the much larger business, considering the size of the factory building. The Walsham designs are also the same in type as Henry Jenkins & Sons, mainly for jewelry, cruet frames, and baskets, although identifcation of the design’s application is rare except in early regis- trations. After Josiah’s departure, Robert registered eight more designs by himself from 1878 to 1883,144 working and living with his family at 31 Warstone Lane by 1881.145 The frm registered four designs employed on bouquet holder vases, two in this collection and two in other collections, listed in chronological order: • 27 November 1869, no. 236671: a butterfy with a heart- shaped loop below en- compassing an unidentifed feature, represented in the registration submission by an uncut stamping (Figure 17). It appears quite diferent after piercing and bending on #59 (Figure 18, Plate 38) and is also on #191 (Plate 38). • 8 January 1870, no. 237928: an enlarged version of the lower heart- shaped por- tion of the frst registration (Figure 19), employed on the vase of #201 (Plate 39) and two holders in other collections.146 • 20 January 1870, no. 238170: a design for a butterfy employed on a vase atop separately stamped long leaves on a silver holder in another collection, married to the same handle as regular #70 (Plate 40) and #165 (Plate 39).147 36 M MAKERS FIGURE 17. Detail of uncut gilt-b rass stamping no. 236671 FIGURE 18. Detail of vase on #59 (Plate 38) matching stamping registered 27 November 1869 by Robert & Josiah Walsham, sewn in Figure 17, also on #191 (Plate 38). onto the page in the design representation volume for metals. FIGURE 19. Registration no. 237928, dated 8 January 1870, submitted by Robert & Josiah Walsham; the uncut gilt- brass stamping matches two on the vase of #201 (Plate 39). PRODUCING POSIES M 37 • 26 June 1872, no. 259991: crossed cornucopia employed on a vase in another collection married to a plain fgure-e ight handle related to regular loop han- dles in Plate 21.148 Robert & Josiah Walsham employed three of four registered designs at full height on vases (excepting the second butterfy) and just two replicates on all known holders. They registered other animal designs, but none has been found on a bouquet holder, probably because their horizontal formats were unsuitable.149 In contrast to Henry Jen- kins & Sons, all known vases with designs registered by Robert & Josiah Walsham have registry marks, and the frm likely intended to register a spade handle employed on 11 holders, detailed further below. Knight & Durant In 1872, the frm of Knight & Durant is listed at 34 Tenby Street in the Jewellery Quar- ter on design registrations, and in 1873, it is identifed as “die sinkers, stampers and piercers,” essentially the same skills as the two other frms.150 It continued to be listed at that address until 1896, when Brian (also Bryan) Knight was no longer listed, and John Durant (1842–1917) alone was listed at that address through 1908.151 In contrast to the other two frms, Knight & Durant registered two complete designs specifcally for bou- quet holders on 4 June 1874, apparently made up by a professional registration agent: #190 (Plate 44) with anthemions at the rim and a Greek key band mid-v ase, matching no. 282775 (Figure 20); and no. 282776 (Figure 21), which has designs on the upper vase found on a crystal holder exhibited at the 1862 International Exhibition in London copied by Alexander Macrae on #158 (Plate 3).152 Nonetheless, the frm mixed parts of the two holders, found on two holders in other collections that have the neoclassical vase from the frst holder’s registration and the quadrilateral handle from the second.153 Thirteen other registrations submitted from 10 August 1872 to 22 September 1875 in- clude four for jewelry, six for chandeliers fnials, and three for unidentifed metallic stampings. Holder #190 is included at the end of the BMP regular subset, although its stampings are not congruent with any of the BMP regular holders. Interactions among Birmingham Firms The Jewellery Quarter has been likened to “one huge factory with specialists at once independent and interdependent.”154 Eight of 11 spade handles in the collection bear registry marks more or less legibly dated 22 September 1871 (Figure 10), but the design is not in the registry. It seems likely that Robert & Josiah Walsham intended to register it, however, because the frm registered jewelry designs for a brooch and crucifx on 22 September 1871.155 Moreover, three spade handles with registry marks are married to two Walsham-r egistered vase designs: the butterfy vase on #59 and #191 (Plate 38) and the enlarged lower portion of the butterfy design on the vase of #201 (Plate  39). According to an expert on design registrations, such mismatches between registration marks and registrations are not unusual.156 Adding to the mystery regarding registration of the spade handle, in 1871 Henry Jen- kins & Sons registered the fox-a nd-g rapes design employed on the vase of #4 (Plate 31), and it is married to a spade handle with a registry mark for 22 September 1871 associ- ated with Robert & Josiah Walsham. The most logical conclusion regarding the mixed designs on #4 is that the two frms exchanged dies or, more likely, stamped pieces. This conclusion is supported by so much intermixing of stamped designs in the Smith- 38 M MAKERS FIGURE 21. Registration for bouquet holder no. 282776 on the same day as the registration shown in Figure 20. FIGURE 20. Registration for bouquet holder no. 282775 by Knight & Durant on 4 June 1874, matching #190 (Plate 44). sonian’s collection that if one attempts to assign holders on the basis of secondary or tertiary connections to registered designs, clear attribution to one or the other maker is impossible. As an example, it has been proposed that the hexagonal handles employed on eight holders were made by Henry Jenkins & Sons on the basis of marriages to three of their registered designs, and none is married to a vase registered by Robert & Josiah Walsham. However, a grape vine vase is married to a hexagonal handle on #197 (Plate 37), and three other identical grape vine vases (#8 and #22, Plate 37; and #57, Plate 38) are married to spade handles associated with the Walshams. The two compa- nies may have traded or purchased each other’s parts when it suited them, probably a relatively simple and inexpensive transaction since the investment in dies had already been made. A powerful factor or merchant who retailed the bouquet holders may also have requested particular designs that required collaboration.157 A maxim regarding Birmingham metal trades is that “though diferent specialists were dependent on each other for work, competitors generally regarded each other’s doings with a mixture of suspicion, caution and curiosity.”158 The two frms had essen- tially identical skills, which implies that they were indeed competitors, and illustrating their competition is a chronology of the two frms’ registrations for popular butterfy PRODUCING POSIES M 39 jewelry.159 Robert & Josiah Walsham led of by frst registering a drawing for a butter- fy (wide borders at wing edges) “for a clasp” on 18 April 1866 (no. 196650). Just as the Walsham’s copyright lapsed three years later, Henry Jenkins & Sons registered a sim- ilar butterfy (dots on the abdomen) on 13 May 1869 (no. 229393) for a “basket &c.” The Walshams registered a new butterfy (horizontal indentations on the abdomen) within a year on 20 January 1870 as no. 238170. Both frms also submitted butterfy designs sized and shaped suitably for use as full-h eight stampings on bouquet holders, again led by Robert & Josiah Walsham. On 27 November 1869, the frm submitted a slightly diferent version of the 1870 butterfy with a heart-s haped loop below (no. 236671), employed on #59 and #191 (Plate 38). Ten months later on 30 September 1870, Henry Jenkins & Sons registered a new butterfy design, remarkably similar to the Walsham butterfy with a fgure-e ight loop below (no. 245343), known in three copies in other collections.160 On 6 February 1872, Robert & Josiah Walsham registered another butterfy (plain abdomen and dots on its wings) “for Breakfast Frames &c.” as no. 260275, employed on the vase of a holder in another collection with leaves added below.161 The size of Henry Jenkins & Sons’ new three-s tory factory in 1866 indicates it was the larger and more prosperous frm of the two. Furthermore, the quality of both de- sign registry submissions, apparently done by a professional registration agent,162 and advertisements refect the frm’s greater aspirations and capital (see “Drop Stamp” in Chapter 3 for registrations). The company placed many notices in the Birmingham Daily Post announcing the move to the new building, as well as advertisements in Birmingham directories, one even topped by heraldic lions surrounding the royal arms of England (Figure 15).163 When Henry Jenkins died in 1885 at age 76, he is described in the probate record as a gentleman, and probate was not completed until 17 years later in 1902, sug- gesting difculty in settlement of property.164 A primary asset would surely have been the factory, but since it was still in the family in 1981, it must have been transferred to family members before probate, because Jenkins’s assets are recorded at ₤2,152. Robert & Josiah Walsham submitted a stamping rather than a drawing for most designs used on bouquet holders, and their registration submissions do not appear to have been done by a professional agent like those of Henry Jenkins & Sons and Knight & Durant (Figures 17, 19). The only advertisement found in a local newspaper is without decoration (Figure 16) and was paid for by one Frederick Smith as part of a deal struck for copyright infringement. Smith abjectly apologizes for “having unlawfully applied a certain Registered Design for a Cruet or Liqueur Frame Handle, of which design you are the Proprietors; and I am Thankful to you for having kindly consented to withdraw Legal proceedings against me for such Ofence, on payment of your Costs already incurred.”165 In 1866, the same solicitor for the Walshams settled a second copyright violation in Police Court.166 These court cases indicate that the frm not only was litigious but monitored its copyrighted designs. Since registry marks on spade handles feature the same date as the brooch and crucifx, it seems most likely that the spade handle was sent to London for registration at the same time and was either lost or rejected for registration. At his death, Robert Walsham left the sum of ₤834 to his son Josiah, also a die sinker.167 Henry Jenkins & Sons and Robert & Josiah Walsham were clearly the principal makers of BMP regular holders given interconnections in the subset, but if the same maker produced the fligree holders in earlier decades as indicated by continuity of dies, it had to be Henry Jenkins since his business was established in 1830. Profts from sales over more than three decades would also be consistent with the opening of 40 M MAKERS Henry Jenkins & Sons’ large new factory in 1866. Henry Jenkins’s sons in the business were contemporaries of Robert and Josiah Walsham, born around 1830 and teenagers in the 1840s when Charlotte Irving was given the fligree- type bouquet holder in 1847 (Figure  3). When the Havemeyer fligree tripod was engraved in 1858 (Figure  4), the Walshams’ partnership was at its inception. Regular Native American woman holders in Plates 20 and 21 demonstrate continuity of dies with earlier subsets and a link to Henry Jenkins & Sons. Native American woman #10 is connected to fligree holders by the same handle as fligree #209 (Plate 14), and regular Native American woman #1980.026 has the same neck and handle as elegant #15 and #169 (Plate 15). Native American woman #160 has a plain loop handle notched at the top similar to the six fligree notched-t op handles ending in spheres (Plates 11–14) and the notch-t opped curved handle of elegant #237 (Plate 15) ending in a sphere. Another holder with the same plain loop handle as #160 has a grape and grape leaf vase married to a bud-t opped loop handle found on 10 regular holders, three with vases registered by Henry Jenkins & Sons. Materials and fabrication are generally consistent with progression from silver hold- ers in the fligree subset to electroplated brass holders that are the majority of regular subset holders, both with connections to Henry Jenkins & Sons. Regular subset holders in sterling might have been made before electroplating was available, such as Native American woman #10 and #160 (see Table A.1), and fve silver holders are among 10 with bud-t opped loop handles indirectly associated with Native American woman #160 and Henry Jenkins & Sons (see Plates 22, 23).168 Two regular holders with hexagonal engraved handles associated with Henry Jenkins & Sons are also in silver (#69 and #87, Plate 32), and they almost certainly preceded eight holders with identical stamped hex- agonal handles, three of them married to vase designs that the frm registered. Details of stamped hexagonal handles in Plate 33 also support alteration of the die over time and a progression from silver to gilt brass (see chapter 3, “Drop Stamp”). On each half of the silver handle of #58, the die appears fresh, whereas on silver-p lated brass #175 and #192 (Plate 33), married to a fern-l eaf design registered by Henry Jenkins & Sons in 1869, it has clearly degraded. In addition, regular Native American woman #88 in gilt silver is one of only two holders in the regular subset made of two precious metals; the other is tripod #217 (Plate 28) with a Greek key vase, likely made by Henry Jenkins & Sons because of the close connection of the frm’s cruet frame handle registered in 1863 between Greek key vase stampings on #163 (Plate 27). The Greek key design by the French jeweler Mellerio, lauded at the International Exhibition in London in 1862, also suggests a date after 1862.169 The factor or merchant who sold the bouquet holders may also have played a role in production, and Nathaniel Mills (1811–1873) seems a likely candidate. He was obviously successful, on the basis of the ₤30,000 left at his death, and as a contemporary of Henry Jenkins, he might have supplied fligree holders made by Henry Jenkins & Sons to re- tailers in New York City and, later, mass-p roduced regular holders made by both major frms, perhaps continued by his son-i n-l aw after his death.170 During 1844–1845, Mills had hallmarked bouquet holder with the same lower handle171 as fligree #209 and regular #10, and he would have been familiar with fligree making, given his father’s fligree card holder made around 1820.172 If so, except for the bottom line, it is difcult to reconcile the quality and variety of his father’s fligree work with the simple fligree and awkwardness of many fligree tripods made in Birmingham, even if they were popular and expensive in New York City. PRODUCING POSIES M 41 MISCELLANEOUS PROBABLY ENGLISH HOLDERS PLATES 45–49 The majority of the 15 MPE holders were made using typical English white metals: sil- ver, nickel silver, and britannia for base metals and silver for plating. Brass base metal was used for six others plated with silver and/or gold. These holders have properties similar to those of other English holders, but by defnition, none has stampings congru- ent with other English holders in this or other collections. Of three vase brooches in Plate 45, the frst two are in gilt brass and have elegant-t ype decoration as well as wire-l oop clips characteristic of Birmingham, following the seminal brooch #100; brooch #78 also has internal prongs like #100 and fve elegant holders. Pin brooch #101 is likely English, on the basis of its cotter pin and primary use of silver.173 Three vase brooches in Plate 46 were for men, probably made by an English frm, because they employ silver or silver plating and English motifs. Boutonniere #238 has a purple glass vase and features typical English symbols, a pair of oak leaves and an acorn attached to a clip that fts through a lapel buttonhole.174 Pin brooch #119 has a similar purple glass vase and is decorated with English ivy. Silver pin brooch #257, missing its glass liner, has imitation basketry with an oak leaf rim topped by a single large edelweiss, perhaps a reminder of an alpine vacation. Other similar vase brooches feature the same edelweiss, including one with mountain climbing equipment and an- other with a type of grouse (capercaillie) associated with Scottish pinewoods.175 Finally, a brooch with an oak leaf rim similar to #257 features a deer head, which could refer to deer stalking in Scotland by the British royal family.176 In Plate 47, #11 has English oak leaves and acorns, and #32 and #83 make use of thick spiraled brass wire in a fashion similar to #11. All three are heavy, and two similar hold- ers in other collections have large elongated chain links like those of #83 (Plate 42).177 Another holder has vase wires similar to #11 and a handle wound with the same leaves as heavy BMP regular magpie #73 (Plate 25), both handles recalling a holder exhibited by M. Balleny of Birmingham at the Great Exhibition in 1851.178 Given their weighti- ness and handwork, this group of seven holders was likely produced relatively early in Birmingham. Among fve disparate holders in Plates 48 and 49, silver #174 is most similar to a BMP regular holder. It has a cotter pin typical of England and a small sphere at the neck like BMP regular holders with hexagonal handles, probably to improve narrow mid-h older joins. The base metal of #107 is nickel silver found on several other BMP holders,179 and its spring-l oaded jaws with “PATENT” stamps almost certainly refer to the same B. H. Joseph & Co. patent as #1 (Plate 4, Figure 9). Both #107 and #1 are also decorated with palmettes. Remaining holders include #227 (Plate 48) ftted with a boar tusk, its setting recall- ing a Scottish brooch set with a cairngorm drop in the collection of the Kelvingrove Art Gallery and Museum in Glasgow.180 Wearing such ornaments made with parts of animals became so popular that an entire “Animal Products” collection was formed in 1851 in the South Kensington Museum, now the V&A.181 Sliding ring holder #149, en- tirely in elephant ivory, is similar to sliding ring holders in other collections attributed to England,182 although one wonders if they might instead have been made in India during the British raj, given the elephant ivory. Analyses found that the base metal of relatively plain silver-p lated #120 (Plate 49) is britannia (see Appendix Table A.10), a soft pewter.183 Silver pendant #108 strung on a necklace is similar in its simplicity to #76 and #79 (Plate 6), probably also made in the early twentieth century. 42 M MAKERS FRANCE Paris was well- known for the quality of its jewelry during the nineteenth century, sup- ported by a large pool of skilled metalworkers and other craftsmen. Empress Eugénie owned bouquet holders made by Parisian jewelers in gold and gilt silver set with pre- cious gems, now in the Museo Napoleonico in Rome, and she gave a gem- encrusted gold holder to Queen Victoria in 1855.184 Most French holders in this collection, however, were stamped in brass electroplated with gold, often set with glass gems, and thus were likely owned by middle- class women. Brass workers would have been the central fgures in making these bouquet holders: stamping the vases, neckbands, and caps; soldering them together; and attaching chains, gems, beads, etc. The same stampings were employed on other objects, too. Gilt- brass replicates on a perfume bottle referred to as “Palais Royal,”185 for example, are identical to those on the vase of FG1 holders #30 and #50 (Plate 62) in Figure 22. Other craftsmen in Paris would have supplied parts for bouquet holders made of materials other than brass, including mother- of- pearl, ivory, glass, and vitreous enameled handles, as well as glass “gems” and hollow and solid glass beads for decorations. Multiple suppliers are indicated by the range in quality of materials, from simple, somewhat coarse silver foil paillons embedded in the enameled handle of #117 (Plate 51) to delicate gold and silver paillons and painted fowers on #48 (Plate 52). A few holders were apparently produced in smaller places like Bourg- en- Bresse in eastern France, which specialized in imitation enamel pearls backed by concave gold foils, known as godets d’or.186 Establishing French attributions for holders was initially daunting because of the dearth of markings. Holder #136 (Plate 59) is stamped with the name “LEBRUN” on its neckband (Figure 23), and Marc- Augustin Lebrun (1782–1859) was a major French FIGURE 22. Identical stampings: (left) on a Palais- Royal perfume bottle (courtesy Rockwell Antiques Dallas); (right) on vase of #30 (Plate 62). FIGURE 23. Detail of double-s tamped “LEBRUN” on the neckband of #136 (Plate 59). PRODUCING POSIES M 43 gold- and silversmith active during the frst half of the nineteenth century. His mark is similar,187 but it seems unlikely that he would have made modest electrogilded sheet brass #136. Holder #147 (Plate 77) has a mark shaped like that of a cock in use from 1809 to 1819 in Paris, but it is severely defaced and may not be authentic.188 Sliding ring holder #173 (Plate 50) could be readily identifed as French because it is identical to an image in the Journal des dames et des môdes published in 1834 and similar to holders in other collections,189 but it is quite diferent from most other holders in the collection. Ultimately, an assumption was made that 10 copper handles coated with traditional enameling embedded with precious metal paillons are French, and French group 1 (FG1) was formed, containing 45 holders: early sliding ring #173, #92 with an enameled copper vase, 10 holders with enameled copper handles, and 33 holders with brass stamped in the same dies as the enameled handled holders. French group 2 (FG2), containing 13 holders, does not have any stampings in common with FG1 holders and has several dif- ferent characteristics. French group 3 (FG3) comprises 14 miscellaneous holders defned as made with French materials and features but are without stampings identical to any in FG1 and FG2. It is hypothesized that holders identifed as showstoppers in the FG3 group, however, were made later in the same milieu as FG1 holders. Characteristics in common among French holders include the assembly of most vases from multiple brass pieces, such as the nine individual stampings that comprise the design replicated on FG1 #80 (Plate 53), some probably made with handstamps. A few FG1 enameled handled holders have full- height stampings in tandem with smaller pieces, and eight French bent-s heet vases extend the full vase height.190 Otherwise, full- height stamped replicates common on regular English holders are limited to small French holders, such as #26 (Plate 61) and #115 (Plate 62). Holders in the last two FG1 plates (Plates 64, 65), referred to as the #216 subgroup because of distinctive features in common, tend to have larger, heavier stampings, as do FG3 showstoppers, and were probably made later. Except for sliding ring #173 and legs on two tripods, French handles are made of nonmetallic materials that could not be attached with solder. Most instead have a sheet metal strip neckband cut to match the tang of the handle, which was then glued inside the neckband. Two- piece gilt- brass caps were also adhered to enameled handle tips. Chains on French holders most often comprise round links, constituting 56% of those with extant chains, somewhat fewer than the 69% on their English counterparts. The round links had to be soldered together, probably by young girls at a chain maker, as in Birmingham.191 Apparently unique to France are chains comprising sheet links, both fat loop- in- loop links found on nearly a quarter of those with extant chains as well as crimpable links on four holders in the Smithsonian’s collection and 15 in other collections. Both types of chain were made without solder and may have been cut out using a fy press and assembled by brass workers rather than specialized chain makers. After the vase and other brass parts were soldered together, they would have been sent to the electroplater along with chains, accoutrements, and caps. Most are thinly electrogilded (see Appendix Table A.5), and 18 were enameled afterward,192 possibly by brass workers themselves, who had furnaces similar to those of enamelers.193 This supposition is supported by the poor condition of enamel, which has faked of an esti- mated 75% of most gilt- brass surfaces, such as on a band at the neck of #53 (Plate 61); in contrast, enamel on copper handles, likely made by enamel specialists, has few losses. Decorations were added to half of the French holders, including glass gems or beads on 44 M MAKERS 22, framed mirrors on 8, ivory or bone fowers on 3, oxidized silver- plated brass beads and other silver decorations on 3, and gilt- brass drops on 2.194 Finally, chains and accoutrements were attached using methods diferent from En- glish counterparts; in particular, handle chains had to be mechanically attached to the nonmetallic French handles since they could not be soldered. Methods varied somewhat between French groups, identifed in the sections for each of the three groups that follow. FRENCH GROUP 1 PLATES 50–76 French group 1, almost certainly made in Paris, consists of 45 bouquet holders: early sliding ring #173 (Plate 50); 10 holders with vitreous enameled handles; 33 related to them by congruent stampings or other features; and the largest French holder with an enameled vase, #92 (Plate 52). Holder #92 lacks congruencies with other FG1 holders but has enamelwork matching that made in eastern France at Bourg- en- Bresse.195 Holder #173 (Plate 50) is dated around 1834 by the illustration in the Journal des dames et des môdes, and it is almost certainly by the same maker as sliding ring holders in other collections with similar dimpled caps at the bottom.196 Since electroplating was not available until about midcentury, all three are largely coated with tinted lacquer that imitates gold; gilded bands and tips were probably amalgam gilded, although, the- oretically, the process had been successfully outlawed around 1830. The 10 enameled handles in this collection and 20 in other collections are generally blue in color, a few also with white bands on which fowers were painted (see Appendix Table A.11); paillons are in silver or silver and gold.197 A few larger, more elaborate enam- eled gilt- brass vases have fancier enameled handles with more elaborate paillons, such as #48 and #232 (Plate 52), perhaps made later than others or for sale at higher prices. Congruencies of stampings to enameled handled holders for 31 gilt- brass vases and 2 in silver- plated brass are both direct and through other holders. Relatively inconspic- uous pieces at the neck proved particularly useful for making connections, including neckbands, neckpieces, neck caps, funnels, spheres, and collars shown in detail in chap- ter 3. The same “whole- fower” design is on fve neckbands in this collection and seven in other collections, for example, and a “partial- fower” design is on three neckbands in this collection and fve in other collections.198 A collar of fve torc- like elements with dots in between them is at the neck of 2 other holders in this collection and 11 in other collections,199 and a stamped petal cap above neckbands is on 5 holders in this collection and 9 in other collections.200 Such repetition indicates the frugality and ingenuity of French makers, although vendors, and especially purchasers, would have been largely unaware of them since they are employed in inconspicuous and diferent places. French group 1 holders are attractive and were likely made in a frst- class milieu where workmen had access to a variety of dies, and the range of holders indicates rel- atively independent workmen who mixed and matched stampings and other features. Two holders have the same “spears” on their vases (#53, Plate 61; #156, Plate 60), for ex- ample, but are married to diferent neckbands, collars, and handles. At frst glance, the same spears were not recognized on the vase of a third holder in another collection.201 Another example is provided by three handles carved in ivory dyed red in Plate 56 and three similar handles in other collections, which together have six diferent vases.202 Within several types, FG1 holders vary considerably. Flirting mirror holders with reducing mirrors allowing one to surreptitiously see who was nearby at a social event PRODUCING POSIES M 45 include #55 (Plate 53) and 14 in other collections ranging from a mirror opposite a painting on #55 to a mirror opposite a thermometer.203 Dance card holders have a pencil for scheduling dance partners on ivory sheets, and dance card #129 has a vase made of pattern-r olled sheet (Plate 57) with a backing plate for the cards stamped with the same scroll pattern as a dance card backing plate in another collection.204 Dance card vases can be quite diferent, but four have similar cutout oval backing plates with machine- made zigzag borders.205 Six FG1 holders have spindle-s haped glass handles with the tang adhered inside the neckband like most French holders (Plates 61, 62), whereas three small holders in Plate 63 have handles with glass or alabaster held by stamped gilt- brass strips soldered to adjacent parts, an attractive and inven- tive solution for incorporation of a spiral or teardrop. Two of them, #148 and #222, along with fve related holders in other col- lections, have carrying chains often said to be for young girls.206 These were made by attaching one end of a chain to a wire loop on the vase and the other end to a cap at the bottom of the handle. Holder #222 and fve in other collections with engaged handles also have Gothicizing vase designs in le style cathédrale (Figure 24).207 Round-l ink chains predominate on FIGURE 24. Detail showing Gothic architectural tracery, FG1 holders, but 11 (28%) of those with any colonettes, and a triforium passage on vase of #222 chain have loop-i n-l oop sheet links. Those (Plate 63), married to an engaged spiral-g lass handle. with oval links are on three holders; two of them, #148 and #222 (Plate 63), have en- gaged glass handles and carrying chains. In other collections, fve holders also have engaged glass handles and carrying chains, and a sixth has an enameled handle and carrying chain; fve more have diferent glass handles, and eight have handles in other materials, for a total of 19.208 In this collection, fgure-e ight sheet links are on 8 holders, and 12 are in other collections, mostly with mother-o f-p earl handles.209 Four FG1 holders (10%) have crimpable links, as do 15 holders in other collections, 12 of them with two other features associated with FG1 #216 subgroup holders.210 Several attachment features for chains are distinctive on French holders. A wire loop attaches foral pin chains on 30 FG1 holders and 4 FG3 holders in this collection and 24 FG1-t ype holders in other collections.211 Ends of the wire loop were inserted through a hole in the lower vase or neckband and fxed in place with solder, and ends were cut of on the interior. Most fnger ring chains on FG1 holders were attached by a plain or decoratively stamped band wrapped around a channel near the handle’s tip. Exceptions are those with enameled handles (FG1 #44, #94, #232, #284, and #306), which instead have chains attached to gilt-b rass caps, now lost from three handles. Another interest- ing characteristic is use of a round brass link without gilding for attaching gilt-b rass chains and/or accoutrements on 21 FG1 holders.212 When new, the brass links would have been bright and not readily distinguishable from adjacent gilt brass, but they have revealed themselves by darkening over the years. Since they have been found only on French holders, their use may indicate a French origin, particularly an FG1-t ype holder. Floral pins on FG1 holders are mostly common types, 13 with bent-l oop heads and 46 M MAKERS 17 with soldered round heads. Holder #40 (Plate 51) instead has a short threaded foral pin with a double- lobed head, similar to three holders in another collection, all four married to enameled handles and probably by the same maker.213 Most fnger rings are plain, but eight have stamped foliate patterns, three are dotted, and two are made of twisted wires or bands.214 French group 1 holders #35, #49, #114, #133, #216, and #221 in Plates 64 and 65 form a special group, named the #216 subgroup because of tripod #216’s critical link to French tripods in another collection.215 This subgroup has six distinctive features that set it apart from other FG1 holders, and 12 holders in other collections have at least three features in common with #216 subgroup holders that include crimpable chains.216 FG3 #124 (Plate 73) is also related to the #216 subgroup by its center spike. Among distinctive features of the six holders in the #216 subgroup, the frst is com- paratively heavy weight, averaging 50 g, which makes them nearly as heavy as FG3 showstoppers, averaging 51 g.217 Second, spikes are at the center of all six #216 subgroup vases and 19 similar FG1- type holders in other collections.218 Third, #216, #35, and #49 have oxidized silver decorations contrasting with gilt-b rass vases, also found on nine similar holders in other collections, eight of them known to have center spikes.219 Ox- idized silver had been introduced in Paris for fgurative objects in the 1840s, and an oxidized silver bracelet by the Parisian jeweler F. J. Rudolphi was a sensation at the Great Exhibition in 1851.220 Fourth, tripod #216 and #49 have crimpable chains attached separately to a large ring, and 15 similar holders in other collections also have crimpable chains, 9 of which have separate chains attached in the same place, and 9 are known to have center spikes.221 Fifth, four of fve #216 subgroup holders with extant fnger ring chains have a small ring perpendicular to the fnger ring where the chain was attached rather than a small ring in the same plane as in most other holders; 12 related holders in other collections have similar perpendicular rings, 9 of which are known to have center spikes.222 Finally, the same wide- bottomed two- piece neckpiece with vertical seams covers hinges for leg attachments on tripod #216, matching the diameter of the broad mother-o f-p earl handle on #221 and modifed to match the narrower handle of #35. The same neckpiece is on 10 holders in other collections, fve tripods and fve with mother-o f-p earl handles, seven of them known to have center spikes.223 A tripod in another collection also has the same lower half of the neckpiece, feet, cap, and tripod mechanism as #216, and the upper half of its neckpiece has the same V decoration as the neckpiece of FG1 #94 (Plate 60) with a mother-o f-p earl handle, also on the cap of an enameled handle in another collection.224 FRENCH GROUP 2 PLATES 66–71 French group 2 comprises 13 holders without any of the same stampings as FG1 holders, and these holders have other diferent characteristics. They were initially identifed as French on the basis of four holders in Plates 66 and 67 with the same stamped neck- band of four dots in a diamond-s haped array in between rim crescents as an enameled handled holder in another collection.225 Nine holders were added to the group on the basis of features related to the frst four holders, and 25 similar holders were identifed in other collections, including eight with the same dot-a nd-c rescent neckband and six mirrored holders essentially the same as those in Plate 66.226 The FG2 holders have fewer designs with more limited variations than FG1 holders, PRODUCING POSIES M 47 suggestive of production by metalworkers under tighter control with fewer die stamps, and some seem pedestrian and heavy- handed compared to FG1 holders. Nine of 13 FG2 holders (#9, #19, #38, #42, #47, #137, #145, #240, and #383) are notable for having framed mirrors or similar framed objects that alternate with other major stampings: (1) bejew- eled stampings on #9, #19, #145, and #383 and fve holders in other collections; or (2) a single leaf or empty frame atop a gilt- brass loop on #38, #42, #47, #137, and #240 and two holders in other collections.227 In comparison, only three among far more FG1 holders have major alternating designs: #55, #139, and #228. Enameled holders #41 and #47 (Plates 69, 70) have blue and red glass gems, and two bejeweled holders in other collections are so elaborate that they could be consid- ered showstoppers.228 In other collections, a total of 17 holders have gems and 5 have enameling.229 The most notable feature of FG2 holders is their consistency, including mother-o f- pearl handles with similar shapes (Figures 25, 26): double rings at the top, a longish swell below that fares out at the bottom, and a stack of progressively smaller disks continuing to the tip except for a narrow channel near the bottom where a keyhole- shaped loop for the fnger ring chain attachment was ftted; some handles are shorter and stubby, like #123 in Figure  26.230 A bone handle on #41 is the only exception but is likely a replacement.231 In other collections, most (22) of the 25 FG2- type holders have similar mother- of- pearl handles. Exceptions are one with a wooden handle (probably a replacement) and two with mother- of- pearl handles in a diferent style, perhaps later.232 None of the FG2 holders has an enameled copper, glass, or ivory handle. The majority of FG2 holders in this collection have round-l ink chains, but a number of chains seem to have been altered.233 In other collections, 20 of 22 FIGURE 25. Detail of mother- of- pearl handle holders have extant chains composed of round links, typical of French group 2 with a keyhole- and the two without them are heavily bejeweled and shaped band attaching the finger ring chain likely made later.234 Given consistency of other fea- in a narrow channel near the tip of #145 tures, it is expected that most FG2 chains originally (Plate 66). had round links. Attachment of chains is consistent. A round link around a narrow vase element attaches all chains ending in a foral pin, invariably with a bent-l oop rather than soldered head. A distinctive keyhole- shaped wire attaches the fnger ring chain at the narrow channel toward the end of the handle. Since the makers of FG2 holders did not have ac- cess to the same dies as FG1 holders, they could have been made in a diferent place, but it seems more likely that the FG2 workshop was also in Paris. A few FIGURE 26. Detail of mother-o f-p earl handle FG1 handles are similar to the standard FG2 handle, on French group 2 #123 (Plate 71), similar and the same embossed paper seems to have been to but shorter and stubbier than handle in Figure 25, and with an identical keyhole- used for backing mirrors on both FG1 #55 and FG2 shaped band. #137, indicating common Parisian sources. 48 M MAKERS FRENCH GROUP 3 PLATES 72–77 The 14 holders in FG3 employ materials similar to those of other French holders, in- cluding gilt-b rass vases; separate gilt-b rass neckpieces or neckbands; and handles in mother-o f-p earl, bone, or ivory. Although they were defned as being without stampings in common with FG1 or FG2 holders in the collection, it is hypothesized that eight (seven showstoppers and a sliding ring holder) were probably made later on in the same milieu as FG1 holders. Seven are considered showstoppers (Plates 72–74). To a large extent, showstoppers are in the eye of the beholder: here they are identifed as more elaborate and bolder than most FG1 holders, such as three set with glass spheres or gems (#124, #150, and #234), two with spherical glass balls or pearls ending in gilt- brass drops (#154 and #157), two colorfully enameled (#150 and #208), and one with pink cylinders probably made of dyed ivory or bone (#234). Five have mother- of- pearl handles swollen in diameter com- pared to FG1 holders, the sixth (#234) has a large carved bone handle with a J- shaped end, and the seventh (#154) has a comparatively demure handle but makes up for it by large, stamped gilt- brass cornucopias strung with 44 blue glass beads on the vase. To date, all seven appear to be one- of creations, although four (#150, #154, #176, and #208) have the same double- curved neckpiece, and most have FG1- type chain attachments.235 Twenty holders in other collections are also considered showstoppers,236 several of which are similar to showstoppers in this collection. One has gilt- brass drops hanging from pearls and another has gilt- brass drops and coral, similar to gilt- brass drops hang- ing from pearls and spherical glass balls on #157 and #154.237 At least six showstoppers have long ball- headed foral pins with small decorative spheres just below the head made of solder that joins the shaft and head, similar to foral pins on showstoppers #157 and #176.238 Showstoppers in other collections provide connections to FG1 holders. One has a cameo, pearls, and gilt- brass drops alternating with the same arrow- like stampings as FG1 #184, #228, and #377 (Plate 55).239 Two holders— a sliding ring showstopper with a J- shaped handle240 and another with rectangular dance cards, a cameo, red glass gems, and J- shaped handle ending in an animal head241— have the same palmettes as a holder with red glass gems and fve characteristics of the #216- type subgroup (a center spike, two- piece neckpiece, crimpable chains, separate attachment of chains in the same place, and oxidized silver baby Bacchus heads).242 A mirrored showstopper with rectangular dance cards and blue glass gems has the same FG1 torc collar as #53, #142, and #156 and the same partial fower neckband as FG1 #142, #156, and #235.243 Evidence of connections between showstoppers and FG1 holders is imperfect. Nev- ertheless, it seems likely that the FG3 showstoppers and sliding ring #198 were made in the same milieu as FG1 holders, especially those in the #216 subgroup, and their elaborateness suggests that they were probably made later.244 FG3 #124 also has a center spike linking it to the #216 subgroup and found on seven other holders with the same fat collar neckband as #124. Among six remaining holders in the FG3 group in Plates 75–77, four are likely French. Holder #178 (Plate 76) has twisted wires, glass gems, and a slightly bulbous- ended ivory handle that recalls holders related to the early sliding ring #173 (Plate 50), although #178 is electrogilded and must have been made well after #173.245 Holder #202 is heavy at 52 g and is fat on interior surfaces, likely cast rather than stamped. Along with #233, it has a sphere atop a plain neckband like three FG1 holders,246 ivory and mother- of- pearl PRODUCING POSIES M 49 handles consistent with French handles, and thick curled wires at the sides similar to a large holder in another collection with a glass handle;247 nonetheless, they seem diferent from FG1 holders and showstoppers. The colorfully enameled vase of #207 is married to a delicate FG1- type ivory handle with an FG1- type band attaching the handle chain, but its vase and neck seem heavy compared to those of most FG1 holders. Holders #46 and #147 (Plate 77) have less clear attributions to France. Mirrored #46 has eighteenth- century style stampings typical of French holders and a two- part stamped oval neck, but none of its stampings have been found on any other holders, although settings for the mirrors are similar to those for gems on #216 (Plate 64).248 Its unusual small hook on the back has not been found on any other known holders. The futed silver vase of #147 (Plate 77) recalls Egyptian imitation- papyrus capitals in the Zoser complex at Saqqara, but scratched- out maker’s marks suggest that they may be spurious, although the outline of one mark matches a cock used in Paris from 1809 to 1819. Its style might suggest inspiration from Napoleon’s Egyptian campaign (1798–1801), but that campaign is said not to have resulted in Egyptian- style jewelry, which became popular during the Second Empire when the French excavated in Egypt and built the Suez Canal.249 FOUR FRENCH MILIEUS Holders in the three French groups were made in four distinct milieus or workshops, which do not correspond exactly to groups in the catalog. For clarity, milieus are sum- marized here, excluding holders that have not been assigned with certainty. The earliest milieu includes holders made in Paris before electroplating was avail- able, including sliding ring #173 (Plate 50), identical to an illustration in an 1834 issue of the Journal des dames et des môdes. It is almost certainly by the same maker as several sliding ring holders identifed in other collections with similar bands and dimpled caps. Largely coated with tinted lacquer that imitates gold, these seem to be contemporary with holders made in gold, ivory, and tortoiseshell around 1830.250 The second milieu includes bouquet holders with congruent stampings made after electroplating had become available: 43 FG1 holders (excluding early FG1 sliding ring #173 and FG1 #92 with an enameled vase) along with many similar holders in other collections; and 7 FG3 showstoppers and sliding ring #198 along with 20 showstoppers and 4 sliding ring holders in other collections with common features. Most have FG1-t ype wire loops for attaching vase chains and bands around handles for attaching fnger ring chains, and a few have chains and accoutrements attached by brass links that were not gilded, like 21 FG1 holders. The venue was almost certainly Paris, where skilled craftsmen could provide brass workers with mother-o f-p earl, ivory, bone, glass, and enameled handles, as well as glass gems and glass spheres to decorate the holders. The third milieu comprises the 13 FG2 holders and 25 related holders in other col- lections without any stampings congruent with those of FG1 holders. These holders are more consistent and limited in type than FG1 holders. Most have essentially the same shaped mother-o f-p earl handles (Figures 25, 26), the same bent-l oop headed foral pins, the same attachment of chains by a round link around narrow vase element for the same foral pin, and the same attachment of handle chains by keyhole-s haped loops around the handle. Although they would have been made in a diferent workshop from the FG1 holders, it was probably in Paris, given the similarities of other materials, such as mother-o f-p earl handles likely obtained from the same craftsmen as FG1 holders. 50 M MAKERS The fourth milieu was probably Bourg- en- Bresse, France, where FG1 #92 (Plate 52) was likely made along with several holders in other collections.252 The vitreous enamel of these holders is embedded with distinctive rows of gold-b acked pearls or godets d’or. DATING FRENCH HOLDERS Bouquet holders are rarely mentioned in French literature until the 1830s,253 when gild- ing was, to some extent, governed by law and technology. Mercury amalgam gilding is said to have been successfully outlawed by 1830,254 but electroplating had not yet commenced. Thus, sliding ring #173 (Plate 50), which matches an illustration in the Journal des dames et des môdes published in 1834, was largely made of brass coated with a tinted lacquer to imitate gold.255 Around that time, high-e nd jewelers set bouquet holders in silver or gold with precious stones for the wealthy, such as one stamped in gold inscribed by Fossin et fls dated between 1819 and 1838.256 During the 1830s in Paris, Edouard Marchand’s roller-i mpressed leather dies, or cuirs, were used to transfer patterns onto sheet metal,257 and the Duc de Luynes wrote that “with the year 1840 dawns a new era for French industry: an ever-i ncreasing num- ber of industrial artists . . . winning patrons with their inventiveness and skill.”258 A date during the reign of Louis-P hilippe (1830–1848) proposed for FG1-t ype holders in another collection initially seemed plausible for Gothic- themed glass- handled #222 (Figure 24),259 because the tracery and triforium passage of its Gothic cathedral would accord with the popularity of medieval-i nspired designs during his reign, such as Froment-M eurice’s style romantique jewels “grafted on to Gothic architecture.”260 However, these holders were electrogilded and almost certainly made after the reign of Louis-P hilippe. Analyses confrmed that that most French bouquet holders in the collection were thinly electrogilded (see Table A.5). No reference has been found indicating precisely when electroplating became available for French bouquet holders or similar relatively modest objects in France. Christofe had purchased licenses from Elkington & Co. in 1842 and in 1844 bought land and buildings at 56, Rue de Bondy in Paris, where electro- plating shops were eventually installed.261 By 1845 the company is said to have developed a “veritable” industry,262 and major high- end manufacturers like Odiot and Thomire had gold and silver plating done at Christofe,263 but exactly when that occurred has not been found. Plating may have been prohibitive for items like bouquet holders until after Christofe’s licenses had expired. Sound dating of French holders would be greatly en- hanced by discovery of well- documented electroplated examples, especially those with dated inscriptions. Disruptions of commerce by the revolution of 1848 would surely have afected jew- elry production in Paris. Queen Victoria noted in her diary that there was “no end . . . to the jewellers & artists arriving from Paris, half ruined, and with beautiful & tempting things, some of which one cannot resist buying.”264 Thus, it seems likely that many FG1 and FG2 bouquet holders may not have been made until the Second Empire (1852–1870), perhaps stimulated by electroplated products exhibited at the 1851 Great Exhibition in London or the 1855 International Exhibition in Paris. Moreover, many FG1 holders ft the description of gilt- brass French jewelry inlaid with glass gems exhibited in London at the 1862 exhibition, about which Robert Hunt wrote, “In imitation jewellery Paris has ever excelled; much that is now exhibited is of the highest class of this manufacture.”265 The jury in 1862 awarded most honors to French displays, including those that featured materials employed on bouquet holders, such as “jewelry in imitation of gold” exhibited PRODUCING POSIES M 51 by C. H. Villemont, imitation precious stones by A. Savary, and imitation pearls by Constant-V alès and Co. and C. E. Truchy.266 It has been proposed that the #216 subgroup, seven FG3 showstoppers, FG3 sliding ring #198, and related holders in other collections were made after most other FG1 and FG2 holders because they are bolder and more elaborate and have larger stampings. A date in the Second Empire seems plausible, when “widespread opulence . . . escalated during the last years of the reign”267 and drop-s haped pendants were popular like those on #154 and #157 and similar showstoppers in other collections.268 The early Third Republic after 1870 is also a possibility,269 “a time of great prosperity for the luxury trade and for jewelry in particular,”270 refected in expensive gilt-s ilver enameled jew- elry inset with pearls, no doubt copied on less expensive bouquet holders with glass pearls.271 Dark-b lue enameling on curved elements and interlocking rings on FG3 show- stoppers #176 and #208 recall enameled intertwined rings on a Third Republic bracelet (1878–1890).272 DISTINGUISHING CHARACTERISTICS OF ENGLISH AND FRENCH HOLDERS Contacts between English and French jewelers increased as a result of the European revolutions of 1848 and international exhibitions during the last half of the nineteenth century, beginning with the Great Exhibition in London in 1851, followed by the Paris Exhibition in 1855 and major international exhibitions again in London in 1862 and Paris in 1867 and 1878. Thus, it is not surprising that French metalworkers made tri- pods such as #216 (Plate 64) somewhat like English tripods, and English metalworkers made sliding ring holders like French ones.273 Nevertheless, those made in England and France diverge considerably because of diferent traditions and taste in jewelry. In both places brass was by far the most common base metal for plating, but otherwise, use of materials and fabrication practices are often dissimilar, supported by marked diferences in numbers shown in Tables 2 and 3. Most English holders were made entirely of metal, and only six holders have mother- of- pearl handles— fve with two- dimensional carved tips and #131, which is similar to a holder with a complete handle in another collection. Thus, most English vases and handles could be joined with solder, and links could be soldered to the handle as well as the vase for attachment of chains. In this collection, 84% of English holders employ at least some silver as sterling sheet or silver plating. Contrasting silver and gold plating is limited to major parts of two English holders, #131 (Plate 19) and #189 (Plate 27), and the silver plating was almost certainly meant to be polished rather than oxidized, as on French holders. At the same time, bouquet holders were produced in a wider variety of metal combinations than in France. Five regular holders with the same Greek key vase designs, for example, employ silver, gilt silver, silver- plated brass, gilt brass, and gilt nickel silver (Plates 27, 28). In addition, four English holders were apparently plated to disguise diferent base metals on parts of the same holder (see Table A.8). In contrast, French holders largely employed gold plating on brass, found on 96% of those in the collection. Just two vases were silver- plated, and sterling silver itself is found only on the vase of FG3 #147 (Plate 77), which has a questionable attribution. Oxidized silver fashionable in France contrasts with gilt brass on three vases in the 52 M MAKERS TABLE 2. Numeric comparisons of English and French holders by material. When a holder is partially plated, the portion is listed as a percentage, but the metal total is rounded of to the integer. Brackets enclose the number of holders with mercury (Hg). Abbreviations: BMP, Birmingham mass produced; EHQ, English high quality; FG, French group; MPE, miscellaneous probably English. A dash (—) indi- cates no holder present with indicated characteristic. English holders French holders BMP (114 in total) Characteristic EHQ Filigree Elegant Regular MPE Total FG1 FG2 FG3 Total No. of holders in group 18 24 15 75 15 147 45 13 14 72 Metal and Metallic Composition Entirely metal 18 24 9 75 9 137 14 — — 14 Half- enameled copper — — — — — 0 11 — — 11 Tripod 7 11 — 3 — 21 2 — — 2 Brooch/boutonniere — — — — 6 6 1 — — 1 Half- metal holders — — 6 — 3 9 32 13 14 59 Brooch/boutonniere — — — — 2 2 — — — 0 Registered design — — — 25 — 25 — — — 0 Sterling silver, hallmarked 7 — — — — 7 — — — 0 Gilt 4 — — — — 4 — — — 0 Sterling silver equivalent 9 24 3 20.5 5.5 62 — — 1 1 Silver fligree — 16 — — — 16 — — — 0 Gilt silver 2 — — 2 0.5 5 — — — 0 Silver- plated brass [Hg] — — 5 [1] 40 [4] 4 49 2 — 1 3 Silver- plated additions — — — — — 0 3 [1] — — 3 [Hg] Silver-p lated nickel silver — — 0.5 2 1 4 — — — 0 Silver- plated britannia — — — — 1 1 Total with any silver 16 24 9 63 12 124 4 — 1 5 Gilt brass 2 — 6.5 10.3 4 23 43 13 13 69 Gilt nickel silver — — — 0.3 — 0 — — — 0 Plated holders 9 — 12 52 7 80 45 13 13 71 Brass only — — — 2 — 2 — — — 0 (continues) PRODUCING POSIES M 53 TABLE 2. (Continued) English holders French holders BMP (114 in total) Characteristic EHQ Filigree Elegant Regular MPE Total FG1 FG2 FG3 Total No. of holders in group 18 24 15 75 15 147 45 13 14 72 Principal Holder Parts Vase Full- height metal stamping — 1 3 68 — 72 3 — — 3 Gilt brass 2 — 7 11 3 23 43 13 12 68 Enameled gilt brass 1 — — — — 1 13 2 3 18 Enameled copper — — — — — 0 1 — — 1 Cutout, bent, and engraved 2 — 1 3 — 6 6 — 1 7 sheet Stamped strip(s) — — — — — 0 10 1 — 11 Roller- impressed pattern — — 2 — — 2 2 1 — 3 Mirrored — — — — — 0 1 6 1 8 Glass — — — 2 — 2 — — — 0 Glass, agate, ivory, bone bits 1 — 2 1 1 5 9 8 8 25 Wire-l oop clip for clothing 1 — 6 7 2 16 — — — 0 Prongs on interior for 1 — 5 — 1 7 — — — 0 fowers Spike in middle for fowers — — — — — 0 6 — 1 7 Neck One-p iece plain sheet 1 1 — — — 2 6 9 5 20 neckband One-p iece stamped sheet — — — — — 1 30 4 7 41 neckband Roller- impressed pattern — — — — — — — — — 0 2+-p iece stamped neck — — 8 13 2 23 6 — 1 7 HaNdle Metal, separate 9 24 9 75 4 121 13 — — 13 Enameled copper — — — — — 0 10 — — 10 Stamped 3 11 8 78 — 100 2 — — 2 Roller-i mpressed pattern — — 7 1 — 8 — — — — Two pieces with integral — 6 1 — — 81 — — — — neck Tripod legs 3 5 — 3 — 11 2 — — 2 Mother-o f-p earl — — 6 — — 6 20 12 7 39 Glass — — — — — 0 8 — — 8 Bone, ivory, tooth, horn, — — — — 2 2 4 1 7 12 alabaster 54 M MAKERS TABLE 3. Numeric comparisons of English and French chains and their accoutrements (foral pins and fnger rings). A dash (—) indicates no holder present with indicated characteristic. See Table 2 for abbreviations. English holders French holders BMP (114 in total) Characteristic EHQ Filigree Elegant Regular MPE Total FG1 FG2 FG3 Total No. of holders in group 18 24 15 75 15 147 45 13 14 72 Chains and accoutrements Holders with evidence of 16 21 14 71 8 130 45 13 13 71 chain Holders with any chain 13 20 13 68 13 127 40 13 8 61 One chain with 9 18 10 57 7 101 15 5 4 24 accoutrement Complete chains and 3 6 3 16 1 29 21 7 3 31 accoutrements Arrangement of chains Single chain with pin 1 4 2 14 1 22 1 — — 1 and ring at ends Single chain with pin or 1 — — 2 — 3 — — — 0 ring midway Separate chains on vase 2 6 1 — 1 9 42 12 5 59 and handle Brass link attaching chain (no gold) — — — — — 0 21 — 1 22 Attachment of chains on the vase or mid- holder, primarily for the foral pin To a round link at the 8 23 5 59 3 98 3 — 2 5 side To a wire loop through — — 1 — — 1 30 — 4 34 surface By a round link around a — 1 2 1 — 3 5 13 1 19 narrow part Attachment of chains on the handle, primarily for the fnger ring To a round link at side 2 2 4 13 — 21 1 — — 1 To a round link on a 4 12 2 4 3 25 14 — — 14 handle cap or bottom By a ring around handle — — 3 — — 3 — — — 1 By a sheet band — — — — — 0 15 — 4 19 By a keyhole-s haped wire — — — — — 0 — 9 — 9 (continues) PRODUCING POSIES M 55 TABLE 3. (Continued) English holders French holders BMP (114 in total) Characteristic EHQ Filigree Elegant Regular MPE Total FG1 FG2 FG3 Total No. of holders in group 18 24 15 75 15 147 45 13 14 72 Type of chain links Round (including 10 11 12 51 3 87 23 12 5 40 elongated) Curb (fattened round) — 9 — — — 9 — — 1 1 Twisted wire, solderless — — 1 7 3 11 — — 1 1 Wire loop- in- loop (jack) — 2 — — — 2 — — — 0 Flat loop- in- loop sheet — — — — — 0 11 — 1 12 Crimpable sheet — — — — — 0 4 — — 4 Floral pins Total holders with a 9 11 4 37 6 67 38 11 5 54 foral pin Cotter pin 6 — 2 19 2 29 — — — 0 Bent loop head — 5 1 4 — 10 13 11 2 26 Soldered head (excluding 1 1 2 11 3 18 17 — — 17 cotter pins) Sphere below head — 1 1 — — 2 — — 2 2 Threaded pin or hole 2 1 — 8 1 12 1 — — 1 Finger rings Total holders with a 5 12 12 44 1 74 23 8 5 36 fnger ring Foliate fnger ring — 4 4 — — 8 6 2 — 8 Knurled fnger ring — 5 — — — 5 — — — 0 Perpendicular ring for — 5 1 1 — 7 7 — — 7 attachment FG1 #216 subgroup and seven holders in other collections.274 Only two tripods and early sliding ring holder #173 have metal handles; rather, most other French handles were attached by adhesives. Fifty-f our percent of French handles in this collection were made of mother-o f-p earl and 7% of ivory. Except for a few J-s haped mother-o f-p earl handles on showstopper-l ike sliding ring holders,275 almost all French handles were made by turning on a lathe and are spindle shaped; in contrast, English mother-o f-p earl holders invariably have faceted shafts because they were not made on lathes. Other handles on French holders exhibit more variety than English holders: 14% in enameled copper sheet; 11% in glass; 7% in bone; and 4% in horn, tusk, or alabaster. Perhaps either because of a lower cost of labor in France or the use of handstamps and smaller drop stamps, smaller pieces compose many FG1 and FG2 vases, some prob- ably made about the same time in the 1860s and 1870s, as Birmingham-m ade holders were largely made with full-h eight stamped vases and handles. Stampings are generally larger on FG3 showstoppers, consistent with later fabrication. 56 M MAKERS In contrast to limited use of neckbands or neckpieces on English holders, French holders almost invariably have separate neckbands or neckpieces and often small, stamped collars, funnels, caps, and other parts between the vase and handle. Eighteen French holders have enameling on gilt- brass vases or neckbands compared to just one English holder inlaid with enamel. Nineteen French holders are decorated with glass gems compared to four English holders and one with agates, and eight French holders have glass handles not found on any English holders. The majority of chains on both English and French holders in the collection are similarly composed of round links, 69% of English holders with extant chains and 56% of French holders, but other chains are distinct for each of them. Among those on English holders are curb chains on nine BMP fligree holders, solderless twisted- wire chains on 11 mostly BMP regular holders, and loop- in- loop wire chains on two BMP fligree holders, also on three Genoese fligree holders. Chains that appear to be unique to France include those with loop- in- loop sheet links on 12 holders in this collection and 29 in other collections.276 Chains with crim- pable links also made from sheet are on 4 holders in this collection and 15 in other collections.277 French #40 (Plate 51) and three similar French holders in another col- lection have a short threaded foral pin with a fat double-l obed head, all four married to enameled copper handles.278 None of the French holders has a cotter pin like the 29 English holders. Chain attachment on English holders was most frequently by a round link soldered to one side mid-h older before plating,279 and the link’s blunt ends were opened after plating for attachment of the chain. Probably to streamline fabrication, a single chain was attached near its middle on at least 22 English holders, both fligree and regular holders, with one end terminating in a foral pin and the other ending in a fnger ring. Many more single chains were almost certainly employed, but because of the vulnera- bility of the mid-c hain attachment to damage, half or all of the chain is often lost. For 11 holders with spade handles, for example, only two chains are complete; one appears to have broken halves of the original chain, fve have half of the chain, and three no longer have any chain at all (Plates 37–40). Among accoutrements on chains, cotter pins that secured fowers stand out on 29 English holders, and at least 12 English holders had threaded foral pins: 7 foral pins with threading and another 5 vases have threaded holes without foral pins.280 In con- trast, threading was found only on one French foral pin, FG1 #40. French handles have distinct methods of attachment for foral pins and fnger ring chains. On nearly half (34) of French holders,281 the ends of a wire loop for the foral pin chain were fed through a hole made in the vase or neck. The loop is readily distin- guished from English holders by its slightly irregular shape and stubs on the interior. On 22 others, including all FG2 holders, chains are attached by a round link around a narrow vase element, rarely found on English holders.282 Bands on FG1-t ype handles and narrow keyhole-s haped loops on FG2 handles were custom ft to match recessed areas for mechanical attachment of the fnger ring chain. Intact chains with accoutre- ments on French holders (31) have survived far better than those on English holders (29). Also distinctive is the use of a brass link without gilding to attach gilt-b rass chains or their accoutrements on 22 mostly FG1 holders.283 PRODUCING POSIES M 57 FIGURE 27. Detail of stamped eagle (mark of P. Bruckmann & C.) between a round link attaching the lower chain at left and “13” at right on the neck of #170 (Plate 78). GERMANY Three holders in the collection are identifed as being made in Germany (Plate 78). An eagle on the neck of gilt-s ilver #170 (Figure 27) matches the mark of P. Bruckmann & C. of Heilbronn from 1814 to 1850,284 and a “13” stamp indicates the German silver standard of 13 loth, or 13/16 silver, lower than sterling at 81%, although #170 seems to have been made of sterling (see Appendix Table A.3). Plating is similar in thickness to electrogilded EHQ #158 and #194, and mercury was not detected that might indicate amalgam gilding, providing evidence that #170 and related holders were electroplated, probably around 1850 (Table A.3). Holder #183 in sterling was also determined to have been made by Bruckmann because it has the same stamped neck and chains. Its com- plete mother-o f-p earl handle indicates the original appearance of the damaged handle on #170. These two holders are related to similar holders in other collections previously attributed to other places.285 An adjustable German fnger ring on #183 also matches rings on related holders.286 Holder #231, identifed as German based on its hunting horn shape and grotesque heads, is similar to three holders in other collections.287 They may be considered to be in the “alt-D eutsch style” of the German Renaissance advocated by Gottfried Semper following the unifcation of Germany in 1871.288 UNITED STATES Two similar vase holders, #146 and #211 (Plate 79), are identifed as American by “STER- LING” stamps, a term adopted shortly before 1860 but without any ofcial marking process based on assays.289 They have similar decoration and are clearly by the same manufacturer, apparently Gorham in Providence, Rhode Island, based on a design simi- lar to #211 on a bouquet holder with a Gorham mark.290 Two holders in other collections are identical to #211.291 FILIGREE HOLDERS IN ITALY, CHINA, AND INDIA ITALY Filigree is believed to have reached Genoa, Italy, around the time of the First Crusade, and the oldest extant object with fligree is a Byzantine-s tyle reliquary in the Church of Santo Stefano.292 During the nineteenth century and frst decades of the twentieth cen- 58 M MAKERS FIGURE 28. Detail of lion-h ead stamp on #71 (Plate 80, on collar above vase chain attachment), showing a notch at center right that identifies the holder as made in Genoa, Italy (see also Figure 37). tury, fligree was produced in Genoa on a semi-i ndustrial scale using division of labor, not only for the middle class but for every social rank. The Genoese fligree maker Emilio Forte was the only Italian jeweler to win an award at the International Exhibi- tion in London in 1862,293 when there were said to be 20 workshops and 260 workers there.294 Mark Twain mentioned Genoese fligree in The Innocents Abroad, essentially a diary of an 1868 trip to the Holy Land with stops in Europe along the way, fnanced by stories and letters sent back to the Daily Alta California in San Francisco and the Herald and Tribune in New York. Thus, he would have been conscious of word count, and as a 32-y ear-o ld bachelor on his frst trip to Europe, he seemed most impressed by his observation that “at least two-t hirds of the women are beautiful” in Genoa,295 and rather disdainfully reported that “Genoa’s greatness has degenerated into an unostenta- tious commerce in velvets and silver flagree- work . . . These flagree things are Genoa’s specialty.”296 In 1884, Genoese fligree master Antonio Olivieri established a workshop in the mountain village of Campo Ligure, 27 miles northwest of Genoa but still within the municipality, and others followed. A civic museum now houses the worldwide fligree collection of Pietro Carlo Bosio in Campo Ligure.297 Two holders (#63, #71) in Plate 80 bear lion- head marks identifying them as made in Genoa (Figure 28),298 and both have wire loop- in- loop chains like those employed on other objects in Genoa.299 They are linked to the next two holders, #219 (Plate 80) and #125 (Plate 81), by similar petal- shaped vases, multipart stems, large stretched and small tight spirals, and wavelike wires adjacent to thicker cell perimeters. All four appear to be by the same maker or at least in the same milieu, as are several fligree holders in other collections.300 A pair of petal- topped holders in another collection shaped similarly to the four in this collection has quite diferent fligree, however, demonstrating a range of Genoese fligree styles probably refecting diferent workshops and/or time periods.301 Oval fligree chain links are nearly identical on small petal-s haped #125 and horn-s haped pin brooch #239 (both Plate  81), which have fowers and leaves outlined in heavier wire also found on late nineteenth- and early twentieth- century Genoese fligree objects.302 Brooch #239 has slightly diferent fligree of loose spirals without wavelike wires but is close to a horn-s haped Genoese brooch with a cotter pin in an- other collection.303 A second brooch, #229 (Plate  81), has a blue glass vase topped by a large silver fligree fower with a bow below, similar to six vase brooches in other collections al- most certainly made in Genoa. These other six have similar wire loop-i n-l oop chains and cotter pins.304 These brooches have diferent fligree from the other fve holders in this collection and were almost certainly by another maker at a diferent time. An inscription on one of the brooches in another collection supplies a date of about 1850,305 indicating that they were likely made before the other fve holders in the collection. PRODUCING POSIES M 59 CHINA Archaeologists have found objects made in part with fligree in the Han and Tang dy- nasties, but the oldest extant Chinese fligree objects are from the tomb of Emperor Wanli (1573–1620) in the late Ming dynasty (1368–1644), notably a gold crown of fligree net decorated with two dragons.306 Other jewelry from the late Ming dynasty and early Qing dynasty (1644–1911) also has fligree net on buckles, small plaques, boxes, and hair pins.307 Exuberant fligree net is employed on pieces in two large mid- eighteenth- century Chinese toiletry sets that belonged to Catherine the Great of Russia, now in the State Hermitage Museum in St. Petersburg.308 All fve Chinese holders in the collection employ fligree net topped by thicker design wires, although the fligree is far more sober than the toiletry sets. Chinese export fligree bouquet holders with handles similar to those of four holders in this collection are usually dated from mid- to late nineteenth century (Plates 84, 85). Three in other collections similar to #379 retain original boxes; one identifes Canton; a second, Cutshing at New Street No. 8, presumably in Canton; and a third is inscribed with the name Lui Jhe Guin in Chinese.309 Brooch #116 is much less delicate than the four nineteenth- century holders, and it is clearly later, stamped “SILVER,” a term used between 1891, when U.S. Customs regulations required imports to be marked with the name of the country of origin, and 1921, when it required the additional wording of “MADE in [the country of origin].” INDIA To this day, Indian fligree is said to retain some of the same patterns as those used by the ancient Greeks, examples of which were brought by Alexander in the fourth century BCE,310 and infuences also came from China through goods and craftsmen shipped through the Portuguese territory of Goa on the Indian subcontinent. Two gold fligree baskets from the late sixteenth century now in the collection of the Vienna Kunsthis- torisches Museum are known to have been shipped from Goa to Portugal at the behest of Juana of Austria (1535–1573), who was the daughter of the Holy Roman Emperor Charles V, sister of Phillip II, and wife of the prince of Portugal; these baskets later made their way to Vienna through the Hapsburg family.311 During the seventeenth and eighteenth centuries, Karimnagar in Andhra Pradesh became a major fligree center in India, and it is considered the probable source for an Indian fligree toilet set with 19 components (1740–1750) owned by Catherine the Great in the Hermitage collection.312 Jewelry has been important in India as a store of wealth, refected in the enormous number of workmen listed in the jewelry trade (1,768,597) in the 1901 census,313 and Indian fligree centers were many during the nineteenth and twentieth centuries. In addition to those already named, they included Cuttack in Orissa, Kolkata in West Bengal, Agartala in Tripura, Jhansi in Uttar Pradesh, Kotah in Rajasthan, Srinagar in Kashmir, Tiruchirapally in Tamil Nadu, and Trivandrum in Kerala.314 Household items made for the Indian market include tea trays, bowls, containers, and lampstands. Jewelry includes bangles and necklaces. Three holders made for export in Plates 82 and 83 have sound Indian attributions based on similar examples in the collection of the V&A in London. The V&A pieces were acquired in India for the India Museum established in London by the British East India Company and came to the museum following dissolution of the company and demise of the India Museum in 1879. Many had been acquired from the Madras Exhibition of 60 M MAKERS 1855 after it ended but could have been obtained for the exhibition from other fligree centers.315 Forms of Indian fligree bouquet holders in this collection were copied from the West, whereas fligree wire designs are indigenous.316 For example, tripod #64 (Plate 82) follows the form of English tripods, its leg mechanism almost identical to that of BMP regular tripod #85 (Plate 9), whereas its large elaborate fligree roses with many ball- ended stamens are ascribed to Cuttack by Thomas Hendley.317 Its heavy weight and rich detailing are also characteristic of some Cuttack fligree.318 Holder #60 copies vase and handle holders and is far more fnely wrought than #64 (Plate 82), but it is also ascribed to Cuttack.319 Vase brooch #72 (Plate 83) has slightly ir- regular bands and a solderless twisted wire chain typical of other Indian holders ending in fnger rings, although fnger rings would have been unnecessary for vase brooches.320 Holder #98 has a similar hinged pin and irregularities in handmade sheet and twisted wires indicating that it is Indian as well. NOTES 1. Kenneth Blakemore, The Retail Jeweller’s Guide, revised by Eddie Stanley (Oxford, U.K.: Elsevier, 2000), 138–139. 2. John Cattell, Sheila Ely, and Barry Jones, The Birmingham Jewellery Quarter: An Architectural Survey of the Manufactories (Swindon, U.K.: English Heritage, 2002), 164. 3. Shena Mason, Jewellery Making in Birmingham 1750–1995 (Chichester, U.K.: Phillimore, 1998), 9–12, 37–54; Cattell et al., Birmingham Jewellery Quarter, 1–9. 4. J. S. Wright, The Jewellery and Gilt Toy Trades, in The Resources, Products, and Industrial History of Birmingham and the Midland Hardware District, ed. Samuel Timmins (London: Hardwicke, 1866), 452–453. 5. Samuel Timmins, The Industrial History of Birmingham, in The Resources, Products, and Industrial History of Birmingham and the Midland Hardware District, ed. Samuel Timmins (London: Hardwicke, 1866), 223; Cattell et al., Birmingham Jewellery Quarter, 115. 6. Wright, Jewellery and Gilt Toy Trades, 453. 7. Cattell et al., Birmingham Jewellery Quarter, 29; Mason, Jewellery Making in Birmingham, 11. 8. J. S. Forbes, Hallmark: A History of the London Assay Office (London: Unicorn, 1998), 267. 9. Shirley Bury, Victorian Electroplate (London: Country Life Books,1971), 37. 10. Alastair Grant, lecturer, University of Sussex, personal communication, 16 September 2021. 11. The 25 holders with registered designs are #4, #5, #7, #8, #22, #56, #57, #59, #85, #110, #141, #163, #164, #166, #182, #187, #188, #190, #191, #192, #193, #196, #199, #201, and #210. 12. Parts of #1, #79, and #91 are electrogilded; #65, #158, and #194 are completely electrogilded. 13. Charlotte Gere and Judy Rudoe, Jewellery in the Age of Queen Victoria: A Mirror to the World (London: British Museum, 2010), 270–271. 14. Deitsch 112 is identical to #100. Deitsch 74 is similar but made from a different die. 15. John Culme, The Directory of Gold and Silversmiths: Jewellers & Allied Traders 1838–1914 (Woodbridge, Suffolk, U.K.: Antique Collectors’ Club, 1996), 1:502. 16. Kenneth Crisp- Jones, ed., The Silversmiths of Birmingham and Their Marks: 1750–1980 (London: N. A. G. Press, 1981), 79–80, 117. 17. Now in the collection of the Birmingham Assay Office (AO), these are a pair of vinaigrettes hallmarked in 1825 (AO 1065), two tapersticks in 1831 (AO 422), and a third taperstick in 1832 (AO 1139). They are among at least 13 pieces there hallmarked by Willmore, including a nutmeg grater, card case, two caddy spoons, and three snuff boxes. Rosemary Ransome- Wallis, Matthew Boulton and the Toymakers: Silver from the Birmingham Assay Office (Birmingham, U.K.: Colmore, 1982), 77, 80–85; Crisp- Jones, Silversmiths of Birmingham, 185, 186. 18. Crisp- Jones, Silversmiths of Birmingham, 185, 186. Similar grape motifs are on all types of BMP holders, including #8, #12, #14, #22, #33, #37, #57, #162, #172, #197, #214, and #220. 19. Five BMP elegant holders with interior prongs are #27, #29, #51, #152, and #223. The sixth is on MPE brooch #78, which is arguably elegant but lacks congruency with stampings on any known elegant holders. Prongs are also noted for elegant- type Kenber 12, 31, 51, and 97. The relatively small number of holders with prongs suggests that this feature was not long- lived, probably because the prongs are hazardous, as found during examination and treatment. 20. Like those on EHQ #100, wire- loop clips are on 13 BMP regular holders (#1980.26, #15, #73, #74, #90, #131, #139, #143, #169, #172, #179, #195, and #237) and 2 MPE holders (#78 and #93), almost certainly made in Birmingham. 21. Ransome- Wallis, Matthew Boulton, 77. 22. Culme, Directory, 1:457. 23. Kenber 93, hallmarked by Unite, has the same tripod mechanism as the two holders in this collection and a hexagonal handle shaft machine decorated with zigzags. Kenber 94 has the same tripod mechanism, acanthus leaf handle, and oak leaf feet as #134, Schwartz 18 (center), and Laufer 62. The same mechanism and oak leaf feet are also on #217 with a stylized leaf handle. Gilt- silver ROM 30, a holder hallmarked by Unite in 1885, appears to have the same flattened stamped sphere at its base, but it is fixed. PRODUCING POSIES M 61 24. Shirley Bury, Jewellery 1789–1910: The International Era (Woodbridge, Suffolk, U.K.: Antique Collectors’ Club, 1991), 519. A search of the National Archives website, however, yielded only a fastener and bolt for jewelry registered by George Unite as “two useful designs;” otherwise, nothing by Unite is recorded. https://discovery.nationalarchives.gov.uk/results/r?_q=unite+useful+designs&_sd=&_ed=&_hb= (accessed 10 May 2023). 25. Culme, Directory, 1:457. 26. The elder Nathaniel Mills is found first on Church Street in Birmingham in Pye’s Birmingham Directory in 1791. His last will and testament, dated 5 February 1842, left the Caroline Street property and other assets, such as stock in the Birmingham and Staffordshire Gas Light Company and Great Western Railway, to his sons William and Nathaniel; England & Wales Prerogative Court of Canterbury Wills, 1384–1858, Will Registers 1842–44, Piece 1984, volume 12, quire nos. 551–600, Mills, Nathaniel, will and testament, 5 February 1842, 221–224, probated 23 August 1843. He was not the Nathaniel Mills of Birmingham who died at age 93 on 12 March 1840, however, with whom he has been confused; Ransome- Wallis, Matthew Boulton, 87. Nathaniel Mills & Sons, silversmiths, is listed at 42 Caroline Street after the elder Mills’s death until at least 1852–1853; Slater’s General and Classified Directory of Birmingham and Its Vicinities for 1852–3 (Manchester, U.K.: Isaac Slater, 1852–1853), 158, 241 (hereafter Slater’s Directory of Birmingham). 27. Ransome-W allis, Matthew Boulton, 87. 28. The bouquet holder with the same curved lower handle is TRS040314 sold by Steppes Hill Farm Antiques, https://www.steppeshillf arm antiques.com/antique-s ilver/d/victorian-s ilver-t ussie-m ussie-p osy-h older/161501 (accessed 10 May 2023). Deitsch tripod 122 has the same vase stampings as TRS040314. Hughes 247 (second row, fifth from right) also has the lower curved part married to an unidentified vase topped by a small shell, and Hughes 247 (second row, third from right) has the same neck and curved handle as #209 and #10, married to the same vase as regular #13. 29. Crisp-J ones, Silversmiths of Birmingham, 118, 119; Ransome-W allis, Matthew Boulton, 49. 30. The younger Nathaniel Mills is listed as a merchant in the England Census, 1841, 53 Albion Street, Aston Manor, ED 1g, piece 2062, folio 150, 13. In 1849 he is listed as a “mert.” (merchant) in partnership with William Henry Shenstone (1812–1853) in “Shenstone & Mills, mrchnts.” at 25 Mary Ann Street. Francis White & Co., History and General Directory of the Borough of Birmingham (Sheffield, U.K., 1849), 248 (hereafter Francis White’s Directory of Birmingham). The partnership is listed as both merchants and factors in 1852–1853. Slater’s Directory of Birmingham (1853), 77, 121, 241, and 313. Shenstone died in 1853, and in 1855 Nathaniel Mills is listed as a “hardware commission mrcht.” at 25 Mary Ann Street. In 1861, he is listed as a merchant living at another address. Francis White & Co., General and Commercial Directory and Topography of the Borough of Birmingham (Sheffield, U.K.: 1855), 207, 246; England Census, 1861, head of household (age 51), 10 King’s Heath, Kings Norton, ED 10, schedule 18, piece 2120, folio 19, 4. In 1871, Mills (age 61) is listed as a “General Export Merchant” living in a household headed by his son- in- law, Henry Leerhoff Müller (1839–1899), also a “General Export Merchant.” England Census, 1871, 85 Grosvenor Road, Handsworth, ED 18, piece 2973, folio 44, 20. In 1872, “Nathaniel Mills & Co. merchants and Mills Müller & Roux” are listed at 22 Mary Ann Street, and “Mills Müller & Roux” is also listed at 138 rue Amelot, Paris. E. R. Kelly, Kelly’s Directory of Birmingham (London: Kelly & Co., 1872), 297, 300 (hereafter Kelly’s Directory of Birmingham). After Mills’s death in 1873, Henry Müller, who had immigrated from Hanover, Germany, continued in business, and his estate was probated on 19 July 1899 at ₤20,812. England & Wales, National Probate Calendar, Index of Wills and Administration, Civil Registration Marriage Index, 1858–1995, 348. 31. “Agents . . . grew into a separate trade, becoming home-m erchants or factors, as they are termed.” A Day at the Birmingham Factories, Penny Magazine, November 1844, Suppl., 465. Cattell et al., Birmingham Jewellery Quarter, 31. 32. England & Wales, National Probate Calendar, Index of Wills and Administration 1858–1995, 1873, 78. 33. The maker’s mark on tripod #112 is missing the H, but the relatively unusual raised dot between the initials matches Aston’s “H·A.” 34. RCIN 46276 is without a hallmark but has a monogram: “EWR” horizontally and “ACTL” vertically, thus far unidentified. 35. An 1861 engraving of the sizable works, since demolished, is reproduced in Cattell et al., Birmingham Jewellery Quarter, 92. 36. Culme, Directory, 1:18. 37. Bury, Jewellery, 299–300. 38. The crystal holder exhibited by Howell, James & Company, which has a Greek key motif just below the rim, is illustrated in Bury, Jewellery, 455, 457. Three gilt-s ilver copies with the Greek key border are #158, hallmarked by Macrae in 1869–1870; Kenber 66, hallmarked in 1864 by William Neal; and a holder hallmarked by Macrae in 1867–1868 sold by Steppes Hill Farm Antiques, https://www .steppeshillfarmantiques.com/search/?keywords=CH0096B (accessed 10 May 2023). Deitsch 124 and Deitsch 119 are related to these holders but lack the engraved Greek key motif. Further afield are Schwartz 18 (center right) and Deitsch 126, which is without rim chains and has enameled green oak leaves and a hot pink acorn. 39. Pieces made by Macrae were retailed by Harry Emanuel and the Goldsmith’s Alliance Ltd. in 1860, Phillips Brothers at the International Exhibition in 1862, A. B. Savary & Sons in 1868 and 1870, F. B. Thomas & Co. in 1869, and Hunt & Roskell in 1874. Elkington & Co. overstruck his marks in 1857 and 1876. Culme, Directory, 1:141, 146, 365, 405, 459. 40. Culme, Directory, 1:458. 41. Culme, Directory, 1:210, 389. 42. The other Robert & Belk holder is on the website of I. Franks, https://www.ifranks.com/item/j2063-s ilver-p osey-h olders (accessed 10 May 2023). 43. Frederick Bradbury, History of Old Sheffield Plate (London: Macmillan, 1912), 492. Parkin & Marshall is mainly known for knives. 44. Hand-t ooled flowers are on the hexagonal handle of #87, fanlike decorations are between machine-m ade zigzagged borders on that of #69, and diamonds are between machine-m ade zigzagged borders on that of silver MNBAQ 1967.162, which is married to a vase with a beaver design registered by Henry Jenkins & Sons in 1863. Two hexagonal handles also have fanlike hand tooled designs on Hughes 247 handles (bottom row, sixth and seventh from the left). In contrast, eight hexagonal handles with the same stamped designs are on #58, #161, #171, #175, #182, #192, #197, and #199; and in other collections, stamped hexagonal handles are on ROM 22, Deitsch 93, and Hughes 247 (middle row, fifth from left). 45. Birmingham Gold and Silver 1773–1973 (Birmingham, U.K.: City Museum and Art Gallery, 1973), section E. 46. Bury, Victorian Electroplate, 57. 47. Culme, Directory, 1:114. 62 M MAKERS 48. One author reports that the company should not be confused with the larger Adie Brothers Ltd., whose factory was the Trafalgar Works in the Jewellery Quarter. Culme, Directory, 1:5. A more recent source, however, maintains that Adie & Lovekin built the Trafalgar Works in 1894–1895. Cattell et al., Birmingham Jewellery Quarter, 133, 137, 219, 220. To date the building is in use by Thomas Fattorini Ltd. 49. ROM 28. Peter Kaellgren, Recent Acquisitions: Posy Holders, Journal of the Silver Society 26 (2010):96–97. 50. Kenber 67 and Schwartz 1 (bottom) are stamped “PATENT” and “B. H. J” on each jaw but are without hallmarks. 51. Joseph Joseph, Dress or bouquet holder, English Patent 440, dated 6 February 1873 and issued 1 August 1873. Specifically, the patent is for “certain improvements in attachable and detachable dress, flower, or bouquet holders, to be worn as brooches or other personal ornaments.” It includes 10 illustrations, and Figures 1 to 3 illustrate a silver brooch with a bird atop a maple leaf identical to silver-p lated brooch Deitsch 104, also marked “PATENT” and “BHJ & Co.” with a registry mark for 19 April 1873. On that date, nos. 272207 to 272209 were registered for “The ‘Flora’ brooch and boquet [sic] holder.” 52. Culme, Directory, 1:266. 53. Joseph registered earring designs for “The Ashansee” on 25 November 1873 (nos. 278650, 278660, 278661) and 3 December 1873 (nos. 278777, 278778). Gere and Rudoe, Jewellery in the Age of Queen Victoria, 198. 54. The Royal Visit to Birmingham, Illustrated London News Supplement, 14 November 1874, 470. 55. “The Princess of Wales” bouquet holder was registered on 5 November 1874 as no. 286753. 56. Crisp- Jones, Silversmiths of Birmingham, 294. 57. Culme, Directory, 1:266. Photographs taken in the early twentieth century of Joseph’s jewelry workshop and packing and stock rooms are reproduced in Cattell et al., Birmingham Jewellery Quarter, 41, 78; and Mason, Jewellery Making in Birmingham, 93. 58. Filigree work is found on #67, #68, #75, #84, #102, #103, #104, #109, #113, #122, #153, #209, #224, #230, #378, and #384. Those without filigree in the filigree subset are #18, #20, #61, #89, #135, #203, #226, and #382. 59. Only three are without brass posts: mesh horn- shaped #122 and cylindrically handled holders #20 and #61, but all three are closely related to holders that have filigree. 60. Jenni Dixon, A Tour of Lost Birmingham (blog), https://mappingbirmingham.blogspot.com/ (specific blog post accessed 15 December 2023 but no longer available); Jenni Dixon, University of Birmingham, personal communication, 15 December 2023. 61. Ransome- Wallis, Matthew Boulton, 47. 62. In February 1770, Matthew Boulton wrote from London to his partner in Birmingham to send “a doz or two of ye filligree oval Boxes wth ye wheat sheaf trophy inld in Tortoiseshell some mounted wth Gold lip & joynt, others in Gilt mounts.” An inventory of his factory’s Soho’s stock in 1782 recorded filigree smelling bottles, thimbles, handkerchief pins, purse runners, buckles, tea measures, toothpick cases, and money boxes. Boulton documents, Wolfson Centre for Archival Research, Library of Birmingham; Jenn Dixon, University of Birmingham, U.K., personal communication, 19 December 2023. See also Note 60. 63. An early nineteenth- century drawing of the large house is reproduced in Cattell et al., Birmingham Jewellery Quarter, 12. 64. AO 772, AO 346, AO 388, and AO 423. Ransome- Wallis, Matthew Boulton, 66, 67; Crisp- Jones, Silversmiths of Birmingham, 53–54. Dates and attributions are often imprecise for filigree because it was exempt from hallmarking. 65. Nathaniel Mills’s card case features filigree scrolls in a wire frame. Crisp- Jones, Silversmiths of Birmingham, 52. 66. George Wallis, Jewellery, in British Manufacturing Industries, ed. G. Phillips Bevan (London: Stanford, 1878), 37. 67. Only #75 among curved handled holders in this collection has any filigree work and then only on its collar leaves. Among holders in other collections, C- H 1959- 58- 1 has a filigree vase and the same filigree oak leaf and acorn collar as #109, #224, and the Havemeyer tripod. 68. Gere and Rudoe, Jewellery in the Age of Queen Victoria, 316–317. 69. The tariff of 1842 on silver was 30%. Charles L. Venable, Silver in America, 1840–1940: A Century of Splendor (New York: Abrams, 1995), 19–20. This duty on silver “(which commands the same price there as here) so enhances the cost that, except in rare instances, Birmingham goods are practically excluded.” The cost of transmission was said to increase the cost by 40% in total. Wright, Jewellery and Gilt Toy Trades, 462. 70. The same spiral stampings are on elegant- type Kenber 12 and 52, Deitsch 99, Schwartz 19 (upper left), and a fragment is on ROM 15 below Prince of Wales plumes. 71. Kenber 12, 34, 35, 50, and 52 are described in Kenber catalog notes as homogeneous, produced in the same milieu or atelier. Porte- bouquets (Paris: Paris Musées, 2005) 77. Notes in the Kenber catalog relate eight additional holders to the initial group for a total of 14 similar holders (12, 31–35, 49–52, 57, 95, 97, and 98). Kenber 34 and 35 are linked in the catalog to Kenber 57 (same vase stamping as elegant #237, which has the same pansy as Kenber 95 and the same hexagonal patterned neck as elegant #51). Two holders in the initial group are listed among four with prongs inside their vases (12, 31, 51, 97), found inside five BMP elegant holders in this collection. Pronged Kenber 31 has the same vase stampings as Kenber 32, which is linked in the catalog to Kenber 35 and Kenber 12 (both in the initial group and with stampings related to elegant #29, #51, #74, #152, and #223). Pronged Kenber 51 is linked in the catalog to Kenber 33 (same vase stampings as elegant #225) and Kenber tripod 49 (same scrolls at the rim as tails of elegant #15 and #169). Pronged Kenber 97 (similar vase, handle, and finger ring chain attachment to elegant #29) is linked to Kenber 98 in the catalog. All were electrogilded except silver Kenber 95 and 99. 72. In other collections BMP elegant- type holders are Deitsch 84 and 99; Schwartz 16 (upper left), 19 (upper left), 23 (four examples, excepting the center), and 25; ROM 7, 8, 11, 15, 18, and 20; Laufer 21 (two examples); MCNY 58.144.12; Galliera 1990.121.2; and V&A 67- 1899, for a total of 20. All were electrogilded except MCNY 58.144.12 and Schwartz 16, both in silver. 73. See Notes. 19, 20. 74. The seven electrogilded among 12 elegant holders are #27, #29, #51, #131, #152, #223, and #237. 75. Similar textured and plain stampings are on Kenber 35 and 50, Schwartz 23 (two at left), Galliera 1990.121.2, V&A 01.31.464, and ROM tripod 15. For Castellani jewelry, see Gere and Rudoe, Jewellery in the Age of Queen Victoria, 264–270, 398–417. PRODUCING POSIES M 63 76. ROM tripod 15 also has elegant-t ype acorn stampings alternating with Prince of Wales plumes above faux-f iligree spirals and a strip of five loops above a flower around the rim. 77. Patterned roller-i mpressed handles are on BMP elegant #15, #51, #74, #169, #179, #223, and #237 and neckbands of #27 and #152. Four handles have the same scaly patterned sheet (#15, #51, #169, and #179), produced by repeats of seven small double-e ncircled dots; and five are made from single sheets (#15, #51, #169, #223, and #237). Holder #179 was made from four scaly sheets, and #29 has a smaller curled tail made from a perforated sheet shaped like tails on #15 and #169. A lozenge pattern is on the handle of #74. 78. Kenber 95. 79. Schwartz 15 (bottom left). 80. Strips of the motif with five loops atop a flower are around the rims of Schwartz 23 (top left) and ROM 15, and the motif appears individually on the necks of Kenber 35 and tripod 50, ROM 8 and 20, and Schwartz 23 (bottom right). 81. Schwartz 23, bottom right. 82. Chains attached by small rings around handles are also on elegant Kenber 34 and 35, Deitsch 84 and 99, and Schwartz 23 (bottom left). 83. Finger rings on Kenber 34, Kenber 35, and Deitsch 99 appear to be expandable. 84. The lower curved end of the faceted handle on #29, originally attaching a chain to a loop on a rivet through the handle, has broken off at the rivet and is missing, but part of the attachment hole can be seen at the break edge; see Kenber 97 and 98 for similar complete handles and chains. 85. The lower end of the handle of #131 is missing just as it begins to curve. Except for alternating silver and gold plating on the brass stampings, it is essentially identical to gilt- brass Deitsch 26, which has a complete handle curving to a small carved tip. 86. Other jewelers known to have made Scottish jewelry in Birmingham include James Fenton, Benjamin Tonks, Walter & George Myers, Hazlewood & Burgess, William Manton, and Manton & Cook. Bury, Jewellery, 134–136, 519–520, 527–528. 87. Gere and Rudoe, Jewellery in the Age of Queen Victoria, 458–461. 88. Bury, Jewellery, 528. 89. The 51 BMP regular holders with vases made of full- height stampings are #6, #7, #8, #10, #12, #17, #22, #24, #33, #56, #57, #59, #87, #88, #90, #110, #134, #139, #141, #143, #160, #162, #164, #166, #167, #168, #175, #177, #180, #182, #186, #187, #188, #189, #190, #191, #192, #193, #197, #199, #200, #201, #204, #205, #210, #214, #217, #220, #236, #241, and #380. Ten vases with small connectors between large stampings are on #4, #15, #69, #85, #127, #163, #181, #195, #196, and #212. Eight vases with part of the same stamping filling out gaps at the base are on #5, #14, #21, #25, #32, #89, #161, and #171. 90. Exceptions include BMP regular #1980.026 with a patterned- sheet handle and neck- like sphere like that on elegant holders #15 and #169, #73 with a leaf- wound multi- wire handle, and #85 with tripod legs. 91. At first, two separate groups were formed on the basis of identical stampings. Both firms had designs registered for holders in the first group, but only one holder made by Henry Jenkins & Sons was registered in the second group. Ultimately, a holder in another collection made by Robert & Josiah Walsham linked the two groups: Kenber 105 has the same vase design as #201 registered by Robert & Josiah Walsham in the first group and is married to a cornucopia handle on #33, #162, and #236 in the second group, probably also made by the firm. 92. Although registry marks are often partly or even wholly illegible, they are on 8 of 11 spade handles (3 without them are indicated by an asterisk): #4, #8, #22*, #57, #59, #141*, #164, #166*, #191, #201, and #210. Complete marks correspond to 21 September 1871. 93. Bud- topped loop handles are #12, #21, #24, #25, #110, #186, #188, #214, #241, and #380. 94. Bud- topped curled- end handles are on #6, #23, #56, #168, #181, 187, and #212. 95. See Note 44. 96. The number of registered designs is said to have increased fivefold “in consequence of the reduction of the fee for registration from ₤3 to ₤1 and the extension of the period of protection from three to five years.” W. C. Aitken, Brass and Brass Manufactures, in The Resources, Products, and Industrial History of Birmingham and the Midland Hardware District, ed. Samuel Timmins (London: Hardwicke, 1866), 373. 97. Bury, Jewellery, 789–790. In 1884, the registry mark was abolished, and serial numbers were reinstated. 98. Julie Halls, Inventions That Didn’t Change the World (London: Thames & Hudson, 2014), 10. 99. Search for makers under “BT43” (registrations for metal) on the website of the National Archives, https://discovery.nationalarchives .gov.uk/ (accessed 22 May 2023). 100. The number 2 at left indicates the parcel number. 101. Wright, Jewellery and Gilt Toy Trades, 454. 102. Timmins, Industrial History of Birmingham, 223. 103. Wright, Jewellery and Gilt Toy Trades, 455. 104. Crisp-J ones, Silversmiths of Birmingham, 314. The sign next to the front door of the factory lists the establishment date as 1830, as does the 1867 directory advertisement in Figure 15. 105. Pigot & Co., Directory of Birmingham; Including an Alphabetical List of the Inhabitants of the Town (Birmingham, U.K.: 1835), 515, 546; William Robson & Co., Robson’s Birmingham and Sheffield Directory (London: 1839), 246; Francis White’s Directory of Birmingham (1849), 192. 106. Francis White’s Directory of Birmingham (1855), 182. In the previous directory of 1852–1853, only Henry Jenkins is listed. Slater, Directory of Birmingham, 194. 107. Francis White’s Directory of Birmingham (1855), 182; W. H. Dix and Compy., General and Commercial Directory of the Borough of Birmingham (Sheffield, U.K., 1858), 440; advertisements, 37 (hereafter Dix’s Directory of Birmingham). 108. Dix’s Directory of Birmingham, 440; advertisements, 37. 109. Henry Jenkins & Sons was found first in an 1858 advertisement for the firm (see Note 108). The firm’s second registration, no. 152174, submitted 4 June 1862 for an “ornamental design of metalwork & stamping,” lists the proprietors as “H. J. F. and S. Jenkins trading under the style or firm of Henry Jenkins & Sons, stampers & piercers,” apparently referring to Henry and his three sons. The four are fully named in patent 1,600 issued 15 July 1864, for “certain improvements in metallic clips for permanently or temporarily binding or 64 M MAKERS holding together manuscripts, papers, pamphlets, or for other like purposes.” Patent Law Amendment Act, 1852, London Gazette (15 July 1864)3579. 110. Crisp-J ones, Silversmiths of Birmingham, 355. 111. Crisp- Jones, Silversmiths of Birmingham, 306, 314. 112. England & Wales, Civil Registration Marriage Index, 1916–2005, Oct.- Nov.- Dec., vol. 6d, 652. 113. Timmins, Industrial History of Birmingham, 223. 114. Cattell et al., Birmingham Jewellery Quarter, 91, 94, 188–189, 266–267, 273. 115. The same notice of removal for Henry Jenkins & Sons ran in the Birmingham Daily Post on 11, 16, 18, 22, 23, 25, 29, and 30 January and 1, 5, and 6 February 1866. The advertisement, shown in Figure 15, is in E. R. Kelly, Post Office Directory of Birmingham (London: Kelly & Co., 1867), 462 (hereafter Kelly’s Post Office Directory of Birmingham). 116. George Wallis, Art, Science and Manufacture as a Unity, Art Journal, 1 October 1851, 249. 117. Henry Jenkins & Sons and Robert & Josiah Walsham are often listed in directories under headings such as “Die Sinkers & Forgers,” “Stampers & Piercers,” and “Tool Brokers & Dealers,” but never under headings for “Electro Platers and Gilders,” such as those in Kelly’s Post Office Directory of Birmingham (1867), 318, 382, 389. 118. Kelly’s Post Office Directory of Birmingham (1867), 320–321. 119. By 1860, an electroplating works was across the street from the Unity Works behind 35 Vittoria Street. Cattell et al., Birmingham Jewellery Quarter, 271–272. Thomas Fearn is listed on the street as an electrogilder in the England Census, 1851, 20 Vittoria Street, ED 10, schedule 90, piece 2059, folio 220, 27, and at 22 Vittoria Street in both the directory and a half- page advertisement at the end of Kelly’s Post Office Directory of Birmingham (1867), 320, 456. Naylor, Clark & Co.’s Colonial Works is listed at 35 Vittoria Street in Kelly’s Post Office Directory of Birmingham (1867), 320. 120. Ruby Lane, https://www.rubylane.com/ (formerly item 146467; originally accessed 12 May 2023 but subsequently removed from website). 121. The important role that beavers played in the history of Canada is almost certainly responsible for two bouquet holders in the ROM collection (983.10.1, 983.10.2.2), a third holder with a similar beaver and maple leaf design in the collection (994.69.1), and the same beaver as that on the ROM pair on the vase of MNBAQ 1967.162. In contrast to later designs on bouquet holders, foliage on Jenkins’s beaver design was apparently trimmed to enable it to fit on the vase. 122. The early beaver design is turned so that the beaver’s nose is at the top, but other horizontal designs registered by the company probably made them unsuitable for use on a holder, and no others have been identified on bouquet holders. Those registered by Henry Jenkins & Sons include a bird pecking a branch (no. 168517, 13 November 1863) and cupids amid grapes with one playing the flute (no. 383260, 23 June 1874) similar to the registered design of cupids holding a swag on #110, but none has been found on a bouquet holder. 123. See Note 121. 124. ROM 4, married to the same bulbous handle as #180 and #200. 125. This Jenkins butterfly stamping is on two Hughes 247 holders: one married to a hexagonal handle (second row, fifth from left) and the other on a tripod (top row, second from left) married to the same legs as on Deitsch tripod 121, which is married to the same Henry Jenkins & Sons’ fox- and- grapes vase as four in this collection. Deitsch tripod 121 has the same legs as Deitsch tripod 120 with the same Greek key vase as five holders in this collection associated with Jenkins by the cruet handle on #163. The third example is married to the same Jenkins- registered handle from a cruet frame as #5 and #196. Aalders Auctions, Lot 309, 28 April 2012, https://aaldersauctions .hibid .com/catalog/23593/traditional- dec- arts- - asian- art- and- estate/?cpage=4&ipp=100 (accessed 12 May 2023). 126. See Note 120. 127. RCIN 1634 and Deitsch tripod 121. 128. https://www.pinterest.fr/pin/826199494127525443/ (accessed 1 January 2024). 129. See Note 125. 130. See Note 128. 131. See Note 125. Hughes 247 (second row, fifth from left). 132. Francis White’s Directory of Birmingham (1855), 345. 133. Dix’s Directory of Birmingham (1858), 306, 477. 134. Notice, R. and J. Walsham, Birmingham Gazette, 28 January 1865, 3. 135. Robert Welchman (43) is listed as Head and Die Sinker, Stamper & c. in the England Census, 1871, 54 George Street (Frederick Place), Aston Manor, ED 4, folio 87, 10. 136. In 1867, a street index listed Warstone Works on Warstone Lane without numbers between nos. 14 and 20 in Kelly’s Post Office Directory of Birmingham (1867), 106; and in 1873, the firm is listed as “die sinkers, stampers, piercers and press toolmakers” at 10–18 Warstone Lane in William White, White’s Directory of Birmingham (Sheffield: William White, 1873), 261, 577, and 665 (hereafter William White’s Directory of Birmingham). The Big Peg (1971) at 1–13 Warstone Lane is said to have replaced “dilapidated nineteenth- century workshops mostly accommodated in former houses,” at least in part presumably the erstwhile premises of the Warstone Works. Cattell et al., Birmingham Jewellery Quarter, 277. 137. “Robert Son of Robert & Eliza Welchman born August 2, 1828” and “Josiah Son of Robert and Eliza Welchman born 29 November 1830,” and their younger siblings Frederic and Emily were registered 17 January 1837 at the Baptist Bond Street Chapel, Albion Place, Hockley in Birmingham by Deacon William Lowe; England & Wales, Non- Conformist and Non- Parochial Registers 1567–1936, Piece 3113, Birmingham, Bond Street (Baptist), 36. In 1841, the family included William Welchman (age 64), Robert Welchman (age 38), Robt Welchman Jnr (age 12), and Josiah Welchman (age 10). England Census, 1841, 30 Camden St., Birmingham, piece 1140, book 5, folio 32, 16. 138. Robert Welshmer [sic] is listed as a lodger and die sinker, with the head of household Charles Smith, a brass founder in the England Census, 1851, 109 Albion Street, Birmingham, ED 21, piece 2051, folio 543, 26. Josiah Welchman is listed as a die sinker living with his grandfather William Welchman (age 74), a button maker, in the England Census, 1851, 30 Camden Street, piece 1140, book 5, folio 32, 16. 139. Pioneer in Jewelry Manufacturing, Boston Evening Transcript (1 March 1913) 8. 140. Josiah Walsham, A Novelty on the Tramways, letter to the editor, Birmingham Daily Post, 9 September 1876, 5. PRODUCING POSIES M 65 141. Mason, Jewellery Making in Birmingham, 75; Bury, Jewellery, 359. 142. See Note 139. 143. Find a Grave, Josiah Walsham, https://www.findagrave.com/memorial/148586989/josiah- walsham (accessed 12 May 2023). 144. The handwriting and misspellings on Robert’s submissions (“proprieter” instead of proprietor and “Ornemental” instead of ornamental) differ from earlier joint registrations with correct spelling, suggesting that Josiah or someone else had previously written them. The drawing of a stag amid foliage registered as no. 337880 on 5 August 1879 seems similar to several early illustrations, especially of animals, indicating that Robert may have drawn those representations. See also Note 149. 145. In 1881, Robert Walsham (age 53) is listed as a die sinker along with his family on Warstone Lane, where Robert & Josiah Walsham’s business had been listed in earlier design registrations, likely a house/workshop. England Census, 31 Warstone Lane, 1881, Birmingham, ED 5, piece 3003, folio 88, 3. In 1883, he is listed under “Die Sinkers and Forgers” at 31 Warstone Lane in E. R. Kelly, Kelly’s Directory of Birmingham With Which is Incorporated Houghton’s Post Office Directory of Birmingham (London: Kelly & Co., 1883), 209, 601. 146. Marès 11 is the same holder with registry marks as #201, and Kenber 105 has the same vase with registry marks married to the same cornucopia handle as #33 and #236. 147. BMFA 1971.320, given by Mrs. Ralph Lowell in memory of her grandmother, Mrs. Alexander Cochrane. 148. The cornucopia design is on the vase of gilt- brass Kenber 106, married to a plain sheet figure- eight handle. 149. Two horizontal designs submitted in 1863 feature animals: a squirrel eating an acorn for “Card Baskets Sugar Basins & c.” (no. 162039, 1 May 1863) and a pair of birds looking over a nest containing three eggs (no. 163813, 26 June 1863), also for “Card Baskets Sugar Basins & c.” After Josiah left for America, Robert Walsham registered two more horizontal designs of a stag amid foliage (no. 337880, 5 August 1879) and a ram amid foliage (no. 348502, 10 April 1880). See also Note 144. 150. William White’s Directory of Birmingham (1873), 448. 151. Dates and other information for Brian (or Bryan) Knight have not been found, but John Durant was born in Stratford on Avon, Warwickshire, in December 1842. In 1871, John Durant (age 28), die sinker and his brother Thomas Durant (age 29), a press tool maker, are listed as lodgers at the same address. England Census, 1871, 91 Newtown Row, Birmingham, piece 3124, folio 141, 15; Kelly’s Directory of Birmingham (1872), 285; Kelly’s Directory of Birmingham (London: Kelly & Co., 1896), 422, 480; and Kelly’s Directory of Birmingham (London: Kelly & Co., 1908), 584. 152. See Note 38. 153. Two holders in other collections that mix the neoclassical vase with the quadrilateral handle of the second registration are at the upper right in Gary James, Posy Holder Collection Revives Memories of the Victorian Age, Florists’ Review, 17 April 1980, 31, and on a heavily bejeweled holder, sold on 12 January 2020 as Lot 209 by Roland Auctions in Glen Cove, New York. https://www.liveauctioneers.com /catalog/157149_january- 12- 2020- estates- sale/?page=9 (accessed 19 June 2023). 154. Shelagh Wilson, Art and Industry: Birmingham Jewellery or “Brummagem”? in Silver and Jewellery: Production and Consumption Since 1750, ed. Kenneth Quickenden and Neal Adrian Quickenden (Birmingham, U.K.: Article Press, 1995), 44; Wright, Jewellery and Gilt Toy Trades, 454. 155. Robert & Josiah Walsham registered no. 255918 for a brooch and no. 255919 for a crucifix. The only other metal items registered on 22 September 1871 by others were a dust preventer (no. 255917), a metal stove waiter (no. 255920), a metal frame for a footstool (no. 255921), and “The Dudley” star from the Egyptian Hall, Piccadilly (no. 255929). 156. Julie Halls, The National Archives, personal communication, September 2018. 157. Cattell et al., Birmingham Jewellery Quarter, 31–32. 158. Mason, Jewellery Making in Birmingham, 56. 159. A few butterfly designs for jewelry registered by other firms include no. 219537 registered on 25 June 1868 by Richard Angell Green, London; no. 238676 registered on 10 February 1870 by William Foley Hall, 29 St. Paul’s Square in Birmingham’s Jewellery Quarter; and no. 239749 registered on 22 March 1870 by Thomas Walker, Brook Street, St. Paul’s Square. 160. See Note 125. 161. See Note 147. 162. Halls, Inventions, 14–15. 163. Dix’s Directory of Birmingham (1858), advertisements, 37. 164. England & Wales, National Probate Calendar, Index of Wills and Administrations, 1858–1995, Henry Jenkins, 1902, 321. 165. Notice, R. and J. Walsham, Birmingham Gazette, 28 January 1865, 3. 166. Alleged Infringement of Copyright Design, Birmingham Daily Post, 31 May 1866, 7; Jos. Chirm, Alleged Infringement of Copyright Design, letter to the editor, Birmingham Daily Post, 6 June 1866, 4. 167. England & Wales, National Probate Calendar, Index of Wills and Administrations 1858–1995, Robert Walsham, 2 August 1889, 434. 168. Native American woman #160 has the same plain loop handle as #220 with a grape leaf vase, and grape leaf vases #12 and #214 are married to bud- topped looped leaf handles. 169. “The best French jewelry will be found in the case of Mellerio. . . Take the diamond head ornament, in which the Greek key prevails.” Robert Hunt, Handbook of the Industrial Department of the Universal Exhibition 1862 (London: Stanford, 1862), 2:454. Mellerio’s Greek key ornament is illustrated in Gere and Rudoe, Jewellery in the Age of Queen Victoria, 265–266. In addition, a crystal holder shown at the 1862 London Exhibition by the department store Howell, James & Co. has a Greek key band just below the rim, subsequently copied in gilt silver by Alexander Macrae on #158 and others in the 1860s. Bury, Jewellery, 457. The same Greek key stamping appears on vases of five BMP regular holders in this collection, #6, #163, #180, #189, and #217, as well as rotated 90° on Hughes 247 (bottom row, third from left). On the vase of #163, Greek key stampings are so closely mixed with a cruet handle registered by Henry Jenkins & Sons in 1863 that it is hypothesized that the firm must have owned the Greek key die, too. A fragment of a Greek key design is also at the base of winged mermaids on #187, registered by Henry Jenkins & Sons in 1872 as no. 261193. In 1874, Knight & Durant registered #190 with a Greek key band mid vase. 170. See Notes 30, 32. 171. See Note 28 for the Mills tripod. 172. See Note 65. 66 M MAKERS 173. The silver-p lated French-t ype loop-i n-l oop sheet chain does not appear to be original because sterling silver vases like #101 normally have silver chains. 174. Acorns are on English #51, #109, #139, #152, and #224, and oak leaves are on #109, #113, #139, #224, and #384. 175. Only one similar vase brooch has been found that retains its glass liner, an imitation-b asketry holder sold at auction, suggesting that such brooches were particularly worn around the turn of the twentieth century in early automobiles. Bonhams, Item 192, The Oxford Sale: Collectors’ Motor Cars & Automobilia, 2 March 2013, https://www.barnebys.com/realized-p rices/1928_buick_master_six_mascot.html (accessed 15 May 2023). The same edelweiss is accompanied by an ice pick, walking pole, and rope. Ruby Lane, Boutonnierre with Swiss Alpine Theme, https://www.rubylane.com/item/406272-G EC-0 0871/Boutonnierre-S wiss-A lpine-T heme?search=1 (accessed 19 December 2023). A capercaillie above an edelweiss on a dotted background was sold by Case Antiques. Case Antiques, Lot 921, Two Posy Holders, on the website of Case Antiques, https://caseantiques.com/as item/lot-3 088209-t wo-p osy-h olders-s terling-a nd-m ixed-m etals/ (accessed 21 December 2020 but no longer available). 176. A pin brooch with an oak leaf rim and deer head was sold by Worthpoint, https://www.worthpoint.com/worthopedia/antique- sterling - silver- boutonniere- 778449300 (accessed 12 May 2023). 177. Holder #83 weighs 85 g, and #11 weighs 48 g; #32 was on display and not weighed. Schwartz 24 (bottom left) and Deitsch 88 have large, elongated links similar to #83. 178. PMA 1932- 44- c has a wire vase similar to #11 and is married to a wire handle wound with the same long leaves as the handle of heavy magpie #73, which weighs 61 g. Both handles recall a bouquet holder with a grape leaf vase and wire handle wound by a grape vine exhibited by Mr. Balleny of Birmingham at the Crystal Palace Exhibition. The Crystal Palace Exhibition Illustrated Catalogue London 1851 (New York: Dover, 1970), 99. 179. In addition to #107, silver- plated nickel silver is on #25 and #381, and gold plating is on half of the gilt handle of #189 stamped in nickel silver. See Table A.10. 180. Gere and Rudoe, Jewellery in the Age of Queen Victoria, 244–245. Wild boar was long extinct in Scotland but may have been brought from abroad. 181. Gere and Rudoe, Jewellery in the Age of Queen Victoria, 225. 182. Schwartz 13 (upper left) and Deitsch 101. 183. X- ray fluorescence analysis of #120 found 40% silver, 55% tin, and 4% antimony with trace nickel and lead. Since the holder is silver- plated, the base metal is about 93% tin and 7% antimony, close to the typical composition of britannia metal at 92% tin, 6% antimony, and 2% copper. Britannia ware was especially popular in Sheffield, where it was spun in steam- powered spinning lathes from 1820. By 1846, a method of silver plating britannia ware had been invented by Thomas Fearn at Elkington, Mason & Company. Bury, Victorian Electroplate, 33. 184. Fiori freschi: Porte- bouquets, inconsueti gioielli del XIX secolo (Rome: De Luca, 2007), 4–6. Queen Victoria’s holder given to her by the empress is RCIN 4786. Other high- end French holders include Kenber 5–8. 185. Rockwell Antiques Dallas, 18C French Palais Royal Perfume Bottle, https://rockwellantiquesdallas.com/18c- french- palais- royal- perfume - bottle/ (accessed 12 May 2023). 186. Holder #92 and Hermitage 19 have large, enameled copper vases inset with imitation pearls, bold gilt- brass necks, and large mother- of- pearl handles with enamel similar to a “casket” made in Bourg- en- Bresse. Émaux de Bresse: joyaux du quotidien (Bourg- en- Bresse: Snoeck, 2014), 158–159, 172–173, 237. MCNY 44.75.4 and cone- shaped Deitsch tripod 44 have similar decoration and were probably also made there. The Deitsch tripod has a spring- loaded mechanism similar to English tripods EHQ #106 and #158, possibly copied in Bourg- en- Bresse or exported to England and the tripod legs added there. 187. Marc- Augustin Lebrun made handsome high- end holloware with classical motifs, such as a tea fountain in the collection of the Louvre, https://collections.louvre.fr/en/ark:/53355/cl010103360 (accessed 24 June 2023). A Lebrun stamp on a tureen is illustrated by Koller International Auctions, https://www.kollerauktionen.ch/en/325803- 0008- 1174- paar- vermeil- deckelterrinen- in- 1174_79398.html (accessed 24 June 2023). 188. The cock mark indicates standard 0.800 silver. A match for a second defaced mark, probably a four- legged animal standing in profile framed horizontally, has not been identified. Tardy, Les Poinçons de garantie internationaux pour l’argent (Paris: Tardy, 1957), 168. 189. Journal des dames et des môdes, 30 September 1834, plate 3227, reproduced in Porte- bouquets, 22. In French, sliding ring holders are known as à lamelles et coulant, and they were an early form in France, referred to in connection with possible patenting in an 1835 ordnance. Porte- bouquets, 18. Holder #173 has a golden appearance achieved by a tinted coating and probably mercury amalgam gilding on bands and the dimpled cap, similar to sliding ring holders ROM 1 and ROM 2. Another similar sliding ring holder was sold 5 June 5 2020 by Coutau- Bégarie in Paris, https://www.invaluable.com/auction- lot/porte- bouquet- vers- 1860- 28- c- 1954320a95 (accessed 19 June 2023). FG3 #178 may be related, but it would have to have been made later because the brass was electrogilded. 190. The full- height stampings are on enameled handled #48 and #235 along with smaller stampings. Full- height bent- sheet vases are on FG1 #40, #43, #114, #133, #136, #206, and #215 and FG3 #124. 191. Bury, Jewellery, 365- 367. 192. Enameled gilt- brass vases are on FG1 #36, #48, #52, #53, #77, #80, #94, #114, #148, #221, #222, #232, #377; FG2 #41 and #47; and FG3 #150, #207, and #208. 193. Henry H. Cunynghame, European Enamels (London: Methuen, 1906), 10. 194. Many French holders have decorations, 31 in total. Twenty- two with glass gems or beads are FG1 #35, #94, #148, #206, #216, #228, #377, and probably #54 and #80 (they have residues where glass beads had almost certainly been attached); FG2 #9, #19, #38, #41, #47, #145, and #383; and FG3 #124, #150, #154, #157, #178, and #234. Eight with mirrors are FG1 #55; FG2 #9, #42, #137, #145, #240, and #383; and FG3 #46. Three with ivory or bone flowers are FG1 #130 and #155 and FG3 #157. Eight with gilt- brass or silver- plated brass beads, gilt- brass drops, or contrasting silver- plated ornaments are FG1 #35, #49, #114, and #133, and #216 and FG3 #154, #157, #202. By comparison, glass gems are only on EHQ #158, BMP elegant #223, and BMP regular #101; and agates or other polished stones set as Scottish pebbles are on #131. None of the English holders has mirrors, gilt- brass drops, beads, or other ornaments contrasting with the predominant metal. 195. Vase decoration on #92 and Hermitage 19 is similar to a “casket” in Émaux de Bresse, 159. For two others, see Note 186. 196. See Note 189. PRODUCING POSIES M 67 197. Twenty holders with enameled copper handles in other collections are Kenber 42, 43, 44, 45, and 99; Deitsch 34, 83, 90, 92, 93, and 112; Schwartz 20 (two at the top); Hermitage 2 and 10; Marès 8 and 9; ROM 14; Galliera 1990.117.1; and Roe 356. 198. Whole-f lower neckbands are on #34, #45, #53, #155, and #228; in other collections they are on Kenber 14, 15, 27, and 29; Deitsch 11 and 76; and MCNY 36.352.29. Partial-f lower neckbands are on #142, #156, and #235; in other collections they are on Kenber 23, Deitsch 79, Marès 5, MCNY 45.61.1, and V&A 743B-1 913. Many other holders likely have these neckbands but could not be confirmed without examination or better photographs. The whole- and partial-f lower neckbands have similar vertical-l ine backgrounds and slightly dished borders, and it seems possible that they were stamped in a single longer die with enough spacing between the flowers that both flowers do not appear on the same neckband. 199. The five-t orc collar is on #42, #53, and #156 and in other collections on Kenber 26 and 27; Deitsch 11, 79, and 86; MCNY 51.71.2 and 45.61.1; Schwartz 12 (bottom left); Marès 4; V&A T.743B-1 913; and Hermitage 3. Half of them also have floral neckbands identified in Note 198. 200. Holders #136 and #215 have caps with diagonal petals, as do Kenber 61 and Deitsch 83 and 102. Holders #43, #45, and #228 have caps with straight petals, as do Kenber 15 and 20; Galliera 1990.117.2; and Hermitage 1, 7, and 15. 201. The spears are on #53 and #156 have glass and mother-o f-p earl handles, respectively, and they are the same as those on Deitsch 74, which has an engaged handle like #144. 202. Two holders in the collection have the same red-d yed ivory handles, and a different pair has the same ivory vase flowers, likely carved by an ivory specialist. Similar red-d yed handles are on Kenber 14, Kenber 15, and Deitsch 76, which also has tulips on the vase like #130 and #155. 203. Deitsch 62 is opposite a painting similar to #55 and has the same partial-f lower neckband as #142, #156, and #235; Deitsch 48 has the same crest as #55 with a mirror opposite a framed thermometer. Other examples of FG1-t ype flirting mirror holders are on Kenber 23, 24, 25, and 62; Deitsch 79 and 89; Hermitage 1, 2, and 3; and ROM 39. 204. Kenber dance card 25 has the same scroll design on the backing plate as #129, also found on the petals of Kenber 11. 205. The same cutout oval backing plates are on Schwartz dance card 12 (bottom left), Moretz 17, Laufer 90, and Hermitage 1. The first three have machine-m ade zigzag borders, and likely, the last one does as well, but the face of its retainer is not visible. 206. Holder #148 has a spiral glass handle engaged by dotted bands ending in a gilt-b rass hexagonal cap similar to Deitsch 72, ROM 5 and 32, Marès 3, and Galliera 1990.121.1. 207. Charlotte Gere, American and European Jewelry 1830–1914 (New York: Crown, 1975), 20, 21. Other Gothicizing vases are on ROM 32, Marès 2, and Schwartz 24 (top, second from left), and the same vase design is on Deitsch 72 and ROM 5. 208. See Note 206 for the five with engaged handles and carrying loops. Six other holders in this collection on Plates 61 and 62 have glass handles that might also have been intended for girls, but they have adult- sized finger rings, and most have round link chains. ROM 31, entirely in enameled gilt- brass, has an oval link carrying chain and bowling- pin- like drops on vase chains similar to those on Marès 3 with an engaged glass handle and carrying chains. Five with different glass handles and oval- link chains are Kenber 11 and 13, Deitsch 70, Mares 7, and Schwartz 24 (top, third from left). Eight French holders in other collections have oval loop- in- loop chains, but only three have both chains: Deitsch 37, Deitsch 83, and Hermitage 2 (the last two with enameled handles). Others are Deitsch 9, 76, and 96; Schwartz 21 (bottom right); and ROM 31 with mixed or missing chains. 209. In this collection, figure- eight loop- in- loop chains are on FG1 #36, #94, #117, #129, #144, #155, #218, and #377; and on FG3 #234. In other collections, they are on Kenber 2, 30, 43, 45, 46, 48, and 56; Deitsch 9 and 106; NYHS Z.2049; ROM 34; and Hermitage 16. 210. Two holders in the #216 subgroup, #49 and #216, have crimpable chains; two others are FG1 #53 and #77. In other collections 15 holders have crimpable chains (see Note 277), eight with three features in common with the #216 subgroup, including center spikes: Kenber 20, 21, 28, 46, and 113; Deitsch 57; Marès 9; and ROM 16. 211. The 34 French holders with wire loops for attaching vase chains are FG1 #26, #30, #34, #35, #36, #43, #45, #48, #50, #53, #54, #55, #77, #80, #115, #117, #130, #136, #142, #144, #148, #155, #156, #215, #218, #222, #228, #232, #235, and #377; and FG3 #154, #157, #176, and #208. At least 24 FG1-t ype holders in other collections have wire loops for chain attachment on the vase: Kenber 13, 23, 25, 27, and 44; Deitsch 11, 28, 72, 74, 76, 80, 86 (left), 89, and 91; ROM 12, 13, 14, and 31; Hermitage 17; Marès 8; and MCNY 33.125.1, 36.352.29, 45.61.1, and 51.71.2. It is likely that more FG1-t ype holders in other collections have wire-l oop chain attachments, but available photographs are not always sufficient to determine their presence. 212. FG1 #26, #36, #43, #44, #45, #48, #49, #53, #54, #77, #129, #130, #144, #148, #155, #156, #215, #216, #218, #222, and #228; and FG3 #207. 213. These floral pins are similar on Deitsch 90, 92, and 112, all with enameled handles. Deitsch 90 also has the same handle cap as #40. 214. Foliate rings are on FG1 #26, #45, #53, #54, #115, #130, #145, and #228 (chain and ring may not be original) and FG2 #19. Dotted rings are on FG1 #35, #40, and #218. Twisted-w ire rings are on FG1 #123 (flattened) and #206. 215. FG1 tripod #216 is linked to ROM 38 and 39 by identical neckpieces and legs, which are in turn linked to France by the same vase stampings as Kenber 15 and 26. Kenber 15 has the same neckband as FG1 #34, #45, #53, #155, and #228; and Kenber 14, 27, and 29. In addition Kenber 15 has the same straight- petal collar as FG1 #43, #45, and #228. Kenber tripod 113, incorrectly attributed to England, has many features similar to French tripod #216. Vases of French tripods bear some similarity to those of elegant English holders such as Kenber 49 and 50, but French tripod legs are curved rather than bifurcated like most English tripod legs. The feet, center post, and attachment of boards are also different for tripods made in the two countries. 216. The 12 holders in other collections with three features in common with the #216 subgroup are Kenber 20, 21, 28, 46, and 113; Deitsch 57; Marès 9; Schwartz 21 (bottom center); ROM 16 and 39; Roe 357; and V&A T.743B- 1913. See Note 277 for 15 holders in other collections with crimpable chains and Note 210 for two features in common with the #216 subgroup. 217. The average weight was calculated for four #216 subgroup holders, #35, #49, #216, and #221, and FG3 #124, excluding #133 as an outlier. Weights for holders in other collections were not available for comparison. 218. The 19 holders in other collections known to have a spike in the vase are Kenber 20, 21, 28, 46, 48, 63, 109, and 113; Deitsch 57, 71, 85, 96, and 105; Marès 6 and 9; Schwartz 21 (two, bottom center and right); ROM 16; and Hermitage 16. Other similar holders, such as Roe 357, likely have center spikes, but spikes cannot always be seen in published images. Eleven of the 19 with spikes have two other features in common with the #216 subgroup: Kenber 20, 21, 28, 46, 48, and 113; Schwartz 21 (two), Deitsch 57; Marès 9; and ROM 16; and 10 excluding Schwartz 21 (right) have three features in common. Eight holders known to have a spike without any other connection to the #216 subgroup are Deitsch 71, 85, and 105 with flat petal collars and Deitsch 96 with a glass handle; Hermitage 16 with a flat petal collar; Kenber 63 and Kenber 109 with a coral handle; and Marès 6. 68 M MAKERS 219. Nine holders with contrasting oxidized silver- plated ornaments are Kenber 20, 21, 28, 29, and 113; Deitsch 57; Marès 9; ROM 16; and V&A T.743B- 1913. Marès 9 and ROM 16 reverse the plating materials, having largely silver- plated vases with gilt ornaments. All except Kenber 29 are known to have center spikes. 220. Bury, Jewellery, 271, 391, 404; Gere and Rudoe, Jewellery in the Age of Queen Victoria, 255–256, 272–273, 276. 221. See Note 210 for the 15 holders with crimpable chains. Nine of the 15 have chains attached separately in the same place, indicating that they survive well when so attached: Kenber 20, 21, 46, and 113; Deitsch 57; ROM 16 and 39; Marès 9; and Roe 357. Nine among the 15 known to have center spikes are Kenber 20, 21, 28, 46, and 113; Deitsch 57; ROM 16; Schwartz 21 (bottom center); and Marès 9. 222. Small perpendicular rings are on four of five #216 subgroup holders with extant finger rings (#35, #49, #216, and #221). Two other FG1 holders have them, too: #232, a holder with large, enameled stampings and an enameled copper handle, and #183, with an unusual spiral mother- of- pearl handle, both probably late. Twelve holders in other collections with small rings perpendicular to finger rings for attachment of the chain are on Kenber 20, 21, 48, and 113; ROM 16 and 39; Deitsch 57 and 76; Marès 6 and 9; Schwartz 21 (bottom center); and Roe 357 (bottom, second from left). Nine of the 12 are known to have center spikes matching #216 holders, excepting ROM 39, Deitsch 76, and Roe 357. 223. Among 10 holders with the same two- piece stamped neckpiece are five tripods: Kenber 46 (only lower neckpiece) and 113, ROM 38 and 39, and Roe 357 (top left). Five others with mother- of- pearl handles are Kenber 20 (same vase stampings as Kenber 21), Kenber 48 (same lower vase stamping as ROM 34), Deitsch 57 (same Bacchus heads as #54), Schwartz 21 (bottom center, a bird on the vase), and Roe 357 (bottom, second from left, same grape and grape leaf vase as #221). All except ROM 38 and 39 and Roe 357 are known to have center spikes. 224. The upper part of the neckpiece of Kenber 46 is the same as on FG1 #94, and the entire neckpiece of #94 is on the cap for the enameled copper handle of ROM 14. 225. Neckbands of #9, #19, #145, and #383 have the same distinctive stamped pattern of four dots and crescents as the neckband of Deitsch 93, which is the only FG2- type holder found with an enameled handle. Its main vase stamping is the same as that on Schwartz 24 (top, third from left) married to an FG1- type glass handle with an FG1- type oval- link loop- in- loop sheet chain. These discrepancies suggest that Deitsch 93 may be a pastiche, but it does not alter the assemblage of FG2 holders as a separate group made in France. 226. The 25 FG2- type holders are Kenber 22, 47, 53, 64, and 65; Deitsch 21, 22, 41, 71, 85, 86, 88, 94, 97, and 106; ROM 35 and 36; Hermitage 8, 9, and 15; Roe 357 (two); and MMA 38.23.6, 38.23.10, and 38.23.11. Eight in other collections with the FG2 four- dot- and- crescent neckband are Kenber 22; Deitsch 21, 85 (lower end of handle replaced by a pearl), 94, and 106; MMA 38.23.406; and Roe 357 (two examples). Five of the 8 have similar framed mirrors (Kenber 22, Deitsch 85 and 94, and two examples on Roe 357); Deitsch 106 has a piecrust mirror opposite a painting; and MMA 38.23.406 has a pair of framed portraits instead of mirrors. FG2- type features are also on fancy Kenber 47 and Hermitage 9 (blue and red glass gems, keyhole loops, and bejeweled finger rings), Kenber 53 (same feathers as #185), Kenber 64 (blue glass beads and gilt- brass drops, plain neckband, and an FG2- type keyhole loop and handle), Kenber 65 (same oval cups above the neckband as #240), Deitsch 71 (same stamped spirals as #41 and oval cups above the plain neck as #240), Deitsch 88 (same holder as #47), Deitsch 97 (same flower as #41), ROM 35 (same holder as #47), ROM 36 (enameling and gems similar to #47), Hermitage 8 (same oval cups above a plain neckband as #240 and feathers as #185, within a loop), Hermitage 15 (same holder as #42), MMA 38.23.10 (same mirrors alternating with a single stamping as #38 and enameled ovals as #41), and MMA 38.23.11 (same vase as #41). Three others have FG2- type gems, plain neckbands, handles, and/or keyhole loops: Deitsch 22 (turquoise blue glass gems), Deitsch 41 (red and blue glass gems), and Deitsch 86 (patterned sheet and a flattened twisted- wire ring like #123). 227. Mirrors on FG2 holders in other collections alternate with major stampings that are (1) bejeweled on Kenber 22; Deitsch 85, and 94; and two Roe 357 examples; or (2) a single leaf or similar object atop a loop on Deitsch 88, MMA 38.23.10, and ROM 35. 228. Kenber 47 and Hermitage 9. 229. Seventeen FG2- type holders in other collections with red and/or blue glass gems are Kenber 22, 64, and 47; Deitsch 21, 22, 41, 85, 86, 88, 94, and 97; Roe 357 (two); ROM 35 and 36; Hermitage 9; and MMA 38.23.11. Five are also enameled: Deitsch 88 and 97, ROM 36, Hermitage 9, and MMA 38.23.11. See also Note 226. 230. MMA 38.23.406 and Deitsch 86 also have short handles similar to #123. 231. MMA 38.123.410 has the same vase as #41 but is married to a typical FG2- type mother- of- pearl handle, indicating that the bone handle may not be original. 232. Deitsch 94 has alternating mirrors and the same four- dot- and- crescent neckband as those in Plate 66, but it has a wooden handle. Two with atypical mother- of- pearl handles are fancy ROM 35 and Hermitage 9, which have many gems and elaborate rings that suggest later fabrication. 233. Chains on #19, #145, and #383 have evidence of alterations, and it seems possible that none of their chains are original. Two (#19 and #145) have round- link chains, but with atypical freely rotating finger ring, and they are mixed with loop- in- loop sheet chains otherwise not found on any FG2- type holders. The keyhole- shaped loop attaching the chain on #19 fits the handle poorly, and the loop- in- loop sheet chain on #383 is poorly attached to the vase. 234. Kenber 47 and Hermitage 9. 235. Showstoppers #154, #157, #176, and #208 have an FG1- type wire loop for chain attachment on the vase, and #124, #178, #198, and #207 have a band on the handle for finger ring chain attachments. 236. Twenty holders in other collections considered showstoppers are Kenber 54, 55, 64, 99, 101, 103, and 104; Deitsch 62, 78, 79, and 98; MCNY 33.125.1 and 36.352.29; MMA 43.7.39; PMA 1903- 87; Schwartz 21 (upper right); Galliera 1920.1.2774; and Hermitage 5, 11, and 17. Most are one- offs, but a few are related, such as PMA 1903- 87 and Hermitage 11; and Kenber 55, Galliera 1920.1.2774, and Hermitage 5. 237. Dance card Kenber 54 and Schwartz 21 (upper right). 238. Ball- headed floral pins are on the following showstoppers: Kenber dance card 54, with micromosaics; MCNY 33.125.1, with imitation pearls and gilt- brass drops; Galliera 1920.1.2774 and Hermitage 5, with coral and faceted glass beads; Hermitage 17, with bold enameled snakes on the vase and a bold mother- of- pearl handle; and Deitsch 62, set with turquoise- blue gems, imitation- filigree leaves similar to #157, and a painting similar to a one on FG1 #55. 239. MCNY 33.125.1. 240. Deitsch dance card holder 78 has a cameo, bezel- set red glass gems, and a J- shaped handle ending in a dog head, with palmettes around the neck atop a plain neckband with a rolled edge. PRODUCING POSIES M 69 241. Deitsch sliding leaves holder 98 has pointed leaves, including one that drops down with a spike on the back, a J- shaped handle (broken and repaired), and four palmettes above a plain rolled neckband. 242. Deitsch 57 has two rows of four framed white ovals, each topped by a bezel- set red- glass gem, baby Bacchus heads in between the rows, and four palmettes above the #216 subgroup neckpiece similar to those on holders in Plate 64. 243. Deitsch 79 has rectangular dance cards opposite an oval mirror, small turquoise blue glass gems at corners of the crown, a torc collar, partial flower neckband, and fancy mother- of- pearl handle. 244. Sliding ring showstopper- like Kenber 101 has a bold neck with a rolled edge and tortoiseshell handle similar to #198 (Plates 76, 77), which also has a bold neckpiece with rolled edges and a handle made of a related animal product (horn). The perforated sliding leaves, drop- down leaf with a spike, hexagonal sliding ring, and slightly J- shaped handle on Kenber 101 are related to sliding ring showstopper- like Deitsch 78 and 98 (see Notes 240, 241). Showstopper- like sliding ring MCNY 41.35.12 also has a plain neckband with rolled edges and a J- shaped handle ending in a dog head similar to that on dance card Deitsch 78. 245. The handle shape of #178 is similar to sliding ring holders ROM 1 and 2 and a bulbous- bottomed ivory handle in another collection, which has similar twisted wires on its vase and ends in a dimpled metal cap on its handle similar to #173 and ROM 1 and 2. 246. FG1 holders with spheres atop neckbands are also on #129, #235, and #377. 247. Flat vases with thick curled wires on #202 and #233 are similar to the vase of Kenber 102, dated 1870–1880. 248. Similar settings for gems are also on French Kenber 20 with the same neckband as the #216 subgroup. 249. Rudoe and Gere, Jewellery in the Age of Queen Victoria, 379. 250. See Note 184. 251. See Note 216. 252. See Note 186. 253. See Note 189. 254. Charlotte Vignon, Deverberie & Cie: Drawings, Models, and Works in Bronze, Cleveland Studies in the History of Art 8 (2003):170–187. 255. Brass at the base of #173 has darkened where the lacquer has been abraded, and it is almost entirely absent from the leaves of related ROM 2. 256. Kenber 8. 257. Henri Vever, French Jewelry of the Nineteenth Century (1908), trans. Katherine Purcell (London: Thames & Hudson, 2001), 310–311. 258. Vever, French Jewelry, 450. 259. Kenber 9–33. See Note 207. 260. Vever, French Jewelry, 228; Gere and Rudoe, Jewellery in the Age of Queen Victoria, 354. 261. Henri Bouilhet, Christofle, Silversmith Since 1830: 150 ans d’orfèvrerie ([Paris]: Chène/Hachette, 1981), 51–57. 262. Catherine Arminjon and Michèle Bilimoff, eds., Métal: vocabulaire technique (Paris: Éditions de patrimoine/Centre des monuments nationaux, 2010), 287. 263. Bouilhet, Christofle, 55–56. 264. Bury, Jewellery, 326. 265. Robert Hunt, Handbook of the Industrial Department, 2:455. Detailed commentary regarding French imitation jewelry appeared in the London Times. The French Court at the International Exhibition, London Times, 27 June 1862, 10. The English public is said to have been startled by the display because it conflated French jewelry with cheap low-k arat gold jewelry made in Birmingham following 1854 legalization of 9-k arat gold in England. Gere and Rudoe, Jewellery in the Age of Queen Victoria, 270. 266. Count L. Corti, C. W. S. Deakin, A. M. Dowleans, Fred. Elkington, Secretary Fossin, Ferd. Friedland, J. Hunt, A. Kaiser, H. J. Leas, W. MaskelI, Lord Stratford de Redcliffe (Chairman), and Rev. Montague Taylor, Works in Precious Metals and Their Imitations, and Jewellery, in International Exhibition 1862: Reports by the Juries on the Subjects in the Thirty-S ix Classes into Which the Exhibition Was Divided (London: Clowes, 1863), Class XXXIII, No. 3224, 6–7. 267. Vever, French Jewelry, 796. 268. Drop pendants on Second Empire necklaces and earrings like showstopper #154 in this collection are in Vever, French Jewelry, 550, 576; Kenber 64, with glass spheres ending in gilt- brass pendants, is dated 1860–1870. 269. MPE sliding ring #198 has similarities to sliding ring holder Kenber 101 with an écaille (tortoiseshell?) handle, dated 1870–1880 in Porte- bouquets, 168. 270. Vever, French Jewelry, 825. 271. Imitation pearls on FG3 #150, #157, and similar holders in other collections (see Note 243) are related to pearl- decorated holders with colored enamel by Émile Froment- Meurice: Empress Eugénie’s MN 467 and Kenber 70, marked 1866–1867. Another of the empress’s holders (MN 471), dated 1860–1870, has pearls on its handle imitated in enamel on Kenber 100, marked by George Kienlé and dated in the Third Republic, 1870–1880. 272. Vever, French Jewelry, 551, 609. 273. French tripods #216, ROM 1, ROM 2, and Kenber 46 and 113 are related to an English sliding ring tripod in another collection (Hughes 247, top row left). Similarly, BMP elegant- type gilt- brass Kenber 34 and Deitsch 84 with square sliding rings are related to French sliding ring holders. 274. See Note 219. 275. See Note 244. 276. Twelve holders in this collection with loop- in- loop chains are on FG1 #36, #48, #94, #117, #129, #144, #148, #155, #218, #222, and #377 and FG3 #234. The 29 in other collections are on Kenber 2, 11, 13, 14, 30, 45, 46, 48, and 56; Deitsch 9, 70, 72, 76, 83, 96, and 106; Hermitage 2, 16, and 17; ROM 5, 13, 31, and 34; Schwartz 21 (bottom right) and 24 (top, third from left); Marès 3; NYHS Z.2049; Galliera 1990.121.1; and Laufer 115. 277. Crimpable chains are on four holders in this collection, #49, #53, #77, and #216, and on 15 holders in other collections: Kenber 20, 21, 28, 46, 54, and 113; ROM 16 and 39; Deitsch 57 and 76; Schwartz 21 (bottom center); Marès 9; Roe 357; V&A T.743B- 1913; and Galliera 1990.117.1. 278. See Note 213. 70 M MAKERS 279. Two exceptions include #90 and #143, which have holes drilled through the handle on one side, to which round links and a chain were attached. 280. Threaded pins are on EHQ #194; BMP filigree #18; BMP regular #163, #165, #180, and #212; and MPE 120. Threaded holes (missing pins) are on EHQ #112 and BMP #110, #134, #217, and #236, for a total of 12 holders. 281. Thirty FG1 and four FG3 holders. See Note 211. 282. Attachment of chains by round links around narrow vase elements is found only on elegant Scottish pebble #131, elegant magpie #179, and regular #10. 283. See Note 212. 284. Marc Rosenberg, Der Goldschmiede Merkzeichen, volume 2, Deutschland D- M (Frankfurt: Frankfurter, 1923), 161–162; Silber aus Heilbronn für die Welt: P. Bruckmann & Söhne (1805–1975) (Heilbronn, Germany: Städtische Museen Heilbronn, 2002), 211. 285. Kenber holders 36–40 are attributed in catalog notes to the same maker, identified as possibly Swedish, but eagles are not on any Swedish hallmarks. Kersti Holmquist, Svenskt Silversmide: Guld- och Silverstämplar 1850–1912 (Stockholm: Nordiska Museets, 1995). Rather, Kenber 36 and Galliera 1990.121.2 are essentially identical to #170 except that they are unmarked, and they are almost certainly by P. Bruckmann & C. Kenber 38 has the same adjustable ring as #183 and a mermaid tail. Deitsch 12, identified as possibly Russian, has the same neck as #170 and a wooden handle, probably a replacement. Schwartz 12 (bottom right), attributed to England, has the same leaves on the vase and same neck as Kenber 38 but with a thermometer mounted on the leaves; its handle is the same as #183, Kenber 36, and Kenber 37. 286. Kenber 38 and a holder sold by Antique Cupboard, j1292; https://antiquecupboard.com/Sterling- Art- Nouveau- Tussie- Mussie- with- Leaf - Cup- j1292_p_203729.html (accessed 8 January 2024). 287. Roe 358, Kenber 16, and Deitsch 77. 288. Gere and Rudoe, Jewellery in the Age of Queen Victoria, 367. 289. Dorothy T. Rainwater, American Silver Manufacturers (Hanover, Pa.: Everybody’s Press, 1966), v. 290. A vase with decoration similar to #211 has a Gorham lion, a Providence anchor, and a G followed by “STERLING 61;” previously on the website of the Antique Cupboard, https://www.antiquecupboard.com, item j3121, accessed 12 May 2023 but no longer listed. 291. Deitsch 107 and Schwartz 20 (bottom left). 292. Enrico Bongera and Riccardo Bottero, La filigrana: L’arte de “lavorare il filo” (Genoa, Italy: Sagep, 2013), 50–52. 293. Gere and Rudoe, Jewellery in the Age of Queen Victoria, 316–18. 294. Bury, Jewellery, 558. 295. Mark Twain, The Innocents Abroad (1869; repr., Orinda, Calif.: Seawolf Press, 2018), 118. 296. Twain, Innocents Abroad, 124. 297. Bongera and Bottero, La filigrana. 298. Gianna Roccatagliata, Orafi e argentieri Genovesi tra neoclassico e liberty (Genoa, Italy: Tolozzi, 1982), 112. 299. A Genoese purse has a loop- in- loop wire chain handle. Bongera and Bottero, La filigrana, 132–133. Other Genoese filigree objects with loop- in- loop wire chains include Kenber 81, very similar to #125; PMA 1901- 203, which is almost the same as lion- head- marked #71; and two Genoese hairpins have small filigree elements hanging from loop- in- loop wire chains. Gere and Rudoe, Jewellery in the Age of Queen Victoria, 318. 300. PMA 1901- 203 is almost identical to #71. Kenber 74 and 81 have similar Genoese filigree with wavelike wires adjacent to thicker petal perimeters, and Kenber 81 has loop- in- loop wire chains. Kenber 80 has wavelike wires and a lion- head stamp on the upper band, but otherwise its shape and filigree suggest a different maker. 301. The overall shapes of two Genoese bouquet holders in another collection are similar to the first four Genoese holders in this collection, but the filigree itself is quite different. Roccatagliata, Orafi e argentieri Genovesi tra neoclassico e liberty (Genoa, Italy: Tolozzi, 1982), 116. 302. A box with decoration similar to #125 and #239 is dated in the late nineteenth century in Roccatagliata, Orafi e argentieri Genovesi, 50. A purse with similar decoration is dated in the early twentieth century in Roccatagliata, L’arte della filigrana in Liguria e nel mondo (Genoa, Italy: Tormena), 57, 58. It is also illustrated in Bongera and Bottero, La filigrana, 132–133. 303. Kenber 73. 304. These similar vase brooches with filigree are Kenber 41, Schwartz 10 (three examples, bottom), and Deitsch 16 and 42. Other Italian filigree centers were considered for the vase brooches, but ultimately Genoa proved by far the best fit. Murano could have supplied a glass vase as for filigreed blue glass Venetian perfume bottle No. 334, but its filigree is quite different. Gianna Roccatagliata, Il filo dell’universo: Mostra antologica di filigrane della raccolta Bosiò (Genoa, Italy: Tormena, 1994), 56, 58. A filigree bow brooch purchased in Malta by a physician returning from service in the Crimea is somewhat similar to bows on vase brooches but also has different filigree. Gere and Rudoe, Jewellery in the Age of Queen Victoria, 319. 305. The inscription is on Kenber 41. 306. Maria Menshikova, Silver Wonders from the East: Filigree of the Tsars (Amsterdam: Lund Humphries, 2006), 18, 22. 307. Menshikova, Silver Wonders from the East, 22. Gold Qing dynasty hair pins made with filigree net are in the collection of the British Museum, OA 1938.5- 24.262 and OA 1938.5- 24.209, and are said to be similar to filigree hairpins excavated from a seventeenth- century tomb near Beijing. Jewellery through 7000 Years (London: British Museum, 1976), 191. 308. Menshikova, Silver Wonders from the East, 45, 49–59. 309. Hermitage 14, with a paper label for an address in Canton. B. Kenber and T. N. Kosouro, Portbukety XIX – nachala XX veka iz [Porte- bouquets of the 19th to early 20th century] (St. Petersburg: State Hermitage, 2015), 216. The box for holder E45981 with a similar handle in the collection of the Peabody Essex Museum in Salem, Massachusetts, has a paper label reading “Cutshing Gold and Silversmith, New Street No. 8.” Cutshing was active in Canton from 1830 to 1870. The inscription on the box for Kenber 71 identifies the maker as Lui Jhe Guin in Chinese; this might refer to Leeching, who was active in the third and fourth quarters of the nineteenth century. A box for a gold stickpin bears the label “Leeching/Hong Kong,” although ivory carvings are also associated with him, suggesting that he may have been mainly an entrepreneur. Carl L. Crossman, The Decorative Arts of the China Trade (Woodbridge, Suffolk, U.K.: Antique Collectors’ Club, 1991), 306, 350, 352, 353, 366–367. PRODUCING POSIES M 71 310. Balagouni Krishna Goud and M. V. Subrahmenyeswra Sarma, Karimnagar Filigree Art Works in the Salar Jung Museum, Indian Journal of Traditional Knowledge 4 (October 2005):386–391. 311. Karl Rudolf, Exotica bei Karl V., Philipp II. und in der Kunstkammer Rudolfs II., in Exotica: Portugals Entdeckungen im Spiegel fürstlicher Kunst- und Wunderkammern der Renaissance, ed. H. Trnek and S. Haag, Jahrbuch des Kunsthistorischen Museums Wien 3 (Mainz, Germany: von Zabern, 2001), 185–187. 312. Menshikova, Silver Wonders from the East, 58–62, 115–118. 313. Nick Barnard, Indian Jewellery: The V&A Collection (London: V&A, 2008), 50, 52. 314. Goud and Sarma, Karimnagar Filigree, 388. 315. Susan Stronge, V&A, personal communication, 30 July 2018. 316. Thomas Holbein Hendley, Indian Jewellery, (1809; repr., Delhi: Low Price Publications, 1995), Plate 116, nos. 800, 801. 317. Hendley, Indian Jewellery, Plate 116, nos. 800, 801. Oppi Untracht, Traditional Jewelry of India (New York: Abrams, 1997), 299. 318. Jane Perry, India (unpublished typescript; personal communication, September 2018). Perry was a volunteer at the Victoria and Albert Museum, London, when I met her there in 2018. 319. Hendley, Indian Jewellery, Plate 116, No. 804. 320. Filigree vase brooches like #72 in other collections include Deitsch 73 and one in the collection of the Museo della Filigrana. Roccatagliata, Il filo dell’universo, 64, 65. 72 M MAKERS 3 MATERIALS AND FABRICATION Materials and fabrication methods are key to determining where bouquet holders were made. This chapter begins with descriptions of the primary materials— metals, metal alloys, and silver fligree— followed by other materials and then machinery and tech- niques that enabled production. In particular, drop stamps quickly reproduced designs once dies were cut, and electroplating coated inexpensive sheet metal (mostly brass) with thin layers of silver or gold to imitate the real thing. Finally, descriptions accompa- nied by detailed images illustrating assembly methods and individual parts of bouquet holders are correlated with place, makers, and dates. Numbers in Tables 2 and 3 confrm many diferences between 219 holders made in England and France. MATERIALS METALS Metal is found on 238 holders in the catalog, all except #149 (Plate 49), which is made en- tirely of ivory. Of 147 holders classifed as English, 93% are made entirely of metal, and 6% are half metal. The 72 French holders are in marked contrast: only 19% are entirely in metal, the majority of those with gilt- brass vases and enameled copper handles, and 81% employ metal just on the vase. Three German holders are half and wholly in silver, and two American vase holders are entirely in silver. Finally, 15 holders made in fligree were imported from China, India, and Genoa, Italy. Characteristic colors were initially used to identify the silver, gold, and brass em- ployed on most holders. Nondestructive instrumental analyses of nearly half the collec- tion confrmed most assessments and identifed specifc compositions of brass, as well as less common nickel silver and britannia alloys. The Appendix and Tables A.1–A.11 present results of analyses, mainly metals; a few results for enamelwork are in Table A.11. The discovery of Nevada’s Comstock Lode in 1859 lowered the price of silver, stim- ulating “manufacture of vast quantities of silver jewellery in Britain from the 1860s into the Edwardian era.”1 Inexpensive die-s tamped silver jewelry made in Birmingham “enjoyed a tremendous vogue,” afordable for the increasing English middle class market and “within the range of some artisans and even working girls.”2 Jewelry was exempt PRODUCING POSIES M 73 from hallmarking that required an assay showing 92.5% silver (sterling silver),3 but seven holders were hallmarked, almost certainly to fetch better prices. Analyses showed that most holders without hallmarks have silver content equivalent to sterling (see Ap- pendix Table A.1), employed on nearly half of English holders, and silver- plating coats base metals on another 35% (see Table 2). Two German and two American holders are also in sterling.4 Slightly higher amounts of silver were employed for fligree wires,5 whereas sheet parts of Birmingham- made fligree holders were found to be in sterling (see Appendix Table A.2). Silver and gold were used for electroplating after the technique was successfully implemented around the middle of the nineteenth century. Analyses showed that silver plating is considerably thicker than gold plating, almost certainly because silver was less expensive (compare thickness of silver- plated holders in Appendix Tables A.4–A.6 to gilt holders in Tables A.3 and A.5), although all plating on bouquet holders is thin by today’s standards (see the Appendix). Diferent base metals on parts of Birmingham mass produced (BMP) elegant #381 (Plate 17) and BMP regular #165 (Plate 39) and #189 (Plate 27) were also unifed by plating, probably without the buyer’s awareness (see Ap- pendix Tables A.8, A.10).6 BMP regular #4 is unique for having gold electroplated over a fairly thick layer of silver, probably responding to a demand for a gilt holder.7 Five BMP silver- plated holders and a silver- plated ornament attached to French group  1 (FG1) tripod #216 (Plate 64) showed traces of mercury by X- ray fuorescence (XRF) analysis,8 but none was found on the main gilt-b rass part of #216 (Plate 64) or on any of the 15 other gold-p lated French holders analyzed (see Appendix Table A.5). The mercury is attributed to a common cleaning practice “to ensure adhesion of the depos- ited silver” rather than from mercury amalgam silvering (see the Appendix).9 Gold was preferred for jewelry in France, and 97% of French bouquet holders in the collection are made of electrogilded brass compared to 28% in England.10 Gold plating has the advantages that its color covers similarly colored brass with a thinner coat and loss of plating is less obvious when plating is worn. French holders also have small thin gold and silver foil cutouts embedded in enamel, known by the French word paillons.11 Rolled sheet in brass, a relatively inexpensive alloy of copper and zinc, was the primary base metal for plated bouquet holders, and most English holders were made in Birmingham, considered the “headquarters of brass founding and the brass trade” in the nineteenth century.12 Analyses showed that brass employed on English bouquet holders mostly ranged from commercial bronze (90% Cu : 10% Zn) to red brass (85% Cu : 15% Zn), with a few higher-z inc outliers (see Appendix Tables A.7, A.8). Brass with- out plating was found on only two regular holders, #13 (Plate  43) and #166 (Plate  40), probably because the low cost of plating and tarnishing of brass made plating more attractive. Paris, the center of the jewelry trade in France, had a long tradition of casting stat- uary in bronze, which was mostly brass,13 and holders made there invariably employed sheet brass as the base metal for plating. Results of analysis generally show a composi- tional range similar to that of England, skewed slightly higher in copper (see Appendix Table A.9). Copper was used as the support for enameling on a French vase and 10 French handles in this collection, as well as 23 enameled holders in other collections.14 Nickel silver—a n alloy of copper, zinc, and nickel notably without any silver—w as widely used in Birmingham as a less expensive alternative to brass for base metals,15 especially at Elkington & Co., because it is closer in color to silver and thus required less silver plating for coverage.16 Analyses confrmed its use on four plated holders made in 74 M MATERIALS AND FABRICATION Birmingham (see Appendix Table A.10). A 20% nickel alloy employed on #107 (Plate 48) was considered best, and about 10% nickel alloy on #189 (Plate 27) and #381 (Plate 17) was considered less desirable.17 Britannia metal— typically 92% tin, 6% antimony, and 2% copper— is a soft silvery pewter that came into use before nickel silver because of its color and low cost; it was employed as the base metal only on silver- plated #120 (Plate 49, Appendix Table A.10).18 It is often associated with Shefeld, where it was shaped by spinning with the use of steam- powered lathes from about 1820.19 Gold plating was found at relatively high concentrations on six English high quality (EHQ) silver holders, including #158 (Plate 3) and #194 (Plate 4) hallmarked around 1870,20 and on German #170 (Plate 78), with a silver standard mark (see Appendix Table A.3). Only two BMP regular subset holders, #88 (Plate 20) and tripod #217 (Plate 28), are in gilt silver, perhaps made relatively early among holders in that subset (see Appendix Table A.2). Gold on BMP brass and especially French holders was found in concentra- tions of about 10% the amounts on silver holders (see Appendix Table A.5). The vase of Chinese silver fligree #379 (Plate 85) showed a concentration of about 2% gold, probably a wash given its golden appearance, whereas trace amounts of gold on the other three nineteenth- century Chinese fligree holders are more likely contam- inants from use of remelted silver.21 Holder #116 (Plate 85), made later, was also gilt, although much of the gilding has been lost on show surfaces. Bouquet holders were assembled using hard solder, also known as silver solder, since “soft solder was ‘almost banished’” because it would contaminate the plating bath with lead. The standard formulation in Birmingham consisted of 20 parts silver, 9 parts copper, and 3 parts brass,22 equivalent to 63 Ag : 34 Cu : 3 Zn. Scanning electron microscopy–energy dispersive X- ray spectroscopy (SEM- EDS) results for solder on BMP regular #22 (Plate 37) proved similar (see Appendix Table A.4). SILVER FILIGREE Filigree employed on bouquet holders was necessarily made by hand, as it comprises many silver wires bent into various shapes. It has the advantage of producing attractive delicate decoration and larger objects with less metal at lower cost than cast or sheet silver, especially where labor costs are low. A disadvantage is that the fne wires are easily damaged and difcult to repair. Botched attempts at repair are not uncommon on fligree holders, notably on BMP fligree #104 (Plate 7) in this collection. Filigree made using gold or silver wires was widely produced from the fourth millennium BCE in the Near East and Egypt,23 and Alexander the Great’s invasion in the fourth century BCE introduced Greek fligree designs to India still in use there.24 Filigree making began in China by the beginning of the Han dynasty,25 and by the latter part of the sixteenth century ships enroute from China to Europe stopping at the Portuguese port of Goa on the Indian subcontinent brought Chinese fligree and fligree workers, sending fligree works on to Portugal.26 Around the same time in Italy, Benvenuto Cellini (1500–1571) dedicated a chapter to fligree in his “Treatise on Gold- Smithing.”27 During the nineteenth century, fligree was made throughout Italy, includ- ing in Turin, Vercelli, Cortina d’Ampezzo, Scanno, Pesco Costanzo, Agrigento, Sardinia, and Venice, but Genoa had semi-i ndustrial fligree production, was the main exporter, and is believed to be the location where all six holders in this collection were made.28 In England, fligree had been popular in Birmingham during the eighteenth century PRODUCING POSIES M 75 but had begun to die out in the nineteenth century. A revival in the 1840s led to 16 of 24 holders in the BMP fligree subset to be made using fligree, and they seem to have captured the market for holders owned by wealthy Americans (see chapter 1). Although fligree practices difer throughout the world, small sections of fligree wire designs are generally solidifed with heat after powdered silver solder mixed with borax is sprinkled over them. Objects are then assembled by spot soldering sections together. China All fve Chinese fligree holders in the collection—f our similar holders dated from the mid- to late nineteenth century and a brooch from the late nineteenth or early twenti- eth century— employ fligree mesh in use from at least the late Ming dynasty.29 Rows of small twisted wires were soldered together to make the mesh, topped by thicker rectangular wires forming foral designs on handles of the four holders (Figures 29, 30).30 Domes at the center of wire fower petals on handle knobs are also characteristic of nineteenth-c entury Chinese fligree (Figure 29), and related fowers decorate a fnger ring on #111 (Plate 84). Three of the four vases have shanks of parallel twisted wires FIGURE 30. Detail of handle shaft in Figure 29 at higher magnification showing a flower delineated atop the spiral mesh. FIGURE 29. Detail of handle on nineteenth- century Chinese #86 (Plate 84) showing thick rectangular design wires atop spiral wire mesh and a wire rosette with a domical center on the knob at bottom. 76 M MATERIALS AND FABRICATION FIGURE 32. Detail of looped wire mesh in Figure 31 at higher magnification. FIGURE 31. Detail of flowers delineated on a small vase amid three lobes of a large leaf with thick wire veins atop wire mesh on the late nineteenth- or early twentieth- century gilt- brass brooch #116 (Plate 85). that expand toward the top to form attractive openwork of overlapping wires, whereas the fourth (#379) has diaphanous looped mesh leaves.31 Rectangular wire continued to defne fowers on a small wire mesh vase atop the three lobes of a wire mesh leaf on late nineteenth- or early twentieth- century gilt- brass brooch #116 (Plate 85; Figures 31, 32). India Filigree processes in India are described in early twentieth- century literature, report- ing that children premade fne, fattened twisted- wire designs because of their “nimble fngers and quick eyesight.”32 As wire designs were needed, they were placed in lateral tension within thicker rectangular perimeter wires forming a cell. When complete, the cell was placed on a sheet of mica, annealed, dusted with a mixture of fne solder flings and borax fux, and put on a bed of hot charcoal until the solder fowed. Cells were assembled with silver solder using a blowpipe to create the object. The frst three fligree holders made in India have solid attributions based on sim- ilar examples in the collection of the Victoria and Albert Museum in London, acquired from the India Museum after its demise. Tripod #64 (Plate 82) follows the form of En- glish tripods but has a plethora of Indian- style ornaments in thick wires, including large roses characteristic of Cuttack with prominent stamens ending in balls comprised of silver grains (Figure 33); and it is by far the heaviest holder in the collection at 182 g. The tripod also has small wire- petal roses with domical centers, as does #60 (Plate 82; Figure 34), similar to those on Chinese fligree (Figure 29). Both holders were probably made in Cuttack, although the fligree on #60 is far more delicate than on #64.33 Filigree on Indian vase brooch #72 (Plate 83) attached by a hinged pin on the back is diferent again, with irregular fat strips separating spiral trees of fne twisted wires and slightly open oval spirals below (Figure 35). Pin brooch #98 is assigned to India based on a hinge pin and irregular strips and wires similar to #72 (Figure 36). PRODUCING POSIES M 77 FIGURE 33. Detail showing a large Cuttack rose with prominent FIGURE 34. Close-u p showing finer and more varied detail stamens at center of image, a similar smaller flower at upper of vase on Indian #60 (Plate 82), including flat wavelike right, and a much smaller flower with wire petals and a domical wires and two sizes of wire petal roses with domical center below it on the vase of Indian tripod #64 (Plate 82). centers. FIGURE 36. Detail of brooch #98 (Plate 83) showing hinge for the attachment pin and irregular bands and wires generally similar to those on #72 that indicate it was also made in India. FIGURE 35. Detail of fine twisted- wire designs between slightly irregular sheet strips on Indian brooch #72 (Plate 83). 78 M MATERIALS AND FABRICATION Genoa, Italy In 1862, Genoa had 20 fligree workshops and 260 workers.34 Genoese jewelers made fli- gree for both the domestic and international market, and Genoese jewelry was available in London from Samuel Jones at 78 Cheapside before 1843.35 The frst two holders, #63 and #71 (Plate 80), are identifed as Genoese by lion- head stamps and also have loop-i n-l oop wire chains found on other Genoese fligree objects.36 The next two holders have similar fower petals at the top and fligree with wavelike wires adjacent to thick rectangular cell wires, seen in a detail (Figure  37). The fourth, #125, is linked to horn- shaped pin brooch #239 (both Plate 81) by similar fligree chain links, and both have fower petals and leaves delineated by thicker wires containing stretched spirals characteristic of turn- of- the- century Genoese fligree in other collections.37 Genoese fligree was made in cells bordered by thick rectangular wires in which smaller twisted- wire designs were pressure ft in the same way as Indian fligree, but it shares other characteristics with Birmingham fligree: extensive use of stretched- spiral fligree, wire loop- in- loop chains, sheet centers for fowers as on Genoese #63 (Plate 80) similar to those at the center of whorl- like fowers on BMP fligree #109 (Plate 9), and looped borders on Genoese holders in other collections similar to BMP fligree #67 (Plate 9).38 Tight spirals on #219 are also similar to those on the legs of fligree tripod #84 (Plate 8). These similarities suggest interactions between England and Genoa or possibly even that Genoese fligree workers were employed in Birmingham. Turquoise- blue glass vase brooch #229 (Figure 38) has a silver band around the top, to which is afxed a large three- dimensional silver fligree fower, and a second band around the tip, from which hangs a bow with a pair of tassels. It is similar to seven vase brooches in other collections attributed by their owners to France and England.39 All seven have loop- in- loop wire chains like #229 and the two holders with Genoese stamps; moreover, at least six of them have cotter pins like #229, found only on holders made in England and a Genoese fligree holder in another collection,40 thus ruling out a French attribution in the absence of those features on French holders. Figure 38 also shows Genoese- style fligree of stretched spirals in cells bordered by thicker rectangular wires FIGURE 37. Detail of vase on filigree #71 (Plate 80) showing FIGURE 38. Detail of large silver filigree flower, bud, a lion-h ead stamp (upside down) at center of the silver band and leaves on the blue opaline glass vase of #229 identifying it as made in Genoa (compare with Figure 28). Adjacent (Plate 81), which employs stretched spiral filigree to thick rectangular wire borders are wavelike wires typical of some rimmed with Genoese wavelike wires, indicating that Genoese filigree and found on most holders in the collection. it was made in Genoa along with seven similar filigree vase brooches in other collections. PRODUCING POSIES M 79 with adjacent wavelike wires. Otherwise, fligree on these vase brooches is somewhat diferent from that of the other fve Genoese holders in the collection, probably because the brooches were made earlier. In contrast to the other fve Genoese holders probably made closer to 1900, one of the brooches has an 1850 inscription. Birmingham, England Filigree on holders in the BMP fligree subset consists mainly of simple stretched spi- rals of twisted wires, probably assembled in forms since they are borderless, instead of being fabricated in lateral tension between thicker wires like fligree made in India and Italy. Units were then assembled by spot soldering them to the back side of thicker plain rectangular wires (Figure 39). Although diferent from bordered cells of Genoese fligree in that respect, BMP fligree holders have other features similar to Genoese fligree, suggestive of interactions between them, as noted in the previous section. Filigree mesh of overlapping wire loops on two Birmingham-m ade holders, #68 and #122, is exceptional (Plate 12; Figure 40), perhaps copied from imported Chinese holders (Figure 32). On the upper vase of #68, mesh was bent to form six faces defned by thick vertical rectangular wires at each bend, and a stamped fower and leaves were added to the center of each face (at left in Figure 40). Similar mesh on #122 forms a horn-s haped vase at right in Figure 40, which ends in a large stamped sphere recalling the shape of six curved BMP fligree holders ending in spheres in Plates 11 to 14. Solidifying an attribution of #122 to Birmingham are stretched spirals above the mesh horn barely attached to thick wire borders in front of them (Figure 41), similar to those in Figure 39. Finally, an identical horn-s haped holder in another collection has a hexagonal fnger ring identical to those that close the legs of BMP fligree tripods, such as the ring on #103 (Plate 7).41 Filigree holders made in Birmingham often mix fligree with stamped parts, in- cluding entire vases, tripod legs, feet, fowers, and acorns on wires. This contrasts with fligree made in other places that at most might have small silver plates or silver bands between sections. FIGURE 40. Detail of overlapping looped-w ire filigree mesh of approximately the same size on vase of Birmingham mass produced filigree tripod #68 at left and horn of #122 at right (both Plate 12). FIGURE 39. Detail showing twisted-w ire stretched spirals attached by blobs of solder behind thicker plain bands, visible at right on the vase of Birmingham mass produced filigree #84 (Plate 8). 80 M MATERIALS AND FABRICATION FIGURE 41. Detail of barely attached stretched spiral filigree behind thick rectangular wires at top of horn- shaped Birmingham mass produced filigree #122 (Plate 12), similar to #84 (compare with Figure 39). NONMETALLIC MATERIALS MOTHER-O F- PEARL Mother-o f-p earl cut from seashells was employed for handles on 6 English, 39 French, and 2 German holders. The two-d imensional foral designs cut in relief on the front and back of the six BMP elegant mother- of- pearl handles precluded use of a lathe. As a result, faceting was intentional on the shaft of elegant #29 (Figure 42), whereas slight faceting seems to be an artifact of shaping without a lathe on other shafts, such as #152 (Figure 43). FIGURE 43. Detail showing slight faceting on shaft of mother- of- pearl handle on Birmingham mass produced elegant #152 (Plate 18) and similar handles, apparently artifacts of smoothing without a lathe. Wire bands around the base of the shaft likely cover a break. FIGURE 42. Detail of intentionally faceted shaft of mother- of- pearl handle on Birmingham mass produced elegant #29 (Plate 18), missing its carved end, broken off where the handle chain was originally attached (part of hole for the attachment pin remains on the break edge). PRODUCING POSIES M 81 FIGURES 44–47. French group 1 (FG1) handles (left to right): FIGURE 44. Detail of mother- of- pearl handle with straight shank above scallops on FG1 #156 (Plate 60); similar handles are on FG1 #136, #235, and #377. FIGURE 45. Detail of mother-o f-p earl handle with double rings at top, a longish swell that flares out at the bottom, and a stack of progressively smaller disks continuing to the tip on FG1 #206 (Plate 60). Similar handles are on FG1 #35, #45, #133, and #215, as well as nearly all French group 2 (FG2) handles, but the FG2 holders have narrower channels for attachment of keyhole- shaped wire loops. FIGURE 46. Detail of mother-o f-p earl handle with pairs of rings and an ovoid tip on FG1 #28 (Plate 58); similar handles are on FG1 #49, #77, and #129. FIGURE 47. Detail of mother-o f-p earl handle with spirals unique in the Smithsonian’s collection on FG1 #184 (Plate 55) but found on several handles in other collections. It seemed surprising that only six elegant handles were made of mother-o f-p earl in Birmingham (Plates 18, 19), given extensive mother- of- pearl button making there during the same period. In the 1850s, listings in Birmingham directories for pearl button and ornament makers are far more numerous than for two or three “pearl handle makers,” however, and they disappear altogether in directories published in 1867 and 1875.42 In contrast to its use in England, mother- of- pearl is the most common material for French handles, which are spindle shaped and made using lathes. Four representative examples of 20 FG1 handles refect considerable diversity (Figures 44–47), suggesting that they were obtained from several craftsmen. The spiral on the handle of #184 (Fig- ure 47) is unique in the collection, but similar handles are in other collections.43 Mother- of- pearl handles on 12 of 13 FG2 holders in this collection and 22 of 25 in other collections are almost identical apart from some being shorter and stubbier than others (Figures 25, 26),44 in marked contrast to diverse FG1 handles. Similarity of the handle of FG1 #206 (Figure 45) and a few other FG1 handles to FG2 handles, however, suggests that they were obtained from the same source, probably in Paris. Mother-o f-p earl is composed primarily of calcium carbonate, which is soluble in mild acidic solutions that can dull the surface. Defects may retain soiling, which can sometimes be removed, but endemic discolorations and wormholes may not respond to cleaning. A more serious problem is that mother-o f-p earl is brittle and susceptible to breakage and loss. Breakage generally occurs on both English and French handles 82 M MATERIALS AND FABRICATION where the mother-o f-p earl is most vulnerable at channels of the narrowest dimension made for attachment of the fnger ring chain, which would also be stressed by use of the fnger ring.45 Half of the six BMP elegant mother-o f-p earl handles, for example, are missing lower ends or broken. On #29 (Figure 42; Plate 18), the tip of the carved fowers has been lost where the fnger ring chain was attached;46 on #131 (Plate 19), the lower J-s haped part has been lost, and on #152 (Figure 43; Plate 18), gilt-b rass strips almost certainly disguise a repaired break at the base of the shaft. Although availability and cost may have limited use of mother-o f-p earl for handles in Birmingham, experience with breakage of the material could have been a factor, too. SILICEOUS MATERIALS Glass is composed primarily of silica and is relatively hard but breakable. It was molded, blown, and powdered for use on bouquet holders, especially on French holders. Although precious gems were featured on fne bouquet holders for the wealthy,47 the London Times lauded French “mock jewels” that “beat all the world” at the 1862 Interna- tional Exhibition in London.48 The jury gave honorable mentions to a French maker of “imitation gems” and two French makers of imitation pearls.49 Imitation gems in glass are on 22 French holders in the collection50 but just four English holders51 in addition to eight siliceous stones (probably agates) on Birmingham-m ade “Scottish pebble” holder #131 (Plate 19). Scarcities of stones from native Scottish sources for popular Scottish peb- ble jewelry, originally pink and mottled gray granites, had led to importation of banded agates from Brazil like those on #131, often worked at Idar-O berstein in Germany and exported to Birmingham for setting.52 On English holders, glass was employed on major parts only for the tubular purple vases with fat backsides of miscellaneous probably English (MPE) boutonniere #238 and brooch #119, as well as for a glass insert (now lost) employed in brooch #257 (all Plate 46). In contrast, eight FG1 holders have glass handles (Plates 61–63), and all eight are intact. Six have spindle-s haped handles glued inside neckbands, three in turquoise blue and three lacking color with opacity ranging from translucent to opaque, often re- ferred to as opaline. Two in green glass are instead engaged by stamped gilt-b rass strips soldered to adjacent brass parts: one with a teardrop shape enclosed by four bands and one with a glass spiral wound by a pair of bands (Plate 63). A firting mirror made of glass opposite a painting is on FG1 holder #55 (Plate 53), married to an enameled handle, and 16 FG1-t ype holders in other collections have a mir- ror opposite another mirror, dance cards, portraits, enamels, and even a thermometer.53 Six FG2 holders (Plates 66–68) and nine FG2-t ype holders in other collections also have pairs of opposite framed mirrors or portraits and sometimes a mirror opposite a cameo or painting.54 The mirror and backing are held in place by strips or clips to gilt-b rass frames and sometimes by the frame itself. Four smaller oval mirrors on FG3 holder #46 (Plate 77) are set in stamped frames similar but not identical to those setting gems on FG1 #216 (Plate 64), but the attribution of #46 is uncertain. Six holders in the collection retain original mirrors with embossed metal-l eafed paper backing.55 Silvery leaf is on embossed squiggles with a dotted background on FG2 holder #9 (Plate 66), with a horizontal linear pattern on FG2 #145 (Plate 66), and with a vertically ridged pattern on FG2 #42 (Plate 68). Gilt leaf is on embossed scrolls with a diagonal line background on FG3 #46 (Plate 77), and the same angled blocks of lines are on FG1 #55 (Plate 53) and FG2 #137 (Plate 68), suggesting that the paper backings were obtained from the same Parisian source by two diferent makers. PRODUCING POSIES M 83 Enamel Enamelers were specialists in the jewelry trade with skills diferent from those of brass workers. The 10 enameled copper handles coated with traditional French enameling containing paillons in this collection and 20 in other collections56 were probably made in Paris by several enamelers, given variations in style and quality. Painting ranges from delicate fowers to none, and metal paillons embedded in enamel range from fne to coarse in silver or silver and gold. An 1866 French manual describes the process of enameling metal, including how to make paillons by placing thin foil on a bed of lead topped with vegetable paper to avoid tears.57 A steel punch was used to cut out designs, such as crosses, feurs- de- lis, stars, suns, etc.58 The paillons were then coated with an aqueous solution of tragacanth gum adhesive and attached to previously fred enamel. After drying, they were coated with enamel, and the item was fred again. The 10 FG1 sheet copper handles are enameled mainly with blue glass identifed by SEM- EDS analyses on #55 and #80 (Plate 53) as a leaded potassium soda lime silicate glass; and embedded paillons were confrmed as being made of silver and gold (see Appendix Table A.11). The XRF analyses also found 0.58% cobalt in dark- blue enamel on #80, indicating a common cobalt oxide colorant for glass;59 0.19% copper in lighter blue enamel on #55 and 0.47% copper in the turquoise blue glass of fligree vase brooch #229 indicate copper-b ased colorants.60 The XRF analyses confrmed that the sheet base for enamel is copper with about 2% lead (see Appendix Table A.5). Relatively thick enamel on the 10 copper handles and 1 vase is in fairly good condition, and damage is mostly limited to cracks. Thin enamel top coats over the paillons, however, have apparently permitted disfguring corrosion of silver paillons, notably on #232 (Plate 52) and #52 (Plate  54). Loss of gilt-b rass caps on three holders in the collection is likely because of failure of adhesive as well as stress from the gilt-b rass fnger ring on chains attached to them. The enameled vase of #92, which has rows of gold-b acked enamel pearls, was almost certainly made in eastern France at Bourg-e n-B resse along with three holders in other collections, especially one with rows surrounding a band of fowers.61 The imitation-p earl beads are said to have been “shaped by the enameller using a Sergent-M ajor nib dipped into enamel, then applied to a round, concave gold paillon, known as a godet d’or.”62 Powdered glass was also selectively painted and fred onto 17 gilt-b rass French vases.63 Losses are substantial for this enamel, estimated at more than 75%, apparently because of poor adhesion of the enamel to the gilt brass. Possible application by a brass maker rather than an enameling specialist may have been a factor. Brass workers’ and enamelers’ ovens were said to be similar;64 and enamel would have been applied after the holder was returned from the plater to the brass worker for assembly. In contrast, linear inlaid enamel is nearly intact on FG1 #114 (Plate 65) and EHQ #106 (Plate 3), the latter being the only English holder in the collection with enamel. ALABASTER A teardrop made of alabaster composed of hydrated calcium sulphate is engaged by four gilt-b rass bands to form the handle of FG1 #144 in a manner similar to the glass tear- drop handle of #148 (both Plate 63). It had been suspected that the teardrop was made of alabaster because of its dull white surface, typical of an ill-a dvised cleaning of alabaster with water. Confrmation was provided by XRF analysis showing calcium and sulfur.65 84 M MATERIALS AND FABRICATION BONE Bone is composed of proteins (mainly collagen) and inorganic hydroxyapatite (calcium phosphate). It can most easily be distinguished on objects by foramina, which appear as black dots but are actually openings through which nerves, arteries, and veins passed (Figure 48). Its structure lends itself to the perforated decoration seen in Figure 48. Bone was employed for fve French handles66 and also used for fowers hung from glass spheres on the vase of FG3 #157 (Plate 74) but was not found on any English holders. IVORY AND HORN Ivory from the tusk of elephants and similar animals is composed primarily of keratin and other proteins. It is often whiter than bone, can be carved in exqui- site detail, and takes a good polish and dye. So- called engine turnings distinguishing elephant ivory are FIGURE 48. Detail of carved bone handle showing foramina (dark specks) left by visible on the handle of FG3 #233 (Plate 75) and MPE nerves, arteries, and veins, and perforated #149 (Plate 49).67 Although ivory handles are almost decoration typical of bone artifacts on always thinner than those in mother- of- pearl, they French group 3 #147 (Plate 77). are without the breakage and losses associated with mother- of- pearl handles, even the thin ivory dance cards on FG1 #129 (Plate 57). Coloring bone using madder was described already in the twelfth century by the German monk Theophilus Presbyter,68 and red dye was used to color ivory on three FG1 holders with red- dyed ivory handles (Plate 56). Two also have small, red- dyed ivory fowers attached by wire vines, and the vase of FG3 #207 (Plate 75) has pink cylinders probably made of ivory. A boar tusk set in silver on MPE #227 (Plate 48) is essentially the same material as ivory. The hollow molded handle of FG3 #198 (Plate 77) shows slight variations in its yellowish color indicating horn, made primarily of keratin often molded with heat. MACHINE PRODUCTION DROP STAMP The ancient process of hammering sheet into an iron mold, dating back at least to the New Kingdom in Egypt and described by Theophilus Presbyter in the twelfth century,69 was improved in the late eighteenth century by the drop stamp, which employed gravity instead of manual labor to produce a similar result (Figure 49). Soft positive casts of dies were dropped from a height onto sheet metal blanks laid on negative designs cut into steel dies. The drop stamp fueled English industrial development and continued in use in smaller jewelry workshops in Birmingham well into the twentieth century.70 Handstamps are also known to have been used “for stamping out small parts in all branches of the metal- working trade.”71 For the drop stamp shown in Figure 49, a sheet metal blank would have been placed near the bottom on top of a round female die (labeled c). A male “force” cast from the PRODUCING POSIES M 85 FIGURE 49. Drop stamp from Abraham Rees, Rees’s Manufacturing Industry (1819–20). Reprinted by David & Charles (1972) and reproduced with the publisher’s permission. die in a soft metal (often lead) was attached to the underside of a weight (labeled d) and raised to a height by a rope (labeled f). When the force was dropped onto the blank guided between cast- iron rails (labeled a), the blank was forced into the die. The process would be repeated until the desired relief was achieved, with the blank periodically annealed in a nearby oven as necessary to avoid breakage. The most expensive part of the stamping process was sinking (cutting) the die in hardened steel, and die sinkers were considered the “aristocrats of the trade.”72 Compa- nies carefully stored large numbers of dies in work spaces as valuable assets.73 Once the die had been made, stampings could be produced quickly, with the main costs being the outlay for the sheet metal blank in brass, silver, or nickel silver and the operator’s wages. Use of a particular die was the main criterion employed to confrm that bouquet holders were manufactured in the same place and/or by the same manufacturer during technical study of the bouquet holders. Similar stampings were often compared using a microscope to ensure that details produced in the stampings were identical. Four hold- ers with the same BMP regular Native American woman stampings (Plates 20, 21) and a French vase in another collection married to an enameled copper handle initially ap- peared to have the same fgure on the vase.74 Close examination, however, revealed that details were slightly diferent for the English and French vases, and it was concluded that the similar vase designs derived from a common source, probably an advertisement for tobacco (see Figures 5, 6). 86 M MATERIALS AND FABRICATION ENGLAND Die sinkers dominated production of bouquet holders in England. Henry Jenkins & Sons, the larger of the two most active makers in Birmingham, is said to have started as “a die- sinking and tool making frm to the trade,”75 and the other main frm, Robert & Jo- siah Walsham, billed themselves as “die sinkers, stampers, piercers, and tool makers.”76 Knight & Durant, which registered two designs for bouquet holders in 1874 that include #190 (Plate 23), described themselves in registrations as “Die Sinkers & c.” (Figure 20), but in an 1873 directory the frm is also listed as die sinkers, stampers and piercers.77 The size of stampings increased over time in Birmingham until the largest possible die employed on bouquet holder vases extended from the rim to neck on 68% of regular holder designs, termed a “full- height” stamping.78 Moreover, if vases made with small connectors between stampings or parts of the same stamping flling out gaps at the base are included, 91% of regular vases qualify as full height.79 The number of multiples on vases could be changed to produce diferent sizes, for example, two and three repli- cates of a Greek key design (Plate 27) or the fox and grapes (Plate 31). On handles, two identical or mirror- image stampings were employed on 96% of regular holders, usually incorporating a neck- like feature at the top. Design registrations, described in more detail in chapter 2, indicate that most de- signs for mass-p roduced bouquet holders were intended primarily for objects other than bouquet holders. Those on vases registered by Henry Jenkins & Sons are invariably identifed as being for “baskets &c. to be repeated & continued,” and those on three han- dles and one vase were adapted from two designs registered for cruet frames (Figures 50–54).80 Robert & Josiah Walsham registered similar designs employed on bouquet FIGURE 50. (Left) Cruet frame design no. 230376 registered 24 June 1869 by Henry Jenkins & Sons. FIGURE 51. (Below) Detail of handle cut off the cruet frame design in Figure 50, inverted for attachment to vase of silver-p lated brass #193 (Plate 26). A slight gap in the tip at right indicates where it was cut off. PRODUCING POSIES M 87 FIGURE 53. Detail of handle made from cruet frame design shown in Figure 52, inverted for attachment to vase of silver-p lated brass #196 (Plate 26). A registry mark is partially FIGURE 52. Cruet frame design no. 167278 registered 14 October 1873 by Henry visible at top left side of handle above Jenkins & Sons. chain attachment. FIGURE 54. Detail showing part of cruet frame stamping from the center downward between Greek key stampings on silver- plated brass #163 (Plate 27), which is the same as seen at top of stem in Figure 52 and bottom of handle (inverted) in Figure 53. 88 M MATERIALS AND FABRICATION holders but generally did not identify use except in the earliest registrations. Knight & Durant is exceptional in so far as it registered #190 (Plate 44) and a second design for complete bouquet holders (Figures 20, 21), as did B. H. Joseph & Co. for the Princess of Wales holder (Figure 2). Designs formerly made by raising, engraving, and other hand tooling could be imitated by the drop stamp. For example, two silver holders have hand-e ngraved dec- orations on hexagonal handles #69 and #87 (Plate 32),81 which likely preceded eight hexagonal handles with ornamentation stamped in two pieces, each comprising three sections.82 The same details and slight faws can be seen on each half of the stamped silver handle of #58 (Plate 33), confrming that the same die was used, and they show crisp detail, suggesting that they were stamped early in the life of the die (Figures 55, 56). Use of silver rather than plated brass is also consistent with early use, perhaps before electroplating had become fully established or available. In contrast, the silver- plated stamped-b rass handle on #175 shows considerable wear (Figure 57); and arguably even more damage can be seen on #192, married to a vase registered by Jenkins in 1869 (Figure 58) and supporting later fabrication. FIGURE 55. Detail showing crisp stampings at the base of half of the hexagonal handle of silver #58 (Plate 33), indicating that the die was relatively new. FIGURE 56. Detail showing similar crisp stampings at the base on the other half of the same handle as in Figure 55, confirming that it was stamped in the same relatively new die. FIGURE 57. Detail showing jagged scrolls on silver-p lated brass handle of #175 (Plate 33) in the same area as in Figures 55 and 56, indicating wear of the die used for this handle. FIGURE 58. Detail of silver-p lated brass handle of #192 (Plate 33) in same area as in Figures 55–57, here showing more damage at the upper left corner and lower left border. The design for the fern vase on this holder was registered by Henry Jenkins & Sons on 27 May 1869. PRODUCING POSIES M 89 Because most English handles have integral necks, separate stamped neckpieces on English holders are few, mainly found on BMP elegant holders with mother- of- pearl handles, which could not be attached by soldering, and a metal neckpiece allowed the handle’s tang to be adhered inside instead (Plates 18, 19). Narrow- topped pattern-s tamped elegant handles (Plate 15) and regular hexagonal handles (Plates 32–35) have spheres or partial spheres in the middle, likely to improve otherwise narrow connections to the vase. FRANCE French bouquet holders generally refect greater emphasis on craftsmanship than mass production, although highly skilled Parisian metalworkers adopted mechanized tech- niques already in the 1830s,83 and most metal parts of bouquet holders were stamped. Many French vase designs comprise smaller stampings than English holders, such as the nine stampings identifed on the vase of FG1 #80 (Figures 59, 60), possibly made using individual handstamps. Full-h eight vase stampings are the exception in France, found on only a few small vases such as #30 and #50 (Plate 62); on cutout and bent-s heet vases made using a single sheet such as #136 (Plate 59); and on vases with large full-height stampings alternating with small stampings of more elaborate FG1 holders with enameled handles such as #54 (Plate 50) and #232 (Plate 52). They are also on a few larger #216 subgroup holders and FG3 showstoppers in Plates 72 to 74, hypothesized as being later than most FG1 and FG2 holders. For attachment of most French handles, brass neckband strips were cut to match tangs of handles made of vitreous enameled copper, mother-o f-p earl, glass, ivory, or FIGURE 59. Detail of vase on French group 1 #80 FIGURE 60. Drawing, after Figure 59, outlining the nine stamped pieces (Plate 53) comprising four replicate designs. composing each replicate design. Note horseshoe shape at bottom of nos. 7 and 8, cut from the same guilloche strip employed on #52 and #142 (Plate 54). 90 M MATERIALS AND FABRICATION FIGURE 61. Disassembled #155 (Plate 56) during treatment, the tang at the top of the red-d yed ivory handle was subsequently readhered inside the gilt-b rass neckband. bone, and the tang was glued inside the neckband using shellac (Figure 61). Over time, the adhesive failed on many handles in the Smithsonian’s collection, and joins were re- adhered with a more durable conservation- grade adhesive.84 Vases of at least seven French holders were also made with a stamped strip or strips, each closed by a single join.85 FG1 enameled holders #52 and #142 (Plate 54) have the same strip (a guilloche in the middle and horseshoe- shaped loops below), as do at least four enameled holders in other collections,86 whereas #80 (Plate 53) has eight horseshoe loops cut from the strip, labeled 7 and 8 among nine small vase stampings outlined in Figure 60. Separate attachment of the loops suggests that optimizing use of available dies and stamped pieces was more important than the cost of labor for assembly in France. Neckbands and multiple intermediate stampings between the vase and neckband are unique to French holders, including collars, funnels, and spheres on FG1 holders (Figures 62, 63).87 The frequent replication of neckbands and other small parts proved invaluable for identifying related French holders. A few three- dimensional neckpieces on FG1 holders were instead stamped in two pieces with vertical seams, notably on 3 holders in the #216 subgroup in Plate 64 and 10 related holders in other collections.88 PRODUCING POSIES M 91 FIGURE 62. Detail of gilt- brass neck area FIGURE 63. Detail of gilt- brass neck area comprising three stampings on comprising four stampings on French group 1 French group 1 #235 (Plate 54): from top, a graduated strip of stamped #53 (Plate 61): from top, lined band with a spheres spanning the vase and a hexagonally faceted sphere vertically remnant of gray enamel at right, hexagonal below, above the same partial flower neckband as #142 and #156. funnel with rectangular panels below, five- torc collar, and whole- flower neckband. The same funnel is on #156, the torc collar is on #142 and #156, and the neckband is on #34, #45, #155, and #228. French group 2 holders also have distinctive collars of stamped leaves, cutout petals with incised crisscrossed lines, and multiple ovals above plain sheet neckbands. FG1 holders with enameled copper handles have gilt-b rass caps adhered to tips, also employed on a few glass and mother-o f-p earl handles.89 Such caps had to be stamped in two halves for removal from dies and application to handles, and each half often incorporates half of the loop for attachment of the fnger ring chain (Figure 64). Occa- sionally, cap and neckband stampings were interchanged. For example, the cap on the enameled handle of FG1 #54 (Plate 50) was used for the neckpiece on FG1 #28 (Plate 58), and the cap on another holder was used for the neckpiece of #94 (Plate 60) and part of the neckpiece of another tripod.90 FIGURE 64. Detail of two- piece gilt- brass stamped cap adhered to copper support at base of the enameled copper handle of French group 1 #34 (Plate 51). The two pieces are joined at the vertical center seam, and together they form a loop for attachment of a finger ring chain at the bottom. 92 M MATERIALS AND FABRICATION ROLLER- PATTERNED SHEET Elegant holders have vases, handles, and necks made from sheets of small repeated designs apparently transferred from “two plates or sheets of metal  .  .  . subjected to pressure between rollers,” patented by Richard Ford Sturges of Birmingham in 1852 for “Ornamenting Metallic Surfaces” (Figures 65–69).91 Five handles are made from sheets of repeated seven double- encircled dots, which produces an overall scaly pattern (Figure  65),92 and one handle and one neckband have repeats of a hexagon- enclosing dot pattern (Figure 66).93 The single- sheet handle of #223 is unusual in having a pattern of raised six- pointed stars on a dotted background (Figure 67), reversed for use on the vase between spirals (Figure 68). Lined lozenges set into a plain surface on the handle of #74 (Figure 69; Plate 17) are also found on elegant- type holders in other collections.94 Similar pattern- impressed sheet is found only on one BMP regular holder, transitional #1980.026 (Plate  20), although elegant #179 (Plate  16) with a handle of four scaly pat- terned sheets has similarities to regular #73. Use of patterned sheet was relatively short- lived, perhaps because it required too much skill or time for mass production or makers were unwilling to pay licensing fees to the patentee. FIGURE 65. Detail of scaly pattern on sheet FIGURE 66. Detail of sheet impressed with impressed with repeats of seven double- repeats of hexagon- enclosed dots on the neck encircled dots on the handle of Birmingham of #152 (Plate 18). mass produced elegant #169 (Plate 15). FIGURE 69. Detail of sheet impressed with repeats of a recessed lozenge with parallel ridges on the handle of #74 (Plate 17). FIGURE 67. Detail of sheet impressed FIGURE 68. Detail of same sheet as in Figure 67 at lower with repeats of a six- pointed star on magnification, with impressions reversed on the vase a dotted background on the handle of the holder. A missing pink glass gem at center right of #223 (Plate 17). reveals a pronged cup that held it. PRODUCING POSIES M 93 Perforated netlike roller- impressed sheets are found on both English and French holders. On elegant English #29 (Plate  18), edges of four diagonal netlike sheets are covered by faux- fligree spirals, and a ffth sheet forms a curved tail (Figures 70, 71). Two French holders have the same pattern of tiny repeated four- petal fowers on perforated sheet, bent to form the four-s ided vase of FG1 #45 (Figure 72) and the convex front and backboard of the vase for dance card FG1 #129 (Figure 73; both Plate 57). Figure 74 shows a scroll- like pattern on the outer face of the dance card retainer, also employed on the neck of #117 (Plate 51) and a dance card retainer in another collection.95 A third French holder with FG2-t ype features in another collection has a vase and neck made with perforated diaper- patterned sheet.96 FIGURE 70. Detail of vase comprising four FIGURE 71. Detail of holder #29 in Figure 70 at higher magnification, showing netlike stamped sheets, edges covered by discontinuity between sheets underneath spirals. faux-f iligree spirals on the upper vase of Birmingham mass produced elegant #29 (Plate 18). FIGURE 72. Detail of perforated sheet FIGURE 73. Detail of the same FIGURE 74. Detail of scroll pattern on exterior impressed with repeats of a tiny flower on the perforated sheet as in Figure 72 on the surface of dance card backing plate on #129 vase of French group 1 #45 (Plate 57). vase of another holder, French group 1 (Plate 57); the same pattern is found on the dance card #129 (Plate 57). neckband of #117 (Plate 51) and French holders in other collections. 94 M MATERIALS AND FABRICATION FLY PRESS, LATHE, AND KNURLING MACHINE After a stamping had been made, the perimeter of the design could have been cut out using a cast- iron fy press with a clipping tool. Fly presses, named for a weighted handle known as a “fy,” applied pressure by screw action and were typically found in Birming- ham jewelry workshops.97 Both Henry Jenkins & Sons and Robert & Josiah Walsham listed themselves as toolmakers in advertisements (see Figures 15, 16), which refers to toolmaking for a fy press.98 Use of a fy press for cutting out stampings is said to have been unlikely, however, unless the run was large.99 A fy press would have been ideal for cutting out links of French loop- in- loop sheet chains, although fgure- eight links vary considerably, which would require diferent dies. A lathe was likely used for #120 (Plate  49) spun in britannia metal in England. In addition, lathes were apparently used to cut mother- of- pearl, ivory, and bone spindle handles in France (see Figures 25, 26, 44–47). A knurling tool was probably used to decorate edges of Birmingham- made fnger rings,100 whereas a foot- powered knurling machine produced “shaky linear ficks and zigzags” on sheet.101 On bent- sheet English holders, machine- made zigzag borders and similar decorations are on vases of EHQ #106 (Plate 3) and EHQ #213 (Plate 5) as well as the handle of regular #69 (Plate 32). Both the vase and handle of BMP regular #165 (Plate 39) were almost entirely machine decorated with zigzag borders, zigzag circles, and other designs. On French holders, similar zigzags decorate edges of sheet FG1 #114 (Figure 75), four similar FG1 vases, and six in other collections.102 In contrast, design variations indicate that other decorations were tooled by hand (Figure 76). FIGURE 75. Detail showing minute zigzags made by a knurling FIGURE 76. Detail of hand- tooled decorations on the bent-s heet vase of French machine at edges of the sheet vase of #114 (Plate 65) in French group 1 #136 (Plate 59) marked “LEBRUN” (not shown; see Figure 23), which group 1 #216 subset. includes circular punches. PRODUCING POSIES M 95 ELECTROPLATING By the time that most bouquet holders in the Smithsonian’s collection were made, elec- troplating had replaced the mercury amalgam process in England and France. Already in 1801, alarm about the deleterious efects of mercury vapors on health from amalgam gilding and silvering had been raised in the English scientifc community by Collard and Fraser in the Philosophical Magazine; nonetheless, the amalgam process was still in use for gilding buttons in Birmingham in 1844.103 In France, mercury had been used to apply gold in huge quantities on ormolu mounts for French furniture during the pre- vious century, but in 1801 the Collard and Fraser article was republished in the Annales des Arts et Manufactures.104 Legislation prohibiting its use there is said to have been successfully implemented around 1830,105 but sliding ring #173 (Plate 50) dated about 1834 likely has amalgam-g ilded rings and cap. Perhaps more important for adoption of electroplating was the fact that electroplating enabled coatings to be much thinner, lowering the amount of precious metal consumed and concomitant costs, especially important for gold. Elkington & Co. pioneered commercial electroplating at its large factory on Newhall Street in Birmingham’s Jewellery Quarter beginning in 1838. At frst, the company had a monopoly on the technique because of an 1840 patent for electroplating using cyanides with an external current, and its large facility had the considerable equipment and skilled operators required for experimentation and perfection of the process. In 1851 at the Great Exhibition, electroplating was still relatively new, however, and the company was lauded as “extensive contributors of their celebrated electro- plate manufactures, a branch of industrial art which has made immense strides since the patent for various processes of gilding and plating metals by the agency of electricity was granted to this frm in 1840 . . . and about thirty other British manufacturers have licences to use this process.”106 Then known as Elkington, Mason, & Co., its display rated three pages in the Art Journal ’s illustrated catalog, including an extraordinary vase representing “the triumph of Science and Industrial Arts. . . . The recognition and the reward of peaceful industry are symbolized by the fgure of Prince Albert surmounting the composition, who, as Patron of the Exhibition, is rewarding [James] Watt.”107 The exact date when electroplating began to be used on items like bouquet holders has not been found, but the number of silver platers listed in Birmingham directories increased rapidly from 23 listings in 1849 to 38 in 1852 and 83 in 1858.108 By about 1860, Elkington’s patents had begun to run out,109 and 93 frms other than Elkington are listed as “Electro Platers and Gilders” in an 1867 Birmingham directory.110 Gold and silver plating required diferent baths, and platers often specialized in one or the other, as is indicated in directories.111 Metal working and plating are quite diferent disciplines, and only companies as large as Elkington & Co. had the capacity to do both stamping and plating. Plating is notoriously tricky, and most bouquet holders in the Jewellery Quarter would have been sent out to a specialist. Emphasis placed on “for electroplated wares” and “jewellery” is noteworthy in Henry Jenkins & Sons’s 1875 advertisement, which lists them as “manufacturers of stamped and pierced parts for electroplated wares, and for gilt & plated jewellery.”112 In France, Charles Christofe purchased a monopoly license for Elkington’s electro- plating and electrogilding patents in 1842113 and is said to have developed a “veritable” industry by 1845.114 As in England, electroplating probably became available later for use on more modest bouquet holders in Parisian facilities, after 1850 or maybe even 1860. 96 M MATERIALS AND FABRICATION ASSEMBLY Even the most mass- produced holders still required handwork for cutting out and pierc- ing stampings, soldering them together, applying decorations made of other materials, and fnishing. Making and/or attaching foral pins, fnger rings, and chains also had to be done by hand. Three types of assembly are detailed as follows. STANDARD VASE- AND- HANDLE BOUQUET HOLDERS In England, after designs had been stamped in silver, brass, or nickel silver blanks, most would have been cut out using thin chisels to remove surplus metal unless the produc- tion run was large enough to be done by a fy press. Piercing was done with a range of hand tools, including punches.115 Brass parts were assembled with hard solder using a gas-f ed blowpipe introduced in Birmingham already in 1817.116 The blowpipe was held between the teeth, and the fame was directed by the worker’s breath. Once the vase and handle were soldered together, the ensemble, chains, and accoutrements (the foral pin and fnger ring) would be sent out to be plated. After return from the plater, chains and decorations in other materials would have been attached. On elegant Scottish pebble #131 (Plate 19), four tabs integral with each full- height stamping would have been bent around each stone to hold it in place. Glass gems were also set in pronged cups on three English holders, one visible where a gem is missing (Figure 68).117 In France, after parts had been electrogilded, some areas on 18 vases and/or necks were enameled, and 14 had glass gems added. A purpose- made nine- pronged stamping holds gems on FG1 #216118 (Figure 77), and six protrusions at the center of a six- ring stamping were bent up and down to retain gems on four FG2 holders (Figure  78).119 Gems were attached by wires on fve French holders, including solid green glass spheres on FG1 #206 (Plate 60); and four are set in bezels.120 Adhesives were used to attach gems on three French holders and probably also on FG1 #54 (Plate 50) and #80 (Plate 53), where FIGURE 77. Detail of faceted purple glass gems held by FIGURE 78. Detail of six- ring stamping with six protrusions nine-p ronged gilt-b rass stampings on French group 1 #216 bent up and down in the center to hold a turquoise- blue (Plate 64). Oxidized silver- plated brass ornaments between glass gem on French group 2 #9 (Plate 66). At lower left, a them have pins on the back that fit into gilt- brass tubes on link around a ring attached a floral pin chain (now missing). the interior, one of which is visible through the gap at lower left. PRODUCING POSIES M 97 none are present but left telltale darkened residues of adhesive behind. Attachment with adhesive was evidently the least durable method, as losses of gems are greatest when adhesive was employed.121 Thin-s hell glass beads on FG3 showstoppers proved most fragile among glass decorations, and many are broken or lost: 12 beads are missing from #150 (Plate 73), 9 are missing from #154 (Plate 74), and 1 is missing from #157 (Plate 74). Silver-p lated ornaments on the gilt-b rass vase of #216 (Plate 64) and other similar hold- ers could not be soldered to the holder after the vase had been gilded without the solder being visible, and a solution was to attach small pins on the back of the ornaments that ft into matching cylinders on the interior of the vase (Figure 77), probably fxed with a spot of solder since none has been lost.122 TRIPODS Tripods have more complex fabrication than vase-a nd-h andle holders, and six diferent methods for transforming handles into tripods are identifed here. The frst fve types, employed in England, are presented in chronological order based on known dates; the sixth includes two tripods made in France, probably inspired by English tripods. 1. EHQ #62 and #65 (Plate 1) each have a curving horn-s haped vase with two legs inside that spring forth at the push of a button to form a tripod with the tip of the horn. The mechanism is said to have been patented in Birmingham in 1840123 and was employed for Queen Victoria’s tripod, hallmarked during 1854–1855 by William Nichols, and a similar spiral tripod owned by her mother (see chapter 1). 2. Eleven BMP fligree tripods in this collection, the 1858 Havemeyer tripod (Fig- ure 4), and tripods in other collections have bifurcated legs of stamped silver sheet or fligree hinged underneath a decorative collar and held together by a hexagonal ring when forming a handle, which transforms into a tripod when the ring is pushed upward and steel strips slotted into the back of each leg ft against the center post, holding legs outspread.124 3. A number of tripods in this and other collections copied a crystal tripod exhibited at the London International Exhibition in 1862, including EHQ #158 hallmarked by Alexander Macrae during 1869–1870 and related #106 (both Plate 3) with similar wide- topped legs hiding hinges underneath, midway on the outside of a cone-s haped vase, transforming into tripods when a spring-l oaded knob at bottom center is pulled down and releases curved feet that together had formed a sphere above the knob. 4. EHQ cone-s haped #105 (Plate 3), EHQ bifurcated-l egged #82 and #112 (Plate 2), hallmarked during 1863–1864, and Indian bifurcated-l egged #64 (Plate  82) have leg hinges covered by decorative collars or similar elements, transforming into tripods when threaded caps around the feet are unscrewed. BMP regular gilt-b rass tripod #85 (Plate 35) and a few in other collections seem similar but have rounded legs and pointed feet without any means of being secured apart from a strong grip.125 5. Regular #134 and #217 (both Plate 28) have a trio of leaf feet hanging awkwardly below the handle with a narrow tube in the middle extending below to a fattened knob, transforming into tripods when the tube is pushed into the shaft, allowing the knob to be seated with the leaf feet spread out around it. A similar holder in another collection was hallmarked in 1873 by George Unite.126 6. French #216 (Plate 64) and #114 (Plate 65) have stamped laterally curved legs decorated with eighteenth-c entury-s tyle designs that were attached by hinges covered by two-p art neckpieces relatively wide at the bottom, transforming into tripods by un- 98 M MATERIALS AND FABRICATION FIGURES 79–81. Birmingham Mass Produced (BMP) silver filigree tripods (left to right): FIGURE 79. BMP silver filigree tripod #68 assembled (see also Plate 12). FIGURE 80. BMP silver filigree tripod #68 disassembled during treatment: from top, filigree vase atop brass post threaded at bottom, cup atop sleeve to cover the post, three filigree leaves alternating with three stamped flowers on wires attached to silver collar at bottom, and three- leaf filigree collar with internal threads matching those on the post with hinges on the underside that attach filigree legs ending in stamped feet (54 pieces total). FIGURE 81. BMP silver filigree #89 (Plate 13) disassembled during treatment: from top, stamped strawberry- and- leaf vase atop brass post threaded at bottom, sleeve to cover post, three pointed stamped upright leaves alternating with three stamped bifurcated flowers on wires attached to a collar, and curved handle with internal threads that match threading on the post. screwing caps around the feet somewhat like the English tripods in item 4. However, two sharp, pointed feet are released from slots in a threaded cylinder, which forms the third foot for #216, identical to tripod legs of fve tripods in other collections.127 Tripod #114 is somewhat diferent, with unusual shins that ft around a sphere hung from the bottom of the center post and feet with small squares that secured a missing cap.128 BMP FILIGREE HOLDERS Both fligree tripods and more conventional vase-a nd-h andle holders in the fligree subset have essentially the same distinctive assembly. Nearly all employ an internal brass post soldered to the bottom of the vase with male threading at the lower end, matching female threading in the tripod collar or handle, which allowed assembly and disassembly (Figures 79–81). Both tripods and other fligree holders have silver sleeves and other elements cov- ering any brass, including 17 collars of three fowers alternating with three leaves, 9 of them on tripods and 8 on vase-a nd-h andle holders. Four diferent stamped fowers were employed in this collection; the most common on nine holders with six bifurcated PRODUCING POSIES M 99 FIGURE 83. Detail of collar and tripod leg ensemble of Birmingham mass produced filigree tripod #109 (Plate 9) viewed from below, showing bottom of silver-c overed brass post at center surrounded by stamped legs on which rusty FIGURE 82. Detail of collar and tripod leg ensemble of steel pieces are set into silver rectangles scratched with Birmingham mass produced tripod #113 (Plate 7) viewed from Roman numerals. The opposite ends of the three steel above during treatment, with stamped collar at center and pieces are set against the center post to stabilize the legs outspread filigree legs ending in stamped long leaf feet. when standing. rounded petals like #89 (Figure 81), also employed on the Irving holder (Figure 3).129 Filigree leaves on 11 collars are upright or curled, and the same stamped, pointed, and textured upright leaves are on 6.130 Tripod #109 (Plate 9) and #224 (Plate 10) instead have collars of a pair of fligree oak leaves, each with a stamped acorn hanging by a wire from a leaf, which are also on the Havemeyer tripod (Figure 4) and one in another collection.131 Tripod legs are attached by pins through barrel hinges on the underside of the collar, and steel strips are set in silver rectangles on the backs of the legs, meant to hold the legs open against the silver-c overed brass post at the center when standing (Figures 82, 83). Five BMP fligree tripods (#67, #68, #102, #109, and #378) have Roman numerals scratched on the silver rectangles, apparently related to assembly, and EHQ tripod #82 also has them, indicating that it was made in Birmingham, too. Most of the steel strips are rusty and no longer function well (and may never have). BMP fligree tripods were assembled with by far the most parts of any bouquet holder, and they would have been time-c onsuming to make because of the sheer number of pieces, enumerated here for each of the four sections of #68 shown in Figure 80. The vase has six curved fligree sections hanging from the rim; a single mesh piece below them bent to form six faces, with each face topped by a vertical rectangular wire at the bend and three stamped leaves and a fower soldered to the center of each face; and six fligree leaves at the base of the vase above a threaded brass post soldered to the bottom, for a subtotal of 20 pieces. The second section is a silver sleeve topped by a cup that fts over the post for a subtotal of 2 pieces. The third section is a collar with three fli- gree leaves alternating with three stamped fowers atop three wires for a subtotal of 10 pieces. The fnal section consists of a threaded leaf collar, a two- piece silver sleeve below it at the center that covers the lower post, each of three stamped legs attached to a barrel hinge underneath the collar by a hinge pin, a silver plate on the back of each leg, a steel strip slotted into each plate, a stamped foot at the end of each leg, and a hexagonal ring (missing) for closing the legs, for a subtotal of 22 pieces. The total number of pieces is 54, not counting fligree wires, chains, and accoutrements. 100 M MATERIALS AND FABRICATION FIGURE 84. Detail of typical large FIGURE 85. Detail of rare pair of sharp wire prongs wire-l oop clip soldered to back of vase on soldered to back of vase on French group 1 #136 Birmingham mass produced regular #15 (Plate 59), which is stamped “LEBRUN” on the neck (Plate 15). Such loops were found on 16 (not shown; see Figure 23). holders in the collection, most of which, if not all, were made in Birmingham, U.K. OTHER PARTS DEVICES FOR ATTACHMENT TO CLOTHING Several diferent methods were used for attachment of holders to clothing. Hinged pins with separate catches are on MPE silver brooch #101 (Plate 45), MPE purple glass brooch #119 (Plate 46), Genoese fligree-d ecorated blue glass vase brooch #229 (Plate 81), and small Indian fligree vase brooches #72 and #98 (Plate 83). The MPE boutonniere #257 (Plate 46) employs a single wire bent to form both pin and catch, suggesting a later date. Other devices for attachment to clothing on English and French holders include a large wire-l oop clip on 16 English holders and 9 in other collections associated with Birmingham (Figure 84).132 Since they are not on holders made elsewhere, the presence of a similar wire-l oop clip may identify an English-m ade and, likely, a Birmingham- made holder. French holder #48 (Plate 52) has a pair of sharp prongs on the back similar to a French enamel-h andled holder in another collection (Figure 85);133 these are not only rare but appear to be lethal. FG3 #46 (Plate 77) has a small hook ending in a small sphere at one corner on the back, probably for attachment to clothing, but the hook is unique to date, and the holder’s attribution to France has not been confrmed by other features. CHAINS Most bouquet holders boast a chain or pair of chains ending in a foral pin to secure fowers and a fnger ring to secure the holder to the user. Three chains may be found on tripods, the third chain usually ending in a cap that held the legs together to form a handle, although all three accoutrements could be combined on a single chain, as on PRODUCING POSIES M 101 EHQ #82 (Plate 2). Brooches would obviate fnger ring chains, but they often have foral pin chains, as on English vase brooches MPE #93 and #101 (both Plate 45) and Genoese #229 (Plate 81). A few small French holders have carrying chains in lieu of fnger rings (probably intended for children), as on #148 and #222 (both Plate 63), which measure just 10 and 11 cm in height, respectively. Each carrying loop chain has one end attached at the neck and the other end attached to the handle. Occasionally chains were employed to dangle decorations from vases as on Indian tripod #64 (Plate 82) and FG3 #157 (Plate 74); to secure tripod legs when standing as on EHQ #158 (Plate 3); or to hang decoratively from the rim, matching lower chains that hold legs in place on #158 (Plate 3). Machines for making chains had been developed in Providence, Rhode Island, and were imported into Birmingham in the late 1850s and patented in London in 1857, initially for snake chains.134 A report for the Paris International Exhibition of 1867 noted widespread use of machinery in the manufacture of gold chains in Germany and France,135 but most round-l ink chains on bouquet holders in this collection have irregularities indicating hand production. In 1866 in Birmingham, it was reported that steam power and elaborate machinery were “employed to a small extent in producing the links of the chains”136 by “forty-s even master manufacturers, some employing 200 to 300 hands, but the greater part not more than ten to twenty. Altogether 1,500 or 1600 persons are engaged in chain-m aking, about 500 being young women,”137 considered suitable for soldering links together because of their small fngers.138 Chains are easily lost from bouquet holders, and only 27% of the 239 holders in the catalog retain all chains complete with accoutrements: 31 French, 29 English, 2 German, 2 Chinese, 1 Italian, and 1 Indian. Single chains on English holders were particularly vulnerable to loss, susceptible to breakage where caught at a midpoint.139 Replacement of chains is common, and diferent chains on a holder are a sign that at least one is a replacement. Chains on similar holders may provide guidance as to which of the two chains is original, and poor attachment of a chain may indicate that a chain is not orig- inal. After accoutrements were lost, remaining chains were sometimes joined to each other or to an accoutrement, which apparently occurred on fligree tripod #67 (Plate 9) and elegant #27 (Plate 18). Chains with round links are by far the most common on the majority of holders in the collection with the exception of Indian holders. To make a round- link chain by hand, a wire was coiled around a mandrel and sawn across into links. The ends of each link were forced together and soldered as each new link was attached.140 Chains are illustrated in more detail below, especially less common types that may be diagnostic for English and French holders. England The most common chain for a Birmingham holder with round links shows slight irreg- ularities in shape confrming hand fabrication (Figure 86). Variations of the round- link chain include one with dots employed on elegant #223 that has faux- fligree spirals on the vase (Figure 87; Plate 17) and an identical dotted chain on a holder with the same spirals in another collection, highlighting association of particular chains with specifc designs and/or makers.141 The chain on the horn- shaped fligree mesh #122 (Plate 12) is more elaborate, with tiny six- petal pairs of fowers between links (Figure 88), similar to a chain on a Genoese eyeglass holder in another collection.142 Two regular BMP holders have chains with identical stamped fowers connected by round links (Figure 89). 102 M MATERIALS AND FABRICATION FIGURE 86. Detail of most common plain round- link chain, this one on Birmingham mass produced regular #163 (Plate 27). Each link is looped around the next, and its ends are soldered together; irregularities in shape are indicative of hand fabrication. FIGURE 87. Detail of round links made from dot- stamped sheet strips on Birmingham mass produced elegant gilt- brass #223 (Plate 17). FIGURE 88. Detail of tiny stamped six- petal flowers soldered between links on horn- shaped Birmingham mass produced filigree #122 (Plate 12). FIGURE 89. Detail of stamped flowers alternating with round links on Birmingham mass produced regular #6 (Plate 28), identical to stamped flowers on the chain of regular #21 (Plate 24). Chains made of elongated round links are on seven holders in the fligree subset, also with irregularities indicating fabri- cation by hand.143 Larger elongated links are on MPE #83 (Plate 47; Figure 90) and a similar holder in another collection, suggesting the same maker for them.144 Round links on English holders were also twisted or otherwise manipulated to form chains. A curb chain of fattened round links (Figure  91) is found exclu- sively on nine BMP fligree holders in this FIGURE 90. Detail of heavy oak leaf and acorn vase with a collection, notably on four of six holders pair of elongated round- link chains attached separately to with curved handles ending in spheres a large round link soldered to the imitation bark shaft of and six of nine related holders in other miscellaneous probably English #83 (Plate 47). collections.145 To make a curb chain, each soldered link of a round-l ink chain was given a sharp twist using pliers; then the chain was fattened with a mallet until it lay fat.146 Loop- in- loop wire chain, one of the oldest types of chain dating from at least 3000 BCE in the Near East,147 is employed on BMP fligree tripods #209 (Figure 92; Plate 14) and #67 (Plate 9), Genoese fligree #63 and #71 with lion- head stamps (Plate 80), Genoese fligree vase brooch #229 (Plate 81), seven similar vase brooches in other collections, and other Genoese objects.148 These chains were made by pinching a soldered round link in the middle to form loops at either end. One loop was then inserted through a loop of the next link, and a loop on the frst link was bent back so that the tips touched, securing PRODUCING POSIES M 103 FIGURE 91. Detail of curb chain, made by twisting and flattening round links, on #18 (Plate 12) and present on eight others in the Birmingham mass produced filigree subset. FIGURE 92. Detail of loop-i n-l oop wire chain on Birmingham mass produced filigree tripod #209 (Plate 14), similar to chains on filigree tripod #67 (Plate 9) and Genoese lion- head- marked #63 and #71. FIGURE 93. Detail of solderless twisted- wire chain that lies relatively flat on Birmingham mass produced regular tripod #85 (Plate 35). FIGURE 94. Detail of solderless twisted chain with snakelike links on elegant Birmingham mass produced #381 (Plate 17). FIGURE 95. Detail of typical French gilt- brass round- link chain on French group 1 #53 (Plate 61) with slightly irregular links indicating fabrication by hand. it in place; and so on.149 French holders employed essentially the same technique using sheet metal, but wire loop- in- loop chains have not been found on them. Ten chains were made by twisting wires without solder, mainly on BMP regular holders.150 A loop was made at one end, and the other was placed through the loop of the next link and twisted back at an angle until it formed a loop that secured it. Some lie fat (Figure 93), whereas others are more twisted (Figure 94). Indian holders #64 (Plate 82) and #72 (Plate 83) have similar solderless twisted- wire chains, and #60 (Plate 82) has a more complex version. France Chains on French holders also display irregularities consistent with handwork, includ- ing the most common chain on 40 French holders with round links (Figure 95). A smaller number of French holders that have chains made from sheet appear unique to France, such as loop-i n-l oop sheet chains and crimpable chains. A sheet metal version of a loop- in- loop wire chain is on 12 holders in this collection and 29 in other collections, for a total of 41.151 Each link was cut out from sheet in an identical pair of apertured forms connected by a narrow band. To assemble the chain, 104 M MATERIALS AND FABRICATION FIGURE 96. Detail of figure- eight link loop- in-l oop sheet chain on French group 1 #117 (Plate 51). FIGURE 97. Detail of dog-b one-s haped variant of figure-e ight links on French group 1 #36 (Plate 50). FIGURE 98. Detail of oval loop-i n-l oop sheet-l ink chain on French group 1 #148 (Plate 63; with engaged glass handle). Similar chains and handles are on French group 1 #222 and five similar holders in other collections. half of the link was slipped through the aperture in the next link, bent back on itself at the narrow band, and secured at the other end. Chains were considered authentic on holders retaining both chains in contrast to those that have mixed, missing, or obvi- ously replaced chains.152 Loop- in- loop sheet links have two principal shapes. Figure- eight- shaped loop- in- looplinks (Figure 96), sometimes a bit more like a dog bone (Figure 97), are employed on 8 FG1 holders (#36, #94, #117, #129, #144, #155, #218, and #377), 1 FG3 showstopper (#234),153 and 12 holders in other collections, for a total of 21 holders.154 The second type of loop-i n-l oop sheet links have an oval shape employed on two child- sized holders in this collection: FG1 engaged glass- handled #148 (Figure 98) and #222 (both Plate 63), both with complete carrying and foral pin chains. Thirteen hold- ers in other collections have oval- shaped sheet links, 10 of them with glass handles: 5 with engaged glass handles, carrying chains, and foral pins similar to the 2 in this collection; and 5 with diferent glass handles without carrying chains; 3 have enameled copper handles, including 2 with carrying chains and 1 now with a carrying chain that probably had separate chains when made.155 Four others include 1 with a single oval- link chain and 3 with mixed chains.156 Figure- eight link and oval- link loop- in- loop sheet chains appear to have somewhat diferent constituencies. Among 21 holders with fgure- eight link chains in this and other collections, 10 have both chains, of which 8 are married to mother- of- pearl han- dles, indicating an association between fgure- eight chains and mother- of- pearl handles; 1 has an enameled copper handle and 1 has a glass handle. Among 19 holders in this and other collections with oval- link chains, 15 holders have both chains, 12 with glass handles (7 with engaged glass handles and carrying loops and 5 with other glass han- dles) and 3 with enameled handles and carrying loops), indicating strong associations between oval- link chains and glass handles and some associations with carrying loops and enameled copper handles; notably, none of the holders with oval- link chains has a mother- of- pearl handle. Among the 21 holders with fgure- eight chains in this and other collections, more than half (11) are missing chains or have mixed chains, whereas among 15 holders with oval- link chains in these collections just over a quarter (4) have missing chains or mixed chains. Greater loss of fgure- eight chains suggests two possibilities: that fgure- eight PRODUCING POSIES M 105 FIGURE 99. Detail of crimpable chain on French group 1 tripod #216 (Plate 64), found on at least seven holders in other collections with the same neckpiece (Figure 107). Note that the attachment link (left) is without gilding, which is lacking on 21 French group 1 holders. chains may be less durable than oval- link chains or that holders with glass handles associated with oval- link chains may be handled more carefully. A second type of French chain made from sheet is a crimpable chain with alternat- ing male and female tubular sheet links (Figure 99), distinguishable from loop-i n-l oop sheet chains by alternating smooth rounded fronts and seamed backs; a male link at the end of the chain attaches it to the round jump ring on the holder or accoutrement. Only four FG1 holders in this collection have crimpable chains: two in the #216 subgroup with both chains, #216 (Plate 64) and #49 (Plate 65), and two, FG1 #77 (Plate 58) and #53 (Plate 61), with broken and mixed chains, respectively. In other collections, however, 15 holders have crimpable chains, 14 with at least one connection to the #216 subgroup, 12 with both crimpable chains like the two in the #216 subgroup, and 10 with crimpable chains attached to the same neckpiece as #216.157 These chains appear less robust than the loop-i n-l oop sheet chains but, in fact, seem to have the best survival rate for both chains (12 of 15, or 80%). In summary, the most common chains have round links on English, French, Ger- man, and Chinese holders. A curb, elongated round-l ink, or loop-i n-l oop wire chain may indicate a BMP fligree holder; and a loop-i n-l oop wire chain may also indicate a Genoese holder. A solderless twisted-w ire chain is most likely on a BMP regular holder but could be found on another Birmingham-m ade or Indian holder. Sheet loop-i n-l oop and crimpable links indicate a French holder. ATTACHMENT OF CHAINS Attachment of chains is generally quite diferent on English and French holders. The metallic handles of most English holders and nonmetallic handles of most French hold- ers dictate some of these diferences. England English high quality production was often by individual silversmiths, and chain at- tachments vary somewhat, including where they are attached. EHQ #194 (Plate 4) has a single chain attached to the bottom, ending in a foral pin with the fnger ring mid- chain. EHQ tripod #82 (Plate 2) has a single chain attached to the cap and a cotter pin at the other end, almost certainly attached at a midpoint when made.158 Other devices for holding fowers in place are a pair of fxed spring- loaded pins opposite each other on 106 M MATERIALS AND FABRICATION EHQ tripod #158 (Plate 3), and spring- loaded jaws patented in 1873 by B. H. Joseph & Co. on #1 (Plate 4) and MPE #107 (Plate 48).159 BMP fligree tripods have chains attached in several diferent ways, indicating some latitude for metalworkers who made them. Three have a single chain attached mid- holder, with a longer section ending in a foral pin and a very short chain ending in the fnger ring, perhaps to minimize tangling of the two chains (which occurred during treatment).160 Two fligree tripods have chains attached separately to the vase and neck,161 and three with fligree legs have the fnger ring chain attached halfway down a leg (Plate 7).162 Tripod #68 (Plate 12) has a single chain attached midway on the neck, each end terminating in an accoutrement, a practice found on many later BMP regular holders. Attachment of chains on BMP elegant holders is sometimes unusual. The small looped end of a brass rivet apparently attached the fnger ring chain mid-h andle on #29 (Plate 18), the lower handle now broken of and lost but showing part of the rivet hole at the break edge.163 Holders #3 and #51 (Plate 16) attach fnger ring chains by links around closed looped handles. Three patterned- sheet handles in Plate 15 have fnger ring chains attached at handle sides as well as wire- loop clips on vase backs. On most BMP regular holders, attachment of the foral pin chain is directly below the hole for the foral pin’s insertion, most often attached by opening a round link soldered to the “neck” at the top of the handle as in Figure 100. Its unsoldered blunt ends were opened to attach the chain and then closed to secure it. The link could also be easily reopened, however, probably one reason that many chains are lost on regular holders. In addition, chains on regular holders were often attached by catching a link in the middle of a single chain (Figure 101), half of the chain terminating in a foral pin and the other half ending in a fnger ring, requiring less labor. Fourteen regular holders have these single chains,164 and many more almost certainly had them when made, the chain now lost or altered because of breakage of the chain link attaching it in the middle. FIGURE 100. Detail of typical Birmingham mass produced FIGURE 101. Detail of typical single Birmingham mass regular chain attachment showing a round link seated in solder, produced round- link chain caught in the middle by a its blunt-c ut ends allowing it to be opened and closed for larger link attached to side of neck on #59 (Plate 38). attachment of the chain on #8 (Plate 37). Attachment of the larger link through a drilled hole rather than being soldered is unusual. A registry mark on the vase near the top of the image provides the date 27 November 1869 for the design by Robert & Josiah Walsham. Plate 38 shows this chain terminating in a floral pin at one end and a finger ring at the other. PRODUCING POSIES M 107 France French holders generally have chains attached in two places: the foral pin chain to the lower brass vase or neckband and the fnger ring chain near the lower end of a nonmetallic handle. A total of 34 French holders (30 FG1 and 4 FG3) have foral pin chains attached by a wire loop through a hole made in the brass, secured by solder (Figure   102).165 In contrast to the round link that attaches English holders, the wire loop can be easily distinguished by its imperfectly round shape; for confrmation, a pair of wire stubs can often be seen on the interior (Figure 103) or at least felt there. These chains have survived intact more often than English chains, probably in part because the wire loop cannot be opened like a round link and in part because the French almost invariably employed separate chains. All 13 FG2 foral pin chains are attached to the vase by a round link around a narrow vase element (Figure 104), never by a wire loop like FG1 holders. In contrast, fve FG1 holders and four FG3 holders have vase chains attached in the same way as FG2 chains.166 Since French handles are largely nonmetallic, unlike like their English counter- parts, a chain for the fnger ring could not be soldered to them, and chains were instead FIGURE 103. Detail of typical French group 1 cutoff stubs of a wire loop on the interior of #136 (Plate 59); also present (not shown) are “LEBRUN” stamps (see Figure 23). FIGURE 102. Detail of typical French group 1 chain attachment for a floral pin by a wire loop fed through a hole in the side of #115 (Plate 62). FIGURE 104. Detail of typical French group 2 attachment for a floral pin chain by a round link around a narrow element on #137 (Plate 68), also employed on some French group 1 holders. 108 M MATERIALS AND FABRICATION mechanically attached by plated brass bands or wires around purpose- made channels on handles. On 13 FG1 holders, the fnger ring chain was attached by a relatively wide gilt- brass band bent around a same-w idth channel near the bottom of the handle.167 Per- forated at both ends, the band was closed by a round link, which also attached the chain (Figure 105), whereas on enameled copper handles of FG1 holders, chains were attached to a loop at the bottom of gilt- brass caps (Figure 64). On FG2 handles, fnger ring chains were instead attached by a narrow wire loop, fat on the underside and slightly curved on the exterior. Placed in a matching narrow channel, the loop was pinched to match the circumference of the handle, forming a keyhole shape, and the fnger ring chain was attached to the outer loop of the keyhole by a round link (Figure 106).168 This distinctive keyhole loop has been found exclusively on FG2-t ype holders. Holders #216 and #49 in the FG1 #216 subgroup are exceptional among French holders in having crimpable chains attached separately to a large openable round link soldered to one side of the neckpiece (Figure 107), a feature also found on nine related FIGURE 105. Detail of typical French FIGURE 106. Detail of typical French group 2 finger group 1 finger ring chain attachment by a ring chain attachment by a wire loop around a narrow band with perforated ends bent around a channel, pinched to the circumference of the handle relatively wide channel near the end of the forming a distinctive keyhole shape with an outer loop handle, secured by an openable link that to which the chain is attached by an openable link on also attached the finger- ring chain on #26 #137 (Plate 68). (Plate 61). FIGURE 107. Detail of two- piece stamped neckpiece showing a large round gilt- brass link soldered to one side attaching three gilt- brass crimpable chains by small brass links without gilding on French group 1 #216 (Plate 64). PRODUCING POSIES M 109 holders in other collections.169 Holder #221 in the FG1 #216 subgroup also has separately attached chains but with round links. In total, nine holders in this and other collections have two or more crimpable chains attached separately in the same place, indicating that separate attachment may have been a successful strategy for what otherwise might seem to be fragile chains. Darkened brass connecting links for attachment of chains are a distinctive feature of 21 FG1 holders seen in Figures 98 and 105 and on #40 (Plate 51) and #129 (Plate 57).170 When the holders were new, the brass would have been a bright gold color essentially indistinguishable from gilt surfaces, but more than a century later, the brass has tar- nished and now contrasts with adjacent gilt pieces. Hence, tarnished brass links may be diagnostic of an FG1-t ype holder since they have not been observed on other French or English holders. Other Countries Chain attachment varies in countries other than England and France but seems to be consistent within each place, although examples are limited in this collection. German holders #170 and #183 (Plate 78) have round- link chains attached to jump rings soldered one above the other on the neck, also found on other holders by the same maker.171 German horn- shaped #231 (Plate 78) has a carrying loop like that of a powder horn, but three similar holders in other collections have other arrangements: one has two chains ending in accoutrements, and the other two have single chains ending in foral pins, one of them also with a pair of round attachment links near the bottom of the holder.172 Two similar American-m ade holders, #146 and #211 (Plate 79), have loops near the top with- out chains, whereas a similar holder in another collection has accoutrements attached by chains to the loop.173 Most Genoese and Chinese fligree holders have chains for accoutrements attached to round links mid- holder and at the bottom of the handle. Three similar Chinese holders in Plate 84 have a pair of opposite wire fower petals mid- vase with holes in the middle for insertion of the foral pin. The more fragile diaphanous vase of Chinese #379 (Plate 85) instead fxes the foral pin chain to the center of a wire fower just below one of a pair of opposite rings for insertion of the pin. Indian fligree tripod #64 (Plate 82) has a short chain ending in a foral pin and a long chain ending in a fnger ring with a cap attached near the ring to secure the legs, and the same type of chain links the largest fowers on the vase. Indian vase brooch #72 (Plate 83) has only a small chain fragment, but similar holders have complete chains ending in fnger rings.174 FLORAL PINS AND OTHER MEANS OF SECURING FLOWERS V- shaped cotter pins with a loop at one end are on 29 English holders in this collection, mostly associated with Birmingham,175 and 16 English holders in other collections.176 Cotter pins are also on the two Genoese fligree holders with lion- head marks, brooch #229 (Plate 81), a Genoese bouquet holder in another collection, and six vase brooches in other collections similar to #229.177 Fifteen English holders have foral pins made by soldering a ring to a straight wire, and 12 have foral pins made by bending one end of a straight wire to form a loop. As an alternative to foral pins, fve elegant holders and an MPE brooch have inte- rior prongs for fxing fowers following the seminal #100 hallmarked during 1838–1839. These prongs are now bent down or broken of, but they still proved a hazard during 110 M MATERIALS AND FABRICATION examination and treatment, which may account for rela- tively limited use.178 Insertion apertures for foral pins include a single or pair of opposite holes. On English holders, a hole was sometimes reinforced by a ring or short cylinder, notably on fligree holders. Twelve have threading just below the pin’s head or inside the receiving part.179 On French holders, more than half of those with an extant foral pin have a bent- loop head rather than a sol- dered head (25 compared to 17), and all 11 FG2 holders with extant foral pins have bent- loop heads. A short threaded pin on enameled handled holder #40 (Plate 51) has an unusual fat double- lobed head and is the only French pin with threading in the Smithsonian’s collection, but similar threaded foral pins are on three French holders FIGURE 108. Detail of center spike with enameled handles in another collection, suggesting made from a bent- loop-h eaded floral a particular French maker.180 Long ball- headed foral pin on French group 1 #133 (Plate 65) in pins with small spheres just below looped wire heads are the #216 subgroup. on FG3 #157 (Plate 74), #176 (Plate 72), and seven show- stoppers in other collections.181 Insertion holes on French holders are generally without reinforcement, but FG3 #208 (Plate 72) has short cylindrical tubes for insertion of the foral pin, perhaps to support its long length. A center spike to hold fowers was employed on all six #216 subgroup holders (Plates 64, 65), FG3 #124 (Plate 73), and at least 19 related holders in other collections.182 The loop head of a foral pin employed as the spike can be clearly seen in the vase of FG1 #133 (Plate 65; Figure 108) FIGURE 109. Detail of bent-l oop-h eaded and protruding from solder at the base of the vase of FG3 floral pin mostly covered by solder #124 (Plate 73; Figure 109). Its use has not been confrmed above a flat eight- petal collar on for other holders with spikes but seems likely for solder- French group 3 showstopper #124 covered rounded shapes below spikes on at least six re- and likely on six other holders with the same collar and spike in other lated holders in other collections with fat petal collars.183 collections. FINGER RINGS Finger rings range considerably in size and type and may have been customized by jewelers or owners, but similar and duplicate holders often have essentially the same rings. The two ends of a band of the desired length were typically soldered together, and a small ring was soldered at the join to which one end of the chain was attached, so that the interior of the ring is smooth for the fnger. The small attachment ring for the chain is usually in the same plane as the fnger ring, but occasionally, it is perpendicular, which enabled a round attachment link at the end of a chain to lie fat, perhaps protecting a delicate connection to the last link of a chain. This arrangement is on four of fve French holders with extant fnger rings in the FG1 #216 subgroup (Plates 64, 65), mainly on holders with crimpable chains but also on FG1 #184 (Plate 55) and #232 (Plate 52), and the small perpendicular rings are on 17 FG1-t ype holders in other collections.184 PRODUCING POSIES M 111 FIGURES 110–112. (Top left to bottom left): FIGURE 110. Detail of silver finger ring with knurled borders, probably made by a roulette tool, on Birmingham mass produced filigree #61 (Plate 11). FIGURE 111. Detail of stamped silver foliate ring on Birmingham mass produced filigree #230 (Plate 14), matching the ring on filigree #113 (Plate 7). FIGURE 112. Detail of stamped five- pointed stars on gilt- brass ring of Birmingham mass produced elegant #29 (Plate 18). FIGURE 113. Detail of gilt- brass adjustable finger ring on Birmingham mass produced elegant #223 (Plate 17), probably for a young girl. By far, the most common rings are plain, fat on the interior and curved on the exte- rior, but some rings are round in profle, made from a wire.185 On BMP fligree holders, four also have knurled edges (Figure 110).186 Four BMP fligree holders have stamped foliate designs, including two made with the same die (Figure 111); and four BMP elegant holders also have stamped foliate designs.187 A unique fnger ring with a star design is on elegant #29 (Figure 112), and adjustable rings are on BMP elegant #27 (Plate 18) and #223 (Plate 17; Figure 113). French fnger rings are mostly plain, but a few are unique. These include a dotted ring on FG1 #40 (Plate 51; Figure 114), twisted wires on FG2 #123 (Plate 71; Figure 115),188 and intertwined textured bands on FG1 #129 (Plate 57; Figure 116). German #183 has a more complex adjustable ring also found on Bruckmann holders in other collections (Figure 117).189 A Chinese fnger ring on #111 (Plate 84) has tiny fower decorations with domical centers (Figure 118), and one on #379 (Plate 85) has fne twisted wires. SIZE AND WEIGHT Most bouquet holders are relatively small, as befts handheld vessels for fowers, and are relatively light in weight, as most were stamped in thin sheet metal. A few are larger and heavier, especially high- end holders, early English holders, and French holders that are thought to be late, along with extravagant jewelry made during the Second Empire 112 M MATERIALS AND FABRICATION FIGURE 114. Detail of dotted gilt-b rass finger ring on French group 1 #40 (Plate 51). FIGURE 115. (Below left) Detail of gilt- brass flattened twisted- wire finger ring on French group 2 #123 (Plate 71). The same ring is on a similar holder with a stubby French group 2-t ype mother-o f-p earl handle in another collection. FIGURE 116. Detail of gilt-b rass ring made from deco- ratively stamped intertwined bands attached to a gilt-b rass chain by a round link without gilding on French group 1 #129 (Plate 57). FIGURE 117. Detail of adjustable silver FIGURE 118. Detail of silver finger ring decorated with finger ring on #183 (Plate 78) made by tiny flowers with domical centers on Chinese filigree P. Bruckmann & C. of Heilbronn, Germany. #111 (Plate 84). or Third Republic. All holders except those on display in two cases at the Smithsonian’s Ripley Center were weighed and their heights measured, with results listed in the cata- log (chapter 4). Only heights were recorded (tripods measured with legs open), because many are now distorted and made accurate measurement difcult. Weight measure- ments are precise, performed on an analytical balance to four decimal points, although presented herein to a single decimal point. Table 4 presents data for highest and lowest parameters and averages for groups of holders; the ratio of weight to height (W/H) is also included for better comparison, espe- cially between stamped and fligree holders. Holders with missing parts were typically excluded from averages, such as those with broken- of ends of handles. Data for pairs of English and French holders are presented at the end of Table 4. English high quality horn- shaped gilt- silver #62 and gilt- brass #65 (both Plate 1) have the highest W/H ratios, probably because they were cast, and #62 (Plate 1) is by far the heaviest among English and French holders. Following #62 in weight is gilt- brass PRODUCING POSIES M 113 TABLE 4. Heights and weights for representative English and French bouquet holders. Average parameters and heaviest holders are listed from the highest to lowest weight- to- height ratio and in the reverse for the lightest holders. Tallest and shortest holders are listed in order by those pa- rameters (tripod height was measured with legs closed). Matched pairs are as nearly identical as possible. Abbreviations: BMP, Birmingham mass produced; E, elegant; EHQ, English high qual- ity; F, fligree; FG, French group; H, height; MPE, miscellaneous probably English; N, number of holders in the set; R, regular; W, weight. See Chapter 3, Size and Weight, for interpretation. English holders French holders N or W H N or W H Group or FJP#a group (g) (cm) W/H Group or FJP#a group (g) (cm) W/H Average Parameters EHQ 17 45 13 3.6 FG3 showstoppers 3 51 15 3.4 BMP- F tripods 9 55 18 3.1 FG1 #216 subgroup 5 50 16 3.2 BMP- R holders 61 38 13 2.9 FG2 holders 9 33 13 2.5 BMP- E holders 14 30 12 2.5 FG1, enameled handles 5 32 15 2.2 FG1 holders, other 10 25 13 1.9 FG1, glass handles 6 18 11 1.6 Weights HeaViest Holders #62, horn tripod EHQ 115 8 14.4 #92, enameled vase FG1 87 18 4.8 #65, horn tripod EHQ 79 9 8.8 #221, vase with spike FG1 61 16 3.8 #83, oak leaf and MPE 85 14 6.1 #176, vase with spike FG3 55 15 3.7 acorn #73, leaf- wound BMP- R 61 13 4.6 #157, vase with pearls FG3 54 15 3.6 handle #68, fligree tripod BMP- F 84 19 4.4 #206, sheet vase FG1 43 12 3.4 #11, oak leaf and MPE 48 11 4.4 #216, tripod with spike FG1 50 16 3.1 acorn #56, fox vase BMP- R 59 14 4.2 #114, tripod with spike FG1 50 17 2.9 ligHtest Holders #126, hexagonal vase EHQ 17 13 1.3 #44, red ivory handle FG1 13 11 1.2 #175, hexagonal BMP- R 34 17 2.0 #117, enameled handle FG1 15 13 1.2 handle Heights tallest Holders #103, tripod BMP- F 50 20 2.5 #92, enameled vase FG1 87 18 4.8 #67, tripod BMP- F 68 19 3.6 #232, enameled handle FG1 50 17 2.9 #382, tripod BMP- F 57 19 3.0 #206, sheet with spheres FG1 43 17 2.5 #105, vase tripod EHQ 27 18 1.5 #40, enameled handle FG1 35 17 2.1 #175, hexagonal BMP- R 34 17 2.0 #216, tripod FG1 50 16 3.1 handle #197, hexagonal BMP- R 38 16 2.4 #45, pearl handle FG1 33 15 2.2 handle 114 M MATERIALS AND FABRICATION TABLE 4. (Continued) English holders French holders N or W H N or W H Group or FJP#a group (g) (cm) W/H Group or FJP#a group (g) (cm) W/H sHortest Holders #51, patterned BMP- E 21 9 2.3 #148, glass handle FG1 16 10 1.6 handle #381, stubby handle BMP 26 10 2.6 #44, red ivory handle FG1 13 11 1.2 #11, horn- shaped MPE 48 11 4.4 #144, alabaster handle FG1 16 11 1.5 handle Matched Pairs #12, grape vase BMP- R 22 13 1.7 #30, faux fligree vase FG1 17 12 1.4 (chain) #214, grape vase (no BMP- R 23 13 1.7 #50, faux fligree vase FG1 16 12 1.3 chain) #185, cupid’s arrow vase FG2 28 14 2.0 #138, cupid’s arrow vase FG2 26 14 1.9 a FJP# = short form of accession number. See Notes to Reader for explanation. MPE oak leaf holder #83, probably by the same maker as #11 (both Plate 47), which is the sixth heaviest English holder; these two holders are thought to have been made in Bir- mingham relatively early because of the considerable handwork as well as their weight. Among French holders, #92 (Plate 52) with a large, enameled copper vase is by far the tallest and heaviest at 87 g, supporting fabrication by a maker diferent from other FG1 holders, probably in Bourg-e n-B resse, France. The next heaviest French holder, FG1 #221 (Plate  64), has the same weight as the ffth heaviest English holder but a lower W/H ratio. Among English holders, fligree holders have the heaviest average weight at 55 g but a lower average W/H ratio than EHQ holders because they are relatively tall and are mostly composed of wire rather than sheet. Regular holders are considerably lighter at an average of 38 g but have only a slightly lower W/H ratio than the fligree holders. El- egant holders are the lightest of the English holders, averaging 30 g in weight, although at an average of 12 cm, their heights are only a centimeter less than that of BMP regular holders.190 Generally English holders became lighter as they were more mass produced in fewer pieces, but elegant holders are an exception insofar as they are thought to be earlier than regular holders because of greater handwork. French group 3 showstoppers and related #216 subgroup holders are bolder and more elaborate than other French holders, and it is not surprising that the average weight is just below EHQ holders;191 the #216 subgroup holder #221 (Plate 64) is heaviest at 61 g despite retaining only the stub of a spike.192 The FG2 holders are lighter than showstoppers and #216 subgroup holders. It was expected that FG2 mirrored holders might be heavier than those without glass, and #9 proved to be 3  g heavier than the same holder without mirrors (#383; both Plate 66).193 Next lower in weight are FG1 holders with enameled handles on thick copper sheet supports,194 followed by 10 FG1 PRODUCING POSIES M 115 holders not included in other categories.195 Finally, the six lightest and smallest French holders are those with glass handles.196 Thus, to some extent, weights of French holders correlate with their material composition. Indian fligree tripod #64 (Plate 82) is by far the heaviest holder in the collection at 182  g and has the second-h ighest W/H ratio after #62 at 11.4. It is far heavier than the next heaviest Indian holder, #60 (Plate 82), at 37 g and has a much lower W/H ratio of 2.2. Four similar Chinese fligree holders have the same low W/H ratio of 1.6, the same as FG1 glass-h andled holders. Two Genoese fligree holders of diferent sizes, #71 (Plate 80) at 14 cm and #125 (Plate 81) at 8 cm, show W/H ratios of 3.5 and 2.0, respec- tively, probably because of the diference in scale; sheet silver bands and plaques on #71 may also contribute to its weight. The tallest holder in the catalog is fligree tripod #103 (Plate 7), which measures 20 cm in height. The two smallest bouquet holders are Italian fligree #125 (Plate 81) at 8 cm in height and BMP elegant #51 (Plate 16) at 9 cm. Comparison of two pairs of similar holders by the same maker showed identical results, although the holders in each pair are not identical. German #170 and #183 (Plate 78) with diferent vase stampings have the same height (12 cm), weight (20 g), and W/H ratio (2), even though #170 is missing the end of its handle. Both American holders, #146 and #211 (Plate 79), measure 14 cm tall and weigh 20 g and have a W/H ratio of 1.4. Comparison of identical holders was somewhat foiled by the availability of only a few twins for measurement, as well as repairs and diferential loss of accoutrements. Surprisingly, the one seemingly identical pair of FG1 gilt-b rass and mother-o f-p earl holders with complete chains and accoutrements, #30 and #50 (Plate 62), showed more than a gram diference in weight. A second French pair, FG2 #138 and #185, has both accoutrements, but #138 weighs 2 g less than #185; its tip is broken of but that small loss would not seem to be enough to account for the diference in weight. Results for a pair of BMP regular silver holders, #12 and #214 (both Plate 22), were also unexpected. They weigh essentially the same, but #214, missing both chains and accoutrements, is nearly a gram heavier than #12, with just one chain ending in a fnger ring. Possible explanations for seemingly contradictory weights for two of the three pairs include slight diferences in the initial weight of the sheet, the amount of sol- der, and the thickness of plating. They also suggest, however, that small diferences in weight on the order of a gram may be insignifcant. NOTES 1. Shirley Bury, Jewellery 1789–1910: The International Era (Woodbridge, Suffolk, U.K.: Antique Collectors’ Club, 1991), 347. 2. Bury, Jewellery, 362. Shena Mason, Jewellery Making in Birmingham (Chichester, U.K.: Phillimore, 1998), 5, 68. 3. Mason, Jewellery Making in Birmingham, 5. 4. Both American holders and German #170 and #183 were analyzed but not German #231. 5. Oppi Untracht, Metal Techniques for Craftsmen (Garden City, N.Y.: Doubleday, 1975), 196. 6. Holder #381 has a silver-p lated nickel silver vase and silver-p lated brass handle, #165 has a silver-p lated brass vase married to a sterling silver handle, and #189 has gold plating on the handle, which covers nickel silver and brass halves. 7. Holder #4 is also curious because the fox-a nd-g rapes design on the vase was registered by Henry Jenkins & Sons, whereas its spade handle has a registry mark associated with Robert & Josiah Walsham. The alloys on the two parts are identical, however, suggesting that they were stamped at the same time (see Appendix Table A.3). 8. Mercury was also found in trace amounts on regular #6, #56, #57, and #163 and elegant #179. 9. Prior to plating, articles were “momentarily dipped into a very dilute solution of nitrate of mercury or double cyanide of mercury and potassium.” From George Gore’s “account of the Electro-p rocess” in Arthur Ryland, The Plated Wares and Electro-p lating Trades, in The Resources, Products, and Industrial History of Birmingham and the Midland Hardware District, ed. Samuel Timmins (London: Hardwicke, 116 M MATERIALS AND FABRICATION 1866), 492–493. Use of nitrate of binoxide of mercury for cleansing before plating is also described in a manual first published in France by A. Roseleur, Galvanoplastic Manipulations: A Practical Guide for the Gold and Silver Electroplater and the Galvanoplastic Operator, trans. A. A. Fesquet (Philadelphia: Baird, 1872), 32–33. Mercury has been postulated as from this cleaning practice on an electrotype of the Milton Shield in the collection of PMA (similar Milton Shields were electrotyped by Elkington & Co. in Birmingham). Andrew Lins and Sally Malenka, The Use of Mercury Salts in Gold Electroplating, in Gilded Metals: History, Technology and Conservation, ed. Terry Drayman- Weisser (London: Archetype, 2000), 267–282. For bouquet holders, the low cost of plating would have been paramount, whereas a contemporary reported that “the revivalist still prefers the old amalgam process to electrogilding on account of the superior durability of the work,” presumably because of its thickness. W. C. Aitken, The Revived Art of Metal-W orking in the Precious Metals, Brass, and Iron on Medieval Principles, in The Resources, Products, and Industrial History of Birmingham and the Midland Hardware District, ed. Samuel Timmins (London: Hardwicke, 1866), 547. 10. Twenty-t wo English holders have gold plating on brass: EHQ #62 and #106; elegant #27, #29, #51, #131 (half of the vase), #223, and #237; regular #4, #85, #127, #152, #188, #189, #195, #199, #204, #210, and #236; and MPE #78, #83, and #93. 11. Catherine Arminjon and Michèle Bilimoff, eds., Métal: vocabulaire technique (Paris: Éditions de patrimoine/Centre des monuments nationaux, 2010), 205, 207. A sample board of paillons in the collection of the W. W. Carpenter Enamel Foundation in Bellevue, Kentucky, is illustrated in Linda Darty, The Art of Enameling: Techniques, Projects, Inspiration (New York: Lark, 2004), 81. The process of making paillons is illustrated in Émaux de Bresse: joyaux du quotidien (Bourg-e n-B resse, France: Snoeck, 2014), 112–114. 12. W. C. Aitken, Brass and Brass Manufactures, in The Resources, Products, and Industrial History of Birmingham and the Midland Hardware District, ed. Samuel Timmins (London: Hardwicke, 1866), 285. 13. Jean-M arie Welter, French Bronzes from Renaissance to Revolution: But Are They Bronze? in Cast in Bronze: French Sculpture from Renaissance to Revolution, ed. Geneviève Bresc-B autier and Guilhem Scherf (Paris: Louvre, 2009), 42–45. 14. At least 20 holders with copper handles are in other collections, mostly enameled blue: Kenber 42, 43, 44, 45, and 99; Deitsch 34, 83, 90, 92, 93, and 112; Schwartz 20 (two, top); Hermitage 2 and 10; Marès 8 and 9; ROM 14; Galliera 1990.117.1; and Roe 356. In addition, MCNY 36.352.29 has similar dark-b lue enameled rings with star paillons on the vase. Three holders have vase enameling on copper similar to #92 and were likely made in Bourg-e n-B resse, France: Hermitage 19, Deitsch 44, and MCNY 44.75.4. 15. In 1866, 7,000 persons were said to be employed in nickel silver manufacture in Birmingham. Stephen Barker, Nickel-G erman Silver Manufacture, in The Resources, Products, and Industrial History of Birmingham and the Midland Hardware District, ed. Samuel Timmins (London: Hardwicke, 1866), 671–675. 16. Ryland, Plated Wares, 488–489. 17. Ryland, Plated Wares, 489, 493. Judy Rudoe, From Oroide to Platinageld: Imitation Jewellery in the Late 19th Century, Jewellery Studies 3 (1989):49–72. Nickel was found on a fourth holder, #25, analyzed using the Tracer portable XRF, but that instrument does not provide percentages. 18. Britannia metal was employed earlier than nickel silver as a base metal but was said to not have “suffered to any perceptible extent” on account of it. Thomas Yates, Pewter and Britannia Metal Trade, In The Resources, Products, and Industrial History of Birmingham and the Midland Hardware District, ed. S. Timmins (London: Hardwicke, 1866), 622. It is not to be confused with britannia standard silver, which has only 58.4 other parts in 1,000 parts pure silver. Kenneth Blakemore, The Retail Jeweller’s Guide, revised by Eddie Stanley (Oxford, U.K.: Elsevier, 2000), 141–143. 19. Shirley Bury, Victorian Electroplate (London: Country Life Books, 1971), 33. 20. English gilt- silver holders are EHQ #1, #65, #79, and #158; EHQ #91 and #194 are partly in gilt silver. 21. Maria Menshikova, Silver Wonders from the East: Filigree of the Tsars (Amsterdam: Lund Humphries, 2006), 22–23. Carl L. Crossman, The Decorative Arts of the China Trade (Woodbridge, Suffolk, U.K.: Antique Collectors’ Club, 1991), 338–341. 22. Ryland, Plated Wares, 486, 494. 23. Arminjon and Bilimoff, Métal, 234; 236, note 1. The breadth of filigree can be seen in such collections as the Museo della Filigrana in Campo Ligure, Italy, near Genoa. Enrico Bongera and Riccardo Bottero, La filigrana: L’arte de “lavorare il filo” (Genoa, Italy: Sagep, 2013); Gianna Roccatagliata, Orafi e argentieri Genovesi tra neoclassico e liberty (Genoa, Italy: Tolozzi, 1982). 24. Balagouni Krishna Goud and M. V. Subrahmenyeswra Sarma, Karimnagar Filigree Art Works in the Salar Jung Museum, Indian Journal of Traditional Knowledge 4 (October 2005):386–391. 25. Menshikova, Silver Wonders from the East, 18. 26. Karl Rudolf, Exotica bei Karl V., Philipp II. und in der Kunstkammer Rudolfs II., in Exotica: Portugals Entdeckungen im Spiegel fürstlicher Kunst- und Wunderkammern der Renaissance, ed. H. Trnek and S. Haag, Jahrbuch des Kunsthistorischen Museums Wien 3 (Mainz, Germany: von Zabern, 2001), 185–187. 27. Benvenuto Cellini, The Treatises of Benvenuto Cellini on Goldsmithing and Sculpture, trans. C. R. Ashbee (New York: Dover, 1967), 10–14. 28. Bongera and Bottero, La filigrana, 52; Gianna Roccatagliata, Il filo dell’universo: Mostra antologica di filigrane della raccolta Bosiò (Genoa, Italy: Tormena, 1994), 56, 58. 29. Menshikova, Silver Wonders from the East, 22. 30. Untracht, Metal Techniques, 199–200. 31. In the Peabody Essex Museum’s collection is a holder similar to #379 in its original box labeled “Cutshing Gold and Silversmith, New Street No. 9,” as well as silver filigree bracelets made in China. Crossman, Decorative Arts, 352–353; Martha Gandy Fales, Jewelry in America 1600–1900 (Woodbridge, Suffolk, U.K.: Antique Collectors’ Club, 1995), 257. 32. George Watts and Percy Brown, Arts and Crafts of India: A Descriptive Study (1904; repr., New Delhi: Cosmo, 1979), 38; Oppi Untracht, Traditional Jewelry of India (New York: Abrams, 1997), 296–299. 33. Untracht, Traditional Jewelry of India, 296. Thomas Holbein Hendley, Indian Jewellery (1909; rpr., Delhi: Low Price Publications, 1995), Plate 116, nos. 800, 801, 804. 34. Bury, Jewellery, 558. 35. Charlotte Gere and Judy Rudoe, Jewellery in the Age of Queen Victoria: A Mirror to the World (London: British Museum, 2010), 316–317. 36. For example, a Genoese purse has a loop- in- loop wire chain handle. Bongera and Bottero, La filigrana, 132–133. Other Genoese filigree objects with loop- in- loop wire chains include Kenber 81, very similar to #125; PMA 1901- 203, which is almost identical to the lion- head PRODUCING POSIES M 117 marked #71; and two Genoese hairpins with small filigree elements hanging from loop-i n-l oop wire chains. Gere and Rudoe, Jewellery in the Age of Queen Victoria, 318. 37. The accuracy of dating for Genoese filigree is unclear, but delineated flowers and leaves similar to #125 and #239 are on a round box dated in the late nineteenth century and on the purse cited in Note 36 dated in the early twentieth century. Roccatagliata, Orafi e argentieri Genovesi, 50; Gianna Roccatagliata, L’arte della filigrana in Liguria e nel mondo (Genoa, Italy: Tormena, 1994), 57, 58. 38. For example, looped borders on eyeglass case ROM 42 and a crucifix in Gere and Rudoe, Jewellery in the Age of Queen Victoria, 318. 39. The seven similar vase brooches are Schwartz 10 (three examples, bottom); Deitsch 16, 42, and 69; and Kenber 41 (with an 1850 inscription), Schwartz and Deitsch brooches are attributed to France, and Kenber 41 is attributed to England. 40. Six similar vase brooches clearly have cotter pins, but the floral pin on Schwartz 10 (center) is not visible. Genoese- style Kenber 73 also has a cotter pin. 41. Deitsch 114, essentially identical to #122, has a hexagonal finger ring similar to those on filigree tripods. 42. Mother- of- pearl was widely used for making buttons in Birmingham during the eighteenth century, and in 1855, two “Pearl Handle Makers” are listed in directories, along with 15 “Pearl Ornament Mnfrs.” and 142 “Pearl Button Mnfrs.” Francis White & Co., General and Commercial Directory and Topography of the Borough of Birmingham (Sheffield, U.K.: S. Harrison, 1855), 387–388 (hereafter Francis White’s General Directory of Birmingham). In 1858, three “Pearl Handle Makers” are listed, along with 17 “Pearl Ornament Manufacturers” and 165 “Pearl Button Manufacturers.” W. H. Dix, General and Commercial Directory of the Borough of Birmingham and Six Miles Round (Birmingham, U.K.: W. H. Dix & Compy, 1858), 452–454. In 1867, there are no listings for pearl handle makers, only for 18 pearl workers, 1 pearl setter, and 97 pearl button makers. E. R. Kelly, The Post Office Directory of Birmingham, with its Suburbs (London: Kelly & Co., 1867), 305–306, 355 (hereafter Post Office Directory of Birmingham). In 1875, there are no listings for pearl handle makers, only for 34 “Pearl Workers” and 131 “Button Mnfrs. (pearl).” Francis White & Co., Francis White & Co’s Commercial & Trades Directory of Birmingham, Vol. 2 (Sheffield, U.K.: Francis White & Co., 1875), 1540–1542, 1729 (hereafter Francis White’s Commercial & Trades Directory of Birmingham). 43. Mother- of- pearl handles with similar spirals are Hermitage 5 and two with small gilt- brass caps, Hermitage 4 and Deitsch 41. 44. The thirteenth FG2 handle in bone on #41 likely replaces one in mother- of- pearl, because MMA 38.23.411 has the same vase and a typical FG2- type mother- of- pearl handle. Similar mother- of- pearl handles on 22 of 25 FG2- type holders in other collections are Kenber 22, 47, 53, 64, 65; Deitsch 21, 22, 41, 71, 85 (modified after breakage), 86, 88, and 97; ROM 35; Hermitage 8, 9, and 15; Roe 357 (two); and MMA 38.23.6, 38.23.10, and 38.23.11. Deitsch 94 has a wooden handle, probably a replacement. Mother- of- pearl handles on Deitsch #106 and ROM 36 are somewhat different and may have been made later. 45. Lower parts of FG2 #9, #47, and #383 and FG1 #377 and #235 also appear to have been broken off at channels where chains were attached. 46. Compare #29 to intact Kenber 97 and 98. 47. Queen Victoria’s diamond- and ruby- encrusted bouquet holder given to her by Empress Eugénie is illustrated in Gere and Rudoe, Jewellery in the Age of Queen Victoria, 50. Empress Eugénie herself owned bouquet holders made by major French jewelers, such as a gilt- silver and enameled holder inlaid with diamonds and pearls by Eugène Froment- Meurice, now in the collection of MN in Rome. Fiori freschi: Porte- bouquets, inconsueti gioielli del XIX secolo (Rome: De Luca, 2007), 4. 48. The French Court at the International Exhibition, London Times, 27 June 1862, 10. 49. The jury awarded “Medals and Honourable Mentions” to French displays of A. Savery for “imitations of precious stones,” to C. E. Truchy “for very excellent imitation of pearls,” and to Constant Valès, and Co. for “very perfect imitation of pearls.” Count L. Corti, C. W. S. Deakin, A. M. Dowleans, Fred. Elkington, Secretary Fossin, Ferd. Friedland, J. Hunt, A. Kaiser, H. J. Leas, W. MaskelI, Lord Stratford de Redcliffe (Chairman), and Rev. Montague Taylor, Works in Precious Metals and Their Imitations, and Jewellery, in International Exhibition 1862: Reports by the Juries on the Subjects in the Thirty- Six Classes into Which the Exhibition Was Divided (London: Clowes, 1863), Class XXXIII, No. 3224, 6–7. 50. FG1 holders with glass gems are #35, #94, #148, #206, #216, #228, and #377; in addition, vases of #54 and #80 show residues indicative of adhesives used for their attachment. The FG2 holders with such gems are #9, #19, #38, #41, #47, #145, and #383; and the FG3 holders are #124, #150, #154, #157, #178, and #234. 51. English holders with glass gems are EHQ #158, elegant #223, regular #236, and MPE #101. 52. Gere and Rudoe, Jewellery in the Age of Queen Victoria, 458–461; Bury, Jewellery, 528. 53. The 16 FG1- type holders with mirrors in other collections are Deitsch 48, 62, 79, and 89; Kenber 23, 24, 25, and 62; Hermitage 1, 2, and 3; ROM 39; Moretz 17; Schwartz 12 (bottom left) and 21 (upper left); and Laufer 90. Specifically, Deitsch 48 has a mirror opposite a thermometer (same crest as FG1 #55); Deitsch 62 has a mirror opposite a painting similar to one on FG1 #55 (same faux- filigree scrolls as FG3 #157); Deitsch 79 has a mirror opposite dance cards (same partial flower neckband as FG1 #142, #156, and #235); and Deitsch 89 has mirror in between enameled loops and a guilloche (same guilloche as FG1 #52, #80 in part, and #142). Kenber 23 has opposite mirrors (the same partial flower neckband as Deitsch 79 and the same vase stamping as Deitsch dance card 40); Kenber 24 has a mirror opposite a portrait (same spiky collar as FG1 #54); Kenber dance card 25 has a mirror opposite dance cards (same pattern on the retainer as FG1 #129); and Kenber 62 has a mirror opposite a floral chromolithograph (same twisted wire around a plain neckband as FG1 #133 and machine- made borders on sheet metal as other FG1 holders). Hermitage 2 has opposite mirrors (same pointed tips on the vase as Kenber 13 and a blue enameled handle with the same gold paillons as #232); and Hermitage 3 has opposite mirrors and a torc collar (same Atlas figure as MCNY 45.61.1 and same torc collar as #53, #142, #156, and Moretz 17). ROM 39 has four mirrors on a tripod (same neckband and legs as #216). Four holders have similar stamped loop- topped vases and framed mirrors opposite the same dance cards with the same oval retaining plates decorated with machine- made zigzags: Moretz 17 (same petal cap as #43, #45, and #228); Schwartz 12, bottom left (same torc collar as Hermitage 3); Laufer 90; and Hermitage 1 (same petal cap as Moretz 17, probably with the same zigzags on its face, but only the back is visible). 54. FG2 #383, which has lost its mirrors, and #38, which has a pair of framed marbled lavender glass ovals, are counted in the total. Nine FG2- type holders with mirrors in other collections are Deitsch 21, 71, 85, 94, and 106; Kenber 22; MMA 38.123.406 and 38.123.410; and Hermitage 15, which is essentially the same as #37 and #42 but missing its mirrors. Deitsch 85, Deitsch 94, and Kenber 22 have opposite mirrors and the same four- dot- and- crescent neckband as #9, #145, and #383. On Deitsch 21, a mirror is opposite a cameo and has a four- dot- and- crescent neckband and FG2- type mother- of- pearl handle; on Deitsch 71, a mirror is opposite a cameo with the same stamped spirals as FG2 #41 and the same oval cups above the neckband as #240, and a keyhole loop for the finger ring chain attachment; on 118 M MATERIALS AND FABRICATION Deitsch 106, two mirrors and two portraits are opposite with a four-d ot-a nd-c rescent neckband; on MMA 38.123.406, two portraits are opposite without mirrors above a four-d ot-a nd-c rescent neckband; and on MMA 38.123.410, the same oval is below mirrors as FG2 #41. 55. Holder #240 has a replacement mirror backed by velveteen. 56. See Note 14. 57. Claudius Popelin, L’émail des peintres (Paris: Lévy, 1866), 140–145. See also note 11. 58. The process is illustrated in Émaux de Bresse, 112–114. A sample board of paillons is referred to in Note 11. 59. Henry H. Cunynghame, European Enamels (London: Methuen, 1906), 8, 112, 169; Popelin, L’émail des peintres, 145; Andrew Ure, A Dictionary of Arts, Manufactures, and Mines: Containing a Clear Exposition of Their Principles and Practice (London: Longman, Brown, Green and Longmans, 1853), 646. 60. Neither of the lighter blue handles was found to have any cobalt, and copper oxides are known to have been used for lighter blues. Cunynghame, European Enamels, 112. 61. The most closely related holder is Hermitage 19, which has a large turquoise enameled vase with a pair of gold- backed pearl rows surrounding a band of flowers, a large gilt- brass neck, and a large mother- of- pearl handle similar to #92. MCNY 44.75.4 and Deitsch tripod 44 are cone shaped with similar pearls and enamel. 62. Émaux de Bresse, 237. 63. Enamel was painted onto 12 FG1 gilt-b rass vases and/or neckbands on holders #36, #48, #52, #53, #77, #80, #94, #148, #221, #222, #232, and #377; 2 FG2 vases, #41 and #47; and 3 FG3 vases, #150, #207, and #208. 64. Cunynghame, European Enamels, 10. 65. The Tracer portable XRF was used to analyze the alabaster on #148. 66. Bone handles are on FG2 #41 (probably a replacement) and FG3 #46, #147, #178, and #234. 67. Ivory holders similar to #149 are Schwartz 13 (top left) and Deitsch 101; and perforated leaves are on narrow ivory sliding ring Deitsch 33. All are identified as English by their owners. 68. Arminjon and Bilimoff, Métal, 53; Theophilus Presbyter, On Divers Arts, trans. John G. Hawthorne and Cyril Stanley Smith (New York: Dover, 1979), 188–189. 69. Arminjon and Bilimoff, Métal, 53; Theophilus, On Divers Arts, xxxii, 153–154. 70. The workshop of the former jewelry firm of Smith & Pepper, now the Museum of the Jewellery Quarter operated by the Birmingham Museums Trust, still operated a drop stamp by hand when the firm closed its doors in 1981, although by the twentieth century stamps could have been powered by steam, gas, or electricity. John Cattell, Sheila Ely, and Barry Jones, The Birmingham Jewellery Quarter: An Architectural Survey of the Manufactories (Swindon, U.K.: English Heritage, 2002), 38–39. 71. Henry Jenkins & Sons lent a handstamp to an exhibition celebrating the 200th anniversary of the Birmingham Assay Office in 1973. Birmingham Gold and Silver 1773–1973 (Birmingham, U.K.: City Museum and Art Gallery, 1973), B329. 72. Bury, Jewellery, 357–358. 73. The workshop of Smith & Pepper, for example, stored about 7,000 steel dies on shelving in the workshop. Birmingham Museums, Museum of the Jewellery Quarter, n.d., 32. See also Note 70. 74. BMP regular holders featuring a Native American woman are #1980.026, #10, #88, and #160. The French holder with the enameled copper handle is Deitsch 90. 75. Kenneth Crisp- Jones, ed., The Silversmiths of Birmingham and Their Marks: 1750–1980 (London: N. A. G. Press, 1981), 314. 76. Notice, R. and J. Walsham, Birmingham Gazette, 28 January 1865, 3. See Figure 16. 77. “Brian Knight (K. & Durant)” and “Knight & Durant, die sinkers, stampers and piercers” are listed in William White, White’s Directory of Birmingham (Sheffield: William White, 1873), 448. 78. The 51 regular holders with vases made with full- height stampings are #6, #7, #8, #10, #12, #17, #22, #24, #33, #56, #57, #59, #87, #88, #90, #110, #134, #139, #141, #143, #160, #162, #164, #166, #167, #168, #175, #177, #180, #182, #186, #187, #188, #189, #190, #191, #192, #193, #197, #199, #200, #201, #204, #205, #210, #214, #217, #220, #236, #241, and #380. 79. Ten vases with small connectors between vase stampings are #4, #15, #69, #85, #127, #163, #181, #195, #196, and #212. Eight vases with part of the same stamping filling out gaps at the base are #5, #14, #21, #25, #32, #89, #161, and #171. 80. Searches for cruet frames and baskets with designs registered by Jenkins and Walsham have not been successful to date. 81. Holder #87 (Plate 32) has a hand- tooled floral pattern, and #69 (Plate 32) has fanlike designs bordered by machine- made zigzags. Hexagonal handles on Hughes 247 (bottom row, sixth and seventh from the left) appear to have similar engraved decorations. 82. Eight regular holders with identical stamped hexagonal handles are #58, #161, #171, #175, #182, #192, #197, and #199. 83. In the 1830s Edouard Marchand impressed leather dies on sheet metal using rollers (cuir roulé) to reproduce patterns. Henri Vever, French Jewelry of the Nineteenth Century (1908), trans. Katherine Purell (London: Thames & Hudson, 2001), 310. 84. Paraloid B- 72, a mixture of methyl acrylate and ethyl methacrylate. 85. Single strips are employed on the vases of FG1 #34, #52, #94, #148, and #218, and multiple strips form the small vases of FG1 #44 and #142. 86. The guilloche strip is also on enameled on Deitsch 11 (with a glass handle), Deitsch 89 (mirrored with an ivory handle), Marès 7 (with a J- shaped mother- of- pearl handle), and Hermitage 10 (with a flower- painted enameled handle). 87. The same six- sided sphere as on #235 is above a whole- flower neckband on MCNY 36.352.29 and probably Schwartz 21 (upper left); the same graduated spheres are on Hermitage 4. 88. The same two- part, three- tiered stamped French neckpiece is on five tripods in other collections: ROM 38 and 39, Kenber 113 and Kenber 46 (only the lower half of the neckpiece), and Roe 357. Five regular vase- and- handle holders with mother- of- pearl handles have the same neck stamping: Kenber 20, Kenber 21 (same stampings just above the collar as Roe 357 and crimpable chains), Kenber 48 (same vase stamping as ROM 34), Deitsch 57 (same baby Bacchus head as #54), and Schwartz 21 (bottom center, a large bird on the vase with a spike and a crimpable chain). 89. In this collection, stamped caps or a sphere at the end of handles are on small #148, #222, and #144 with engaged handles (the first two in glass and the last in alabaster). In other collections, Kenber 11 has the same handle cap on its engaged spiral glass handle as #148, and Kenber 104 has the same cap on its mother- of- pearl handle as the enameled handle of #40. PRODUCING POSIES M 119 90. ROM 14 employs #94’s neckpiece as the upper part of the cap on its enameled handle, and the lower V- decorated part is inverted on the upper part of Kenber tripod 46’s neckpiece. 91. R. F. Sturges, Ornamenting metallic surfaces, English Patent 13,914, dated 24 January 1852; George Wallis, The New Art of Auto- typography, Journal of the Society of Arts 11 (17 April 1863):374–382. The Sturges patent is said to have been “an extension of the engraved cylinder system which had been in use for many years.” Bury, Victorian Electroplate, 42; Bury, Jewellery, 367; A Day at the Birmingham Factories, Penny Magazine of the Society for the Diffusion of Useful Knowledge, 13 (November 1844, Suppl.), 466. 92. The same scaly pattern on essentially the same single- sheet handle is on elegant #15 and #169 and regular #1980.026 married to a Native American woman vase; arguably #1980.026 could have been placed in the elegant subset, but it has more connections to regular holders. Four sheets with the same scaly pattern compose the handle of #179, placed in the elegant subset, but its magpie vase and curved handle are similar to regular #73; both holders are relatively heavy, indicating that they are early. 93. The hexagonal stamped sheet is employed on the neck of elegant #152 and handle of elegant #51. 94. The lozenge pattern is on the identical handles of elegant-t ype Kenber 34, 35, and other holders. 95. The stamped scroll pattern on the dance card backing of #129 matches that on Kenber dance card holder 25 and the vase of Kenber 11. 96. Deitsch 86 has a diaper patterned sheet vase married to a stubby FG2-t ype handle, a keyhole-s haped loop for attachment of the finger ring chain, and the same flattened twisted-w ire finger ring as FG2 #123 made with a different patterned sheet. 97. The traditional Birmingham workshop of the former jewelry firm Smith & Pepper, operated by the Birmingham Museums Trust, has several fly presses. See also Notes 70 and 73. 98. Robert & Josiah Walsham are listed under the category “Press Toolmakers” in Francis White’s General Directory of Birmingham (1855), 345. 99. Aitken, Brass and Brass Manufactures, 307–308. 100. Bury, Jewellery, 342–343, 347. 101. Bury, Victorian Electroplate, 43, 52–53. 102. Zigzags are on sheet FG1 #43, #114, #133, #206, and #215. In other collections, they include Kenber cutout and bent-s heet holders 61 and 62 and dance card retainers of four similar holders with small loops at the top: Moretz 17, Schwartz 12 (bottom left), Laufer 90, and Hermitage 1. Rows of circles on Deitsch 83 may also have been machine made. 103. Information about Collard and Fraser publications in England and France are noted without citations in Alastair Grant, Elkington & Co. and the Art of Electro-M etallurgy, circa 1840–1900, (Ph.D. diss., University of Sussex, Brighton, U.K., 2014), 28, http://sro.sussex.ac.uk/ (accessed 31 July 2023). For amalgam gilt buttons, see A Day at the Birmingham Factories, The Penny Magazine, 13 (Nov 1844, suppl.), 468–469. 104. See Note 103. 105. Charlotte Vignon, Deverberie & Cie: Drawings, Models, and Works in Bronze, Cleveland Studies in the History of Art 8 (2003):170–187. By the time that legislation was implemented, the industry was already in decline, and most of its practitioners were dead. 106. The Crystal Palace Exhibition Illustrated Catalogue London 1851 (New York: Dover, 1970), 193. 107. Crystal Palace Exhibition, 195. 108. Francis White and Co., History and General Directory of the Borough of Birmingham (Sheffield, U.K.: printed for the author by John Blurton, 1849), 379; Slater’s General and Classified Directory of Birmingham and Its Vicinities for 1852–3 (Manchester, U.K.: Isaac Slater, 1852–1853), 138–139; and Dix’s Directory of Birmingham (1858), 473–474. 109. Alastair Grant, Lecturer at University of Sussex, Brighton, U.K., personal communication, 16 September 2021. 110. Kelly, Post Office Directory of Birmingham (1867), 320–321. 111. The “Platers” category has symbols indicating that firms worked in gold, silver, or steel. Two other categories are “Electro Plated Wares and Manufacturers” and “Electroplaters and Gilders;” only a few firms are listed in both. Kelly, Post Office Directory of Birmingham (1867), 320–321, 357, 456. 112. Francis White’s Commercial & Trades Directory of Birmingham (1875), 2:1587. 113. Alastair Grant and Angus Patterson, The Museum and the Factory: The V&A, Elkington and the Electrical Revolution (London: Lund- Humphries, 2018), 72; Alistair Grant, Elkington & Co., 231. 114. Arminjon and Bilimoff, Métal, 287. 115. Aitken, Brass and Brass Manufactures, 307–308. 116. Bury, Jewellery, 211. 117. Two other English holders with pronged cups for holding glass gems are regular #236 and MPE #101. 118. Similar settings are on FG1 #228 and FG3 #178 and #234. 119. The same six-r ing stamping set with gems is on FG2 #19, #145, and #383 and FG2-t ype vases in other collections. 120. Holders with gems attached by wires are on FG1 #377 and FG3 #150, #154, and #157. Bezel-s et glass gems are on FG2 #38, #41, and #47 and on FG3 #124. 121. Three adhered gems are missing on FG1#35, two are missing on #94, and four are missing on #148. Note that darkened glue residues may be cleaned off. 122. They are also on Kenber 20, 212, and 113. Porte- bouquets (Paris: Paris Musées, 2005), 180. 123. Gary James, Posy Holder Collection Revives Memories of the Victorian Age, Florists’ Review, 17 April 1980, 31. 124. BMP filigree holders with tripod legs are on #67, #68, #84, #102, #103, #104, #109, #113, #378, #382, and #384 (legs are missing, but the silver- covered center post indicates that it was a tripod). 125. Deitsch tripods 120 and 121. 126. Kenber 93 bears the George Unite hallmark. The same system is on BMP regular- type Kenber 94, which has a handle identical to BMP regular #134. 127. ROM 38 and 39, Kenber 46 and 113, and Roe 357. 128. Because no French tripods similar to #114 are known, its legs are different from tripod #216, and its linear inlay is somewhat similar to that on enameled EHQ #106, an English attribution was considered for it. Weighing more heavily in favor of a French attribution are gold 120 M MATERIALS AND FABRICATION plating more typical of French holders, inlay closer to MMA 38.23.454 with an FG1-t ype mother-o f-p earl handle, hanging elements in gaps similar to FG1 #216 subgroup #133, a small ring perpendicular to the finger ring similar to those on other FG1 #216 subgroup holders, a spike in the vase like other #216 subgroup holders and 19 related French holders, and curved legs similar to those of FG1 #216. 129. Nine holders with rounded bifurcated collar flowers are #75, #89, #103, #104, #203, #209, #226, #230, and #382. Collars on #18 and #135 also have upright pointed leaves like four of the previous (#89, #203, #226, and #382); and two collars (#89 and #135) are missing flowers, leaving wire stumps behind. Three other collars have six- petal pointed flowers on #67, #102, and #378, and two have large six- petal rounded collar flowers on #68 and #384. Pointed five- petal collar flowers are only on tripod #113. 130. Of the 11 collars with filigree leaves, 7 have upright leaves (#68, #75, #103, #104, #113, #209, and #230) and 4 have curled leaves (#67, #102, #378, and #384). Textured upright stamped leaves are on #18, #89, #135, #203, #226, and #382. 131. C- H 1959- 58- 1 has a filigree vase with a curved handle ending in a sphere. 132. Twenty- three English holders with wire- loop clips on the back include 16 in this collection: the seminal EHQ #100 hallmarked in Birming- ham during 1838–1839, followed by elegant #15, #74, #131, #169, #179, and #237; BMP regular #1980.026, #73, #90, #139, #143, #172, and #195; and MPE brooches #78 and #93, similar to elegant BMP holders but without any stampings in common with known elegant holders. On English holders in other collections they can be seen on Kenber 35, 51, and 106, which has a vase design registered 26 January 1872 as no. 259991 by Robert and Josiah Walsham of Birmingham; Deitsch 74, 75, and 112; and Schwartz 19 (upper left) and 23 (2 examples at left). 133. Schwartz 20 (top right) has a pair of similar sharp prongs on the back and is married to a French- type enameled handle with painted flowers. 134. Bury, Jewellery, 365. 135. Bury, Jewellery, 366. 136. J. S. Wright, The Jewellery and Gilt Toy Trades, in The Resources, Products, and Industrial History of Birmingham and the Midland Hardware District, ed. Samuel Timmins (London: Hardwicke, 1866), 460. 137. Wright, Jewellery and Gilt Toy Trades, 460. 138. Aitken, Brass and Brass Manufactures, 309; Mason, Jewellery Making in Birmingham, 58–60. 139. Twenty- three English holders with single chains attached in the middle ending in both accoutrements are EHQ #82, #112, and #126; filigree #68, #102, #109, and #384; elegant #37 and #381; and regular #4, #14, #17, #24, #31, #59, #69, #87, #88, #180, #181, #195, #220, and #241. Many other regular holders probably had single chains, now partially or wholly missing. 140. Thomas B. Wigley, The Art of the Goldsmith and Jewellery (London: Charles Griffin, 1911), 125–126; Glen F. Waszek, Making Silver Chains: Simple Techniques, Beautiful Designs (New York: Lark, 2001), 21–22. 141. Deitsch 99 has the same chain as #223, and its vase is almost identical. 142. ROM 42; Roccatagliata, Orafi e argentieri Genovesi, 116. 143. Elongated round- link chains are on BMP filigree #75, #135, and #224 and tripods #102, #109, #382, and #384. 144. Schwartz 24 (bottom left) has similar large elongated links. 145. Curb chains are on BMP filigree #18, #20, #61, #68, #89, #203, #226, #230, and #382; four of them (#18, #89, #203, and #226) have curved handles ending in spheres. In other collections, curb chains are on five of eight BMP filigree- type holders with curved handles ending in spheres: MCNY 34.10.1, MMA X.52.1.3, PMA 1902- 339, BMFA 46.701, and BMFA 52.1493, and Charlotte Irving’s holder. In addition, curb chains are on regular BMP #10 and ROM 24, which has the same handle as BMP filigree #209. A detached curb chain ending in a cotter pin is one of two chains pictured on BMP regular- type Marès 11 (same as Robert and Josiah Walsham’s #201 and MNBAQ 1958.538), but the round- link chain on the handle is likely the original one, because its broad finger ring matches those on #201 and the MNBAQ 1958.538. The only French holder with a curb chain is FG3 #147, but its attribution to France is questionable. 146. Wigley, Art of the Goldsmith, 125. Curb chains in the collection of the British Museum are also illustrated in Gere and Rudoe, Jewellery in the Age of Queen Victoria, 202–203; further information about Birmingham- made chains is in Rudoe, From Oroide to Platinageld, 49–72. Waszek, Making Silver Chains, 46–50. 147. Jean Reist Stark and Josephine Reist Smith, Classical Loop- in- Loop Chains and Their Derivatives (London: A & C Black, 2000), 1–3. Waszek, Making Silver Chains, 70–82. 148. See Note 36. 149. Stark and Smith, Classical Loop- in- Loop Chains, 24–27. 150. Seven BMP regular holders are dominant among 10 with solderless twisted- wire chains: BMP regular #4, #7, #85, #166, #188, #189, and #199; BMP elegant #381; and MPE #32 and #120. 151. The 12 holders in this collection with loop- in- loop sheet chains are FG1 #36, #48, #94, #117, #129, #144, #148, #155, #218, #222, and #377; and FG3 #234. The 29 in other collections are on Kenber 2, 11, 13, 14, 30, 45, 46, 48, and 56; Deitsch 9, 70, 72, 76, 83, 96, and 106; Hermitage 2, 16, and 17; ROM 5, 13, 31, and 34; Schwartz 21 (bottom right) and 24 (top, third from left), Marès 3; NYHS Z.2049; Galliera 1990.121.1; and Laufer 115. 152. Some holders were excluded from the list in Note 151 because they are almost certainly not original. Among those with mixed and damaged chains are FG2 #19 and #145, whereas FG2 holders in other collections consistently employ round- link chains. MPE silver vase brooch #101 has a flat oval loop- in- loop chain, but the chain is plated, indicating that it is not original since the vase is in sterling. Kenber 112 is definitely English because it matches BMP regular #90, but the French- type silver- plated brass loop- in- loop chain does not match the silver holder, almost certainly a replacement, and the floral pin is too long for the vase. Deitsch 37, entirely in gilt brass with green and red glass gems, has a pair of oval- link chains attached to the bottom, but its attribution to France is uncertain. 153. Among nine with figure- eight chains, only two have both chains, #36, with an enameled copper handle, and #218, with a mother- of- pearl handle; six are missing chains, and #155 has mixed chains. FG3 #234 has a figure- eight vase chain, but it is married to a J- shaped bone handle without means for attaching a chain to it. 154. In other collections, 8 of 12 FG1- type holders have both figure- eight chains; 7 have mother- of- pearl handles (Kenber 30, 48, and 56; Deitsch 106; Hermitage 17; ROM 34; and NYHS Z.2049); and 1 has a glass handle (Kenber 2). Two have mixed chains (Kenber tripod 46 and Deitsch 9), and two are missing chains (Kenber 45 and Hermitage 16). 155. Five similar holders with engaged glass handles and carrying chains like the two in this collection are ROM 5 and 13, Deitsch 70, Marès 3, and Galliera 1990.121. Five others with different glass handles and regular chains are Kenber 11 and 13, Deitsch 72, Schwartz 24 (third PRODUCING POSIES M 121 from left, top row), and Laufer 115 (with a handle similar to Schwartz 24). Two with enameled copper handles are Deitsch 83 and ROM 31; and three small bowling pins hung by chains from the rim of ROM 31 are analogous to six hanging elements on Marès 3. A third with an enameled handle, Hermitage 2, appears to have a carrying chain, but it is missing both a floral pin and finger ring, and the chain appears to have been joined in the middle, suggesting that accoutrements were lost and the two chains joined. 156. Among holders in other collections, three have mixed chains (Deitsch 9 and 76 and Kenber 14), and one has a single chain (Deitsch 96). 157. Crimpable chains are on 15 holders in other collections, all with at least one connection to the #216 subgroup: Kenber 20, 21, 28, 46, 54, and 113; ROM 16 and 39; Deitsch 57 and 76; Schwartz 21 (bottom center); Marès 9; Roe 357; V&A T.743B-1 913; and Galliera 1990.117.1. Twelve have two or more crimpable chains: Kenber 20, 21, 28, 46, 54, and 113; ROM 16 and 39; Deitsch 57; Marès 9; Roe 357; and V&A T.743B-1 913. Ten have crimpable chains attached separately in the same place, excepting Kenber 28 and V&A T.743B-1 913, which have chains attached to the vase and handle instead. 158. A slight change midway on the chain of #82 suggests where it was attached to a ring on the middle of the holder, now open. Tripod #112 has a broken link on its cap for attachment of a chain (missing), likely the same as the nearly identical RCIN 46276 at Windsor Castle, which retains a single chain with a cap at one end, a ring nearby, and a floral pin at the other end. 159. Three similar holders to #1 are Kenber 67, ROM 28, and Schwartz 1 (bottom). 160. One short and one long chain are found on filigree tripods #68, #102, #109, and probably #384, which has a short chain ending in a finger ring now attached to a fragment of a chain missing the floral pin. Shorter chains seemed to reduce tangling during disassembly for cleaning and reassembly afterward. 161. Separate attachment of chains to the vase and neck is found on filigree tripods #382 and #67, its finger ring now attached to the vase chain. 162. Filigree tripods #103, #104, and #113 have a finger ring chain attached mid-l egs. 163. Elegant-t ype holders Kenber 97 and 98 have similar roller-i mpressed net vases with intact handles, showing how the chain would have been attached on the handle of #29. 164. See Note 139. 165. The 30 FG1 holders with a wire-l oop vase chain attachment are #26, #30, #34, #35, #36, #43, #45, #48, #50, #55, #77, #80, #115, #117, #130, #136, #142, #144, #148, #154, #156, #176, #208, #215, #218, #222, #228, #232, #235, and #377. Four MPE holders with wire loops for chain attachments are #154, #157, #176, and #208. 166. Holders with the floral pin chain attached by a round link around a narrow vase element like FG2 holders are FG1 #44, #94, #184, #206, and #232 and FG3 #178, #202, #233, and #234. 167. Thirteen FG1 holders with a band around the handle, perforated for attachment of the handle chain, are #26, #30, #44, #45, #50, #53, #115, #130, #142, #155, #156, #206, and #215. Several handles are broken at the channel for the band, which is vulnerable to breakage because of narrowing of the handle and stress from use of the finger ring chain, for example, on FG1 #133. 168. All nine FG2 holders with extant handle chains have keyhole-s haped loops: #19, #38, #42, #123, #135, #138, #145, #185, and #240. Handle ends on #47 and #383 appear to have broken off where the loop would have been attached. Only #41 has a bone handle without a place for attaching the finger ring chain, but it is probably not original (see Note 44). 169. See Note 157. 170. FG1 holders with one or more connecting links of ungilt brass are #26, #36, #43, #44, #45, #48, #49, #53, #54, #77, #129, #130, #144, #148, #155, #156, #215, #216, #218, #222, and #228. 171. Kenber 36, Kenber 37, and Deitsch 12 have the same stamped neckpiece, chains, and chain attachments. Related Kenber 38 to 40 and Schwartz 12 (bottom right) have chains attached one above the other on the neck. 172. Kenber 16 has chains for accoutrements attached in different places. Roe 358 and Deitsch 77 have floral pin chains, and the latter has two round links near the bottom without attached chains. 173. Schwartz 20 (bottom left), which is identical to #211, has chains ending in both accoutrements attached to the loop. 174. Schwartz 11 (bottom right), Deitsch 73, and V&A 03416 I.S. have a single chain ending in a finger ring. Schwartz 11 (bottom left) is missing the finger ring, and the detached pin for the brooch is caught at the end of the chain. The sharp attachment pin, however, would seem to preclude carrying these holders by a finger, perhaps indicating that these brooches were copied from English examples without an understanding of the use of the finger ring. 175. The 29 English holders with cotter pins in the collection are EHQ #62, #65, #82, #106, #126, and #213; elegant #179; regular holders #14, #15, #21, #24, #31, #33, #59, #69, #70, #87, #88, #161, #162, #168, #186, #195, #204, #205, #220, and #241; and MPE #101 and #174. All could plausibly have been made in Birmingham. 176. Cotter pins are on at least 16 English holders in other collections: Kenber 10, 32, 49, 84 (London hallmark), 86, 87, 88, 90, 107, and 108; Deitsch 45, 64, 107, and 117; Schwartz 24 (bottom right); and Marès 11. Wilfried Zeisler posited a connection between cotter pins and English holders in catalog notes. Porte- bouquets, 73. 177. See Notes 39 and 40. 178. Following EHQ silver #100 hallmarked in Birmingham during 1838–1839, holders with interior prongs are mainly on elegant gilt- brass #27, #29, #51, #152, and #223. MPE gilt- brass brooch #78 has a Birmingham- type wire- loop clip and appears similar to elegant holders but was excluded from elegant holders because stampings similar to it have not been found among other elegant holders. Prongs have been noted inside elegant- type Kenber 12, 31, 51, and 97. 179. The 12 English holders with threaded holes and/or threaded floral pins are EHQ #112 and #194; BMP filigree #18; BMP regular #110, #134, #163, #165, #180, #212, #217, and #236; and MPE #120. 180. The double- lobed head is on floral pins of Deitsch 90, 92, and 112, all with similar enameled handles. 181. Seven French showstoppers in other collections that have floral pins with spheres just below the loop are Hermitage 5 and 17, Kenber 54 and 56, Galliera 1920.1.2774, Deitsch 62, and MCNY 33.125.1. 182. The 19 holders with center spikes or evidence of them in other collections are Kenber 20, 21, 28, 46, 48, 63, 109, and 113; Deitsch 57, 71, 85, 96, and 105; Marès 6 and 9; Schwartz 21 (two); ROM 16; and Hermitage 16. Seven of them also have mixed silver and gold plating like #216: Kenber 20, 21, 28, 46, and 113; Deitsch 57; and ROM 16. 183. Deitsch 71, 85, and 105; Schwartz 21 (upper right); and Kenber 28 and 109. X- radiography may be able to reveal the loop heads. 122 M MATERIALS AND FABRICATION 184. The small perpendicular attachment rings are on 17 FG1- type holders in other collections: Kenber 20, 21, 24, 25, 30, 48, 104, and 113; Deitsch 28, 37, 57, 68, 76, and 86; and ROM 16, 41, and 42. On English holders, the small perpendicular rings are on BMP filigree #18, #68, #102, #109, and #122; and BMP regular #58 and #165. 185. Rings made of wires are found on both English and French holders, such as BMP regular #200 and FG1 #114. 186. Knurled rings are on BMP filigree #18, #61, #122, and #135; a fifth knurled ring, found detached from holders in the collection, was added to filigree #75, likely its original location. 187. Foliate designs are stamped on finger rings of filigree holders #89, #113, #153, and #230 (same die as #113) and elegant #51, #89, #153, and #230. On French holders, they are on FG1 #26, #45, #53, #54, #115, and #130. 188. See Note 96 for a similar FG2- type holder in another collection with the same ring. 189. A similar adjustable ring is on Kenber 38 and Antique Cupboard j1291. https://antiquecupboard.com/Sterling- Art- Nouveau- Tussie- Mussie - with- Leaf- Cup- j1292_p_203729.html (accessed 8 January 2024). 190. The 14 elegant holders whose weight were averaged are #3, #15, #37, #51, #74, #152, #169, #172, #179, #205, #223, #225, #237, and #381. 191. The weight of three FG3 showstoppers (#124, #157, and #176) excluded outlier #208; only these three were measured because others were on display. 192. Four vases with spikes whose weight averaged 50 g are FG1 #35, #49, #216, and #221, excluding outlier #133. 193. The nine FG2 holders whose weights were averaged are #9, #19, #41, #42, #47, #123, #138, #185, and #383, excluding outlier #240, which has a thick replaced mirror. 194. Five enameled handled holders whose weight were averaged are #34, #36, #40, #48, and #232. 195. Ten FG1 holders not in other groups are #45, #77, #136, #142, #184, #215, #218, #228, #235, and #377; ivory-h andled outlier #44 was excluded from the average. 196. Six glass- handled holders whose weights were averaged are #30, #43, #50, #115, #148, and #222. PRODUCING POSIES M 123 4 CATALOG OF SMITHSONIAN GARDENS’ FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS In the following catalog, bouquet holders are organized by the country where they were made, beginning with the two largest groups made in England and France, each subdivided into three groups. They are followed by a handful of holders stamped in Germany and the United States and fligree holders made in Genoa (Italy), India, and China. Most plates have three images so that the reader can easily see similarities in six images on facing pages. Each catalog entry begins with the accession number followed by the materials employed on the holder and the height in centimeters (cm) and weight in grams (g) for those that were measured. Because of limited space, descriptions are as concise as possible, and less signifcant information may be omitted; for example, the type of chain may not be identifed if it comprises common round links, essentially the default chain. Two paragraphs follow each entry, the frst describing the parts of the holder, their manufacture, and assembly. The second paragraph identifes related holders in the Smithsonian collection and refers to those in other collections identifed in footnotes using naming conventions specifed in “Notes to the Reader” and “Lists of Abbreviations and Short- Form References to Other Holders.” Because of space limitations in the catalog, bibliographic references in footnotes list only the last name(s) of author(s) and a shortened title (see Bibliography for full citations). In addition, website URLs were verifed to be active as of January 2024 so that access dates could be omitted from footnotes. ENGLISH BOUQUET HOLDERS Most English bouquet holders in the collection were made entirely of silver or silver- plated brass; a much smaller number were made of gilt brass or other metals. Distin- guishing features include cotter pins for fxing fowers, almost exclusively found on 29 English holders, and wire- loop clips for attachment to clothing are on 16 holders asso- ciated with Birmingham. English holders are divided into the following three groups, with the largest group divided into three subsets: PRODUCING POSIES M 125 • English high quality (EHQ), 18 holders based on a core group of 7 hallmarked in sterling silver • Birmingham mass produced (BMP), 114 related holders divided into three subsets, presented in approximate chronological order – 24 BMP fligree holders made in sterling silver before electroplating was available, including 21 constructed around a threaded brass post and 16 at least partly made with fligree – 15 BMP elegant holders made with less handwork than the previous subset and with several features unusual for English holders: mother-o f-p earl handles, separate neckbands or neckpieces, and pattern-i mpressed sheets – 75 BMP regular holders that maximized mass production, including 25 with designs by three Birmingham manufacturers who began to register and employ them on holders in 1863 • Miscellaneous probably English (MPE), 15 holders with English characteristics found in the frst two groups but without congruencies of dies that tie them defnitively to those groups ENGLISH HIGH QUALITY GROUP The EHQ group (Plates 1–6) of 18 bouquet holders was formed around a core group hall- marked in sterling silver, and the holders are presented in chronological order insofar as dates are known. These holders span the popularity of bouquet holders from the earliest hallmarked during 1838–1839, doubtless stimulated by widely circulated images of Queen Victoria with a posy holder at the Drury Lane Theatre in 1837 (Figure 1), to the last one hallmarked during 1913–1914 just before the outbreak of the First World War. Three holders were hallmarked in Birmingham, including the earliest, #100 (Plate  1); one each was hallmarked in London, Shefeld, and Chester; and the seventh lacks city and date stamps. Hallmarking was not required but was done for commercial reasons, and analyses showed that most other silver holders have compositions consistent with sterling. The remaining holders in the group have features related to the hallmarked holders. Some were made using traditional silversmithing techniques, but the earliest hallmarked, #100, was stamped, setting a precedent for holders later in the century that would be largely mass produced. 126 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 1. “EHQ” HORN- SHAPED HOLDERS, INCLUDING A BROOCH HALLMARKED DURING 1838–1839 a b c PLATE 1a. FJP.1987.100. Silver (7 cm, 6 g) PLATE 1b. FJP.1987.065. Gilt silver (9 cm, PLATE 1c. FJP.1987.062. Gilt brass (8 cm, 79 g) 115 g) Cornucopia brooch hallmarked during 1838–1839 by Joseph Will- Heavy (cast?) futed horn-s haped Heavy horn- shaped cast(?) tri- more in Birmingham, the earliest tripod, spring- loaded button on pod shown with legs open (see documented English holder in the the underside for opening legs, Plate 1b for similar closed legs), collection,1 stamped in mirror- shown closed here (see Plate 1c for inscribed “E. S. M. 1 Jan. 1864” image pieces with interior prongs similar legs open); cotter pin. above the legs; cotter pin. for securing fowers; wire-l oop Tripod similar to a futed, Design similar to that in Plate 1b clip on the back for attachment to turquoise- encrusted example and six others (see Note 5); cotter clothing. owned by Queen Victoria hall- pin as on 29 English holders (see Same brooch as one in another marked by William Nichols during Note 6). collection, and similar to another;2 1854–1855, a spiraled tripod wire- loop clip similar to those on 24 belonging to her mother, one in others made decades later;3 prongs Plate 1c, and others;5 cotter pin as mainly similar to BMP elegant in 29 English holders.6 holders.4 1. The brooch is said to have been worn in 1915 by Helen Herron Taft (1861–1930), U.S. President William Howard Taft’s wife. Frances Jones Poetker, Posey Holders, typescript, March 1982, 5. It was hallmarked just a year after an image of the 18- year- old Queen Victoria holding a bouquet holder at the theater popularized the form (Figure 1). 2. Hallmarked Deitsch 112 is identical, and Deitsch 74 is similar; both have wire- loop clips on the back. 3. The wire- loop clip on #100 precedes those on 15 others likely made in Birmingham: BMP elegant #15, #74, #131, #169, #179, and #237; BMP regular #1980.026, #73, #90, #139, #172, #143, and #195; and MPE #78 and #93. Nine are known in other collections: Kenber 35, 51, and 106; Deitsch 74, 75, and 112; and Schwartz 19 (upper left) and 23 (two examples, left). 4. Prongs on #100 precede BMP elegant #27, #29, #51, #152, and #223; MPE #78; and Kenber 12, 31, 51, and 97. 5. Queen Victoria’s tripod is RCIN 4786. RCIN 52626, which belonged to her mother, the Duchess of Kent (1786–1861), is inscribed “Used Constantly by H.R.H. the Dutchess of Kent Obt. March 16, 1861.” Others in gilt silver are Schwartz 18 (lower right), Kenber 107, Deitsch 45, and Deitsch 77. 6. Cotter pins are on 29 English holders, mostly associated with Birmingham: EHQ #62, #65, #82, #106, #126, and #213; BMP #14, #15, #21, #24, #31, #33, #59, #69, #70, #87, #88, #161, #162, #168, #179, #186, #195, #204, 205, #220, and #241; and MPE #101 and #174; otherwise, they are only on Genoese filigree #63 and #71. Sixteen are on Birmingham associated Kenber 32, 49, 84, 86, 87, 88, 90, 107, and 108; Deitsch 45, 64, 107, and 117; Schwartz 17 (lower right) and 24 (bottom right); and Marès 11. ENGLISH HIGH-QUALITY M 127 PLATE 2. “EHQ” SILVER TRIPOD HALLMARKED IN 1863–1864 AND TWO OTHERS a b c PLATE 2a. FJP.1987.112. Silver (18 cm, 61 g) PLATE 2b. FJP.1987.082. Silver (18 cm, 45 g) PLATE 2c. FJP.1987.002. Silver (13 cm, 22 g) Tripod hallmarked in Birming- Tripod made of less silver than Engraved cutout, bent-s heet vase, ham by Henry Hyde Aston during sterling (see Appendix Table plain- sheet neck with rolled rim, 1863–1864; a beaded rim above a A.1); vase engraved with fowers and octagonal handle, a stamped cutout, bent- sheet vase engraved and leaves; bifurcated legs with sphere at the tip; chains attached with Prince of Wales plumes, Roman numerals XII and XIII to the sphere, a long one ending likely related to the prince’s scratched on the back; ridged in a cotter pin (part missing) and marriage in 1863; gadroons above threads on feet matching thread- the other fragmentary. a six- leaf collar; stamped bifur- ing in the elongated shank of a cated legs, threaded feet, and a cap ending in a sphere; ring at the Cutout and bent-s heet vase similar teardrop cap with a broken loop neck for attachment of a chain to #112 (Plate 2a); neck and handle at the bottom that had attached (missing); long chain attached to similar to #82 (Plate 2b) and #213 a chain. the bottom ending in a cotter pin. (Plate 5); engraved handle similar to two others with cotter pins11 Same tripod as one in the British Floral vase designs similar to #213 and eight hexagonal stamped BMP Royal Collection retaining a single (Plate 5); neck and handle similar regular handles (Plates 32–35). chain with a cotter pin and cap at to those in Plate 2c; handle designs each end, a fnger ring near the similar to Plate 32c; legs, feet, cap (likely the same as the missing and chain attachments similar chain on this tripod);7 cutout, bent, to other English holders;9 cotter and engraved sheet similar to pin as on 29 English holders (see Plate 2c with a design similar to Note 6); Roman numerals similar others.8 to those on four BMP fligree tripods, indicating manufacture in  Birmingham.10 7. RCIN 46276, almost identical to #112, has a shield engraved with “EWR” horizontally and “CTL” vertically. 8. Laufer 49 has a similar six-l eaf collar, tripod legs, threaded feet, and teardrop cap married to the same vase stampings as BMP regular #186 and #236. Kenber 92, hallmarked in Birmingham in 1873, has a similar beaded rim, cotter pin, and cap. Deitsch 64 and 109 have similar beaded rims, cotter pins, and caps, but the caps are fixed. 9. ROM 21 has a similar neck, legs, threaded feet, cap, and cotter pin. Kenber 49, Deitsch 117, and Schwartz 18 (bottom left) have similar feet, caps, and cotter pins. 10. In addition to EHQ #82, BMP filigree tripods #67, #68, #102, #109, and #378 have similar Roman numerals apparently related to assembly. 11. Kenber 86 and 90 have similar engraved handles. 128 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 3. “EHQ” CONE- SHAPED TRIPODS WITH LEGS ATTACHED MID- VASE ON THE EXTERIOR, THE FIRST OF TWO TRIPODS HALLMARKED DURING 1869–1870 a b c PLATE 3a. FJP.1987.158. Gilt silver, turquoise PLATE 3b. FJP.1987.106. Gilt brass, enamel PLATE 3c. FJP.1987.105. Silver (13 cm, 27 g) (11 cm, 78 g) Six- lobed cone- shaped tripod Six- lobed cone- shaped sterling Copying an 1862 crystal tripod,12 with alternating blue and silver tripod (see Appendix Table a heavy thickly electrogilded (see black enamel inlays and zigzag A.1) with a scalloped rim and Appendix Table A.3), cone- shaped machine-m ade borders; legs raised border; faux threading tripod hallmarked in London extend when the spring- loaded on the tip matching threads on during 1869–1870 by Alexander knob at the bottom is pulled the feet, which screwed on a cap Macrae; pair of spring- loaded down (see Plate 3a for a similar (missing). pins at the top for holding open appearance); cotter pin. fowers; legs making a handle Cone shape similar to that in Plates when the spring- loaded knob at Cone shape similar to that in 3a,b and 4a; scalloped rim, raised the bottom holds feet together Plate 3a,c and 4a; inlaid enamel border, and engraving similar (see Plate 3b for a similar closed designs similar to Birmingham to #151 and #213 (Plate 5); raised appearance). jewelry and a hallmarked vinai- border and lobed vase generally grette/holder;15 tripod mechanism similar to another;17 leg shape Same holder as fve others;13 cone similar to that in Plate 3a; zigzag similar to that in Plate 3a and two shape similar to that in Plates and dotted machine-m ade borders others (see Note 14). 3b,c and 4a; tripod mechanism similar to others;16 cotter pin as on similar to that in Plate 3b; leg 29 English holders (see Note 6). shape similar to Plate 3c and others hallmarked in 1873.14 12. The crystal tripod with gold decoration was shown in the 1862 International Exhibition in London by the department store Howell James & Company, illustrated in Shirley Bury, Jewellery 1789–1910: The International Era. Woodbridge, Suffolk, U.K.: Antique Collectors’ Club, 1991, 457. 13. Roe 355- 56, hallmarked in London in 1863; Kenber 66, hallmarked by William Neal in London in 1864; a Macrae copy hallmarked in London in 1867 sold by Steppes Hill Farm Antiques, CH0096B. https://www.steppeshillfarmantiques.com; Deitsch 124, hallmarked in London; and Deitsch 119. More derivative are Schwartz 18 (center right) and Deitsch 126. 14. Kenber 91, hallmarked in London, and Kenber 92, hallmarked in Birmingham. 15. Similar inlaid bracelets and a pin made by T. & J. Bragg of Birmingham “probably to rival French taste” were in the 1862 London Exhibition, acquired by the South Kensington Museum, illustrated in Gere and Rudoe, Jewellery in the Age of Queen Victoria, 271. Deitsch 17, the vinaigrette/holder, was hallmarked in 1869 in Birmingham. 16. Similar zigzag and other machine- made borders are on EHQ #91, #106, #151, #194, and #213 and BMP regular #69 and 165. 17. Kenber 88. ENGLISH HIGH-QUALITY M 129 PLATE 4. “EHQ” ELECTROGILDED SILVER HOLDERS, THE FIRST WITH JAWS TO HOLD FLOWERS PATENTED BY JOSEPH JOSEPH IN 1873 a b c PLATE 4a. FJP.1987.001. Silver, gilt silver PLATE 4b. FJP.1987.091. Silver, gilt silver PLATE 4c. FJP.1987.194. Gilt silver (15 cm, (11 cm, 53 g) (14 cm, 23 g) 36 g) Heavy gilt- silver cone- shaped vase Lightweight holder; gilt- silver Holder hallmarked by Roberts with contrasting applied silver stamped borders bracketing a & Belk Ltd. during 1869–1870 acanthus leaves and wheat sheafs; cone- shaped sheet vase, machine- in Shefeld with relatively thick spring-l oaded jaws stamped made zigzag borders and laurel gold electroplating (see Appendix “PATENT” on top (Figure 8), wreaths engraved around three Table A.3); vase with beaded rim referring to an 1873 patent held silver Greek warrior heads in and gadroons below the rim and by Joseph Joseph of B. H. Joseph profle attached by brads; same mid-v ase; darkened channels and & Co (Figure 9);18 small knob at border at the base of the sheet machine-m ade zigzag borders on the bottom. handle; small knob at the bottom; the vase and handle; threaded snake chain. foral pin on a long chain with a Holder nearly identical to one hall- fnger ring midway; small knob at marked in Birmingham by B. H. Stamped borders similar to #151 the bottom. Joseph & Co. during 1874–1875 and #213 (Plate 5); machine- made and others marked “B. H. J.” and zigzags similar to those in Plate 3b, Darkened channels similar to those “PATENT;”19 patent stamp similar 5b, and on others (see Note 16); in Plate 5a. to MPE #107 (Plate 48), probably contrasting applied decorations also by the same frm; cone shape similar to those in Plate 4a; similar to tripods in Plate 3; snake chain similar to FG1 #184 contrasting applied decorations (Plate 55). similar to those in Plate 4b. 18. Joseph Joseph, Dress or bouquet holder, English Patent 440, dated 6 February 1873 and issued 1 August 1873. The same mechanism is on a holder given to Alexandra, Princess of Wales, by the Birmingham mayoress during an 1874 visit to the city, then registered by the company as a “Princess of Wales” holder (Figure 2). Illustrated London News Supplement, 470. 19. ROM 28. Peter Kaellgren, Royal Ontario Museum, Toronto, Canada. Recent Acquisitions: Posy Holders, Journal of the Silver Society 26(2010):96–97. Other copies are Schwartz 1 (bottom) and Kenber 67, stamped “PATENT” and “B. H. J.,” but without hallmarks. 130 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 5. “EHQ” SILVER HOLDERS a b c PLATE 5a. FJP.1987.140. Silver (15 cm, 45 g) PLATE 5b. FJP.1987.151. Silver (15 cm, 24 g) PLATE 5c. FJP.1987.213. Silver (14 cm, 22 g) Sterling silver holder (see Appen- Lightweight sterling silver Lightweight holder; scalloped rim dix Table A.1); vase with beaded holder (see Appendix Table A.1); above stamped raised borders rim, engraved oval for a mono- scalloped rim, stamped raised and an octagonal sheet vase gram, fowers, machine texturing, borders bracketing an octagonal with engraved fowers, machine- decorative divots, and darkened sheet vase with two seams and made zigzag borders, and other diamond-s haped channels; machine- tooled borders; sheet machine- made designs; neckpiece handle with three protrusions neck; stamped raised border atop with vertical seams; engraved and similar divots. a plain curved handle ending in octagonal sheet handle ending in a small sphere (repaired near the a sphere; cotter pin (broken). Darkened channels similar to the end); fat- headed foral pin at the hallmarked holder in Plate 4c. end of a chain attached to the Scalloped rim with raised border neck. similar to that in Plates 3c and 5b; handle similar to 10 BMP regular Scalloped rim above a raised bor- hexagonal handles (Plates 32–35), der similar to that in Plates 3c and engraved designs similar to #2 5c; machine- made ticks similar to (Plate 2) and others (see Note 11); zigzags (see Note 16); plain curved cotter pin as on 29 English holders handle similar to six BMP fligree (see Note 6). holders ending in larger spheres (Plates 11–14). ENGLISH HIGH-QUALITY M 131 PLATE 6. “EHQ” PLAIN SILVER HOLDERS, THE LAST TWO HALLMARKED IN THE EARLY TWENTIETH CENTURY a b c PLATE 6a. FJP.1987.126. Silver (13 cm, 17 g) PLATE 6b. FJP.1987.076. Silver (10 cm, 42 g) PLATE 6c. FJP.1987.079. Silver, gilt silver, gilt brass, lead (14 cm, 59 g) Lightest- weight EHQ holder in Plain hexagonal cone- shaped vase sterling silver (see Appendix Table hallmarked by Shefeld- based Curved rim and small sphere at A.1); incomplete nearly illegible James Deakin & Sons in Chester the tip of a plain cone- shaped hallmark, possibly Parkin & Mar- during 1912–1913; hinged top with vase with rolled rim hallmarked shall (1837–1900) of Shefeld;20 a round aperture for retaining during 1913–1914 by Adie & hexagonal sheet vase engraved fowers; hung from a chain Lovekin in Birmingham; hung with encircled fowers; plain attached to fttings at the top on from a pale pink ribbon also hexagonal sheet handle ending either side; a small sphere at the strung with a silver ring (not in a small sphere; single chain, a tip. pictured); gilt interior with a lead- cotter pin (broken) at one end and weighted gilt-b rass grill to secure a fnger ring at the other. Plain style similar to that in fowers. Plate 6c and MPE #108 (Plate 49), Handle shape similar to that in probably infuenced by the func- Plain style similar to that in Plate 5c and 10 BMP regular tionalism of Christopher Dresser, Plate 6b and MPE #108 (Plate 49), hexagonal sheet handles (Plates whose design for a decanter was probably infuenced by the func- 32–35); single chain attached imitated by the frm in about tionalism of Christopher Dresser midway with accoutrements at 1885;22 side fttings at the top (see Note 22); side fttings at the ends similar to those on 20 mass- attaching the chain similar to those top similar to those in Plate 6b for produced holders, especially in the in Plate 6c. attachment of a chain. BMP regular subset;21 cotter pin as on 29 English holders (see Note 6). 20. The maker’s mark is double struck and interrupted by a hole for the floral pin, making it difficult to identify: “P [or possibly “B” or “R”] & M.” A rampant lion is present, but city and date marks are missing. The hallmark may be spurious. 21. Single chains ending in both accoutrements are on EHQ #126; BMP filigree #68, #102, #109, and #384; BMP elegant #37 and #381; and BMP regular #4, #14, #17, #24, #31, #59, #69, #87, #88, #180, #181, #195, #220, and #241. They were likely on many more, especially on BMP regular holders, but the mid- chain attachment made them vulnerable to damage and loss. 22. Shirley Bury, Victorian Electroplate (London: Country Life Books, 1971), 57. 132 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS BIRMINGHAM MASS PRODUCED FILIGREE SUBSET The BMP fligree subset consists of 24 holders (Plates 7–14); 16 are made using basic fligree, and the other 8 have similar construction and features. It is the earliest BMP subset, and all show surfaces are in sterling silver. Eleven holders are tripods, eight have notched handles curving to spheres, four have tubular handles, and one is horn shaped. Among English holders, fligree tripods are on average the tallest and second heaviest (see Table 4). They are linked to later BMP holders by use of the same dies. These are the least mass produced among BMP holders, and the absence of plating supports fabrication before electroplating had become available, also according with dates for two in American museum collections: one with a notched handle curving to a large sphere given to Charlotte Irving at the time of her marriage in 1847 (Figure 3) and a tripod with a fligree vase inscribed with the initials of Mary O. Havemeyer and 1858 (Figure 4). Fabrication was labor-i ntensive for these holders, both because of the many wires required of fligree and construction around a brass post covered by small silver pieces. Seventeen have mid- vase collars of three leaves alternating with three stamped fow- ers atop wires, and two have collars of fligree oak leaves and stamped acorns. Basic stretched spirals comprise most fligree, but tripod #68 and horn- shaped #122 also em- ploy spiral mesh. Tripod legs are bifurcated, and a hexagonal wire ring forms a han- dle when pushed down over them. Curb chains are exclusively on nine holders in this group. Elongated round- link chains are on seven and loop- in- loop wire chains on two, otherwise found only on two Genoese holders. Continuity of dies was found for BMP fligree holders made in the 1840s, notably to the same handle on the last holder to that on the second BMP regular holder. Most likely, Henry Jenkins made the fligree holders, because he founded his business in Bir- mingham in 1830 that became Henry Jenkins & Sons, which began registering designs employed on BMP regular holders in 1863. BIRMINGHAM MASS PRODUCED FILIGREE M 133 PLATE 7. “BMP FILIGREE” TRIPODS COMPRISED OF FILIGREE EXCEPT FOR STAMPED FLOWERS, COLLARS, AND FEET a b c PLATE 7a. FJP.1987.113. Silver (19 cm, 61 g) PLATE 7b. FJP.1987.103. Silver (20 cm, 50 g) PLATE 7c. FJP.1987.104. Silver (19 cm, 50 g) Tripod shown open (see Plate 7b Tripod shown closed (see Plate 7a Tripod altered by removal of for a similar holder closed); for similar legs open); fligree steel spring boards and addition fligree vase of four large vase of three full-h eight butterfy- of a wheel, no longer closable to curve-t opped petals, small oak wing-s haped replicates, three form a handle; fligree vase of leaves over joins, and slightly small fligree ovals flling gaps four pointed- petal replicates with larger oak leaves attached to a below joins, and a brass post un- sheet supports below joins and disk atop a brass post; collar of derneath; collar of three rounded a brass post underneath; collar three stamped fowers with fve bifurcated six- petal stamped of three rounded bifurcated pointed-p etal fowers in between fowers between three upright six- petal stamped fowers (two three upright fligree leaves; fligree leaves; stamped rounded missing) between three upright stamped foliate hinging collar six-l eaf hinging collar attaching fligree leaves; stamped rounded attaching bifurcated fligree bifurcated fligree legs (for detail six- leaf hinging collar attaching legs with stamped long- leaf feet of the underside, see Figure 83) bifurcated fligree legs and long- (Figure 82); stamped foliate fnger ending in stamped long-l eaf feet. leaf feet. ring. Same stamped fowers on wires as Same stamped fowers as those Filigree oak leaves similar to the those in Plate 7c and seven oth- in Plate 7b and seven others (see Havemeyer tripod (Figure  4);23 ers;25 same stamped hinging collar Note 25); same stamped hinging same upright fligree collar leaves as that in Plates 7c and 10a; fligree collar as that in Plates 7b and 10a; as those in Plate 7b,c and four oth- legs similar to those in Plates 7a,c, legs similar to those in Plates 7a,b, ers;24 fligree legs similar to those 8a, and 12c; same long- leaf feet as 8a, and 12c; same long-l eaf feet as in Plates 7b,c, 8a, and 12c; same those in Plate 7a,c. those in Plate 7a,b. long-l eaf feet as those in Plate 7b,c; same foliate fnger ring as that in Plate 14b. 23. Tripod MCNY 33.126.2, initials of Mary O. Havemeyer and “Jan. 13, 1858” inscribed on a silver tag attached to the front leg (Figure 4), has the same mid-v ase acorn and oak leaf collar as #109 and #224, MCNY 39.172, and C- H 1959- 1. Its stamped legs are the same as those on #67, #102, #109, and #378. 24. Upright curved filigree leaves are on #68, #75, #103, #104, #113, #209, and #230. 25. Stamped flowers with rounded, bifurcated petals are on nine mid- vase collars: #75, #89, #103, #104, #203, #209, #226, #230, and #382; and paired with upright filigree leaves on five: #75, #103, #104, #209, and #230. 134 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 8. “BMP FILIGREE” TRIPODS WITH ASYMMETRICAL VASES AND LOOPED RIMS a b c PLATE 8a. FJP.1987.084. Silver (16 cm, 43 g) PLATE 8b. FJP.1987.384. Silver (13 cm, 50 g) PLATE 8c. FJP.1987.378. Silver (15 cm, 51 g) Tripod; asymmetrical fligree Tripod; asymmetrical fligree Tripod; asymmetrical fligree vase (for detail, see Figure 39), vase, short twisted-w ire loops vase with plain wire loops wide twisted-w ire loops around around the rim ending in a curled around the rim ending in a the rim hanging stamped hemi- handle at the lower side, an oval curled handle at the lower side, spheres, an oval sheet mono- sheet at the apex, four fligree oak oval sheet at the apex, and a grammed at the apex, and a brass leaves below, and a brass post brass post underneath; collar of post underneath; three-l obed underneath; collar of three large, three pointed six-p etal stamped fligree hinging collar attaching rounded six-p etal fowers and fowers (one missing) and curled fligree legs ending in stamped curled fligree leaves; stamped fligree leaves; stamped pointed rounded feet (one leg detached). pointed six-l eaf hinging collar six-p etal hinging collar attaching attaching legs (missing); single stamped diamond-p atterned legs Asymmetrical vase with a loop elongated round-l ink chain, a (one detached), Roman numerals rim similar to those in Plate 8b,c; short section ending in a fnger on back; small stamped feet. fligree legs similar to those in Plates 7 and 12c. ring, the other part fragmentary. Asymmetrical vase similar to Asymmetrical vase similar to those those in Plate 8a,b; same mid- vase in Plate 8a,c; same rounded collar collar with pointed- petal fowers fowers as those in Plate 12c and as those in Plate 9a,b; same fligree one in another collection;26 same leaves as those in Plate 8b; same curled collar leaves and pointed- pointed leaf hinging collar as those leaf hinging collar as those in in Plates 8b and 9 (see Note 27); Plates 8c and 9;27 elongated round- same diamond-p atterned legs with link chain similar to six other Roman numerals as those in Plates fligree holders,28 a foral pin at one 2b and 9; same small feet as those end and a fnger ring at the other, in Plate 9 and on others.29 as on 20 others (see Note 21). 26. Kenber tripod 95, which also has the same rounded collar flowers atop wires as BMP filigree #68, the same pansy as the vase of BMP elegant #237, and the same four-p etal crocus neck as BMP filigree #209 and BMP regular #10. 27. The same pointed six-l eaf hinging collar is on #67, #102, #109, #224, and #384. 28. Six filigree holders with elongated round-l ink chains are #75, #102, #109, #135, #224, and #384. 29. The same legs and feet are on Deitsch 115, NYHS 1931-7 9, MCNY 33.126.2, and MCNY 39.172. BIRMINGHAM MASS PRODUCED FILIGREE M 135 PLATE 9. “BMP FILIGREE” TRIPODS WITH DIAMOND- PATTERNED LEGS, ROMAN NUMERALS INSCRIBED ON THE BACK a b c PLATE 9a. FJP.1987.067. Silver (19 cm, 68 g) PLATE 9b. FJP.1987.102. Silver (18 cm, 51 g) PLATE 9c. FJP.1987.109. Silver (18 cm, 42 g) Tripod shown open (Plate 9c Tripod shown open (Plate 9c Tripod shown closed (Plates shows similar tripod closed); shows similar tripod closed); 8c, 9a,b show similar tripods fligree vase of 5 rectilinear large stamped vase with 3 open); cone-shaped fligree vase panels, looped borders on 3 sides replicates of a long pointed leaf of 3 rounded petals, each with above 5 broad petals, and brass around rim above 3 replicates of a looped border around a spiral post; collar of 3 stamped pointed a large fower between tips of 3 with a small domical center, and 6-petal fowers and curled fligree pairs of the same leaf linked by brass post; collar of 2 replicates leaves; stamped pointed 6-leaf a small crosswise leaf, graduated of a fligree oak leaf with a hinging collar attaching stamped dots hung from curled wires curled wire ending in a stamped diamond-patterned bifurcated between pairs, and brass post; acorn; stamped pointed 6-leaf legs, Roman numerals scratched collar of 3 stamped pointed hinging collar attaching diamond- on back; small stamped feet; wire 6-petal fowers and curled fligree patterned bifurcated legs, Roman loop-in-loop chains, a long section leaves; stamped pointed 6-leaf numerals on the back; small having lost the foral pin now hinging collar attaching stamped stamped feet; elongated round- attached to the fnger ring at end diamond-patterned bifurcated link chain attached to the mid- of a short chain secured to the legs, Roman numerals on back; vase collar, short piece ending in mid-vase collar. small stamped feet; single elon- the fnger ring and longer piece, gated round-link chain, a long the foral pin. Same mid-vase collar as in Plates piece ending in the foral pin and 8c, 9b; same pointed leaf hinging a short piece, the fnger ring. Same oak leaf and acorn collar collar as Plate 9b,c and others as in Plate 10b, on the Havemeyer (Note 27); legs with similar Roman Same mid-vase collar as Plates 8c, holder, and others (Note 23); same numerals to Plates 2b, 8c, and 9b,c; 9a; same pointed leaf hinging col- pointed leaf hinging collar as same feet as Plates 8c, 9b,c, and lar as Plate 9a,c and others (Note Plates 8b,c and 9a,b (see Note 27); others (Note 29); same wire loop- 27); same legs with Roman numer- same legs with Roman numerals in-loop chain as Plate 14c, the only als as others (Note 10); same feet as Plate 9a,b and others (Note 10); other one among English holders. as Plate 9a,c and others (Note 29); same feet as Plates 8c, 9a,b, and single elongated-link chain similar others (Note 29); same elongated to Plate 9c and others (Note 28), chain as Plate 9b and others (Note ending in a foral pin and fnger 28); single chain for the foral pin ring like 20 others (Note 21). and fnger ring similar to 20 others, including Plate 9b (Note 21). 136 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 10. “BMP FILIGREE” TRIPOD WITHOUT FILIGREE AND TWO HOLDERS PARTLY IN FILIGREE WITH TUBULAR HANDLES AND INTERNAL BRASS POSTS a b c PLATE 10a. FJP.1987.382. Silver (19 cm, 57 g) PLATE 10b. FJP.1987.224. Silver (17 cm, 37 g) PLATE 10c. FJP.1987.153. Silver Tripod; vase of three full- height Vase of three replicates of fli- Vase of four full-h eight round- stamped replicates of a pair of gree oak leaves in a triangle, a topped fligree leaves with large scrolls atop a large acanthus stamped acorn on a wire in the polished sheet below joins in leaf, a wire above a polished center and stamped knot and between them, a brass post sheet between them, and brass textured oak leaf below; row of underneath; cup atop a tubular post underneath; mid- vase collar stamped hemispheres hung from handle covered by four long of three rounded six- petal fowers a wire between replicates and bifurcated textured leaves (one and upright pointed textured brass post underneath; collar of missing) attached at the bottom; leaves; second collar of four two replicates of a fligree oak spherical cap attaching a chain upright broad leaves; rounded leaf and acorn on a curled wire; ending in a foliate fnger ring. six- leaf hinging collar attaching stamped pointed six- leaf collar; foral- patterned bifurcated legs tubular handle with six fligree Same holder as another;35 tubular (one missing); acanthus leaf feet; leaves around it; spherical cap; handle similar to those in Plates curb chains. elongated round- link chain 10b and 11a,b; foliate fnger ring ending in a foral pin. similar to that on fve English Same vase stampings as those in holders.36 Plate 14a; same mid-v ase collar Same oak leaf and acorn collar as with upright pointed leaves as fve #109 (Plate 9) and on others (see others, three with the same fow- Note 23); knot similar to another;33 ers;30 same hinging collar as that in tubular handle similar to that in Plate 7b, c; same broad-l eaf collar, Plates 10c, 11a,b, and on others;34 legs, and feet as three others;31 curb elongated link chain similar to six chains similar to eight others in others in this subset (see Note 28). this subset.32 30. Six collars with stamped pointed upright textured leaves are on #18, #89, #135, #203, #226, and #382, which are paired with the same rounded bifurcated six- petal collar flowers on #89, #203, #226, and #382 (see also Note 25). 31. Deitsch 118, NYHS 1948.44, and PMA 1932- 44- 5b have the same broad- leaf collars, legs, and feet. 32. Nine BMP filigree holders with curb chains are #18, #20, #61, #68, #89, #203, #226, #230, and #382. 33. Similar knots are on thick vase wires of PMA tripod 1932- 44- 5c, its vase similar to MPE #11. 34. Tubular handles are on #20, #61, #153, and #224; MCNY 33.252.8; and PMA 1932- 44- 5a, which has the same handle as #20 and #61. 35. MCNY 33.252.8 is essentially identical to #153. 36. Foliate finger rings are on BMP filigree #89, #113, and #153 and BMP elegant #51 and #230 (same as #113). BIRMINGHAM MASS PRODUCED FILIGREE M 137 PLATE 11. “BMP FILIGREE” HOLDERS WITHOUT FILIGREE, THE LAST TWO WITH JOSEPH WILLMORE–TYPE VEINED LEAVES a b c PLATE 11a. FJP.1987.020. Silver (18 cm, 31 g) PLATE 11b. FJP.1987.061. Silver (15 cm, 21 g) PLATE 11c. FJP.1987.226. Silver (13 cm, 30 g) Vase of six replicates of a textured Vase of two stamped replicates Vase of two stamped replicates frond, six smaller curled fronds forming six heavily veined tex- forming eight heavily veined tex- forming a sphere around the tured leaves above two replicates tured leaves above four acanthus base; cup atop a tubular handle of four acanthus leaves atop a leaves; collar of three stamped (without a brass post inside) sphere; cup atop a tubular handle bifurcated six-p etal fowers and wound by a long, narrow stamped without a brass post under- three upright pointed textured leaf; textured cap, broken of loop neath, wound by a long, narrow leaves; notched curved handle, at the bottom originally attach- stamped leaf; textured cap; curb broken, reduced in length, and ing the curb chain as that in chain attached to a loop on the ending in a stamped sphere Plate 11b, now afxed to the side. cap’s bottom, ending in a knurled smaller than the original one; fnger ring (see Figure 110). curb chain. Textured stampings similar to other BMP fligree holders, such as Same veined leaf stampings as Same holder as another with an those in Plate 11b,c; same handle as those in Plate 11c except for fewer intact handle;39 same veined leaf that in Plate 11b and another (see leaves and similar to Joseph Will- stamping as that in Plate 11b but Note 34) and similar to those in more’s leaves circa 1830;37 same with two more leaves and similar Plate 10b,c except without a brass handle as that in Plate 11a and to Joseph Willmore’s leaves (see post; curb chain similar to those in another (see Note 34) and similar to Note 37); same mid- vase collar as Plates 11b,c, 12a and on others (see that in Plate 10b,c, except without on fve others (see Note 30); same Note 32), originally attached as on a brass post; same curb chain as handle as that in Plate 12a, on four Plate 11b. those in Plates 11a,c, 12a, and on more in this subset and 11 others, others (see Note 32); same knurled including Charlotte Irving’s holder fnger ring as others.38 dated 1847 (Figure 3);40 same curb chain as those in Plate 11a,b and on fve others in this subset (see Note 32). 37. Willmore tapersticks and vinaigrettes with similar veined leaves are Birmingham Assay Office nos. 422, 1065, and 1139. Rosemary Ransome-W allis, Matthew Boulton and the Toymakers: Silver from the Birmingham Assay Office (Birmingham, U.K.: Colmore, 1982), 82–83. 38. Knurled finger rings are on BMP filigree #18, #61, #122, and #135. A detached knurled ring was added to #75, likely its original location. 39. PMA 1902- 339 is the same as #226 before it was damaged and repaired. 40. Six similar BMP filigree holders with the same handles are #18, #75, #89, #135, #203, and #226; 11 others are Charlotte Irving’s 1847 holder (SS.75.21); C- H 1959- 58-1; MCNY 34.10.1; MMA CI x.52.1.3; Schwartz 23 (center) and 25; BMFA 45.534, 46.701, and 52.1493; Laufer, table of contents page; and a Peabody Essex 138 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 12. “BMP FILIGREE” HOLDERS, ONE WITH A CURVED SHEET HANDLE AND TWO MADE WITH FILIGREE MESH a b c PLATE 12a. FJP.1987.018. Silver (13 cm, 34 g) PLATE 12b. FJP.1987.122. Silver (11 cm, 37 g) PLATE 12c. FJP.1987.068. Silver (19 cm, 84 g) Vase of six replicates of a full- Filigree vase of 20 stretched- Heaviest fligree holder in the col- height pointed textured leaf, a spiral fligree leaves (for detail, lection comprising 54 pieces (see partial replicate between leaves see Figure 41) above a polished Figures 79, 80); fligree vase of near the top above polished sheet silver band, four leaves below; nine curved sections hung from supports and a brass post under- wire-l oop mesh horn handle the rim, wire- loop mesh bent neath; mid-v ase collar of three ending in a large, stamped sphere to form six panels topped by a fowers (missing, but wire stumps set in fligree leaves; elaborate stamped fower, six fligree leaves, left behind) and upright textured fower-d ecorated round-l ink and a brass post underneath; leaves; curved handle notched chain (for detail, see Figure 88), collar of three large rounded six- at the top, ending in a stamped ending in a knurled fnger ring. petal fowers and upright fligree sphere; curb chain (see detail, leaves; hinging collar of three Figure 91) ending in a knurled Same holder as another, which has curled fligree leaves attaching fnger ring. the same hexagonal fnger ring as fligree legs, Roman numerals on those used for closing fligree tri- the back; claw feet; single curb Same curved handle as that in pod legs;42 wire- loop mesh similar Plate 11c and fve others in this sub- to that in Plate 12c (see Figure 40); chain, a foral pin at one end and set as well as on 11 others (see Note stretched- spiral fligree leaves fnger ring at the other. 40) married to the same vase leaves attached behind thick wire frames Same collar of six-p etal fowers as another holder;41 same stamped similar to other BMP fligree hold- as that in Plate 8b and on another upright collar leaves as fve others ers (Figure 39); same horn shape (see Note 26); same upright fligree (see Note 30); same curb chain as ending in a sphere as on six BMP leaves as six others (see Note 24); that in Plate 12c and on seven oth- fligree holders (Plates 11–14) and 11 wire- loop mesh similar to that in ers in this subset (see Note 32); same others (see Note 40); chain similar Plate 12b (see Figure 40); fligree knurled fnger ring as on others in to one on a fligree eyeglass case legs similar to those in Plates 7 this subset (see Note 38). with a Genoese lion- head stamp.43 and 8a; Roman numerals similar to those on fve others (see Note 10); Museum holder (Fales 257). Others with notch-t opped handles are elegant #237, four regular holders curb chain similar to those in with plain- loop handles (#14, #31, #160, and #220), and two regular-t ype holders with plain figure-e ight Plate 12a and on seven others in handles in other collections (see Note 75). this subset (see Note 32); single 41. PMA 1932-4 4- 5a has the same vase leaves and polished sheet without the short sections in between them at the top. chain for the foral pin and fnger 42. Deitsch 114 is the same, except that it has a hexagonal finger ring and BMP filigree-t ype elongated ring as on 20 others (see Note 21). round-l ink chains. BIRMINGHAM MASS PRODUCED FILIGREE M 139 PLATE 13. “BMP FILIGREE” HOLDERS WITH STRAWBERRIES ON VASES AND CURVED HANDLES ENDING IN SPHERES a b c PLATE 13a. FJP.1987.203. Silver (15 cm, 38 g) PLATE 13b. FJP.1987.135. Silver (15 cm, 38 g) PLATE 13c. FJP.1987.089. Silver (14 cm, 39 g) Vase with a wire vine rim and Vase with a wire vine rim, fve Vase topped by a wire vine, fve stamped replicates of a stamped replicates of a straw- three stamped replicates of a strawberry hung from the vine berry hung from the vine by strawberry, three types of leaves, by the calyx in between tips the calyx in between stems of a large fame- like cup, and of large upright textured oak inverted textured oval leaves, a brass post underneath; mid- vase leaves, a brass post underneath; brass post underneath; mid- vase collar of three stamped rounded collar of three stamped rounded collar of three fowers on wires bifurcated six- petal fowers bifurcated six-p etal fowers on (missing, but stumps of wires (one missing) and three upright wires and three stamped upright left behind) and three upright pointed textured leaves; curved pointed textured leaves; curved pointed textured leaves; curved handle notched at the top, ending handle notched at the top ending handle notched at the top ending in a sphere (for a disassembled in a sphere; curb chain. in a sphere; elongated round- link view, see Figure 81); curb chains. chain ending in a knurled fnger Same vine rim and strawberries ring. Vase similar to another;45 strawber- as those in Plate 13b; vase similar ries similar to those in Plate 13a,b; to four others;44 same collar as Same vine and strawberries as leaves similar to another;46 same that in Plate 13c and on others those in Plate 13a and similar to collar as that in Plate 13a and on (see Note 30); same upright collar others (see Note 44); same upright others (see Note 30); same upright leaves as those in Plate 13b and collar leaves as those in Plate 13a,c leaves as those in Plate 13b; same on four others (see Note 30); same and on others (see Note 30); same fowers as on eight others (see fowers as on eight others (see handle as fve in this subset and Note 25); same handle as on fve Note 25); same handle as fve in on 11 others (see Note 40); same others in this subset and 11 others this subset and similar to 11 others knurled fnger ring as on others in (see Note 40); curb chain similar (see Note 40); curb chain similar to this subset (see Note 38). to those in Plate 13a and on seven those in Plate 13c and seven others others in this subset (see Note 32). in this subset (see Note 32). 43. Gianna Roccatagliata, Orafi e argentieri Genovesi tra neoclassico e liberty (Genoa, Italy: Tolozzi, 1982), 116. 44. Similar vases are on Deitsch tripod 118, PMA tripod 932-44-56, regular MMA X.52.1.3, NYHS 1948.44, BMFA 48.701, and BMFA 52.1493, the last four with similar curved handles. 45. Schwartz 25 has the same wire vine, strawberries, and leaves and a curved handle. 46. BMFA 45.534 has different strawberries and leaves (a pair also at the neck) but the same pointed leaf collar as others (see Note 27). It and two other BMFA holders with strawberries on the vase, 46.701 and 52.1493, have similar curved handles. 140 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 14. “BMP FILIGREE” HOLDERS WITH THE SAME MID- VASE COLLARS, THE HANDLE ON THE LAST ONE LINKED TO A NATHANIEL MILLS HOLDER HALLMARKED IN 1844–1845 a b c PLATE 14a. FJP.1987.075. Silver (15 cm, 44 g) PLATE 14b. FJP.1987.230. Silver (15 cm, 35 g) PLATE 14c. FJP.1987.209. Silver (15 cm, 30 g) Vase of three full- height stamped Vase of three spade-s haped Vase of fve rounded fligree replicates of a pair of large scrolls fligree sections, sheet supports petals, sheet supports below joins; atop a large acanthus leaf, a wire below joins; a pair of opposite collar of three stamped bifur- above a polished sheet in between rings mid-v ase for a foral pin and cated six- petal fowers and three them, and a brass post under- a brass post underneath; collar upright fligree leaves; stamped neath; collar of three stamped of three stamped rounded bifur- handle of four crocus-l ike petals bifurcated six- petal fowers and cated six- petal fowers and three atop a curved section, repaired three upright fligree leaves; upright fligree leaves; rounded and cannot be disassembled; wire curved handle notched at the petals at the top of a loop handle; loop- in- loop chain (Figure 92). top, ending in a sphere; elongated curb chain ending in a stamped round-l ink chain ending in a foliate fnger ring (see Figure 111). Filigree vase similar to that in knurled fnger ring (found de- Plate 14b; same collar as that tached in the collection). Filigree vase with sheet supports in Plate 14b and on others (see similar to those in Plate 14c; same Note 25); same handle as that on Same vase as that in Plate 10a; collar as that in Plate 14a,c and on BMP regular holder #10 (Plate 20) same collar as that in Plate 14b,c two others (see Note 25); curb chain and two others; same lower curved and on two others (see Note 25); similar to that on eight others in handle as a holder hallmarked same handle as on fve others this subset (see Note 32); same foli- during 1844–1845 by Nathaniel in this subset and 11 others (see ate fnger ring as that in Plate 7a Mills and another regular holder; Note 40); chain similar to six others and similar to that on others (see same upper handle as holders with in this subset (see Note 28); knurled Note 36). BMP fligree- and elegant-t ype fnger ring similar to four others stampings;47 wire loop- in- loop (see Note 38). chain similar to that in Plate 9a. 47. The same handle is on Hughes 247 (second row, third from right) married to the same vase as regular #13 and on ROM 24 married to a thistle vase. The lower curved handle is on Nathaniel Mills holder sold by Steppes Hill Farm Antiques, TRS040314, https://www.steppeshillfarmantiques.com; its vase stampings the same as on Deitsch tripod 122, hallmarked by Mills during 1844–1845. The lower curved portion is also on another Hughes 247 holder (second row, fifth from right) with the same figure-e ight neck sphere as BMP regular #1980.026 and elegant #15 and #169. Kenber tripod 95 has the same crocus petal upper part of the handle, the same large stamped rounded-p etal vase flower on a wire as on mid-v ase collars of filigree #68 and #384, and the same pansy as on elegant #237. BIRMINGHAM MASS PRODUCED FILIGREE M 141 BIRMINGHAM MASS PRODUCED ELEGANT SUBSET The BMP elegant subset (Plates 15–19) of 15 bouquet holders and 25 in other collections is so named because of their attractiveness. These holders make use of two new techniques unavailable until around 1850. Firstly, in contrast to sterling employed on all holders in the fligree subset, 12 holders were electroplated; the majority were gold-p lated rather than silver- plated like most other English holders. Secondly, a roller- impressing method patented in 1852 produced patterned sheet on the majority, found almost exclusively on elegant holders. Mother- of- pearl is used for six handles—the only English holders in this collection to do so—their tangs adhered inside atypical metal neckpieces, in con- trast to the metal handles soldered onto most English holders. Internal prongs to hold fowers in place are almost exclusively on them, following those on earlier EHQ #100 hallmarked during 1838–1839. Wire-l oop clips are on the back of six elegant holders, also following #100, in addition to seven regular holders. Elegant holders generally employ far fewer pieces than those in the earlier fligree subset and more handwork than those in the mostly later BMP regular subset. They have connections through dies to other subsets, however, and particularly seem to overlap with regular holders. Scaly- patterned roller- impressed sheet on four elegant handles, for example, is identical to that on BMP regular #1980.026, and the same mirror- image dies used for the handle of elegant #381 are employed for handles of regular #17, #167, and #204. A strong connection to earlier fligree holders is provided by stamped pansies on the vase of elegant #237, which are the same as those on a tripod in another collection that also has the same stamped fowers atop wires as on BMP fligree mid- vase collars #68 and #384. Scottish pebble #131 is included at the end of the subset, although it lacks stamp- ings in common with other BMP holders but has a Birmingham- type wire- loop clip. Its elegant J- shaped carved mother- of- pearl handle, now broken of, is known in another collection. 142 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 15. “BMP ELEGANT” HOLDERS WITH A LINK TO THE FILIGREE SUBSET THROUGH PANSIES ON THE FIRST HOLDER AND TO BMP REGULAR HOLDERS BY THE SAME ROLLER-I MPRESSED SHEET ON ALL THREE a b c PLATE 15a. FJP.1987.237. Gilt brass (11 cm, PLATE 15b. FJP.1987.015. Silver- plated brass PLATE 15c. FJP.1987.169. Silver- plated brass 37 g) (12 cm, 38 g) (13 cm, 34 g) Vase of four full-h eight replicates Vase of three full-h eight repli- Vase of fve replicates of dot- of a pointed low relief alternating cates of a crown- topped imitation- textured intertwined ribbons with a pansy above a palmette, granulation stamping alternating alternating with low-r elief foral wire-l oop clip on the back; four with a palmette above a scroll; plaquettes, a wire-l oop clip on replicates of a smooth faceted wire-l oop clip on the back (Fig- the back; low-r elief neck sphere piece at the neck; notched-t opped ure 84); low-r elief neck sphere of four fgure-e ight replicates; curved handle made from a single of four fgure- eight replicates; single-s heet scaly-p atterned scaly pattern-i mpressed sheet curved handle made from a single handle (for detail, see Figure 65), ending in a sphere. scaly pattern-i mpressed sheet ending in a scroll. ending in part of the same scroll; Same vase stampings as three cotter pin. Same foral plaquette as that in BMP-type subset holders in other Plate 16a,b and on another;52 same collections;48 same scaly pattern on Same scroll as that in Plate 15c neck sphere, handle, and tail as the handle as that in Plates 15b,c, and a larger one on the rim of those in Plate 15b and on others (see 16a, 20b, and on others;49 curved BMP regular #23 (Plate 29); Notes 50, 51); same scaly patterning handle ending in a sphere similar same fgure- eight neck sphere as that in Plates 15a,b, 16a, and on to #74 and to a lesser extent BMP as that in Plate 15c, regular 20b, others (see Note 49); same scroll as fligree holders (see Note 40); wire- and on others;50 same handle as that in Plates 15b and a larger one loop clip similar to those in Plates that in Plate 15c and on others;51 at the rim of regular #23 (Plate 29); 15b,c and 16a and 12 others made in same scaly patterning as that in same wire-l oop clip as those in Birmingham (see Note 3). Plates 15a,c, 16a, and on regular Plate 15a,b and on others made in #1980.026 (Plate 20) and others Birmingham (see Note 3). (see Note 49); same wire- loop clip as that in Plate 15a,c and on others (see Note 3); cotter pin as on 29 English holders (see Note 6). 48. The same pansy is on Kenber tripod 95, and the same pointed low relief is on two Laufer 21 vases with patterned handles similar to elegant #74 (see Note 47 for connections to Kenber 95 and others). 49. Two Schwartz 23 (left) handles have the same patterning. 50. The same low- relief sphere is on necks of ROM 18, Schwartz 15 (bottom left), Schwartz 23 (top right), Schwartz 24 (bottom right), and a holder with (continued) BIRMINGHAM MASS PRODUCED ELEGANT M 143 PLATE 16. “BMP ELEGANT” HOLDERS, THE FIRST TWO WITH THE SAME LOW- RELIEF FLORAL PLAQUETTES a b c PLATE 16a. FJP.1987.179. Silver-p lated brass PLATE 16b. FJP.1987.003. Silver (15 cm, 25 g) PLATE 16c. FJP.1987.051. Gilt brass (9 cm, 21 g) (trace mercury) and copper (12 cm, 51 g) Slender vase of two rows of the Vase of three-a nd- a- half stamped Heaviest elegant holder, with same hand- decorated cutout replicates of polished curved rib- trace mercury (see Appendix replicates, four in the upper row bons around the rim backed by Table A.6);53 vase of four repli- and two partial cutouts below; four prongs, six nearly full- height cates of multiple pieces, including plain sheet loop handle ending in stamped replicates of textured a low- relief bud(?) on a wire a low- relief foral plaquette; fnger and polished fora, and a pair of at the rim, a mandorla with a ring chain attached by a small stamped leaves and thistles at the four- petal fower alternating with ring around the handle. neck; handle made from a single a low- relief foral plaquette, and hexagonally patterned sheet; a braided copper wire; wire- loop Same plaquette as that in Plates small ring around it attaching clip on the back; scaly pattern on 15c, 16a, and on another (see a chain ending in a patterned four leafike sheets comprising Note 52), but on the handle rather the curved handle. than the vase; chain attachment fnger ring. around the handle similar to that Same foral stamping as one alter- Heavy multipiece magpie- like in Plate 16c. nating on elegant #152 (Plate 18) vase similar to BMP regular #73 and seven others;56 same hexagonal (Plate 25) and another;54 same patterning as on the neck of #152; foral plaquette as those in Plates same prongs as on EHQ #100 15c and 16b and on another (see hallmarked during 1838–1839, four Note 52) and same mandorla as other BMP elegant holders, MPE another;55 same scaly pattern as #78, and others (see Note 4). handles in Plates 15, 20b, and on others (see Note 49); same wire- loop the same vase as regular #13 at Weber Antiquités, Paris; http://www.weber- antiquites.com/en/produit /porte-b ouquet-v ers-1 8401850. The sphere is also the tail of Schwartz 23 (top left). clip as that in Plate 15 and on 12 51. ROM 18 and Schwartz 24 (bottom right) have the same handle. others made in Birmingham (see 52. Schwartz 15 (bottom left) has the same plaquette at vase joins. BMP elegant-t ype gilt-b rass Kenber 33, Note 3). 35, and 50 have similar textured low-r elief stampings. 53. Trace mercury, almost certainly an artifact of a cleaning process to improve adhesion of plating (see the Appendix), was identified by X-r ay fluorescence (XRF) analyses of this and four silver-p lated BMP regular holders, two with Greek key vase stampings (#6 and #163), a Jenkins fox-a nd-g rapes stamping (#56), and a grape leaf vase stamping (#57); and on FG1 #216 silver ornaments. 54. PMA 1932-4 4-c . 55. ROM 20 has the same mandorla at full height on the vase, the same stamping with five loops above a flower at the neck as BMP elegant #74 (see Note 57), and a fancy mother-o f-p earl handle like the group including BMP elegant #152. 144 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 17. “BMP ELEGANT” HOLDERS IN SILVER- PLATED BRASS, SILVER- PLATED NICKEL SILVER AND BRASS, AND GILT BRASS WITH GLASS GEMS a b c PLATE 17a. FJP.1987.074. Silver- plated brass PLATE 17b. FJP.1987.381. Silver- plated nickel PLATE 17c. FJP.1987.223. Gilt brass, glass (11 cm, 22 g) silver, silver- plated brass (10 cm, 26 g) (13 cm, 27 g) Vase of four full-h eight stamped Vase of four silver-p lated nickel Vase of six stamped three- lobed replicates of fowers and leaves, silver stamped replicates of tex- replicates at the rim backed by a wire-l oop clip on the back; two tured heart-s haped leaves and a four prongs and six stamped stamped replicates of fve faux- fower; short curved silver- plated faux-f ligree spirals set with pink fligree loops above a fower at brass handle with a fower at the glass gems (one missing) between the neck; two-p iece curled handle top; single silver-p lated nickel sil- recessed star- patterned sheet (for of lozenge-p atterned sheet (see ver solderless twisted- link chain detail, see Figure 68); same star- detail in Figure 69). for both accoutrements (for detail, patterned sheet (inverted) on the see Figure 94), silver-p lated brass handle (for detail, see Figure 67); Same neck as on six others;57 same accoutrements at either end. birdhouse- like cap; dotted round- handle as on others;58 vase similar link chain (for detail, see Figure to another;59 wire- loop clip similar Vase similar to another; its nickel 87), ending in an expandable to 16 holders made in Birmingham silver alloy on three other holders, fnger ring, probably for a young (see Note 3). two with mixed metals (see Appen- girl (for detail, see Figure 113). dix Tables A.8 and A.10);60 same handle die as used in entirety on Same spiral stamping as that in BMP regular handles on Plate 36; Plate 18a and on others, two with solderless chain similar to six BMP the same rim stamping;62 same regular holders and three others;61 interior prongs as those in Plate 18 single chain attaching both accou- and on others (see Note 4); same trements similar to 20 others (see expandable fnger ring as on #27 Note 21). (Plate 18c). 56. The floral replicate is on BMP elegant-t ype Kenber tripod 50, Kenber 35, Schwartz 23 (two, left), ROM 8, Galliera 1990.121.2, and V&A 67-1 899. All except the tripod have the same curled handle as #74. 57. The stamping with five loops above a flower is on the neck of Kenber 34, 35, and tripod 50; ROM 8; Deitsch 84; and Schwartz 23 (bottom right). Multiple copies are around rims of ROM 15 and Schwartz 23. 58. The same handle is on Schwartz 23 (two, bottom left), V&A 67- 1899, Galliera 1990.121.2; and sliding ring Kenber 34. All have lozenge patterning except the Galliera holder, which has diamond patterning. 59. ROM 6 has similar stampings topped by a bird with the same handle as BMP regular #13, #127, #139, and #195. 60. The nickel silver contains less than 10% nickel, the remainder copper and zinc (see Appendix Table A.10). The alloy is also employed on regular #25 and #189 and MPE #107. Same vase as that of Schwartz 23 (bottom right) married to the same handle as #74 and others (see Note 58). 61. Ten solderless twisted- link chains are on BMP regular #4, #7, #85, #166, #188, #189, and #199; elegant BMP #381; and MPE #32 and #120. BIRMINGHAM MASS PRODUCED ELEGANT M 145 PLATE 18. “BMP ELEGANT” GILT- BRASS VASES WITH INTERIOR PRONGS AND J- SHAPED MOTHER- OF- PEARL HANDLES ENDING IN CARVED FLOWERS AND LEAVES a b c PLATE 18a. FJP.1987.029. Gilt brass, mother- PLATE 18b. FJP.1987.152. Gilt brass, mother- PLATE 18c. FJP.1987.027. Gilt brass, mother- of-p earl (10 cm, 23 g) of-p earl (13 cm, 33 g) of-p earl Gilt- brass vase of four stamped Gilt- brass vase of six stamped Gilt-b rass vase of four low- relief winglike replicates at the rim loops at the rim backed by four stamped replicates at the rim backed by four prongs, four prongs and three replicates of backed by four prongs; four replicates of stamped faux- fligree textured fora alternating with replicates of separately stamped spirals covering edges of four acorns; hexagonally patterned pieces, including a dot- textured roller-i mpressed net sheets (for neckband (for detail, see Fig- fve-p etal fower, nine-s ection details, see Figures 70, 71), a ure 66) covered by inverted rim palmette with a dot at the base, ffth net sheet curling to end in stampings; mother- of- pearl han- curving stem, and Arabic arch; a stamped leaf tail; four- sided dle with a slightly faceted shaft dot- textured neck notched at mother- of-p earl handle, its tang curving to leaves and a fower the top; chain attached to the ftted into the net, curving to (brass repair at the shaft base). neck, missing its foral pin and leaves and a fower (for detail, see now joined to the end of a chain Figure 42), broken of where the Same rim loops as on three others; attached by an adjustable fnger fnger ring chain was attached same foral replicates as on #51 ring now around the mother- mid-h andle;63 the chain now and others (see Note 56); same of-p earl handle; faceted shaft attached above, ending in a star- acorn replicates as on six others;65 patterned fnger ring (for detail, same prongs as those in Plates 17c curving to leaves and a fower. see Figure 112). and 18a,c and on three others (see Same interior prongs as those in Note 4); same hexagon- patterned Plates 17c, 18a,b, and on three oth- Same stamped spirals as those sheet at the neck as the handle ers (see Note 4); handle similar to in Plate 17c and on others (see of #51 (Plate 16); handle similar that in Plates 18b and 19a,b; small Note 62); interior prongs similar to those in Plates 18c and 19a,b ring around the handle shank likely to those in Plates 17c and 18b,c and others,66 its shank similar to attached a chain ending in an and others (see Note 4); pattern- another encircled by a small ring adjustable fnger ring similar to an impressed net vases with mother-o f- attaching a chain ending in an elegant holder in another collection pearl handles similar to two others, adjustable fnger ring.67 (see Note 67), the ring similar to which are complete.64 that in Plate 17c. 62. Kenber 12 and Deitsch 99 have the same rim and faux filigree stampings but with lozenge patterning between spirals and green glass gems. Deitsch 99 has the same dotted round-l ink chain and expandable ring as elegant #27 and the same fancy mother-o f-p earl handle as elegant #152 and others. Schwartz 19 (top left) has the spiral stampings with a scaly pattern between them. Kenber 52, Moretz 16, and ROM 14 mix spirals with other elements. 63. The break edge retains part of the hole drilled for the pin that attached the handle chain. 146 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 19. “BMP ELEGANT” HOLDERS WITH J- SHAPED MOTHER- OF- PEARL HANDLES, THE LAST BOASTING “SCOTTISH PEBBLES” a b c PLATE 19a. FJP.1987.225. Silver, mother- of- PLATE 19b. FJP.1987.037. Silver, mother- of- PLATE 19c. FJP.1987.131. Gold- and silver- pearl (13 cm, 19 g) pearl (14 cm, 22 g) plated brass, polished stone, mother- of- pearl (16 cm, 44 g) Silver vase of fve stamped full- Silver vase of four full-h eight height, eighteenth-c entury-s tyle stamped replicates of grapes, Vase of four cutout replicates curved vegetal replicates, fve grape leaves, and a grape vine; in alternating gilt- and silver- stamped textured leaves at the funnel- shaped neck with rolled plated brass joined after plating base; funnel-s haped neck with rims; mother-o f-p earl handle at the sides by crimping sides rolled rims; mother-o f-p earl han- curving to leaves and a bud; together, set with eight polished dle curving to leaves and a bud. single chain with accoutrements “Scottish pebbles” (probably at both ends. agates),69 a wire- loop clip on Same neck, handle, chain, and the back; gilt- brass neck leaves; fnger ring as those in Plate 19b; Same neck, chain, and fnger ring faceted J- shaped mother- of- pearl same vase, neck, and handle as on as those in Plate 19a; handle simi- handle, its curved tip broken of; others;68 handle similar to those in lar to those in Plates 18b,c and 19a; globular- headed gilt- brass foral Plates 18b,c and 19b. neck and handle similar to those pin (not shown). in other collections (see Note 68); single chain for both accoutrements Same holder as another except similar to many Birmingham-m ade that its vase parts are entirely in holders (see Note 21). gilt brass soldered together before plating;70 pebble holder similar to 64. Kenber 97 and 98 have the same sheet and complete mother- of- pearl handles, almost certainly others;71 same wire- loop clip as 15 reflecting #29’s original handle. other holders made in Birmingham 65. The same stamped rim loops are on Schwartz 23 (bottom left), ROM 8, and Galliera 1990.121.2; the same (see Note 3). floral and acorn stampings, on ROM 8, Schwartz 23 (two, left), Galliera 1990.121.2, and V&A 67- 1899 (see Note 56 for floral stampings); and the same acorn stampings, on ROM 15 mixed with Prince of Wales plumes. 66. Similar carved mother- of- pearl handles are on Kenber 32 and 33, Rom 11 and 20, and Deitsch 99. 67. Deitsch 99 has a vase of gem- encrusted spirals and a small ring around the shank of a similarly carved mother- of- pearl handle attaching a chain ending in an adjustable finger ring similar to that on #223, likely the original arrangement of this holder. 68. Kenber 33 is essentially the same holder, but the vase is in gilt brass and the leaf stamping is higher, also found at the base of a lilies of the valley vase with the same bird and fuchsia as regular #13 on the website of the Antique Cupboard, https://antiquecupboard.com/Silver- Tussie- Mussie- Birds- Lily- of- the- Valley -j1327_p_203760.html. Moretz 16 same neck and handle. 69. Pink and gray Scottish granites were initially employed for this popular jewelry. After they ran out, translucent stones from Brazil were polished in Germany and set in Birmingham. Gere and Rudoe, Jewellery in the Age of Queen Victoria, 458–461. 70. Gilt- brass Deitsch 26 has a much stronger vase than #131 because its replicates were soldered together, and it has a complete J- shaped mother- of- pearl handle. 71. Deitsch 81 and Schwartz 15 (bottom right) have different gilt- brass cutouts, checked neckbands, and spindle handles, but similar stones with the exception of square pebbles at the necks and probable absences of wire-loop clips on the back, indicating a Birmingham maker. BIRMINGHAM MASS PRODUCED ELEGANT M 147 BIRMINGHAM MASS PRODUCED REGULAR SUBSET The 75 holders in the regular BMP subset (Plates 20–44) are the most mass produced in the collection. They include 25 holders for which designs were registered by three Bir- mingham manufacturing jewelers: Henry Jenkins & Sons, Robert & Josiah Walsham, and Knight & Durant. These registrations anchor all BMP holders in Birmingham be- cause of the continuity of this subset’s dies to those used for the other subset holders, which are most likely earlier. The frst two frms registered most designs employed on the vase or handle of bouquet holders from 1863 to 1880: generally those on vases identifed as for “a basket &c.” and those on handles for “a cruet frame.” The two frms apparently exchanged stampings, notably on #4, which has a vase design registered by Henry Jenkins & Son and registry marks on the handle associated with Robert & Josiah Walsham. In contrast, Knight & Durant registered two designs for complete bouquet holders, including one in this collection. Twenty-o ne regular BMP holders have stampings in silver, which may have been made before electroplating was available. Fifty others were stamped in brass, and at least two are partly in nickel silver. Most were electroplated in silver, but 13 were electro- gilded. Plating sometimes disguised diferences in composition used on the vase and handle, probably when parts were unavailable in the same metal. The BMP regular holders were made with the lowest possible production costs for labor and materials among English holders. Many were made with the minimum of two replicates to form the vase from a single die and two replicates to form the handle, the latter stamped in the same die if the handle was symmetrical or mirror- image dies if not. On Native American woman #88 (Plate 20), one die even supplied most of the holder: fve replicates combined to form the vase and two to form the handle, only a sphere added at the bottom. Finally, instead of two chains for attaching the foral pin and fnger ring, many regular holders employed a single chain attached near its midpoint, terminating in a foral pin at one end and a fnger ring at the other. 148 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 20. “BMP REGULAR” HOLDERS WITH NATIVE AMERICAN WOMEN VASES INDIRECTLY LINKED TO THE OTHER TWO SUBSETS a b c PLATE 20a. FJP.1987.010. Silver (12 cm, 17 g) PLATE 20b. 1980.026. Gilt brass (12 cm, 26 g) PLATE 20c. FJP.1987.088. Gilt silver (12 cm, 20 g) Vase of fve full- height stamped Vase of four full-h eight stamped replicates of a Native American replicates of a Native American Vase of 5 full-height stamped woman holding tobacco leaves; woman holding tobacco leaves, replicates of a Native American handle of four crocus-l ike petals a wire-l oop clip on the back; a woman holding tobacco leaves above a leaf-t opped curved han- low-r elief fgure-e ight sphere at (for detail, see Fig. 5); handle of dle (broken and repaired between the neck; scaly pattern- impressed 2 partial repeats of the woman the two parts); round-l ink chain single-s heet handle ending in ending in a fattened sphere fragment on the handle. stamped leaves. stamped in 2 pieces; single round- link chain attached at midpoint, Same vase stamping as that in Same vase stamping as that in a cotter pin at one end and fnger Plates 20b,c and 21a, and similar to Plates 20a,c and 21a, similar to ring at the other. that on a French vase in another that on a French vase (see Note 72); collection;72 same handle as on fl- same sphere at the neck and handle Same vase and handle stampings igree #209 (Plate 14) and the lower as those in elegant Plate 15b,c and as vases in Plates 20a,b and 21a part of a holder hallmarked by on others (see Note 50); same scaly and similar to a French one (see Nathaniel Mills during 1844–1845 patterning as that in elegant Plates Note 72); among BMP regular hold- (see Note 47), linking this holder to 15 and 16b, supporting an early ers, use of gilt silver supporting the fligree subset and suggesting date (see Note 73); same wire- loop an early date and matching only that it is an early BMP regular clip as on 16 mostly Birmingham- Greek key tripod #217 (Plate 28), holder.73 made holders (see Note 3). linked to Henry Jenkins & Sons by its mixture with a cruet handle on related #163 (Plate 27); single chain attached at the midpoint as on others (see Note 21); cotter pin as on 29 English holders (see Note 6). 72. Deitsch 93, married to a French enameled handle, has different details on the Native American woman stamping from the four English holders in this collection. The two different dies were probably made from a common source, likely tobacco packaging (Figure 6). The Deitsch holder is identified as French by the same stamped four- dot- and- crescent neckband as the first four FG2 holders (Plates 66, 67) and its French- type enameled handle. 73. An early date for the Native American woman stamping is also supported by use of silver on #10 and #160, gilt silver on #88, and the same pattern- stamped handle on #1980.026 as elegant holders. BIRMINGHAM MASS PRODUCED REGULAR M 149 PLATE 21. “BMP REGULAR” SILVER HOLDERS WITH NOTCHED- TOP PLAIN LOOP HANDLES RELATED TO NOTCH-T OPPED HANDLES ON FILIGREE AND ELEGANT HOLDERS a b c PLATE 21a. FJP.1987.160. Silver (12 cm, 18 g) PLATE 21b. FJP.1987.031. Silver (13 cm, 22 g) PLATE 21c. FJP.1987.014. Silver (13 cm, 25 g) Sterling silver holder (see Ap- Vase of three rows of fve rep- Vase of three nearly full- height pendix Table A.1); vase of fve licates of stamped oak leaves, stamped replicates of small full- height stamped replicates of a smaller in each row toward the grapes and grape leaves with Native American woman holding base, dotted bands between rows, small pieces of them at the base; tobacco leaves; plain loop handle sides of replicate leaves joined by plain loop handle notched at the notched at the top. hemispheres, and a half- sphere top; single chain attached mid- at the bottom; plain loop handle way, a cotter pin at one end and Same Native American woman notched at the top; single chain fnger ring (missing) at the other. stamping as that in Plate 20 linked attached at the midpoint, a cotter to fligree and elegant holders (see Note 47) and a French one in an- pin at one end and a fnger ring at Same holder as another;76 grape the other. leaves and grapes near the base other collection (see Note 72); same similar to #73 (Plate 25) and loop handle as those in Plates 21b,c Same dotted bands as another another;77 same handle as those in and 22a and two others,74 notches vase married to a plain fgure- Plates 21a,b, 22a, and on two others at the top also relating it to curved eight handle, linking them;75 same (see Note 74), notches at the top also fligree handles ending in spheres handle as those in Plates 21a,c, 22a, relating it to curved fligree han- (Plates 11–14; see Note 40). and on others (see Note 74), notches dles ending in spheres (Plates 11–14; at the top also relating it to curved see Note 40); single chain attaching fligree handles ending in spheres both accoutrements as on 20 other (Plates 11–14; see Note 40). single English holders, including those chain for both accoutrements as on in Plates 21b and 22a (see Note 21); 20 other English holders, including cotter pin as on 29 English holders those in Plates 21c and 22a (see (see Note 6). Note 21); cotter pin as on 29 English holders (see Note 6). 74. Hughes 247 has this handle on two holders (bottom row, second and third from left), one married to a Greek key vase and the other with the same grape leaf vase as regular #33 and #162 married to cornucopia handles. 75. The vase of ROM 26 has the same dotted rows, married to the same plain figure-e ight handle as Kenber 106. Kenber 106 has an intertwined cornucopia vase design, registered as no. 259991 by Robert and Josiah Walsham on 26 January 1872, and an unusual ball chain linking it to #236 (Plate 41) with a cornucopia handle. 76. PMA1909- 9 is the same as #14 except that it has the finger ring. 77. PMA 1932- 44- c, related to MPE #11, has similar, if not the same, grape leaves atop its thick wire vase. 150 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 22. “BMP REGULAR” SILVER HOLDERS WITH IDENTICAL VASES AND TWO DIFFERENT HANDLES, THE LAST TWO WITH BUD- TOPPED HANDLES LINKED TO HENRY JENKINS & SONS a b c PLATE 22a. FJP.1987.220. Silver (12 cm, 21 g) PLATE 22b. FJP.1987.012. Silver (13 cm, 22 g) PLATE 22c. FJP.1987.214. Silver (13 cm, 23 g) Vase of four stamped full-h eight Vase of fve stamped full-h eight Vase of fve stamped full-h eight replicates of a small grape leaf, replicates of a small grape leaf, replicates of a small grape leaf, grapes, and vine with a prom- grapes, and grape vine with a grapes, and grape vine with a inent knot; plain loop handle prominent knot; bud- topped loop prominent knot; bud- topped loop notched at the top; single chain handle. handle. attached midway, cotter pin at one end and fnger ring at the Same holder as that in Plate 22c; Same holder as that in Plate 22b other. same vase as that in Plate 22a, and same vase as that in Plate 22a, linked to earlier subsets (see Note linked to earlier subsets (see Note Same vase stampings as that in 78); grape leaf vase similar to that 78); grapes similar to those with Plate 22b,c and on three others, with larger leaves in Plates 41c and larger leaves in Plates 41c and 42a; one with an elegant- type handle;78 42a; same bud-t opped loop handle same bud-t opped loop handle as grape vase similar to those with as those in Plates 22c, 23, 24, 25a, those in Plates 22b, 23, 24, 25a, and larger leaves as those in Plates 41c and 41a, three with vase designs 41a; handle similar to seven bud- and 42a; same handle as that in registered by Henry Jenkins & topped curled- end handles starting Plate 21 and on others (see Note 74), Sons;79 handle similar to seven bud- in Plate 28, the two handles with notches at the top also relating it to topped curled- end handles starting six designs registered by Henry curved fligree handles ending in in Plate 28, three having designs on Jenkins & Sons (see Notes 79, 80). spheres (Plates 11–14; see Note 40); vases registered by Henry Jenkins single chain attaching both accou- & Sons, for a total of six designs on trements as that in Plate 21b,c and both handles.80 on 21 English holders (see Note 21); cotter pin as on 29 English holders (see Note 6). 78. The same grape vase is on ROM 7 married to the same scaly-p atterned sheet handle as elegant #15 and #169 and regular #1980.026; on a Hughes 247 tripod (middle row, fourth from left), married to the same acanthus leaf stem with leaf feet as regular tripod #134; and on MNBAQ 1958.503, married to the same loop- leaf handle with three notches as regular #13, #127, #139, and #195. 79. Ten holders with the same bud-t opped leaf handle are #12, #21, #24, #25, #110, #186, #188, #214, #241, and #380. Vases of #110 and #188 have designs registered by Henry Jenkins & Sons, as does a bow-t opped holder registered as no. 335810 sold at a Whitaker Auction in spring 2009. https://www.pinterest.fr/pin /826199494127525443. 80. Seven similar bud-t opped curled-e nd loop handles are on #6, #23, #56, #168, #181, 187, and #212. Vases with designs registered by Henry Jenkins & Sons are on three: the fox and grapes design on #56, the winged mermaid design on #187, and the same Greek key designs on #6 as related #163 with a cruet handle between them registered by the firm. BIRMINGHAM MASS PRODUCED REGULAR M 151 PLATE 23. “BMP REGULAR” SILVER HOLDERS WITH BUD- TOPPED LOOP HANDLES, THE FIRST WITH HENRY JENKINS & SONS’ REGISTERED CUPID DESIGN ON THE VASE a b c PLATE 23a. FJP.1987.110. Silver (15 cm, 29 g) PLATE 23b. FJP.1987.024. Silver PLATE 23c. FJP.1987.241. Silver (13 cm, 20 g) Vase of three full- height stamped Vase of three full-h eight stamped Vase of three full-h eight stamped replicates of a pair of cupids hold- replicates of heart-s haped leaves replicates of heart-s haped leaves ing a foral swag without registry and a clematis fower; bud- and a clematis fower; bud- marks but matching design no. topped loop handle; single chain topped loop handle; single chain 256845 “for a basket & c.,” reg- attached at the midpoint with a attached midway, a cotter pin at istered 17 October 1871 by Henry cotter pin at one end and a fnger one end (inserted through a hole Jenkins & Sons (for details, see ring at the other. at the center of a fower) and a Figures 11, 12); bud- topped loop fnger ring at the other. handle. Same holder as that in Plate 23c and same vase as another;82 Same holder as that in Plate 23b Same cupid stamping as a letter clematis fowers similar to #69 and and same vase as on another (see holder in another collection;81 same #200 (Plate 32); same bud- topped Note 82); clematis fower similar bud-t opped loop handle as those loop handle as those in Plates 22b,c, to #69 and #200 (Plate 32); same in Plates 22b,c, 23b,c, 24, 25a, and 23a,c, 24, 25a, and 41a); handle sim- bud- topped loop handle as those in 41a; handle similar to seven bud- ilar to seven other bud- topped loop Plates 22b,c, 23a,b, 24, 25a, and 41a; topped loop handles with curled handles with curled ends starting handle similar to seven other bud- ends starting in Plate 28, the two in Plate 28, the two handles with topped loop handles with curled handles with six designs on vases six designs on vases registered by ends starting in Plate 28, the two registered by Henry Jenkins & Henry Jenkins & Sons (see Notes handles with six designs on vases Sons, including this one (see Notes 79, 80); single chain attaching registered by Henry Jenkins & 79, 80). both accoutrements as on 20 other Sons (see Notes 79, 80); single chain English holders (see Note 21); cotter attaching accoutrements as on 20 pin as in 29 English holders (see other English holders (see Note 21); Note 6). cotter pin as on 29 English holders (see Note 6). 81. A single copy of the cupid stamping is on the letter holder; formerly item 146467 on https://www.rubylane.com, but no longer available. 82. Hughes 247 (top, seventh from left) has the same vase with the same lower curved handle as MPE #11, thought to be an early holder because of its heaviness and handwork. 152 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 24. “BMP REGULAR” SILVER- PLATED HOLDERS WITH DISPARATE VASES AND THE SAME BUD- TOPPED LOOP HANDLES LINKED TO HENRY JENKINS & SONS a b c PLATE 24a. FJP.1987.021. Silver-p lated brass PLATE 24b. FJP.1987.380. Silver- plated brass PLATE 24c. FJP.1987.025. Silver- plated nickel (14 cm, 57 g) (14 cm, 43 g) silver Vase of three stamped imitation- Vase of three main stamped Vase of three replicates of two- granulation replicates of narrow replicates of a large textured leaf and-a half stamped textured curved leaves on the upper half, topped by nine pomegranates, leaves in two rows, cherries in three partial replicates of the two smaller replicates of a star- between rows; bud-t opped loop same stamping turned 90° below; burst(?) at the base; bud- topped handle. bud-t opped loop handle; chain of loop handle; an Albert watch a stamped fower (for detail, see chain ending in an unusual Nickel silver base metal similar to Figure 89) linked by round links hollow foral pin attached to the three others in the collection (see ending in a fnger ring; cotter pin loop (likely replacements). Note 60);83 same bud-t opped loop without its chain. handle as those in Plates 22b,c, Same bud- topped loop handle as 23, 24a,b, 25a, and 41a; handle Same bud- topped loop handle as those in Plates 22b,c, 23, 24a,c, 25a, similar to seven bud- topped loop those in Plates 22b,c, 23, 24b,c, and 41a; handle similar to seven handles with curled ends starting 25a, and 41a and similar to seven other bud-t opped loop handles with in Plate 28, the two handles with other bud-t opped loop handles with curled ends starting in Plate 28, six designs on vases registered by curled ends starting in Plate 28, the two handles with six designs on Henry Jenkins & Sons (see Notes the two handles with six designs on vases registered by Henry Jenkins 79, 80). vases registered by Henry Jenkins & Sons (see Notes 79, 80). & Sons (see Notes 79, 80); same stamped fowers on the chain as #6 (Plate 28), also linked to Henry Jenkins & Sons by the same Greek key vase on #163 intertwined with a registered cruet handle; cotter pin as on 29 English holders (see Note 6). 83. Analyses using the Bruker Tracer XRF found low nickel on #25, but the instrument’s software does not provide percentages like the Bruker Elio (see Appendix Table A.10 for Elio results on other holders). BIRMINGHAM MASS PRODUCED REGULAR M 153 PLATE 25. “BMP REGULAR” HOLDERS, THE FIRST IN GILT- BRASS WITH AN 1880 HENRY JENKINS & SONS REGISTERED DESIGN ON THE VASE a b c PLATE 25a. FJP.1987.188. Gilt brass (15 cm, PLATE 25b. FJP.1987.139. Silver- plated brass PLATE 25c. FJP.1987.073. Silver- plated brass 40 g) (13 cm, 29 g) (13 cm, 61 g) Vase of two stamped full- height Vase of four full-h eight stamped Heavy holder; magpie-l ike vase of replicates of mixed leaves topped replicates of a pair of oak leaves four replicates of imitation gran- by a seven-l obed palmette, regis- with an acorn between them ulation at the top and a stamping try marks at the base for 10 April encircled by a curved branch of fat spirals intertwined by 1880 (only “10” legible), matching with linear striations, a wire- loop leaves, a pointed-p etal fower, no. 348505 “for a basket &c.” clip on the back; low- relief fgure- and strawberries alternating submitted by Henry Jenkins & eight sphere at the neck with with a narrow many- lobed leaf; Sons; bud- topped loop handle; a cross-l ike perforation in the wire- loop clip on the back; looped solderless twisted- link chain. upper loop; looped leaf handle handle of thick bundled striated with three notches; double curb stems wrapped by a large grape Same bud- topped loop handle as chain attached to a broken link leaf at the top and three of the those in Plates 22b,c, 23, 24, and (likely a replacement). narrow vase leaves around the 41a; handle similar to seven bud- topped loop handles with curled remainder; broken foral pin held Neck sphere similar to fgure- eight ends starting in Plate 28, the two in the fnger ring loop. spheres mostly on elegant- type handles with six designs on vases holders (see Note 50), a bud on Same vase stamping as another; registered by Henry Jenkins & elegant #179 (Plate 16), and a same narrow leaves around the Sons, including this one (see Notes low- relief sphere on regular #172 handle as a holder with a wire vase 79, 80); same solderless twisted- link (Plate 44); same handle as three similar to MPE #11;85 heavy weight chain as on 10 English holders (see in Plate 43 and two others;84 same similar to those of MPE #11 and Note 61). wire- loop clip as on 16 Birmingham #83 (Plate 47) and elegant magpie holders (see Note 3). #179 (Plate 16); same strawberries as regular #14 (Plate 21); same wire- loop clip as on 16 holders (see Note 3). 84. ROM 6 has the same handle married to a vase with foliage topped by a bird, and another handle on MNBAQ 1958.503 is married to the same grapes and grape leaf vase as #12, #214, and #220 associated with Henry Jenkins & Sons. 85. Silver Antique Cupboard j1295 had the same main vase stamping married to the same plain loop handle as regular holders on Plate 21 (see Note 74), but it is no longer available on antiquecupboard.com. The same leaves are wound around wires forming the handle of PMA 1932- 44- c, and both handles recall a curved handle wound with a grape vine on a flower- holder shown at the Great Exhibition by M. Balleny of Birmingham. The Crystal Palace Exhibition Illustrated Catalogue London 1851, 99. The handle also resembles that on BMP elegant #179. 154 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 26. “BMP REGULAR” HOLDERS WITH HANDLES TRIMMED AND INVERTED FROM TWO CRUET FRAME DESIGNS REGISTERED BY HENRY JENKINS & SONS a b c PLATE 26a. FJP.1987.005. Silver-p lated brass PLATE 26b. FJP.1987.196. Silver- plated brass PLATE 26c. FJP.1987.193. Silver- plated brass (16 cm, 33 g) (16 cm, 45 g) (15 cm, 37 g) Vase of three stamped imitation- Vase resembling a tulip of fve Vase of three stamped replicates, granulation-f ligree replicates and full-h eight stamped replicates each with three Gothic-s tyle three partial replicates turned 90° of a feather with shells atop pointed arches decorated with below; stamped handle matching their shafts, probably added small fowers, dots, and scrolls; part of cruet frame design no. to strengthen the join with the handle with a diamond- shaped 167278, registered 14 October 1863 handle; stamped handle (for tip (for detail, see Figure 51), by Henry Jenkins & Sons (see detail, see Figure 53) matching matching part of cruet frame no. Figure 52). part of cruet frame design no. 230376, registered 24 June 1869 167278, registered 14 October 1863 by Henry Jenkins & Sons (Fig- Imitation granulation/fligree by Henry Jenkins & Sons (Fig- ure 50); broad fnger ring. similar to #70 (Plate 40); same ure 52); broad fnger ring. registered cruet handle as that in Use of a handle from a cruet Plate 26b, between the Greek key Tulip-s haped vase similar to frame similar to two other cruet stampings on the vase in Plate 27a, one on another English holder;87 frame handles registered six years and married to a Jenkins-r egistered same handle as that in Plate 26a, earlier by the frm on Plate 26a,b; butterfy vase;86 use of a cruet between the Greek key stampings same broad fnger ring as that in handle on a holder similar to that on the vase of #163 (Plate 27) and Plate 26b. in Plate 26c. another (see Note 86); use of a cruet handle on a holder similar to that in Plate 26c; same broad fnger ring as that in Plate 26c. 86. Henry Jenkins & Sons’ butterfly design no. 245343, registered 30 September 1870. Aalders Auctions, 29 April to 2 May 2012, Sydney, Australia; lot 309 on https:// aaldersauctions.hibid.com/catalog/23593/traditional- dec- arts- - asian- art- and- estate/?cpage=4&ipp=100. 87. Silver Kenber 90 has a tulip-s haped vase of different stampings married to an octagonal handle with a cotter pin. BIRMINGHAM MASS PRODUCED REGULAR M 155 PLATE 27. “BMP REGULAR” HOLDERS WITH GREEK KEY VASE STAMPINGS, ALTERNATING WITH A HENRY JENKINS & SONS CRUET HANDLE ON THE VASE OF THE FIRST HOLDER a b c PLATE 27a. FJP.1987.163. Silver-p lated brass PLATE 27b. FJP.1987.180. Silver (14 cm, 29 g) PLATE 27c. FJP.1987.189. Silver- plated brass, with trace mercury gilt brass, gilt nickel silver (15 cm, 53 g) Vase of three full-h eight stamped Vase of three full- height stamped replicates of a Greek key design Vase of two full-h eight stamped replicates of a Greek key design (crests broken of at the top); replicates of a Greek key design mixed with part of a cruet ring-t opped bulbous- bottomed in silver- plated brass backed by a frame (for detail, see Figure 54), handle with vertical recesses, scalloped gilt brass sheet; half of registered 14 October 1863 as no. each decorated with a line of dots; its perimeter-d otted handle in gilt 167278 by Henry Jenkins & Sons detached threaded foral pin now brass and the other half in gilt (Figure 53), indicating Jenkins attached to a fnger ring at the nickel silver; solderless twisted- as the likely maker of Greek key end of a chain, the other chain link chain. stampings because of this close fragmentary. connection; spindle handle with Nickel silver base metal similar to stylized leaves; round- link chain Same Jenkins- related Greek key that in three others (see Notes 60, (for detail, see Figure 86). stampings as those in Plates 27a,c, 83), mixed with other base metals and 28a,c and others, linked to as in Plates 17b, 33c, and 39c (see Same Greek key stamping as that Henry Jenkins & Sons by the cruet also Appendix Tables A.8, A.10); in Plate 27b,c, two in Plate 28, handle on #163 (see Note 88); same same Jenkins- related Greek key and on others;88 same Jenkins- handle as #200 (Plate 32) and vase stamping as those in Plates registered cruet frame vase others, one married to the same 27a,b and 28a,c, linked to Henry stamping as on handles of #5 and Jenkins- registered vase stamping Jenkins & Sons by the cruet frame #196 (Plate 26), linking it to the as #192 (Plate 33) and another on a handle on #163 (see Note 88); same frm; same handle as in Plate 31a,b, tripod shaft with the same leaf feet chain as on 10 English holders (see the shaft of Greek key tripod #217 as #134 and #217 in Plate 28.90 Note 61). (Plate 28), and another;89 trace mercury similar to that on Greek key #6 (Plate 28) and others (see Note 53). 88. Deitsch tripod 120 has the same Greek key stamping and same pointed legs as Deitsch tripod 121 married to a Henry Jenkins & Sons’ fox-a nd-g rapes vase stamping. The latter has the same dangling daggers around the rim and pointed legs similar to #85, which has mermaids similar to those registered by Jenkins on #187. Hughes 247 (bottom row, third from left) has the Greek key stamping turned 90° married to the same plain loop handle as those on Plate 21 linked to Henry Jenkins & Sons. 89. ROM 23 married to the same pear vase as #177. 90. ROM 4 has the same handle with the same vase design as #192 registered by Henry Jenkins & Sons in 1869. Hughes tripod 247 (second row, left) employs the handle on a tripod shaft with the same leaf feet as those in Plate 28a,b. 156 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 28. “BMP REGULAR” HOLDERS, TWO WITH GREEK KEY VASE DESIGNS AND TWO TRIPODS WITH THE SAME LEAF FEET a b c PLATE 28a. FJP.1987.217. Gilt silver (16 cm, PLATE 28b. FJP.1987.134. Silver (17 cm, 38 g) PLATE 28c. FJP.1987.006. Silver- plated brass 33 g) with trace mercury (14 cm, 43 g) Tripod vase of four full- height Tripod of two full- height stamped stamped replicates of fgure-e ight Vase of three full-h eight stamped replicates of a Greek key design; looped vines with intertwined replicates of a Greek key design; handle with a spindle shaft of leaves; handle with an acanthus bud- topped loop handle with a stylized leaves ending in three leaf shaft, shown here seated on curled end; fragmentary chain of oak leaf feet, a sliding center a fattened sphere surrounded stamped fower links connected tube ending in a fattened sphere, by oak leaves (see Figure 28a for by round links (for detail, see shown here as if held (see a similar holder as held); long Figure  89). Plate 28b for a similar seated chain ending in a fnger ring. view). Same Greek key stampings as Same intertwined vine and leaves those in Plates 27 and 28a, linked Same use of gilt silver as #88 as the vase of #212 (Plate 29); same to Henry Jenkins & Sons by the (Plate 20), probably early; same tripod mechanism as a holder in close connection to the cruet frame Greek key stampings as those another collection hallmarked by stamping on #163 and others in Plates 27, 28c, and on others, George Unite in 1873 (see Note 91); (see Notes 88, 90); trace mercury linked to Henry Jenkins & Sons by same shaft, tripod mechanism, and similar to that in Greek key vase the cruet frame stamping on #163 oak leaf feet as four others and #163 and others (see Note 53); (Plate 27) and other features (see a ffth with a diferent shaft but same handle as six bud-t opped Notes 88, 90); same handle shaft the same mechanism and feet (see loop handles with curled ends in as that in Plates 27a, 31a,b, and on Note 92). Plates 29 and 30 and similar to 10 another (see Note 89); same tripod other bud- topped loop handles, the mechanism employing a fattened two handles with six designs on sphere and tube as a tripod in vases registered by Henry Jenkins another collection hallmarked by & Sons (see Notes 79, 80); same George Unite during 1873–1874;91 stamped fowers on the chain as #21 same mechanism and oak leaf (Plate 24) with a bud-t opped loop feet as those in Plate 28b and fve handle. others.92 91. Kenber 93, hallmarked “GU” in Birmingham, appears to have the same mechanism and similar feet. 92. Kenber 94, Schwartz 18 (center), Laufer 62, and Hughes 247 (second row, fourth from left) have the same mechanism and oak leaf feet with the same acanthus leaf shaft as #134; and Hughes 247 (second row, first) has the same mechanism and feet with the same bulbous-b ottomed shaft as #180. BIRMINGHAM MASS PRODUCED REGULAR M 157 PLATE 29. “BMP REGULAR” HOLDERS WITH BUD- TOPPED LOOP HANDLES AND CURLED ENDS, THE LAST ONE WITH HENRY JENKINS & SONS’ REGISTERED MERMAID DESIGN ON THE VASE a b c PLATE 29a. FJP.1987.212. Silver (14 cm, 45 g) PLATE 29b. FJP.1987.023. Silver- plated brass PLATE 29c. FJP.1987.187. Silver- plated brass (14 cm, 34 g) (14 cm, 49 g) Vase of four full-h eight stamped replicates of fgure-e ight looped Vase of two stamped replicates Vase of two stamped replicates vines with intertwined leaves, of mirror-i mage pairs of scrolls of a pair of winged mermaids four replicates of a stamped grape around the rim, main stampings holding a foral swag above an leaf between them at the base; of three full-h eight triple-l ooped urn with partly legible registry fat-h eaded threaded foral pin rope replicates alternating with marks for 8 March 1872 matching without means for attaching a full- height grapes and grape leaf design no. 261193 registered by chain; bud-t opped loop handle replicates between two of them; Henry Jenkins & Sons “for a with a curled end. bud-t opped loop handle with a basket & c.”; bud- topped loop curled end. handle with a curled end. Same vase stampings as a tripod in Plate 28b, except that this has Same rim scrolls as smaller scrolls Mermaids similar to those on #85 grape leaves added to the base; on BMP elegant #15 and #169 and #141 and Jenkins- registered intertwined vine similar to the (Plate 15); intertwined rope similar frontal mermaid #199 (Plate 35); intertwined rope in Plate 29b, also to the intertwined vine in Plate 29a, same bud-t opped loop handle with with grape leaves between stamp- also with grape leaves between a curled end as six others and sim- ings; same bud-t opped loop handle stampings; rope similar to those on ilar to 10 bud- topped loop handles, with a curled end as six others #210 (Plate 40); same bud- topped the two handles with six designs on and similar to 10 other bud-t opped loop handle with a curled end vases registered by Henry Jenkins loop handles, the two handles with as six others and similar to 10 & Sons, including this one (see six designs on vases registered by bud-t opped loop handles, the two Notes 79, 80). Henry Jenkins & Sons (see Notes handles with six designs on vases 79, 80). registered by Henry Jenkins & Sons (see Notes 79, 80). 158 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 30. “BMP REGULAR” HOLDERS WITH BUD- TOPPED LOOP HANDLES AND CURLED ENDS, THE LAST ONE WITH AESOP’S FABLES’ FOX- AND- GRAPES VASE DESIGN REGISTERED BY HENRY JENKINS & SONS a b c PLATE 30a. FJP.1987.168. Silver-p lated brass PLATE 30b. FJP.1987.181. Silver- plated brass PLATE 30c. FJP.1987.056. Silver- plated brass (14 cm, 50 g) (15 cm, 42 g) with trace mercury (15 cm, 59 g) Vase of three full- height stamped Vase of three stamped replicates Vase of three full-h eight stamped replicates of a pansy, serrated of reedlike leaves and a variety of replicates depicting Aesop’s leaves between and below them; fowers; bud-t opped loop handle Fables’ fox and grapes without bud-t opped loop handle with a with a curled end; chains of dif- registry marks but matching curled end; cotter pin missing its ferent link sizes and coloration, design no. 258692 “for a basket chain (not shown). suggesting that one is not original &c.” submitted by Henry Jenkins (plating on the foral pin chain & Sons on 14 December 1871; Same bud- topped loop handle with is closest to that on the holder bud- topped loop handle with a a curled end as six others and sim- indicating that it is likely the curled end. ilar to 10 bud-t opped loop handles, the two handles with six designs on original chain). Same Jenkins- registered design on vases registered by Henry Jenkins Same bud- topped loop handle with the vase as on those in Plate 31a,c, & Sons in this and other collections a curled end as six others and sim- 34a, and on two others;93 same bud- (see Notes 79, 80); cotter pin as on ilar to 10 bud- topped loop handles, topped loop handle with a curled 29 English holders. the two handles with six designs on end as six others and similar to 10 vases registered by Henry Jenkins bud- topped loop handles, the two & Sons in this and other collections handles with six designs on vases (see Notes 79, 80). registered by Henry Jenkins & Sons, including this one (see Notes 79, 80); trace mercury similar to that of four other English holders with silver plating (see Note 53) and on silver- plated ornaments of FG1 #216 (Plate 64). 93. RCIN holder 1634 and Deitsch tripod 121 have Henry Jenkins & Sons’s fox-a nd-g rapes vase design. Deitsch 121 has the same legs as Deitsch tripod 120 with a Greek key vase, also associated with the firm. BIRMINGHAM MASS PRODUCED REGULAR M 159 PLATE 31. “BMP REGULAR” HOLDERS, TWO WITH FOX- AND- GRAPES VASE DESIGNS REGISTERED BY HENRY JENKINS & SONS, ONE OF THEM MARRIED TO A WALSHAM-A SSOCIATED SPADE HANDLE a b c PLATE 31a. FJP.1987.007. Silver-p lated brass PLATE 31b. FJP.1987.177. Silver-p lated brass PLATE 31c. FJP.1987.004. Gold- and silver- (15 cm, 51 g) (14 cm, 33 g) plated brass (16 cm, 40 g) Vase of three full- height stamped Vase of three full-h eight repli- Vase of two full-height stamped replicates of a fox-a nd-g rapes cates of large leaves and pears replicates of the fox-and-grapes design without registry marks and a spindle handle with styl- design matching no. 258692, but matching no. 258692, regis- ized leaves. registered 14 December 1871 by tered 14 December 1871 by Henry Henry Jenkins & Sons; spade Jenkins & Sons; spindle handle Same holder as another with the handle with registry marks for 22 with stylized leaves; solderless same chain attached in the same September 1871 likely submitted twisted-l ink chain. place but ending in a foral pin by Robert & Josiah Walsham but instead,94 both probably half of a not in the Designs Registry;95 sin- Same Jenkins- registered design single chain ending in both accou- gle solderless twisted-link chain on the vase as on those in Plates trements as on 21 English holders 30c, 31c, and 34a, and two others (see Note 21); same handle as that in attached midway to the neck, one (see Note 93); same spindle handle Plates 27a, 28a, and 31a. end terminating in a foral pin as that in Plates 27a, 28a, and 31b; and the other in a fnger ring. chain similar to that in Plate 31c Same Jenkins-registered design on and those of eight other English the vase as Plate 30c, 31a, 34a, and holders (see Note 61). others (see Note 93); same spade handle as 10 others in Plates 35c, 94. ROM 23. 37b,c, 38, 39a,b, and 40a,b, probably 95. The only jewelry-t ype designs registered on 22 September 1871 are a brooch and crucifix submitted by intended for registration by Robert the Walshams. Thus, it seems almost certain that they meant to register the spade handle, also married & Josiah Walsham,96 married to to two of their registered designs. The registrations connected to both firms indicate collaboration two vase designs registered by between them. 96. The 11 holders with spade handles are #4, #8, #22, #57, #59, #141, #164, #166, #191, #201, and #209; all Robert & Josiah Walsham in Plate but #22, #141, and #166 with registry marks associated with Robert & Josiah Walsham. Spade handles 38b,c and 39a; same chain as Plate are also on Marès 11, Moretz 17, and ROM 25. 31a and 8 others (see Note 61); single 97. The same clematis stamping is on two Hughes 247 holders (top row, third from right; and second from right), the first one with a cornucopia handle like those in Plates 41b,c and 42a and the second with a chain attached midway, the foral flower- topped squarish handle like three in Plate 36 and a truncated version on BMP elegant #381. pin and fnger ring at either end as 98. The bulbous- bottom handle is on ROM 4, married to the same Jenkins fern design as #192 (Plate 33), on 21 English holders and probably forming the shaft of Hughes tripod 247 (second row, first at left) with the same mechanism and leaf feet all holders with spade handles (see as #134 and #217. 99. ROM 19 has the same morning glory stamping married to the same bud- topped loop handle as 10 Note 106). handles associated with Henry Jenkins & Sons (see Note 79). 160 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 32. “BMP REGULAR” SILVER HOLDERS, THE LAST TWO WITH ENGRAVED HEXAGONAL HANDLES LIKELY PRECEDING EIGHT HOLDERS WITH STAMPED HEXAGONAL HANDLES ON FOLLOWING PLATES a b c PLATE 32a. FJP.1987.200. Silver (14 cm, 33 g) PLATE 32b. FJP.1987.069. Silver (14 cm, 27 g) PLATE 32c. FJP.1987.087. Silver Vase of fve full- height stamped Vase of four full-h eight stamped Vase of four full- height stamped replicates of a clematis fower replicates of a clematis fower and replicates of a morning glory and leaves; ring-t opped bulbous- leaves connected by hemispheres, and leaves, partial sphere at the bottomed handle with a row of a partial sphere at the bottom; base; hexagonal handle, a hand- dots in vertical recesses; unsol- hexagonal handle engraved with engraved vine ending in a fower, dered round link chain, probably arrow-l ike designs and machine- sphere at the tip; single chain not original since round links made zigzag borders, a sphere with a cotter pin at one end and were normally soldered, ending at the tip; single chain attached a fnger ring at the other. in a fat-h eaded foral pin; slightly midway, a cotter pin at one end smaller soldered round links on and fnger ring at the other. Same morning glory stamping the likely original chain, attached as another;99 hexagonal handle to a small ring perpendicular to Same vase stampings as those similar to that in Plate 32b and the fnger ring. in Plate 32a and others (see eight stamped hexagonal handles Note 97); clematis similar to that in on Plates 33, 34, 35a, and 37a, but Same vase stampings as those in Plate 23b,c, also in silver; engraved likely earlier because of engrav- Plate 32b and others;97 clematis hexagonal handle similar to that ing; sphere joining the vase and similar to that in Plate 23b, c, also in Plate 32c and zigzag borders narrow-t opped handle similar to in silver; same bulbous- bottomed similar to those on other English those on all 10 holders with hexago- handle as #180 (Plate 27) and two holders (see Note 16); handle shape nal handles; single chain attaching others.98 similar to eight holders with both accoutrements as on 20 other stamped hexagonal handles on English holders (see Note 21); cotter Plates 33, 34, 35a, and 37a, but pin as on 29 English holders (see likely earlier because of engraving; Note 6). sphere joining the vase and handle similar to those on all 10 holders with hexagonal handles; single chain attaching both accoutrements as on 20 other English holders (see Note 21); cotter pin as on 29 English holders (see Note 6). BIRMINGHAM MASS PRODUCED REGULAR M 161 PLATE 33. “BMP REGULAR” HOLDERS, THE FIRST THREE OF EIGHT WITH STAMPED HEXAGONAL HANDLES, THE LAST WITH HENRY JENKINS & SONS’ REGISTERED DESIGN ON THE VASE a b c PLATE 33a. FJP.1987.058. Silver (16 cm, 54 g) PLATE 33b. FJP.1987.175. Silver (17 cm, 34 g) PLATE 33c. FJP.1987.192. Silver, silver- plated brass (16 cm, 48 g) Vase with a stamped imitation- Vase of four stamped full-h eight fligree rim, cutout sheet in an replicates of engraved leaves with Silver vase of two stamped full- inverted bell shape with repli- looped stems, a sphere at the height replicates of fern leaves cates of identical foral designs base; hexagonal handle stamped and small fowers without regis- in two rows, seven above and in two pieces (for detail refecting try marks but matching design four below, a sphere at the base; a worn die, see Figure 57), ending no. 229631, registered 27 May hexagonal handle stamped in two in a sphere. 1869 by Henry Jenkins & Sons; pieces (see Figures 55 and 56 for a pair of superimposed partial details showing good condition), Same hexagonal handle as those spheres at the base, the lower ending in a sphere; fnger ring in Plates 33a,c, 34, 35a, and 37a one engraved “15th April 1905”; perpendicular to the small ring and on another, four of them with silver-p lated brass hexagonal attaching the chain. vase designs registered by Henry handle stamped in two pieces (for Jenkins & Sons (see Note 100); detail showing wear of the die, Inverted bell- shaped vase similar hexagonal handle similar to two see Figure 58), ending in a sphere. to that in Plate 34c; hexagonal silver handles in Plate 32b,c with handle similar to two engraved engraved designs, likely precur- Mixed metals on the holder similar silver holders in Plate 32b,c, likely sors; sphere joining the vase and to those in Plates 17b, 27c, and 39c precursors; same hexagonal handle narrow- topped handle similar to (see Appendix Tables A.8 and A.10); as those in Plates 33, 34, 35a, and those on all 10 holders with hexago- same vase as another;101 same 37a, and on another, four with nal handles. stamped hexagonal handle as those vase designs registered by Henry in Plates 33a,b, 34, 35a, and 37a, Jenkins & Sons, including one with and another, four of them with fern leaves in Plate 33c, fox in vase designs registered by Henry Plate 34a, mermaid in Plate 35a, Jenkins & Sons, including this one and butterfy in another collec- (see Note 100); hexagonal handle tion;100 partial sphere joining the similar to two silver handles in vase and narrow- topped handle Plate 32b,c with engraved designs, similar to those on all 10 holders likely precursors; partial sphere with hexagonal handles. joining the vase and narrow-t opped handle similar to those on all 10 holders with hexagonal handles. 162 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 34. “BMP REGULAR” HOLDERS IN SILVER- PLATED BRASS, THE FIRST WITH HENRY JENKINS & SONS’ REGISTERED FOX- AND- GRAPES DESIGN, ALL THREE WITH HEXAGONAL HANDLES a b c PLATE 34a. FJP.1987.182. Silver-p lated brass PLATE 34b. FJP.1987.171. Silver- plated brass PLATE 34c. FJP.1987.161. Silver- plated brass Vase of two full-h eight replicates Vase of two stamped nearly Vase of stamped imitation-f ligree of a fox-a nd-g rapes stamping full-h eight replicates of fowers, replicates in an inverted bell without registry marks but leaves, and a bee (at upper right), shape, three replicates above and matching design no. 258692, small bits of the same stamping three cropped replicates below, registered 14 December 1871 by added below; sphere at the base; a sphere at the base; hexagonal Henry Jenkins & Sons, a sphere hexagonal handle stamped in two handle stamped in two pieces, at the base; hexagonal handle pieces, ending in a sphere. ending in a sphere. stamped in two pieces, ending in a sphere. Same hexagonal handle as those Inverted bell- shaped vase similar in Plates 33, 34a,c, 35a, and 37a, to that in Plate 33a; same hexag- Same Jenkins-r egistered vase de- and another, four of them with vase onal handle as those in Plates 33, sign as that in Plates 30c, 31a, 31c, designs registered by Henry Jen- 34a,b, 35a, and 37a, and another, and others (see Note 93); same han- kins & Sons in Plates 33c, 34a, 35a four with vase designs registered dle as those in Plates 33, 34b,c, 35a, and another (see Note 100); handle by Henry Jenkins & Sons (see and 37a, and on another, four of similar to two silver handles with Note 100); handle similar to two them with vase designs registered engraved designs in Plate 32, likely silver handles with engraved by Henry Jenkins & Sons, including precursors; sphere joining the vase designs in Plate 32, likely precur- this one (see Note 100); handle and narrow-t opped handle similar sors; sphere joining the vase and similar to two silver handles with to those on all 10 holders with narrow- topped handle similar to engraved designs in Plate 32b,c, hexagonal handles. those on all 10 holders with hexago- likely precursors; sphere joining nal handles. the vase and narrow- topped handle similar to those on all 10 holders with hexagonal handles. 100. In addition to Henry Jenkins & Sons registered designs on #182, #192, and #199, Hughes 247 tripod (second row, fifth from the left) is married to a butterfly design registered as no. 245343 by Henry Jenkins & Sons on 30 September 1870. The eight identical hexagonal handles are on #58, #161, #171, #175, #182, #192, #197, and #199; and Deitsch 93 married to the same vase as #167 (Plate 36). 101. ROM 4 has the same fern vase stamping as #192 and the same bulbous- bottomed handle as #180. BIRMINGHAM MASS PRODUCED REGULAR M 163 PLATE 35. “BMP REGULAR” HOLDERS, THE FIRST WITH JENKINS’S REGISTERED MERMAID DESIGN ON THE VASE AND ANOTHER MERMAID DESIGN WITHOUT REGISTRATION ON THE OTHER TWO a b c PLATE 35a. FJP.1987.199. Gilt brass (16 cm, PLATE 35b. FJP.1987.085. Gilt brass (13 cm, PLATE 35c. FJP.1987.141. Silver- plated brass 44 g) 53 g) (15 cm, 48 g) Vase of two stamped full- height Tripod vase with a fringe of 34 Vase of two stamped full-h eight replicates of a full-f rontal mer- “daggers” (about fve missing) replicates of a pair of winged maid without registry marks but hanging from the rim above two mermaids, their backs to a matching design no. 266012, regis- stamped replicates of a pair of fower urn; spade handle without tered 14 September 1872 by Henry winged mermaids, their backs registry marks for 22 September Jenkins & Sons, sphere at the to a fower urn; a pointed 10- leaf 1871 as on eight spade handles, base; hexagonal handle stamped mid- vase collar; broad leaves on likely intended for registration by in two pieces, ending in a sphere; the post below covering attach- Robert & Josiah Walsham (see solderless twisted- link chain. ment of curved, pointed tripod Note 96); separate attachment of legs (one missing) without appar- chains at the neck, probably a Mermaid similar to Jenkins’s #187 ent means of securing them as a single chain that was broken and (Plate 29), registered six months handle; solderless twisted- link each half reattached. earlier in March 1872, and those in Plate 35b,c without registra- chain (for detail, see Figure 93). Same vase design as that in tions; same hexagonal handle as Same vase replicate as in Plate 35c Plate 35b and another (see those in Plates 33, 34, and 37a, and a silver holder with a plain Plate 35b and Note 102 for details); and another, four of them with fgure-e ight loop handle in another same spade handle as 11 in this vase designs registered by Henry collection; winged mermaids simi- collection and three others (see Jenkins & Sons, including this one lar to #187 (Plate 29) registered by Note 96), probably a single chain (see Note 100); hexagonal handle Henry Jenkins & Sons and a pair ending in both accoutrements as on similar to two silver handles in on a majolica clock designed by other spade handles (see Notes 21 Plate 32b,c with engraved designs, Hugues Protât, sold by Wedgwood and 106). likely precursors; sphere joining & Sons in 1871; fringe and legs sim- the vase and narrow-t opped handle ilar to vase designs linked to Henry similar to those on all 10 holders Jenkins & Sons (see Note 88);102 with hexagonal handles; same chain similar to that in Plate 35a solderless twisted-l ink chain as and on eight other English holders that in Plate 35b and on eight other (see Note 61). English holders (see Note 61). 102. The mermaids are married to an Antique Cupboard holder with a plain figure-e ight loop handle, https://antiquecupboard.com/Tussie-M ussie-F igural-A ngels-w ith- Flowers- j1218_p_203679.html. The same figure-e ight handle is on Kenber 106 married to Robert & Josiah Walsham’s cornucopia vase and on the handle of ROM 26 164 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 36. “BMP REGULAR” HOLDERS WITH THE SAME SLIGHTLY SQUARISH FLOWER- TOPPED HANDLES AND DIFFERENT VASES a b c PLATE 36a. FJP.1987.167. Silver- plated brass PLATE 36b. FJP.1987.204. Gilt brass (12 cm, PLATE 36c. FJP.1987.017. Silver- plated brass (14 cm, 34 g) 29 g) (14 cm, 41 g) Vase of two full- height stamped Vase of four full-h eight stamped Vase of three stamped cherry tree replicates of three pointed replicates of a duck falling down- replicates; fower- topped squarish seven-p etal fowers in an urn on ward between large scrolls, small loop handle; single round- link a pedestal, long leaves around fowers, and leaves; fower- topped chain attached midway, a foral it; fower-t opped squarish loop squarish loop handle; probably a pin at one end and fnger ring at handle. single chain caught in the middle, the other. now in two pieces, one ending in Same vase stamping as one in a cotter pin and the other missing Same handle as that in Plate 36a,b another collection married to the the fnger ring. and on another (see Note 104), also same hexagonal handle as eight truncated on elegant BMP #381 holders in this collection;103 same Same handle as that in Plate 36a,c (Plate 17); same single chain ending handle as that in Plate 36b,c and and on another (see Note 104), also in both accoutrements as on #381, on another,104 as well as truncated truncated on elegant BMP #381 probably that in Plate 36b, and 19 on elegant BMP #381 (Plate 17). (Plate 17); chain similar to that in other English holders (see Note 21). Plate 36c and on #381, probably ending in both accoutrements as on 21 English holders (see Note 21); cotter pin as on 29 English holders (see Note 6). related to #31 with a plain loop handle associated with Henry Jenkins & Sons in Plate 21. Deitsch tripods 120 and 121 have similar rims, the first with a Greek key vase design and the second, a fox-a nd-g rapes vase design, both associated with Henry Jenkins & Sons (see Notes 88, 93). Weber et al., eds., Majolica Mania, 2:62, 138–139, 142–143, 173–174. 103. Deitsch 93 has the same vase with brightly enameled flowers married to a hexagonal handle. 104. A holder with a maple leaf vase on the title page of Laufer’s Tussie-M ussies. BIRMINGHAM MASS PRODUCED REGULAR M 165 PLATE 37. “BMP REGULAR” HOLDERS WITH LARGE GRAPE- LEAF VASES, MARRIED TO A HEXAGONAL HANDLE LINKED TO HENRY JENKINS & SONS AND SPADE HANDLES TO ROBERT & JOSIAH WALSHAM a b c PLATE 37a. FJP.1987.197 Silver-p lated brass PLATE 37b. FJP.1987.022. Silver- plated brass PLATE 37c. FJP.1987.008. Silver- plated brass (16 cm, 39 g) (16 cm, 36 g) (16 cm, 44 g) Vase of two stamped full- height Vase of two stamped full-h eight Vase of two stamped full-h eight replicates of large grape leaves replicates of large grape leaves replicates of large grape leaves and grapes, sphere at the base; and grapes; spade handle match- and grapes; spade handle with hexagonal handle ending in a ing eight with registry marks for “22” legible among registry marks, sphere; chain ending in a fnger 22 September 1871, likely intended almost certainly for 22 September ring. for registration by Robert & 1871 as on others likely intended Josiah Walsham (see Note 95); for registration by Robert & Same vase as that in Plates 37b,c, probably a single chain attached Josiah Walsham (see Note 95); 38a, and on another,105 smaller midway (missing).106 chain ending in a fnger ring grape leaf vases similar to them attached at the neck (for detail, on Plate 22 associated with Henry Same holder as those in Plates Jenkins & Sons; same hexagonal see Figure 100). 37c and 38a; same vase as that handle as seven others in Plates in Plate 37a and another (see Same holder as those in Plates 33, 34, and 35a associated with the Note 105); vase similar to smaller 37b and 38a; same vase as that frm; and two silver handles with grape leaf vases (Plate 22) associ- in Plate 37a and another (see engraved designs in Plate 32, likely ated with Henry Jenkins & Sons; Note 105); vase similar to smaller precursors; sphere joining the vase same spade handle as 10 others grape leaf vases associated with and narrow-t opped handle similar associated with Robert & Josiah Henry Jenkins & Sons (Plate 22); to those on all 10 holders with Walsham (see Notes 95, 96); loss of same spade handle as 10 others also hexagonal handles. chain and accoutrements similar to associated with Robert & Josiah two others with spade handles (see Walsham (see Notes 95, 96); chain Note 106). ending in a fnger ring similar to three others with spade handles, probably single chains having lost the other half (see Note 106). 105. Hughes 247 (bottom row, fourth from left) is married to the same plain loop handle as those on Plate 21. 106. Of 11 holders with spade handles, only #4 and #59 have an intact chain, a single chain ending in an accoutrement at either end, attached midway. Five on #8, #57, #164, #166, and #201 appear to retain half of the chain, generally ending in the finger ring; #141 retains two chains, probably broken halves of a chain. Chain and accoutrements are missing on #22, #191, and #210. 166 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 38. “BMP REGULAR” HOLDERS, TWO WITH A BUTTERFLY VASE DESIGN REGISTERED BY ROBERT & JOSIAH WALSHAM AND ALL THREE WITH SPADE HANDLES ASSOCIATED WITH THE FIRM a b c PLATE 38a. FJP.1987.057. Silver-p lated brass, PLATE 38b. FJP.1987.191. Silver- plated brass PLATE 38c. FJP.1987.059. Silver- plated brass trace mercury (16 cm, 38 g) (16 cm, 31 g) (15 cm, 53 g) Vase of two stamped full- height Vase of two stamped full-h eight Vase of two stamped full- height replicates of large grape leaves replicates of a butterfy design replicates of a butterfy (for detail, and grapes; spade handle with with legible registry marks for see Figure 18) with legible reg- “22” legible of a registry marks 27 November 1869, matching no. istry marks dated 27 November for 22 September 1871, likely 236671 submitted by Robert & Jo- 1869, matching design no. 236671 intended for registration that day siah Walsham (Figure 17); spade submitted by Robert & Josiah by Robert & Josiah Walsham handle with “22” legible of regis- Walsham; spade handle with (see Note 95); spade handle, chain try marks for 22 September 1871, only “22” legible in registry marks ending in a fnger. likely intended for registration for 22 September 1871 (Figure 17), that day by the Walshams (see likely intended for registration Trace mercury as on three others note 95); spade handle; missing that day by the Walshams (see (see Note 53); same holder as the chain and accoutrements. Note 95); single chain attached previous two in Plate 37b,c; vase the same as that in Plate 37a and midway, a cotter pin at one end Same holder as that in Plate 38c similar to smaller grape leaf vases and a fnger ring at the other (for and similar to the vase of Plate 39a (Plate 22); same spade handle as 10 detail, see Figure 101). with just the lower part enlarged, others associated with Robert & Jo- same spade handle as 10 others Same holder as that in Plate 38b siah Walsham (see Note 96); chain (see Note 96), all registered by or and similar to the vase of Plate 39a ending in a fnger ring similar to associated with Robert & Josiah with just the lower part enlarged; three others with spade handles, Walsham; loss of chain similar to same spade handle as 10 others probably single chains having lost two others with spade handles (see (see Note 96), all registered by or the other half (see Note 106). Note 106). associated with Robert & Josiah Walsham; single chain attached midway with both accoutrements as on 21 English holders and prob- ably all holders with spade handles (see Note 106); cotter pin as on 29 English holders (see Note 6). BIRMINGHAM MASS PRODUCED REGULAR M 167 PLATE 39. “BMP REGULAR” VASE DESIGN ON THE FIRST HOLDER REGISTERED BY ROBERT & JOSIAH WALSHAM AND HANDLES ASSOCIATED WITH THE FIRM a b c PLATE 39a. FJP.1987.201. Silver-p lated brass PLATE 39b. FJP.1987.164. Silver- plated brass PLATE 39c. FJP.1987.165. Silver- plated brass, (15 cm, 35 g) silver (15 cm, 32 g) Vase of two stamped full-h eight Vase of two stamped full- height replicates of a pair of turtle doves; Silver-p lated sheet brass vase of replicates of the enlarged lower spade handle with legible registry fve full- height three- tiered repli- part of the vase in Plate 38b,c; marks for 22 September 1871 cates cut out of a single sheet like “8” legible in registry marks for (Figure 10), likely intended for paper dolls; bulbous four- sided 8 January 1870, matching design registration that day by Robert silver handle stamped in two no. 237928 submitted that day & Josiah Walsham (see Note 95); pieces, ending in a sphere; holder by Robert & Josiah Walsham chain ending in a fnger ring. entirely machine-d ecorated with (Figure 19; see also Note 95); zigzag borders and designs. spade handle with legible registry Same spade handle as 10 others marks for 22 September 1871, associated with Robert & Josiah Mixed metal holder similar to those likely intended for registration Walsham (see Note 96); chain in Plates 17b, 27c, and 33c (see Ap- that day by them (see Note 95); ending in a fnger ring similar to pendix Tables A.8 and A.10); same chain ending in a fnger ring. three others with spade handles, handle as that in Plate 40a and probably single chains having lost four others, including two married Same holder and vase design as the other half (see Note 106). to vases with designs registered by others,107 an enlarged version of Robert & Josiah Walsham108 and a the lower part of the vase stamping holder made entirely of the handle in Plate 38b,c; same spade handle stampings.109 as 10 others associated with Robert & Josiah Walsham (see Note 96); chain for a fnger ring similar to three others with spade handles, likely a single chain attached midway that has lost the other half (see Note 106). 107. Marès 11 is the same holder. Kenber 105 has the same vase, including registry marks, married to the same cornucopia handle as #33, #236, #162, suggesting that the cornucopia handle is a Walsham design. 108. The handle is on Schwartz 17 (bottom right), married to a cone-s haped sheet vase; on BMFA 1971.320, married to butterfly design no. 238170, registered 20 January 1870 by Robert & Josiah Walsham; and on a 1stDibs holder married to cornucopia design no. 259991, registered 26 June 1872 by the Walshams, “Antique Victorian Silver Plated Tussie Mussie” at https://www.1stdibs.com/search/?q=tussie mussie. 109. A vase made of four handle halves along with the handle made of two is on a 1stDibs holder, formerly on https://www.1stdibs.com, reference number LU862316675211, but no longer available. 168 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 40. “BMP REGULAR” HOLDERS, TWO WITH SPADE HANDLES ASSOCIATED WITH ROBERT & JOSIAH WALSHAM AND A BULBOUS HANDLE ASSOCIATED WITH THE FIRM BY REGISTERED DESIGNS ON TWO OF THEIR VASES a b c PLATE 40a. FJP.1987.070. Silver-p lated brass PLATE 40b. FJP.1987.210. Gilt brass (15 cm, PLATE 40c. FJP.1987.166. Brass (16 cm, 37 g) (14 cm, 45 g) 39 g) Vase of two stamped full- height Vase of four stamped imitation- Vase of two stamped replicates replicates of a rose at the top fligree-g ranulation replicates of intertwined rope and a shield; of large leaves, small thistles at above four smaller similar rep- spade handle with legible registry the base; spade handle lacking licates; plain bulbous four-s ided marks for 22 September 1871, registry marks for 22 September handle stamped in two pieces, likely intended for registration 1871, but likely intended for ending in a stamped sphere; that day by Robert & Josiah registration by Robert & Josiah cotter pin. Walsham (see Note 95); missing Walsham that day (see Note 95); chain and accoutrements. Vase similar to #5 (Plate 26); same fragmentary solderless twisted- handle as that in Plate 39c but Stamped rope similar to #23 link chain. without decoration and four others, (Plate 29), its handle associated Brass without plating similar to #13 including two married to vases with Henry Jenkins & Sons; same (Plate 43); same holder as another with designs registered by Robert spade handle without chains as in silver- plated brass;110 same rose & Josiah Walsham (see Note 108) in Plate 40c and nine others (see as larger roses on #186 and #236 and a holder made entirely of the Note 96); loss of chain similar to (both Plate  41), indirectly connected handle stampings (see Note 109); two others with spade handles to Robert & Josiah Walsham (see cotter pin as on 29 English holders associated with Robert & Josiah Notes 111, 112); same spade handle (see Note 6). Walsham (see Note 106). as that in Plate 40b and nine others associated with them (see Note 96); solderless twisted- link chain similar to those on nine other English holders (see Note 61), damaged chain as on holders with spade handles (see Note 106). 110. ROM 25 with a round- link chain for a finger ring. BIRMINGHAM MASS PRODUCED REGULAR M 169 PLATE 41. “BMP REGULAR” HOLDERS WITH INDIRECT LINKS TO BOTH ROBERT & JOSIAH WALSHAM AND HENRY JENKINS & SONS a b c PLATE 41a. FJP.1987.186. Silver- plated brass PLATE 41b. FJP.1987.236. Gilt brass (14 cm, PLATE 41c. FJP.1987.033. Silver (13 cm, 31 g) (15 cm, 44 g) 49 g) Vase of four full-h eight stamped Vase of three stamped full- height Vase of three stamped full-h eight replicates of a large grape leaf replicates of a large rose and replicates of a large rose and and grapes encircled by a grape leaves; bud- topped loop handle; leaves with large yellow glass vine above a smaller grape leaf; cotter pin. gems set in twisted- wire frames cornucopia- topped looped leaf between replicates; cornucopia- Same vase stampings as that in handle; single chain with a fnger topped looped leaf handle; ball Plate 41b (with gems); same rose ring attached midway, ending in a chain ending in a fnger ring. as a smaller rose on the vase in cotter pin. Plate 40c, married to a spade han- Same vase as in Plate 41a; same Same holder as that in Plate 42a, dle associated with Robert & Josiah rose as a smaller one on the vase with the fnger ring mid- chain Walsham; same bud- topped loop of #166, married to a spade handle ending in a cotter pin;113 same handle as nine others and seven associated with Robert & Josiah vase as three in this collection and similar bud- topped loop handles Walsham (Plate 40c); added gems another married to a plain loop or with curled ends, both handles with similar to those on the vase of bud-topped loop handle associated six designs on vases registered by another holder, otherwise the same with Henry Jenkins & Sons (see Henry Jenkins & Sons (see Notes vase as in Plate 41b,c (see Note 114); Notes 74, 79, and 113); same handle 79, 80); cotter pin as on 29 English same cornucopia handle as those in as two married to vases associated holders (see Note 6). Plates 41c and 42a and four others, with Robert & Josiah Walsham and two with vase designs registered by one with the Jenkins (see Note 111); the Walshams and one associated cotter pin as on 29 English holders with the Jenkins (see Note 113);111 (see Note 6). rare ball chain similar to those on Walsham holders in other collections.112 111. Kenber 105 has the same cornucopia handle married to the vase of #201 registered by Robert & Josiah Walsham in 1871. A holder on antiquecupboard.com had a cornucopia handle married to the same Walsham-r egistered butterfly vase as on #59 and #191 and a ball chain, but it is no longer available. Hughes 247 (top row, third from left) has the handle married to the same clematis vase as #69 with a hexagonal handle associated with the Jenkins. Schwartz 24 (bottom center) has the handle married to a wire vase topped by four Prince of Wales ostrich plumes. 112. A ball chain is on Kenber 106, which has a cornucopia vase registered by Robert & Josiah Walsham in 1872; and one on the butterfly holder cited in Note 111. Another cornucopia vase is also married to the same bulbous handle as #70 and #165 associated with the Walshams (see Note 108). 113. A grape vase on Hughes 247 (bottom row, fourth from left) is married to the same plain loop handle as those on Plate 21 indirectly associated with Henry Jenkins & Sons. 170 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 42. “BMP REGULAR” HOLDERS WITH INDIRECT LINKS TO BOTH HENRY JENKINS & SONS AND ROBERT & JOSIAH WALSHAM a b c PLATE 42a. FJP.1987.162. Silver (12 cm, 32 g) PLATE 42b. FJP.1987.143. Silver- plated brass PLATE 42c. FJP.1987.090. Silver- plated brass (16 cm, 49 g) Vase of four stamped full-h eight Vase of four stamped full-h eight replicates of a large grape leaf replicates of leaves, plums, and a Vase of four stamped full-h eight and grapes encircled by a grape curving branch, a wire- loop clip replicates of leaves, plums, and vine above a smaller grape leaf; on the back; spherical wire cage a curving branch, a wire- loop cornucopia- topped looped- leaf at the neck (now elongated); loop clip on the back; spherical wire handle; single chain with a ring handle crossed at the top with a cage at the neck; loop handle attached midway, ending in a chain attached to a hole drilled in crossed at the top with a chain cotter pin inserted through a hole the side. attached to a hole drilled through in the middle of a grape leaf. the side. Same holder as that in Plate 42c Same vase as in Plate 41c, also with and one in another collection with Same holder as that in Plate 42b a fnger ring midway on a chain glass gems without the wire cage;114 and one in another collection with ending in a cotter pin; same vase vase style similar to #186 and #236 glass gems without a wire cage as one in another collection and (Plate 41a,b), the handle of #186 (see Note 114); vase style similar three in this collection with smaller associated with Henry Jenkins & to #186 and #236 (Plate 41a,b), the leaves, all three married to a plain Sons (see Notes 79, 80) and holder handle of #186 associated with both or bud-topped loop handle associ- #236 with glass gems and handle makers (see Notes 111–113); same ated with Henry Jenkins & Sons indirectly associated with both wire- loop clip as on 16 holders (see Notes 74, 79); same handle as in makers (see Notes 111–113); same associated with Birmingham (see Plate 41b,c and others, one married wire- loop clip on the back as on 16 Note 3); same spherical wire cage to the same vase as #201 (Plate 39), holders associated with Birming- as those in Plates 42b and 43a. registered by Robert & Josiah ham (see Note 3); same spherical Walsham and another associated wire cage as those on Plates 42c with Henry Jenkins & Sons (see and 43a. Notes 111, 113); cotter pin as on 29 English holders (see Note 6). 114. Kenber 112. BIRMINGHAM MASS PRODUCED REGULAR M 171 PLATE 43. “BMP REGULAR” HOLDERS WITH TRIPLY NOTCHED HANDLES a b c PLATE 43a. FJP.1987.195. Gilt brass (14 cm, PLATE 43b. FJP.1987.127. Gilt brass (11 cm, PLATE 43c. FJP.1987.013. Brass (13 cm, 31 g) 44 g) 21 g) Vase of four replicates of a Vase of fve stamped fve- petal Vase of four stamped replicates fuchsia and bird stamping above fowers at the rim above fve of a textured curled leaf around replicates of ribbons on an asym- replicates of a textured curled a pointed six- petal fower; looped metrical textured background; leaf encompassing a pointed leaf handle with three notches; looped leaf handle with three four- petal fower with a curled bent and broken link mid-v ase, notches. stem; wire- loop clip on the back; missing chains. spherical wire cage at the neck Brass without plating similar to (now elongated); looped leaf Same vase as another with the #166 (Plate 40); same fuchsia and handle with three notches; single same handle as #172 and #205 in bird stamping as on other BMP chain attached mid-h older, a Plate 44;116 vase similar to elegant fligree and elegant- type holders; cotter pin at one end and fnger #225 (Plate 19); same handle as that same fuchsia stamping as on a ring at the other. in Plates 25b, 43a,c, and on others silver boutonniere;117 same handle (see Notes 84, 115). as those in Plate 25b, 43a,b, and Same cage as those in Plate 42b,c, others (see Note 115). indirectly associated with both Rob- ert & Josiah Walsham and Henry Jenkins & Sons (see Notes 111- 113); same handle as that in Plates 25b, 43b,c, and on others;115 same wire- loop clip as on 16 holders associ- ated with Birmingham (see Note 3), including that in Plate 42c; same single chain attaching accoutre- ments as on 21 English holders (see Note 21); cotter pin as on 29 English holders (see Note 6). 115. MNBAQ 1958.503 has the same handle married to the same vase as BMP regular #14 associated with Henry Jenkins & Sons (see Note 84). ROM 6 has the same handle married to a vase with stampings similar to BMP elegant #74. 116. Same vase with a cotter pin married to the same handle as holders on Plate 44. Donna Halloran, Pin on Floriography: Language of Flowers, https://www.pinterest .com/pin/385198574389108211. 117. The same fuchsia and bird stamping is on the vase of three holders: Hughes 247 (middle row, third from right), the same handle as BMP filigree #209 and regular 172 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 44. “BMP REGULAR” HOLDERS, TWO WITH CURLED HANDLES RELATED TO HOLDERS IN PLATE 43 AND THE THIRD REGISTERED BY KNIGHT & DURANT a b c PLATE 44a. FJP.1987.205. Silver (13 cm, 19 g) PLATE 44b. FJP.1987.172. Silver- plated brass PLATE 44c. FJP.1987.190. Silver- plated brass (13 cm, 48 g) (13 cm, 38 g) Vase of fve stamped full- height replicates of low-r elief engraved Heavy vase of four replicates of Vase of three stamped full-h eight leaves and fowers topped by an separately stamped grapes and replicates with rows of classical ogee arch on linear and pebbly grape leaves on wire vines, a motifs, including anthemions textured backgrounds, joined by wire- loop clip on the back; sphere and a Greek key border; only “4” small hemispheres at the sides; at the neck of four oval low legible in registry marks on the asymmetrically topped handle reliefs, each with two apertures; knob for 4 June 1874, matching ending in a curl; chain ending in asymmetrically topped handle design no. 282775 for a “Bouquet a cotter pin at one end and fnger ending in a curl. Holder” submitted by Knight & ring at the other. Durant (Figure 20); small loop Grapes and grape leaves atop handle. Textured low reliefs similar to wires similar to those on other those on elegant holders, including vases, including a fligree- type Same upper part of this holder a low-r elief plaquette on those in holder;118 same wire-l oop clip as on as on a bejeweled holder with the Plates 15c, 16a,b, and others; same 16 English holders (see Note 3); neck lower part of the second bouquet handle as that in Plate 44b and on sphere similar to fgure-e ight low- holder design registered by the another holder with the same vase relief spheres on elegant Plate 15 frm as no. 289776 on the same day as Plate 43c (see Note 116); cotter and regular Plate 25b and a bud(?) (Figure 21),119 without any stamp- pin as on 29 English holders (see with a single aperture on the rim ings in common with other holders Note 6). of elegant Plate 16a; same handle in the collection. as that in Plate 44a and another holder with the same vase as in Plate 43c (see Note 116). #10; Hughes 247 (top row, fourth from right), the same handle as regular #172 and #205; and a Weber Antiquités holder with the same figure-e ight neck sphere as elegant #15 (http://www.weber- antiquites.com/en/produit/porte- bouquet- vers- 18401850/) and the same lily of the valley vase stamping as on an Antique Cupboard tripod (https://antiquecupboard.com/Silver- Tussie- Mussie- Birds- Lily- of- the- Valley- j1327_p_203760.html), which has the same lily of the valley stamping and neck sphere as on elegant-type ROM 18 (which is also married to the same handle as elegant #15); Deitsch silver boutonniere 43 features the fuchsia without a bird and has a pair of textured leaves. 118. Similar, if not the same, grape leaves and grapes are atop wires are on vases of Kenber 111 and Schwartz 25, which has a BMP filigree- type collar of three alternating leaves and bifurcated flowers married to a curved handle ending in a sphere. 119. The holder was sold on 12 January 2020 as Lot 209 by Roland Auctions in Glen Cove, New York. https://www.liveauctioneers.com/catalog/157149_january- 12- 2020 - estates- sale/?page=9. BIRMINGHAM MASS PRODUCED REGULAR M 173 MISCELLANEOUS PROBABLY ENGLISH GROUP The 15 holders in the MPE group (Plates 45–49) employ typical English base metals: eight in white metal, including silver, nickel silver, and britannia metal, as well as brass. Plating is in silver on fve and gold on four. Some have other English features, such as cotter pins or wire-l oop clips associated with Birmingham. Most were stamped, but none has stampings congruent with those of holders in the other two English groups. The frst six holders have small vases with attachments for clothing, including three for women and three for men. Silver pin brooch #257 (Plate 46) has a distinctive edel- weiss suggestive of an Alpine hiking trip and is similar to holders in other collections depicting other manly activities, such as deer hunting. The three holders in Plate 47 are bold and heavy, employing thick brass wire looped or spiraled as a main design element, indicative of the same manufacturer. Acorns and oak leaves suggest an English origin, and related holders in other collections provide links to Birmingham. These holders were probably made relatively early on the basis of considerable handwork and weight. Among six disparate holders in Plates 48 and 49, #174 in silver has a cotter pin and sphere at the neck similar to BMP regular holders with hexagonal handles. Odd little #107 has “PATENT” stamps apparently referring to an 1874 patent held by Birming- ham’s B. H. Joseph & Co., which made EHQ #1; and both holders also have similar palmettes. A boar tusk with silver fttings recalls a Scottish brooch set with a boar tusk. An elephant ivory sliding ring holder is similar to several attributed to England by other owners, although an Indian origin seems a possibility. A holder in silver-p lated britannia was likely spun, and the simple rounded silver vase of #108 on a necklace recalls early twentieth-c entury hallmarked EHQ vases #76 and #79 (Plate 6). 174 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 45. “MPE” VASE BROOCHES FOR WOMEN a b c PLATE 45a. FJP.1987.078. Gilt brass, PLATE 45b. FJP.1987.093. Gilt brass (7 cm, PLATE 45c. FJP.1987.101. Silver, glass, silver- enameling (7 cm, 23 g) 25 g) plated brass (7 cm, 18 g) Vase brooch with two replicates Hexagonal vase brooch with Engraved fattened cone- shaped of stamped imitation granulation/ discontinuous scrolls on its six silver vase brooch; hinged to the fligree fowers and leaves topped faces, a small three- part decora- vase, a large silver fower of six by a bird in fight added at the tion ending in a tiny sphere at prong- set colorless faceted glass center, remnants of green, red, the bottom; chain attached at the petals and center, a thick curvy and white enamel; a pair of base ending in a short foral pin, wire stem attaching a pair of interior prongs; wire- loop clip which fts through holes on the perforated silver leaves, and a on the back. back near the top; wire- loop clip smaller fower and seeds(?) on on the back. thinner curvy wires; pin on the Stamped imitation granulation/ back for attachment to clothing; fligree similar to that in regular Gilt- brass sheet engraving similar French- type silver- plated brass Plates 26a and 40a, and four to that on BMP- type tripod legs in oval-l ink loop- in- loop sheet chain, brooches in other collections;120 other collections;121 same wire-l oop same wire-l oop clip on the back probably not original because its clip as 15 others, suggesting manu- as that in Plate 45b and 15 hold- facture in Birmingham (see Note 3). plated brass does not match the ers, indicating manufacture in silver vase; cotter pin attached Birmingham (see Note 3); same by two links, also indicating interior prongs as fve BMP elegant reattachment. holders (Plates 16–18), following Use of silver similar to that in #100 hallmarked during 1838–1839 many other English holders; cotter (see Note 4). pin as on 29 English holders (see Note 6). 120. Especially Kenber 51 with a peacock on the front, but also Kenber 31, Deitsch 75, and Laufer 48, the first two with wire-l oop clips on the back. 121. Deitsch 117 and Schwartz 18 (bottom left and cover). MISCELLANEOUS PROBABLY ENGLISH M 175 PLATE 46. “MPE” BOUTONNIERE WITH A CLIP AND TWO PIN BROOCHES FOR MEN, ALL THREE WITH GLASS VIALS a b c PLATE 46a. FJP.1987.238. Silver- plated brass, PLATE 46b. FJP.1987.119. Silver, gilt silver, PLATE 46c. FJP.1987.257. Silver, glass glass (7 cm, 8 g) glass (8 cm, 18 g) (missing) Boutonniere; stamped silver- Pin brooch with a stamped Bottomless silver pin brooch, plated brass acorn and oak leaves silver urn spanned by gilt- silver missing a glass insert for fowers; on a clip for insertion through English ivy atop a purple glass imitation-b asketry stamped vase a jacket lapel; purple glass vase vase, slightly fattened to prevent bent to form a cylinder with an slightly fattened to prevent rotation. oak leaf rim; stamped edelweiss rotation. attached to the center front; a pin Purple glass vase similar to that formed from a single wire on the Pair of leaves similar to those on a in Plate 46a; ivy similar to that on back. boutonniere in another collection other English holders. that has the same fuchsia as #13 Brooch similar to others with glass (Plate 43);122 oak imagery similar inserts and representations of to other English holders;123 pur- manly activities, possibly for mo- ple glass vase similar to that in toring: one with the same edelweiss Plate 46b. and mountain climbing equipment, another with a smaller edelweiss below a grouse, and a third with an oak leaf rim and a deer head.124 122. Deitsch boutonniere 43 has a similar pair of leaves with the same fuchsia hanging between them as on the vase of #13. Kenber 124, hallmarked in Chester during 1914–1915, and Deitsch 22 feature a single leaf on silver boutonnieres. 123. Oak leaves and acorns are found on English #51, #109, #113, #139, #152, #224, and #383. 124. The same spiky edelweiss is on a silver brooch with an ice pick, walking pole, and climbing rope. Ruby Lane, Boutonnierre with Swiss Alpine Theme, https://www .rubylane.com/item/406272-G EC-0 0871. Another with a dotted background and a capercaillie found in pinewoods of Scotland was sold by Case Antiques, Lot 921, but no is longer available on their website. The third with a deer head, perhaps referring to deer stalking by the British royal family, was sold by Roland Auctions in Glen Cove, New York, on 12 January 2020, https://www.liveauctioneers.com/item/79531229_19th-c -p in-o n-t ussie-m ussie-p osey-h olders-5 . A “metal posy holder with a glass liner” has similar imitation basketry and a rare liner. Bonhams, Item 192, The Oxford Sale: Collectors’ Motor Cars & Automobilia, 2 March 2013, https:// images1.bonhams.com/original?src=Images/live/2013-0 2/13/S-2 0925-0 -1 .pdf. 176 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 47. “MPE” HEAVY HOLDERS FEATURING THICK WIRE AND OAK LEAVES, PROBABLY BY THE SAME EARLY BIRMINGHAM MAKER a b c PLATE 47a. FJP.1987.083. Gilt brass (14 cm, PLATE 47b. FJP.1987.011. Silver- plated brass PLATE 47c. FJP.1987.032. Silver- plated brass 85 g) (11 cm, 48 g) Vase of two stamped replicates of Second heaviest holder in the col- Seventh-h eaviest holder in the a bird amid leaves and cherries, lection after #64 (Plate 82); vase collection; vase of thick wires; smaller pieces of the same stamp- of four replicates of acorns and three stamped many- lobed leaves ing at the base; thick twisted-w ire oak leaves on thick wires, one around the neck and similar handle with a looped end; large continuing around an imitation- smaller leaves curving along the round link attaching a solderless bark handle with acorns at top handle, ending in a plain curled twisted-l ink chain. and bottom; large, elongated stem. round-l ink chains attaching Use of thick wire similar to holders accoutrements (for detail, see Heavy handmade English holder in Plate 47a,b and related to fve Figure 90). of thick wires and leaves related to others, suggesting the same early those in Plate 47a,c and fve others, maker, possibly Henry Jenkins (see Heavy handmade holder of possibly early holders made by Plate 47a for details); solderless thick wires and oak symbols Henry Jenkins (see Plate 47a for twisted- link chain similar to those (see Note 123) similar to those in details); same plain curled lower on 10 English holders (see Note 61); Plate 47b, c; a holder with a wire handle as another with the same large link for chain attachment vase similar to 47b and the same vase as BMP regular #24 and #241 similar to that in Plate 47a and two leaves as regular magpie 25c (Plate 23), married to the same others (see Note 126). related to elegant magpie 16a;125 bud- topped loop handles as nine and two with elongated round- link others associated with registrations chains attached by large round by Henry Jenkins & Sons (see Notes links;126 suggesting the same maker 79, 80).127 for all seven, possibly by Henry Jenkins, who opened his business in Birmingham in 1830. 125. PMA 1932-4 4- c has essentially the same wire vase as MPE #11 and the same long leaves wound around the handle as regular #73. 126. Schwartz 24 (bottom left) and Deitsch 88 (left). 127. The same handle tip is on a Hughes 247 holder (top row, fifth from right). MISCELLANEOUS PROBABLY ENGLISH M 177 PLATE 48. “MPE” HOLDERS, ONE IN SILVER, ONE IN SILVER- PLATED NICKEL SILVER, AND A BOAR TUSK WITH SILVER FITTINGS a b c PLATE 48a. FJP.1987.174. Silver (16 cm, 36 g) PLATE 48b. FJP.1987.107. Silver- plated nickel PLATE 48c. FJP.1987.227. Silver, tusk (11 cm, silver (8 cm, 48 g) 53 g) Sterling silver holder (see Ap- pendix Table A.1); vase of four Two replicates in 20% nickel Boar tusk ftted with silver; replicates of wires forming three silver (see Appendix Table A.10); engraved silver sheet band loops, each with a wire-h ung inscribed “PATENT” on the face around the rim inscribed “Kath- engraved leaf; stamped sphere at (upside down here), referring to leen” topped by fve loops, each the neck; handle of four curved the 1873 Joseph Joseph patent encompassing a stamped melon; wires forming ovals, each with held by B. H. Joseph & Co. of Bir- engraved silver cone over the three wire- hung leaves; a tiny mingham; when pressed, hinged tip, a chain attached to the end sphere at the bottom; cotter pin. palmettes open serrated jaws on missing its accoutrement. the top surface to secure fowers, Leaves similar to those on another similar to a patent illustration Fitted boar tusk similar to a Scot- holder;128 same sphere at the neck (see Figure 9).129 tish brooch with a cairngorm;130 as on 10 BMP regular holders same inscribed name as a common with hexagonal handles (see Plates “PATENT” stamp, jaws, and use one for an English woman. 32–35); cotter pin as on 29 English of palmettes similar to those on #1 holders (see Note 6). (Plate 4); nickel silver similar to four English holders but higher in nickel (see Note 60 and Appendix Table A.10). 128. The silver vase of Deitsch 107 has similar leaves hung by wires and a cotter pin. 129. See Note 18. 130. Similar silver fittings are on a Scottish brooch set with a boar tusk and cairngorm drop in the Kelvingrove Art Gallery and Museum in Glasgow. By the Victorian era, wild boar had been long extinct in Scotland, but tusks may have been brought from abroad. Gere and Rudoe, Jewellery in the Age of Queen Victoria, 225, 244–245. 178 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 49. “MPE” UNRELATED HOLDERS: AN IVORY SLIDING RING HOLDER, A SILVER-P LATED BRITANNIA CONE-S HAPED HOLDER, AND A PLAIN SILVER PENDANT VASE HUNG FROM A NECKLACE a b c PLATE 49a. FJP.1987.149. Elephant ivory PLATE 49b. FJP.1987.120. Silver- plated PLATE 49c. FJP.1987.108. Silver (7 cm, 23 g) (15 cm, 33 g) britannia (13 cm, 58 g) Plain rounded silver vase with a Sliding ring holder in elephant Heavy holder in britannia metal pair of holes on the back near the ivory, identifed by engine turn- (see Appendix Table A.10);132 top strung with a silver necklace ings; vase of fve upright petals thick (spun?) cone- shaped vase, chain. curving upward to points carved the upper two- thirds textured from a single piece, tightened by and incised with the same four Plain shape similar to hallmarked pushing a sliding ring upward decorations and the lower third early twentieth- century EHQ #76 after insertion of fowers; set in polished; a ring at the bottom and #79 (Plate 6). a matching ring at the top of the for attachment of a fnger ring handle, curving to a cylinder with chain (missing); a fgure- eight a loop at the bottom for attach- ftting at the rim attaching one ment of a chain (missing). end of a solderless twisted- link chain to its lower ring, a threaded Holder similar to others attributed T-shaped foral pin at the other to England,131 although it seems end of the chain matching threads possible that such holders could on the upper ring, its tip secured have been made in India, given the elephant ivory. through an opposite ftting. Plain shape similar to early twentieth- century hallmarked holders #76 and #79 (Plate 6); same solderless twisted- link chain as on 10 English holders (see Note 61). 131. Deitsch 101 and Schwartz 13 are attributed to England. The Deitsch holder is fitted with a gilt-b rass loop, chains, and accoutrements, likely later additions: inter alia, the floral pin is far too narrow to be retained by the insertion hole. 132. The XRF analysis showed the composition of the base metal to be 93% tin and 7% antimony (see Appendix Table A.10), although britannia normally has a small percentage of copper. MISCELLANEOUS PROBABLY ENGLISH M 179 FRENCH BOUQUET HOLDERS Identifcation of 72 French bouquet holders (Plates 50–76) began with 10 made using traditional French vitreous enamel fred onto copper sheet, to which other holders with the same stampings were added. A second group was formed of similar materials but entirely diferent stampings and features, notably with regard to chain attachments. Vases in both groups are primarily made of electrogilded brass with mother-o f-p earl spindle-s haped handles. A third group comprises holders made using similar materials and manufacture but lacking stampings congruent with those in the frst two groups. French group 1 (FG1) of 45 holders comprises the 10 holders with enameled copper handles, 33 that have the same stampings or other features similar to them. Also in- cluded are two holders by other makers: sliding ring #173, which matches an illustration in a French journal from 1834; and #92, which has rows of “pearls,” matching enamel- work in Bourg-e n-B resse in eastern France. French group 2 (FG2) of 13 holders, which employed dies diferent from FG1 holders, was initially comprised of three nearly identical mirrored holders and a fourth with the same neckband. Other mirrored holders with related collars were added and so on. This group is more internally consistent than the FG1 group, having mostly the same handles, attachment of chains, and foral pins. French group 3 (FG3) of 14 miscellaneous holders includes seven showstoppers and a similar sliding ring holder with elaborate vases and large, bold handles mostly in mother-o f-p earl. Indirect connections through similar holders in other collections in- dicate that they were likely made in the same workshop as FG1 holders, probably at a later time. A few other holders are most likely French but probably by makers other than those who produced FG1 and FG2 holders. Two at the end are of uncertain origin. FRENCH GROUP 1 The 45 FG1 holders (Plates 50–65) begin with the earliest French holder in the col- lection, sliding ring #173 (à lamelles et coulant in French), which matches an 1834 il- lustration in a French journal and similar early sliding ring holders known in other collections with similar rings and dimpled caps. They were produced after mercury amalgam gilding had been largely outlawed about 1830 but before electroplating was established in about 1850 and are mainly made of brass coated with lacquer tinted to imitate gold. After electroplating became available, brass parts of all other FG1 holders were electrogilded except for two electroplated in silver. Thirteen FG1 holders were partially enameled afterward, and glass gems were added to nine. The 10 holders with enameled copper handles, embedded with silver and/or gold paillons, were found to have the same stampings or other features as 33 other holders on vases, necks, collars, or caps, indicating that they were made in the same milieu. Holders in this group vary considerably. Vases of #45 and #129 employ roller- impressed perforated sheet patented in 1852, and six are made of cutout and bent sheet, often decorated with machine-m ade zigzags. One holder has a firting mirror, and an- other has ivory sheets with a pencil for scheduling dance partners. Eight small holders have exquisite glass handles, two with carrying loops probably for young girls. Three have red-d yed ivory handles, two with delicate, red-d yed ivory fowers attached to vases by imitation gilt stems. Chains ending in a accoutrements were generally attached to a wire loop for a foral pin chain and to a band around the handle for a fnger ring chain. 180 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS Most chains were made with common round links, but a number employ crimpable and loop- in- loop sheet chains, which appear to be uniquely French. Holders in Plates 64 and 65, identifed as the #216 subgroup for ease of referral, have distinctive characteristics that include center spikes, contrasting oxidized silver- plated decorations, a particular neckpiece, separately attached crimpable chains, and fnger rings attached to the chain by a small ring perpendicular to it. Tripod #216 has good connections to other FG1 holders, and it is hypothesized that #216 subgroup holders and related holders in other collections were made in the same workshop at a later time. FRENCH GROUP 1 M 181 PLATE 50. “FG1” HOLDERS, AN EARLY SLIDING RING HOLDER AND TWO WITH TURQUOISE BLUE ENAMELED COPPER HANDLES a b c PLATE 50a. FJP.1987.173. Gold- toned PLATE 50b. FJP.1987.054. Gilt brass; PLATE 50c. FJP.1987.036. Gilt brass, lacquered brass, gilt brass enameled copper with silver foil enameling; enameled copper with silver foil (13 cm, 26 g) Sliding ring holder; sheet brass Gilt- brass vase of four large vase of fve pointed leaves and alternating stampings, two Gilt-b rass vase of four stamped handle lacquered in imitation set with baby Bacchus heads replicates partially enameled of gold; four stamped foral and two with oval bosses; four pink and white; ridged neckband gilt- brass bands (not analyzed, smaller eighteenth- century-s tyle with a wire loop for chain attach- but probably amalgam gilded), stampings in between them, ment; blue enameled handle with the uppermost sliding; dimpled glue residues evidencing missing coarse foil paillons; fgure- eight gilt- brass cap with a loop for glass gems; spiky collar ending link loop-i n- loop sheet chains attachment of a chain (missing). in dots; horizontally ridged (for detail, see Figure 97); han- neckband; chevron cap; blue dle chain attached by thread; Same sliding ring holder as one enameled copper handle with ungilt brass links connecting illustrated in a French journal in coarse foil paillons; ungilt brass the foral pin chain and both 1834;133 similar to others.134 links attaching gilt chains; foliate accoutrements. fnger ring Same handle cap as #48 (Plate 52); Same Bacchus heads as three oth- same loop-i n-l oop sheet-l ink chains ers and same collar as another;135 as 12 in this collection and 29 on same cap as #28 neck (Plate 58); others;138 same paillons as on foliate fnger ring similar to seven others;139 same ungilt attaching others;136 same ungilt brass links as links as on 21 French holders (see on 21 FG1 holders.137 Note  137). 133. Journal des dames et des môdes, 30 September 1834, pl. 3227; reproduced in Porte-b ouquets, 22. 134. ROM 1 and 2 have similar lacquered leaves with gilt-b rass floral bands and dimpled caps married to mother-o f-p earl handles, as does one sold at auction by Coutau- Bégarie, Lot 28: Porte- bouquet, vers 1860, 5 June 2020, Paris, https://www.invaluable.com/auction- lot/porte- bouquet- vers- 1860- 28- c- 1954320a95. 135. Bacchus heads are on Kenber tripod 113, ROM 6, and Deitsch 57 (in oxidized silver); the spiky collar is on Kenber 24. 136. Foliate finger rings are on #26, #36, #45, #53, #54, #115, #130, and #145. 137. Polished brass connecting links, indistinguishable from gilt- brass links when new, are on FG1 #26, #36, #43, #44, #45, #48, #49, #53, #54, #77, #129, #130, #144, #148, #155, #156, #215, #216, #218, #222, and #228. 138. FG1 #36, #48, #94, #117, #129, #144, #148, #155, #218, #222, and #377 and FG3 #234. Others are Kenber 2, 11, 13, 14, 30, 45, 46, 48, and 56; Deitsch 9, 70, 72, 76, 83, 96, and 106; Hermitage 2, 16, and 17; ROM 5, 13, 31, and 34; Schwartz 21 (bottom right) and 24 (top, third from left); Marès 3; NYHS Z.2049; Galliera 1990.121.1; and Laufer 115. 139. Kenber 36 and Deitsch 83 have the same paillons embedded in enamel on copper handles. 182 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 51. “FG1” HOLDERS WITH GILT- BRASS VASES, NECKS, CAPS, AND CHAINS MARRIED TO ENAMELED COPPER HANDLES a b c PLATE 51a. FJP.1987.040. Gilt brass; enameled PLATE 51b. FJP.1987.034. Gilt brass; enameled PLATE 51c. FJP.1987.117. Gilt brass, enameled copper with gold and silver foils (17 cm, copper with silver foil (13 cm, 20 g) copper with silver foil (13 cm, 15g) 35 g) Gilt-b rass vase of four stamped Gilt- brass vase of four full- height, Gilt-b rass vase of four full- height replicates, an S strip around the eighteenth- century- style stamped cutout sheet replicates depicting base; wire loop through the vase replicates joined by domes; wire- a human and bird, four smaller for attaching a chain (missing); loop through the vase attaching torch- like stampings between whole-f ower neckband; double a fgure- eight link loop- in- loop them; neckband obscured by four spherical cap (for detail, see sheet chain (for detail, see Fig- foral plaques, four narrow verti- Figure 64); dark- blue enameled ure  96); scroll-i mpressed neck- cal stampings in between them; handle with foil paillons. band; royal blue enameled handle enameled blue handle embedded with foil paillons; missing the cap, with paillons; cap rounded above Same S strips as that partly on revealing a cone of thick copper and faceted below; threaded foral the vase of #218 (Plate 58) and sheet. pin with fat double- lobed head completely on another vase; similar (not shown); dotted fnger ring to strips on other vases;141 same Same vase stamping as another;143 (for detail, see Figure 114). whole- fower neckband as fve in same scroll-i mpressed pattern on this collection and seven others;142 the neckband as on the backing Same foral pin, cap, and paillons same handle cap as #52 (Plate 54). plate of #129 (Plate 57) and oth- as on other FG1-t ype holders.140 ers;144 loop-i n-l oop sheet chain similar to French holders in this and other collections (see Note 138). 140. The same floral pin is on enameled handled Deitsch 90, 92, and 112; the same cap, on Deitsch 90 and Hermitage 10, its lower portion on Kenber 104 and Deitsch 41; the same sun paillons, on Hermitage 10. 141. MCNY 45.61.1 has a complete S strip found partially on #34. Other strips are employed on vases of #34, #44, #52, #94, #142, #148, #155, #218, and #222; and Kenber 15, ROM 38, Marès 7, and Deitsch 11. 142. The whole- flower neckband is on #34, #45, #53, #155, and #228; Kenber 14 and 15 (both with red-d yed ivory handles similar to #44, #130, and #155); Kenber 27 (with a torc collar); Kenber 29 (with the same funnel as #215); MCNY 36.352.29; Deitsch 11; and Deitsch 76 (with a red-d yed ivory handle). 143. Deitsch 9, set with blue glass gems. 144. The dance card backing plate of Kenber 25 and the vase of Kenber 11, probably impressed by a single steel die because the pattern is only on one face. FRENCH GROUP 1 M 183 PLATE 52. “FG1” HOLDERS, TWO WITH ENAMELED COPPER HANDLES AND THE THIRD WITH AN ENAMELED COPPER VASE FEATURING ROWS OF GOLD FOIL–BACKED ENAMEL PEARLS a b c PLATE 52a. FJP.1987.232. Gilt brass, PLATE 52b. FJP.1987.048. Gilt brass, PLATE 52c. FJP.1987.092. Enameled copper enameling; enameled copper with gold enameling; enameled copper with gold with gold and silver foils; gilt brass; and silver foils (17 cm, 50 g) and silver foils (14 cm, 28 g) mother- of- pearl (18 cm, 87 g) Gilt- brass stamped vase partially Gilt-b rass stamped vase of six Tallest and heaviest French enameled in blue and white; three curving ribbonlike vertical rep- holder in the collection; enameled ornate vertical bands curving licates, short spirals in between cone- shaped copper sheet vase; under at ends, ovals in between near the top partially enameled rows of gold foil–backed enamel backed by sheet at the top, and green and light gray; a bird on pearls at borders of bands, two small stampings at the base; the stamped neckband; enameled white on which fowers are largely invisible neckband; dark- copper handle with fowers painted in between three in blue enameled copper handle painted on a white band between black; interior enameled black embedded with foil paillons, cap dark-b lue bands with foil pail- with tinted green paillons; bold with arches; elongated round- link lons; cap with a diagonal design; gilt-b rass neck of three stamped gilt- brass chains attached to a gilt- brass wire loop through the leaves on a plain backing sheet; wire loop on the vase and to the neckband attaching a textured double- ridged neckband; bold end to the handle cap, ending in a fgure-e ight link loop-i n- loop mother- of- pearl handle. fnger ring with a small attaching sheet chain. link perpendicular to it. Cone- shaped vase with rows of gold Same stamped cap as #36 foil–backed pearls and painted Same stamped lower cap as (Plate 50); paillons and fower fowers similar to others;149 and another;145 same delicate squiggly painting similar to others;148 loop- enamelwork made in Bourg- en- silver paillons as #52 (Plate 54) and in-l oop sheet chain similar to other Bresse, France.150 another;146 same perpendicular French holders (see Note 138). attaching ring for the fnger ring as #216 subgroup holders (Plates 64, 65) and 12 others.147 145. Kenber 45 has the same arches, enameled blue and white. 146. On the dark- blue enameled handle of Hermitage 2. 147. Small perpendicular attaching rings for finger rings are on #35, #49, #216, and #221; Kenber 20, 21, 48, and 113; ROM 16 and 39; Deitsch 57 and 76; Marès 6 and 9; Schwartz 21 (bottom center); and Roe 357 (bottom, second from left). 148. Kenber 43 has the same cross- like paillons; it and Hermitage 10 have similar painted flowers. 149. Hermitage 19 has very similar gold foil- backed pearls, painted flowers, and other features. Vases of MCNY 44.75.4 and Deitsch tripod 44 have similar enameling and pearls. 184 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 53. “FG1” HOLDERS, THE FIRST WITH A FLIRTING MIRROR OPPOSITE A PAINTING AND BOTH WITH THE SAME EMBEDDED PAILLONS ON THE HANDLE a b c PLATE 53a. FJP.1987.055. Gilt brass, PLATE 53b. Second view of #55 in Plate 53a, PLATE 53c. FJP.1987.080. Gilt brass, enameling; enameled copper, gold and showing the alternate face. enameling; enameled copper with gold silver foils (13 cm, 27 g) and silver foils (13 cm, 19 g) One of two opposite eighteenth- Gilt brass vase of two replicates century-s tyle stamped replicates Gilt-b rass vase of four replicates of stamped crests partially alternating with the painting and of nine stampings, including four enameled blue and white above a mirror; enameled copper handle three-l obed leaves at the top, four painting opposite a mirror, both with foil paillons; wire loop ovals with residues of adhe- in oval frames backed by gilt through the neckband attaching a sives for glass gems, and eight embossed paper; alternating with textured double-w ire loop-i n-l oop horseshoe- shaped loops cut from another stamping (see Plate 53b); chain. a guilloche strip (see Figures 59, crisscrossed domes and palmettes 60); spherical stamped cage; nine- below; 10- ridged neckband; light- Same eighteenth-c entury-s tyle band gilt-b rass neckband enam- blue enameled copper handle stamping as in Plates 55a and 56b; eled blue and gray; enameled with foil paillons (see Appendix same paillons as on the handle in copper handle with foil paillons, Table A.11); missing cap revealing Plate 53c; double-w ire loop-i n-l oop missing its cap (see analysis, thick copper sheet (see analyses, chain similar to #52 (Plate 54) and Appendix Table A.11). Tables A.5, A.11). others.152 Same horseshoe loops as those Same crests and domes as others, of guilloche strips on vases in and painting similar to others;151 Plate 54a,b and others;153 same same embossed paper backing as paillons as those on the handle in FG2 #137 (Plate 68), suggesting that Plate 53b; cage similar to fve in the two makers obtained it from the this collection and three others;154 same source. banded neckband similar to that in Plate 54a, four in this collection and four in other collections.155 150. Émaux de Bresse: joyaux du quotidien (Bourg-e n-B resse, France: Snoeck, 2014), 159, 172–173. 151. Deitsch 48 has the same crest above a framed mirror and thermometer. Marès 9, married to an enameled handle, has the same domes. Deitsch 62 has a similar framed painting opposite a mirror married to a French-t ype mother-o f-p earl handle. 152. ROM 37, Marès 5, Kenber 27, and Kenber 47 have double loop-i n-l oop wire chains without texture. 153. Deitsch 11 and 89, Marès 7, and Hermitage 10 have complete guilloche strips; see Note 141 for other vase strips. 154. Similar cages are on #45, #49, #80, #206, #234, and #377; PMA 1903-8 7; Deitsch 79; and Hermitage 11. 155. Banded neckbands are on #52, #80, #206, and #218; Kenber 25, 26, and 54; and Deitsch 40. FRENCH GROUP 1 M 185 PLATE 54. “FG1” HOLDERS, THE SAME GUILLOCHE STRIPS ON THE FIRST TWO AND THE SAME NECKBANDS ON THE SECOND TWO a b c PLATE 54a. FJP.1987.052. Gilt brass, PLATE 54b. FJP.1987.142. Silver- plated brass, PLATE 54c. FJP.1987.235. Gilt brass, mother- enameling; enameled copper with gold mother- of- pearl (12 cm, 19 g) of- pearl (13 cm, 33 g) and silver foils Silver-p lated brass vase (see Gilt-b rass vase with a wide rim Gilt- brass vase of eight replicates Appendix Table A.5); crown- like band of overlapping striated of feathers alternating with 3-p art strip around the top, guilloche wire loops topped by a pair of vertical strips, enameled blue at strip in the middle, and scroll opposite twisted- wire wreaths; the center and curling inward at pairs at the base (partially two replicates of a bird above a the top; below, blue and white broken, now inside); wire loop at- swag separated by graduated dot enameling on a guilloche strip; taching a fragmentary chain; torc strips extending from wreaths to fve-b and neckband, partially cov- collar; partial- fower neckband; a six- panel sphere below; partial- ered by a sheet repair; dark-b lue mother- of-p earl handle; band for fower neckband (for detail, enameled copper handle with foil a missing fnger ring chain. see Figure 63); mother-o f-p earl paillons; gilt- brass spherical cap; handle (tip broken of, apparently textured double loop-i n-l oop wire Same vase stampings as an intact where the band for a chain was chain. vase;157 same guilloche strip as attached). that in Plate 54a and others (see Same guilloche strip as that in Note 153), in part in Plate 53c; same Same partial-f ower neckband as Plate 54b and others (see Note 153), torc collar as that in Plate 60c and that in Plate 54b and others (see also in part in Plate 53c; banded 61a and 10 others;158 same partial- Note 159); same six-p anel sphere neckband similar to that in fower neckband as that in Plates topping the neckband and gradu- Plate 53c and others (see Note 155); 54c and 60c and on four others.159 ated rows of spheres as others.160 same squiggly paillons as #232 (Plate 52) and another;156 same cap as #34 (Plate 51); same chain as that on #55 (Plate 53), similar to others (see Note 152). 156. The same squiggly gold and silver paillons are on Hermitage 2, all three embedded in dark-b lue enameled handles. 157. Victorian Mother- of- Pearl and Ormolu Posy Holder sold by Everything But the House, https://www.ebth.com/items/5785341-v ictorian-m other-o f-p earl-a nd - ormolu- posy- holder. 158. The five- torc collar on #53, #142, and #156 is also on Kenber 26 and 27, Deitsch 11 and 79, Schwartz 12, Marès 4, MCNY 45.61.1 and 51.71.2, V&A T.743B-1 913, and Hermitage 3 (see Note 159 for three with the same neckband). 159. The partial-f lower neckband on #142, #156, and #235 is also on Kenber 23, Deitsch 79, MCNY 45.61.1, and V&A T.743B-1 913. The last three also have five-t orc collars (see Note 158). 186 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 55. “FG1” GILT- BRASS VASES WITH THE SAME ARROW- LIKE STAMPING a b c PLATE 55a. FJP.1987.228. Gilt brass, glass, PLATE 55b. FJP.1987.184. Gilt brass, mother- PLATE 55c. FJP.1987.377. Gilt brass, mother- of- pearl (12 cm, 26 g) of- pearl (15 cm, 35 g) enameling; glass; mother- of- pearl (12 cm, 21 g) Gilt-b rass vase of fve replicates Gilt-b rass vase of fve trinity- like of an eighteenth-c entury-s tyle crests spanning fve replicates of Gilt-b rass rim of six replicate stamping alternating with a small circles and loops encompassing pairs of blue enameled scrolls, fower, red glass gem, and arrow- domes, an arrow- like stamping at each surrounding a wire- attached like stamping; straight petal cap; the center; stamped neckband of faceted coral glass bead; arrow- whole-f ower neckband; mother- fattened chevrons; fancy twisted like stamping below, tips on a of- pearl handle (tip broken of); mother-o f-p earl handle (for detail, fgure-e ight stamped cage at the wire loop through the vase at- see Figure 47); round link around base; stamped hexagonal funnel taching a round- link chain by an an arrow attaching a snake chain on a partial sphere; scroll pat- ungilt link; band on the handle (broken). terned neckband; mother-o f-p earl wired to a loop- in- loop link sheet handle (missing tip); wire loop chain (likely not original). Same arrow- like stamping as through the funnel attaching a in Plate 55a,c and another (see dog-b one-s haped fgure- eight link Same eighteenth-c entury-s tyle Note 161); handle similar to three loop-i n-l oop sheet chain. stamping as that in Plates 53a and others;163 snake chain similar to 56b; same arrow-l ike stamping as EHQ #91 (Plate 4). Same arrow-l ike stamping as those that in Plate 55b,c and on an- in Plate 55a,b and another (see other;161 same straight petal cap as Note 161); coral beads attached by in Plates 57a, 61c, and on others;162 wires similar to others;164 cage sim- same whole-f ower neckband as ilar to others (see Note 154); sphere others (see Note 142). atop a neckband similar to those in Plates 57b, 74c, and 75a,b, and on others;165 loop- in- loop sheet chain similar to others (see Note 138). 160. MCNY #36.352.29 has the same six- panel sphere atop a whole- flower neckband (see Note 142), and Schwartz 21 (upper left) appears to have the sphere, too. Hermitage 7 has similar graduated sphere strips. 161. MCNY 33.125.1 has the same arrow- like stampings mixed with imitation pearls and gilt- brass drops. 162. Straight petal caps are on #43, #45, and #228; Kenber 15 and 29; Galliera 1990.117.2; V&A T744- 1913; and Hermitage 1 and 7. Concentric circles are on top surfaces, also on diagonal petal caps #136 and #215. 163. Hermitage 4 and 5 and Deitsch 41 have similar mother- of- pearl handles with spirals. 164. Kenber 55, Galliera 1920.1.2774, and Hermitage 5. 165. FG1 #129 and #377; FG3# 202, #233, and #234. Kenber dance card 25 and MMA 38.23.409. FRENCH GROUP 1 M 187 PLATE 56. “FG1” HOLDERS WITH RED- DYED IVORY HANDLES, TWO OF THEM WITH THE SAME RED- DYED IVORY FLOWERS a b c PLATE 56a. FJP.1987.155. Gilt brass, red-d yed PLATE 56b. FJP.1987.130. Gilt brass, red- dyed PLATE 56c. FJP.1987.044. Gilt brass, red- dyed ivory ivory ivory (11 cm, 13 g) Crown-l ike gilt- brass vase of a Gilt- brass vase of two pairs Gilt-b rass vase of two stamped plain rim strip above 12 small of stamped alternating gilt- sheet strips, the upper strip pointed ovals, 12 quatrefoils with brass eighteenth- century- style crown-l ike; dot- stamped neck- three wire-a ttached red- dyed replicates, one with red- dyed band; red-d yed ivory spindle ivory tulips, 12 larger ovals, and ivory roses near the top and the handle; chains attached by ungilt 8 small leaves; whole- fower other with red- dyed ivory tulips brass links to the vase, foral pin, neckband; red-d yed ivory handle, attached by curled wires to the and handle band. its tang glued in the neckband base; stamped neckband with (Figure 61); wire loop on the amoeba- like designs; red- dyed Strip stamping similar to that in neckband poorly attaching an ivory spindle handle; ungilt brass Plate 56a and other French holders oval-l ink loop- in-l oop sheet chain links attaching gilt- brass chain to (see Note 141); same handle as that (likely not original) ending in a the foral pin and handle band; in Plate 56b and similar to that in foral pin; decoratively stamped foliate fnger ring. Plate 56a and others (see Note 166); same ungilt links attaching chains gilt-b rass band around the handle as on 21 French holders, including attaching a fgure-e ight link sheet Same eighteenth-c entury-s tyle Plate 56a,b (see Note 137). chain ending in a fnger ring; stamping as that in Plates 53b and ungilt brass links connecting 55a; same amoeba-l ike neckband chains. as another;167 same handle as that in Plate 56c and similar to that Strip stampings similar to other in Plate 56a and three others (see French vases (see Note 141); red- Note 166); tulips similar to those dyed ivory tulips similar to those in Plate 56a and another (see on Plate 56b and another;166 same Note 166); same ungilt links for whole- fower neckband as others attaching chains as on 21 French (see Note 142); handle similar to holders (see Note 137); foliate fnger those in Plate 56b,c, and three oth- ring similar to others (see Note 136). ers with whole- fower neckbands; same ungilt links as on 21 French 166. Deitsch 76 has the same tulips, whole- flower neckband, loop- in- loop sheet- link chain, and handle. holders (see Note 137). Kenber 14 and 15 have whole- flower neckbands and red-d yed ivory handles. Vase stampings are different for all. 167. Gilt- brass Kenber 21 has the same amoeba-l ike neckband, slightly cropped. Its contrasting oxidized silver decorations and crimpable chains link it to the #216 subgroup. 188 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 57. “FG1” HOLDERS MADE WITH THE SAME FLOWER- IMPRESSED SHEET a b c PLATE 57a. FJP.1987.045. Gilt brass, mother- PLATE 57b. FJP.1987.129. Gilt brass, ivory, PLATE 57c. Second view of #129 in Plate 57b, of-p earl (15 cm, 33 g) mother- of- pearl showing the face of the dance card retainer. Gilt-b rass vase of perforated Gilt-b rass vase comprising a fat roller-i mpressed sheet of tiny backboard and concave front Cutout gilt-b rass dance card fower repeats, bent to form four of perforated roller- impressed retainer with a scroll pattern im- sides (for detail, see Figure 72); sheet with tiny fower repeats (for pressed on the outer face, missing ornate corners; a cage at the detail, see Figure 73), ivory dance the cover for the rivet on which base; hexagonal dome, straight cards behind (see Plate 57c); dance cards pivot (Figure 74); petal cap, and whole- fower sphere; stamped three- band pink- painted pencil stamped neckband; wire loop through the neckband, foliage on the middle “LYRA,” the name of its German cage attaching a round-link foral band; mother-o f-p earl handle; maker,171 held by decoratively pin chain with attachments by band attaching a fgure-e ight link stamped bands at upper left when ungilt brass links; band around loop- in- loop sheet chain ending not in use. a mother-o f- pearl handle poorly in a fnger ring of stamped Same stamped scroll pattern on attaching a loop-i n- loop sheet intertwined bands (for detail, see the dance card retainer as the chain (may not be original). Figure 116). neckband of #117 (Plate 51), a dance Same fower- patterned sheet as Same tiny fower- patterned sheet card retainer in another collection, that in Plate 57b,c; same hexagonal as that in Plate 57a; dance card and a vase (see Note 144); missing dome as another;168 same petal cap holder similar to eight others;170 cover for the rivet probably similar as in Plates 55a and 61c and on same sphere atop a sheet neckband to that on another dance card others (see Note 162); same whole- as others (see Note 165); loop-i n- holder.172 fower neckband as others (see loop sheet chain similar to that Note 142); cage similar to others (see in Plate 57a and on other French Note 154); handle chain similar to holders (see Note 138). that in Plate 57b,c and on others (see Note 138).169 168. Galliera #1990.117.2 has the same hexagonal dome and petal cap. 169. Poor attachment to the handle chain suggests that it is not original, although it does match the chain on related #129. 170. The most similar dance card holder is Kenber 25; others are Deitsch 40, 78, and 79. Moretz 17, Schwartz 12, Laufer 90, and Hermitage 1 appear to have the same dance card retainers with machine- made zigzags. 171. Johann Froescheis began manufacturing the pencils in Nuremberg after Napoleon Bonaparte stripped the carpenters’ guild of the right to make the city’s pencils in 1806. Trademarked LYRA in 1868, they are still available. Pencils.com, The LYRA Story, https://blog.pencils.com/lyra/. FRENCH GROUP 1 M 189 PLATE 58. “FG1” HOLDERS WITH UNIQUE VASES IN GILT- BRASS AND MOTHER- OF- PEARL HANDLES a b c PLATE 58a. FJP.1987.028. Gilt brass, mother- PLATE 58b. FJP.1987.218. Gilt brass, mother- PLATE 58c. FJP.1987.077. Gilt brass, of-p earl of- pearl (15 cm, 21 g) enameling; mother- of- pearl (12 cm, 24 g) Gilt- brass vase of a snake with Gilt- brass crown- like vase of Gilt-b rass vase of four replicates foral-s tamped skin spiraling stamped strips; part of an S strip of stampings partially enameled upward supported by two alter- at the base, a wire loop through it in blue and gray, including nating pairs of stamped leaves; attaching a fgure-e ight link loop- scrolls, domes, and fower pots; dome-l ike chevron neckpiece in- loop sheet chain; four- band wire loop between fower pots stamped in two halves; mother- neckband, alternately polished attaching the middle of a crim- of-p earl handle (see Figure 32c), and vertically lined; mother- of- pable chain (not the original channel for a band to attach the pearl handle, a narrow dotted attachment because the chain fnger ring chain (missing). band around it attaching the does not hang properly); curved same chain for the fnger ring (a neckpiece with nine striated ribs; Same chevron stamping on the narrower band than the channel mother-o f-p earl handle. neckpiece as the handle cap on #54 soldered to the connecting link, (Plate 50). probably not original). Same neckpiece as others;173 crimpable chain similar that on Same (part of the) S strip at the #49 (Plate 65), #216 (Plate 64), and base of the vase as on #34 (Plate 51) 15 other French holders.174 and another (see Note 141); banded neckband similar to others (see Note 155); loop- in- loop sheet chain similar to others (see Note 138). 172. Kenber 25. 173. Galliera 1990.117.1, Hermitage 5, and Deitsch 83, the last married to an enameled copper handle. 174. Crimpable chains are on #49, #77, and #216; Kenber 20, 21, 28, 46, 54, and 113; Deitsch 57 and 76; Schwartz 21 (bottom center); Marès 9; ROM 16 and 39; Roe 357; V&A T.743B- 1913; and Galliera 1990.117.1. 190 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 59. “FG1” GILT- BRASS CUTOUT AND BENT- SHEET VASES WITH THE SAME PETAL CAPS, THE SECOND WITH SHARP PRONGS ON THE BACK a b c PLATE 59a. FJP.1987.215. Gilt brass, mother- PLATE 59b. FJP.1987.136. Gilt brass, mother- PLATE 59c. Second view of #136 in Plate 59b, of- pearl (14 cm, 36 g) of- pearl (11 cm, 23 g) showing sharp spikes on the back. Gilt-b rass vase of six replicates Gilt-b rass vase of a single sheet Back of the holder in Plate 59b, of cutout and bent sheet with with four replicates cut out, revealing a pair of sharp prongs machine-m ade zigzags; plain bent, and hand tooled (for detail, on the vase for attachment funnel, small dome, and diagonal see Figure 76); plain neckband to clothing (for detail, see petal cap;175 stamped multifower stamped “LEBRUN” (for detail, Figure 85). neckband; mother- of- pearl han- see Figure 23), the only French dle; ungilt links attaching vase maker’s mark in the collection; Prongs for attachment to clothing chain to a vase wire loop, foral diagonal petal cap; mother- of- similar to those on a French holder pin, and handle band. pearl handle with ungilt links in another collection,180 rare and attaching the chain. notably more hazardous than the Same small auxiliary pieces at the many wire-l oop clips on holders neck as on others;176 same petal Cutout sheet vase and petal cap made in Birmingham (see Note 3). cap as that in Plate 59b and others similar to those in Plate 59a; vase with bent- sheet vases;177 cutout similar to another with the same and bent- sheet vase similar to lower vase and petal cap;179 same those in Plates 59b,c and 60a and ungilt links as on 21 holders (see others, most with machine- made Note  137). zigzags;178 same ungilt links as on 21 FG1 holders (see Note 137). 175. Top surfaces of diagonal petal caps on #215 and #136 display engraved concentric circles, as does straight petal cap #228 (Plate 55) and others. 176. V&A T.744- 1913 and Galliera 1990.117.2 have the same gilt-b rass funnel, sphere, and diagonal petal cap. 177. Galliera 1990.117.2, Kenber 61, Deitsch 83 (right), and Deitsch 102 (right) have diagonal petal caps below cutout and bent-s heet vases, as do #43 and #215 with straight petal caps (see Note 162). 178. Cutout and bent- sheet vases are on FG1 #43, #114, #133, #136,* #206, and #215; FG3 #124; Kenber 29*, 61, and 62; Galliera 1990.117.2; and Deitsch 83*. All have machine- made zigzags or ticks, except those indicated by an asterisk. 179. Galliera 1990.117.2 has similar metal curls at the base and the same petal cap. 180. Schwartz 20 (top, right), married to a French enameled handle with painted flowers. FRENCH GROUP 1 M 191 PLATE 60. “FG1” GILT- BRASS VASES, THE FIRST TWO WITH GLASS GEMS AND THE SECOND TWO WITH ENAMELING a b c PLATE 60a. FJP1987.206. Gilt brass, glass, PLATE 60b. FJP.1987.094. Gilt brass, PLATE 60c. FJP.1987.156. Gilt brass, mother- of- pearl (17 cm, 43 g) enameling; mother- of- pearl (14 cm, 22 g) enameling; mother- of- pearl (14 cm, 24 g) Gilt-b rass vase of two barely Gilt- brass vase enameled white, Gilt-b rass stamped vase of attached sheet replicates, bent, dark green, red, and gray; seven replicates of an interlaced cut out, and machine tooled stamped strip at the rim above rim pattern partly enameled with zigzags, solid green glass four stamped replicates of back- dark blue; 14 spears decorated spheres wired in gaps; spherical to- back scrolls atop inverted with fowers; three-b and strip cage of six fgure-e ight shapes leaves, alternating with four (alternate polished and vertical at the base; fve-b and neckband double- pointed elements set with lines), hexagonal funnel with alternately vertically lined and blue and green glass gems (two rectangular panels, torc collar, polished; mother-o f-p earl handle missing); neckpiece with zigzag and partial- fower neckband; (for detail, see Figure 45); dotted channels on the lower half; mother-o f-p earl handle (for band attaching a chain ending in mother- of- pearl handle (broken detail, see Figure 44); ungilt links a twisted-w ire ring. and incorrectly assembled or attaching the foral pin chain; not original);182 fgure- eight link gilt-b rass band for the handle Cutout sheet vase similar to one loop- in- loop sheet chain. chain (missing). in another collection181 and to less extent others, most of which have Same leaves as another;183 same Same vase as that in Plate 61a and zigzag decorations (see Note 178); neckpiece as others associated with one in another collection, same stamped cage similar to other the #216 subgroup;184 sheet strip spear stamping as a third;185 same French holders (see Note 154); rim similar to other French holders neckband as others (see Note 159); banded neckband similar to other (see Note 141); loop- in- loop chain same torc collar as that in Plate 61a French holders (see Note 155). similar to those on other French and others (see Note 158). holders (see Note 138). 181. Kenber 62 has similar cutout sheet, also barely attached at sides. 182. The shape is atypical, and both ends are much smaller in diameter than the neckpiece. 183. Laufer 34 has the same leaf stamping married to a French-t ype enameled handle. 184. The complete stamping is on the cap of ROM 14’s enameled handle and the neck of a mirrored holder (formerly seen on website of D & D Antiques in London but no longer available) topped by the same swag as MCNY 36.352.29. Kenber tripod 46, associated with the #216 subgroup, employs the lower half of the neckpiece with Vs inverted on the upper half of its neckpiece. 185. ROM 33 is essentially identical to #156, except that it has blue enameling on the band above the funnel. Deitsch 74 has the same spears on its vase, married to an engaged green glass handle similar to #144. 192 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 61. “FG1” GILT- BRASS VASES WITH SIMILAR BLUE GLASS HANDLES a b c PLATE 61a. FJP.1987.053. Gilt brass, PLATE 61b. FJP.1987.026. Gilt brass, glass PLATE 61c. FJP.1987.043. Gilt brass, glass enameling; glass (13 cm, 10 g) Gilt-b rass vase of four stamped Gilt-b rass stamped vase of seven replicates of a pansy, a hole Gilt-b rass vase, a single sheet of replicates of an interlaced pattern through the center of one for four cutout and bent replicates on the rim partly enameled light insertion of the foral pin; wide with zigzag machine- engraved blue above 14 spears with fowers; stamped chevron neckband; blue borders; foral pin inserted a three-b and neckband (polished glass handle; gilt- brass band diagonally through opposite holes and vertical lines) enameled gray around the handle attaching a at the top between replicates, atop a hexagonal funnel with chain ending in a broad foliate the foral pin chain attached by rectangular panels below, torc fnger ring (for detail, see Fig- ungilt links to a wire loop on collar, and whole- fower neck- ure 105); ungilt links attaching the vase; straight petal cap; wide band (for detail, see Figure 62); chains (see Note 137). stamped chevron neckband; blue faceted blue glass handle; wire glass handle, missing the band loop on the vase attaching a Same holder as one in another col- and fnger ring chain. round-l ink chain (Figure 95); lection;187 same neckband as that band around the handle attach- in Plate 61c and others;188 handle Cutout bent- sheet vase similar to ing a double oval- link chain nearly identical to that in Plate 61c other French holders, many also (probably not original), ending in and others;189 handle similar to with machine- made zigzags (see a foliate fnger ring; ungilt brass those in Plates 61a,c, 62, and on Note 178); same straight petal links attaching chains. others (see Note 186); foliate fnger cap as others (see Note 162); same ring similar to that in Plate 61a neckband as that in Plate 61b and Same vase as that in Plate 60c and others (see Note 136). on others (see Note 188); glass and one in another collection, handle nearly the same as that in same spear stamping on a third Plate 61a,b, and similar to those (see Note 185); same torc collar in Plate 62. as in Plate 60c and others (see Note 158); same neckband as others (see Note 142); handle similar to 186. Kenber 2, 4, 61, and 102; Deitsch 11 and 96; Schwartz 17 (top right) and 24 (top, third from left); and ROM those in Plates 61b,c, 62, and on 32. others;186 foliate ring similar to 187. Kenber 4 is essentially identical apart from its colorless glass handle and chain, probably a later addition. that in Plate 61b and another (see 188. Kenber 4, 19, and 61 have the same chevron neckbands. Note  136). 189. Deitsch 96 has the same handle in opaline colorless glass, and ROM 32 has a similar one in the same blue. FRENCH GROUP 1 M 193 PLATE 62. “FG1” GILT- BRASS VASES WITH SIMILAR NECKS AND COLORLESS GLASS HANDLES a b c PLATE 62a. FJP.1987.115. Gilt brass, glass PLATE 62b. FJP.1987.050. Gilt brass, glass PLATE 62c. FJP.1987.030. Gilt brass, glass (12 cm, 18 g) (12 cm, 17 g) (12 cm, 16 g) Gilt- brass vase of three stamped Gilt- brass vase of four stamped Gilt-b rass vase of four stamped replicates of a full-h eight design; replicates of a faux- fligree pal- replicates of a faux- fligree pal- plain sheet neckband; translucent mette, small hemispheres joining mette, small hemispheres joining colorless glass handle; wire loop them near the top; a wire loop them near the top; wire loop attaching a round- link foral attaching the foral pin chain; attaching the foral pin chain; pin chain to the vase (for detail, plain sheet neckband; colorless plain sheet neckband; colorless see Figure 102); gilt- brass band opaline glass handle, a gilt- brass opaline glass handle, a gilt- brass around the handle attaching a band around it attaching the band attaching the fnger ring round- link fnger ring chain. same fnger ring chain. chain. Essentially the same glass handle Same holder as that in Plate 62c Same holder as that in Plate 62b as those in Plate 62b,c and an- and one in another collection;191 and one in another collection other;190 same chain attachments same palmettes as a French per- (see Note 191); same palmettes as most FG1 holders; glass handle fume bottle (see Figure 22);192 same as a French perfume bottle (see similar to those in Plate 61 and chain attachments as most FG1 Figure 22 and Note 192); same others (see Note 186). holders; same glass handle as that chain attachments as most FG1 in Plate 62a,c and on another (see holders; same glass handle as Note 190) and similar to those in those in Plate 62a,b and another Plate 61 and others (see Note 186). (see Note 190) and similar to those in Plate 61 and on others (see Note 186). 190. The same handle married to the same chevron neckband as #26 is for sale by the Antique Cupboard, https://antiquecupboard.com/Gilt-B ronze-M oonstone - Tussie- Mussie- with- Opaline- j1302_p_203736.html. Other colorless glass handles with somewhat different shapes are on Schwartz 24 (top, third from left); Kenber 2, 4, and 61; and Deitsch 96. 191. Kenber 2 has the same stamped palmettes and a plain neckband with figure- eight link loop- in- loop sheet chains married to a simple opaline handle with a pointed, dotted- sheet gilt- brass cap. 192. Palmettes are identical to nine replicates around the upper part of a rounded red glass perfume bottle identified as an eighteenth- century Palais Royal for sale by Rockwell Antiques Dallas, 18C French Palais Royal Perfume Bottle, https://rockwellantiquesdallas.com/18c- french- palais- royal- perfume- bottle/. 193. Deitsch 91 and Marès 3 have the same upper caps attaching dotted bands, green glass spiral handles, and rounded hexagonal caps. Strips are attached to a different upper cap on the handle of ROM 13 with a blue spiral glass handle and the same bottom cap, also on the enameled handle of Deitsch 83. 194. Deitsch 72, ROM 5 and 32, Marès 2, Galliera 1990.121.1, and Schwartz 24 (top, second from left). 194 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 63. “FG1” GILT- BRASS VASES WITH GILT- BRASS BANDS ENGAGING GLASS AND ALABASTER HANDLES a b c PLATE 63a. FJP.1987.222. Gilt brass, glass PLATE 63b. FJP.1987.148. Gilt brass, PLATE 63c. FJP.1987.144. Gilt brass, alabaster (11 cm, 23 g) enameling; glass (10 cm, 16 g) (11 cm, 16 g) Gilt-b rass stamped six-s ided strip Gilt-b rass stamped strip vase of Gilt-b rass vase of four stamped vase of Gothic arches on columns six replicates cut from a single replicates of a tea caddy at the top above a triforium passage and sheet, white enameling and small between four eighteenth-c entury- tracery (for detail, see Figure 24); blue glass gems (four missing) style full-h eight replicates of two stamped dotted bands, atop a wide stamped cup; four an oval above a boss; foliate missing pieces at the top, origi- gilt-b rass dotted bands afxed stamped neckband, four foliate nally fxed to the cap above the to the cup (gilt-b rass leaves in stamped bands afxed it and to a green glass spiral handle, wound between bands and to a pointed gilt-b rass sphere below, enclosing around it, and fxed to a rounded hexagonal cap below enclosing an alabaster teardrop; wire- loop hexagonal cap below; oval- link a green glass inverted teardrop; attaching a fgure-e ight link loop- loop- in-l oop sheet chains attached oval- link loop-i n- loop sheet in-l oop sheet chain to the vase; a to the vase and cap, forming a chains (see Figure 98) attached by hole on the sphere for attachment carrying chain; ungilt brass links ungilt brass links to a wire loop of a fnger ring chain (missing). attaching chains. through the cup and to the cap, forming a carrying chain. Bands engaging a teardrop similar Same dotted bands enclosing glass to those in Plate 63a,b and others handles as those in Plate 63b and Same glass handle enclosed by dot- (see Note 194), ending in a sphere at others;193 Gothic vase stampings ted bands ending in pointed caps as the bottom as on others;197 loop- similar to others;194 vase strip others;196 strip stampings similar to in- loop sheet- link chain similar to stampings similar to those in those in Plate 63a and others (see others (see Note 138). Plate 63b and others (see Note 141); Note 141); oval-l ink chains forming oval-l ink carrying chains on a a carrying loop on a glass handle glass-h andled holder similar to similar to that in Plate 63a and on those in Plate 63b and on others.195 others (see Note 195). 195. Glass handles with oval-l ink chains are on Deitsch 30, 70, and 72; ROM 5 and 13; Kenber 11 and 13; Galliera 1990.121.1; Marès 3; Schwartz 24 (top, third from left); and Laufer 114. Those with carrying chains are Deitsch 72, ROM 5 and 13, Galliera 1990.121.1, and Marès 3. ROM 31 with an enameled copper handle also has a carrying chain. 196. Deitsch 72, ROM 5, Marès 2, and Galliera 1990.121.1 enclose glass teardrops by dotted bands attached to the same broad cap and to pointed hexagonal handle caps below. Kenber 11 has a different cap at the top but the same spiral glass handle and cap below. 197. Kenber 3 employs dotted strips to engage a glass handle ending in a sphere, and Deitsch 74 (left) employs the same foliate strips as #144. Deitsch 74 has the same vase spears as #53, married to an engaged glass handle with a sphere at the bottom similar to #144. FRENCH GROUP 1 M 195 PLATE 64. “FG1” #216 SUBGROUP HOLDERS WITH SPIKES AND OTHER SIMILAR FEATURES a b c PLATE 64a. FJP.1987.216. Gilt brass, silver- PLATE 64b. FJP.1987.221. Gilt brass, PLATE 64c. FJP.1987.035. Gilt brass, silvering; plated brass, trace mercury; glass enameling; mother- of- pearl (16 cm, 61 g) glass; and mother- of- pearl (15 cm, 45 g) (15 cm, 50 g) Heaviest #216 subgroup holder, Heavy holder, with vase spike; Heavy gilt- brass tripod, with vase with stump of a vase spike; gilt-b rass vase of four replicates spike; vase of four cutout sheet gilt-b rass vase of four stamped of spirals and loops, four stamped replicates with prong-s et purple replicates of grapes and green fowers with silvered rims atop glass gems (for detail, see Fig- enameled grape leaves on large gold plating (see Appendix Table ure 77), silver- plated ornaments foliate stamped loops, fve- section A.5) and red glass center (three with trace mercury (see Appendix palmettes between them at the missing); stamped neckpiece, its Table A.5) attached by pins, and base; stamped neckpiece; bold lower part modifed to ft the fve- section palmettes at the base; mother- of- pearl handle; round- narrow-t opped mother- of- pearl stamped neckpiece with vertical link chains attached separately handle; wire loop in a neckpiece seams; curved legs (two with to a ring at the neck for the foral seam attaching the foral pin sharp feet, one threaded) closed pin and fnger ring. chain and band around the by a cap; ungilt links attach crim- handle, a fnger ring chain. pable chains forming a carrying Nearly the same holder as an- loop and attaching accoutrements other;203 highest weight in the Same weightiness as most subgroup (for detail, see Figure 107). weighty #216 subgroup; same members; same spike as the other neckpiece as those in Plate 64a,c fve in the #216 subgroup (see Note Same weightiness as most subgroup and others (see Note 198); same 200) and 20 others; same neckpiece members; same neckpiece as those spike (originally) as the other fve before modifcation as those in Plate in Plate 64b,c and on 8 others;198 in the subgroup and 20 others (see 64a,b and on others (see Note 198); same legs as 5 others;199 same spike Note 200); same separate chain contrasting silver similar to that on as the other fve in the subgroup attachment in the same place as in #216, #49, and others (see Note 202); and 20 others;200 separately Plates 64a and 65c). attachments of chains for accoutre- attached chains similar to two in ments as on most FG1 holders. this subgroup (#49, #221) and on 198. Kenber 20, 48, and 113; ROM 38 and 39; Deitsch 57; Schwartz 21; and Roe 357. others;201 contrasting silver- plated 199. Kenber 46 and 113, Roe 357, and ROM 38 and 39. ROM 38 (also #216) is linked to French holders by the ornaments similar to those in #35, same vase stampings as FG1-t ype Kenber 15 with a whole-f lower neckband (see Note 142) and Kenber 26 #49, and others.202 with a torc collar (see Note 158). 200. Spikes are in FG3 #124 (Plate 73); Kenber 20, 21, 28, 46, 48, 63, 109, and 113; Deitsch 57, 71, 85, 96, and 105; Marès 6 and 9; Schwartz 21 (two, bottom center and right); ROM 16; and Hermitage 16. Most have features similar to those of the subgroup. 201. Kenber 20, 21, 46, and 113; ROM 16 and 39; Marès 9; and Roe 357. 196 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 65. “FG1” #216 SUBGROUP HOLDERS WITH SPIKES AND OTHER SIMILAR FEATURES a b c PLATE 65a. FJP.1987.114. Gilt brass, enameling PLATE 65b. FJP.1987.133. Silver- plated brass, PLATE 65c. FJP.1987.049. Gilt brass, silver- (19 cm, 50 g) mother- of- pearl (12 cm, 25 g) plated brass, mother-o f-p earl (15 cm, 42 g) Heavy gilt- brass tripod, with Silver-p lated brass vase, with vase spike; vase of four cutout spike made from a foral pin Heavy holder, with vase spike; and bent- sheet replicates, spheres (for detail, see Figure 108); three gilt-b rass vase of fve ornate hung in gaps, and geometric de- cutout and bent-s heet replicates, eighteenth- century- style stamped signs inlaid in black enamel with hemispheres at joins and hung in replicates, each with a wire machine-m ade zigzag borders (for gaps, and machine- made zigzag strand of oxidized silver- plated detail, see Figure 75); twisted- borders; twisted- wire border atop brass beads; stamped cage at the wire around a plain hinging cap a plain neckband; mother- of- pearl base; stamped foral neckband; over curved legs, shins ftting handle, its end broken of where mother-o f-p earl handle; ungilt around a sphere hung from the a band was attached for the fnger brass links separately attaching cap when closed; protrusions on ring chain. crimpable chains to a wire loop feet for securing a cap (missing); in the neck seam ending in chain ending in a fnger ring Same spike as in the other fve in accoutrements. attached mid- leg. the #216 subgroup and 20 others (see Note 200); sheet vase with Same spike as the other fve in the Same weightiness as most #216 machine- made zigzags similar to #216 subgroup and 20 others (see subgroup members; same spike as that in Plate 65a and others (see Note 200); separately attached the other fve in the #216 subgroup Note 178); hanging hemispheres crimpable chains at the neck simi- and 20 others (see Note 200); inlaid similar to hanging spheres in lar to those on #216 and others (see vase similar to another with an Plate 65a ; twisted neck wire Note 201); contrasting silver- plated FG1-t ype handle;204 same sheet similar to that in Plate 65a; handle beads similar to decorations on vase with machine-m ade zigzags similar to FG1 #206 (Plate 60) Plate 64a,b and another;205 handle as that in Plate 65b and on others and FG2 handles, probably from a similar to that on Plate 58c. (see Note 178); hanging spheres and common Parisian source. twisted-w ire similar to those in Plate 65b; curved ornamented legs similar to those of #216 and others 202. Kenber 20, 21, 28, and 113; Deitsch 57; Marès 9; MCNY 51.71.2; and V&A T.743B-1 913. (see Note 199). 203. Roe tripod 357, also with round- link chains attached separately to the neckpiece. 204. MMA 38.23.454 has a similar gilt- brass inlaid vase and spike married to a mother-o f-p earl handle similar to #221, an FG1-t ype band for attaching a finger ring chain. 205. Gilt-brass MCNY 51.751.2 has similar contrasting silver- plated brass beads, a torc collar, and a whole- flower neckband characteristic of FG1 holders. FRENCH GROUP 1 M 197 FRENCH GROUP 2 French group 2 of 13 holders (Plates 66–71) was formed by assembling related holders, initially four with the same four-d ot-a nd-c rescent neckband as a holder with a French enameled handle in another collection. Three have (or had) framed mirrors, and four similar holders with framed mirrors or framed glass were added to the group; and then an enameled and bejeweled holder with the same six-p etal cross-h atched collar as two of them, and so on. Characteristics in common soon became clear and were found on 25 similar holders in other collections. Many vases have alternating stampings, often en- closed by loops. Floral pins are always loop headed, and chains are invariably attached by a link around a vase element. Finger ring chains are attached by keyhole-s haped loops in narrow channels near handle tips. Twelve of 13 handles are similarly shaped in mother-o f-p earl, and the thirteenth is likely a replacement. None of the 13 holders has stampings congruent with any FG1 stampings, nor do those in other collections, suggesting that the workshops might have been in diferent places. Some outsourced materials appear to be the same for both groups, however, such as mother-o f-p earl handles and embossed papers for backing mirrors. Thus, it seems more likely that both makers were in Paris but did not share dies. Compared to FG1 holders, FG2 holders seem to be repeated more often and identically, suggesting more limited dies and/or stricter control of the workshop. 198 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 66. “FG2” MIRRORED HOLDERS WITH FOUR- DOT- AND- CRESCENT NECKBANDS a b c PLATE 66a. FJP.1987.009. Gilt brass, glass, PLATE 66b. FJP.1987.145. Gilt brass, glass, PLATE 66c. FJP.1987.383. Gilt brass, glass, mother-o f-p earl (13 cm, 33 g) mother- of- pearl mother- of- pearl (12 cm, 30 g) Gilt-b rass vase of two replicates Gilt-b rass vase of the same de- Gilt-b rass vase of two replicates of mirrors in stamped piecrust scription as that in Plate 66a with of stamped plain frames (miss- frames, a crest above and blue a four- dot-a nd- crescent neckband ing mirrors) with green glass glass gem below; alternating with and complete mother-o f-p earl gems, but otherwise the same two replicates of a six-r ing stamp- handle; link around a ring of in description as in Plate 66a; ing (for detail, see Figure 78), the six- ring stamping attaching four-d ot-a nd- crescent neckband; which employs self-prongs to an oval- link loop- in- loop sheet mother- of- pearl handle (lower secure a blue glass gem at the chain (probably not original); part missing); round link around center and a link around a ring patterned keyhole- shaped loop on a ring of the six- ring stamping attached a foral pin chain (miss- the handle attaching a round- link attaching a loop- in- loop sheet ing); eighteenth- century- style chain ending in a freely rotating chain for the foral pin (probably stampings above and below the foliate fnger ring. not original). ring; four- dot- and- crescent neck- band; mother- of- pearl handle (tip Same holder as that in Plate 66a,c; Same holder as those in Plate 66a,b broken of). same neckband and six-r ing and others; same neckband and stamping as on #19 (Plate 67); same six- ring stamping as that in Same holder as that in Plate 66b,c neckband as others (see Note 206); Plate 67a; same neckband as others and another; same neckband mother-o f-p earl handle similar (see Note 206); mother-o f-p earl and six- ring stampings as on to those of most FG2 holders (see handle similar to those of most FG2 #19 (Plate 67); same neckband as Note 207); round- link chain similar holders (see Note 207). others;206 mother- of- pearl handle to that of most FG2 holders.208 similar to nearly all 25 FG2- type holders in other collections.207 206. Holders Kenber 22, Deitsch 85, and two on Roe 357 are essentially the same as #9, #145, and #383; Deitsch 94 has the same vase and neckband with a wooden handle; and the same neckband is on Deitsch 21, 93, and 106 and MMA 38.23.406, with paintings opposite. 207. Kenber 22, 47, 53, 64, and 65; Deitsch 21, 22, 41, 71, 85, 86, 88, 94, 97, and 106; ROM 35 and 36; Hermitage 8, 9, and 15; Roe 357 (two copies); and MMA 38.23.6, - .10, and - .11. The wooden handle on Deitsch 94 is likely a replacement. 208. Only more elaborate FG2- type Kenber 47, Hermitage 9, and Deitsch 106 do not have round- link chains among 22 with extant chains in other collections. FRENCH GROUP 2 M 199 PLATE 67. “FG2” HOLDERS, ONE WITH THE SAME SIX- RING VASE AND NECKBAND STAMPINGS AS THOSE IN PLATE 66; THE OTHER, A MIRRORED HOLDER WITH A MULTI-O VAL CUP COLLAR a b c PLATE 67a. FJP.1987.019. Gilt brass, glass, PLATE 67b. FJP.1987.240. Gilt brass, glass, PLATE 67c. Second view of #240 in Plate 67b, mother- of- pearl (13 cm, 32 g) mother- of- pearl (15 cm, 48 g) showing a large grape leaf. Gilt- brass vase of two replicates Gilt-b rass vase of three thick, One of two large grape leaf of a six-r ing stamping set with pointed wire loops, one enclosing replicates atop thick pointed wire blue glass gems alternating with a mirror (replaced) in a plain loops, small winged stamping two stamped replicates of scrolls frame, a small winged stamping below, the third loop enclosing a and a belt clasp; six- leaf collar below; two alternate loops having framed mirror (Plate 67b); round- atop a four- dot-a nd-c rescent neck- a large grape leaf stamping on link chains, a foral pin chain band; loop-i n-l oop sheet chain top (see Plate 67c); collar of fve attached by a round link around (probably not original) attached small oval cups spread outward a wire vase loop and the fnger to a ring of the six- ring stamping; above a plain sheet neckband; ring chain by a keyhole- shaped round- link handle chain attached mother- of- pearl handle. loop around the handle; round by a narrow stamped keyhole- link chains. shaped loop around a purple Wire loops enclosing features mother- of- pearl handle (may be a similar to holders in Plates 68 and Same winged stamping at the base replacement since the wide chan- 69a,b; same multicup collar as as another FG2-t ype holder;211 nel is atypical for FG2 attachment related FG2-t ype holders in other same keyhole- shaped loop for of handle chains). collections.210 attachment of the fnger ring chain and round-l ink chains as most FG2 Same six- ring stamping and holders (see Notes 207, 208). neckband as those in Plate 66 and others (see Note 206); same six-l eaf collar as another;209 keyhole- shaped loop similar to those on other FG2 holders for attachment of a handle chain (see Note 207). 209. MMA 38.23.406 has framed paintings, the same neckband, and a stubby FG2-t ype mother-o f-p earl handle. 210. Deitsch 71, Hermitage 8, and Kenber 65. Deitsch 71 has a framed mirror and cameo, the same cup collar as FG2 #240, the same spirals as FG2 #41, and an FG2-type keyhole-shaped loop for attaching the finger ring chain. Hermitage 8 has the same feathers enclosed in wire loops as FG2 #138 and #185 and the same cup collar as FG2 #240. Kenber 65 has oval loops, the same cup collar (inverted) as FG2 #240, and a keyhole loop for the handle chain. 211. A holder with three wire loops enclosing enameled copper medallions with star paillons, a keyhole-s haped loop for the chain attachment, and an FG2-t ype mother-o f-p earl handle. Everything But the House, Victorian Yellow Metal & Silver Plate Posy Holders with Mother of Pearl Handles, ended item, https://www. ebth .com/items/9911775-v ictorian-y ellow-m etal-s ilver-p late-p osy-h olders-w ith-m other-o f-p earl-h andles. 200 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 68. TWO “FG2” MIRRORED HOLDERS, NEARLY IDENTICAL EXCEPT FOR COLLARS a b c PLATE 68a. FJP.1987.137. Gilt brass, mother- PLATE 68b. FJP.1987.042. Gilt brass, mother- PLATE 68c. Second view of #42 in Plate 68b, of-p earl. of- pearl (14 cm, 33 g) showing an alternate stamped frame. Gilt-b rass vase of two stamped Gilt-b rass vase of two stamped One of two alternating replicates replicates of a beaded strip replicates of a beaded strip of smaller mirrorless frames around a plain framed mirror around a plain framed mirror ornamented with stamped con- backed by embossed gilded backed by embossed silver centric circles encompassed by paper, a stamped leaf or butter- paper, a stamped leaf or butter- plain loops. fy wing(?) below; alternating fy wing(?) below; alternating with two stamped replicates of with two smaller replicates (see Same empty alternate stamped a smaller empty frame encom- Plate 68c); collar of six down- frame as #137 in Plate 68a and passed by decoratively stamped turned petals crisscrossed by another (see Note 212). sheet loops (see Plate 68c for incised lines atop a plain neck- a duplicate); four-l eaf collar band; mother-o f-p earl handle; with dots between leaves atop a link around a vase loop attaching plain neckband; mother- of- pearl a round-l ink chain ending in a handle; link around a vase loop foral pin; keyhole- shaped loop attaching a round- link chain (for on the handle for the fnger ring detail, see Figure 104); keyhole- chain (missing). shaped loop for attaching the chain on the handle (for detail, Nearly the same holder as that in see Figure 106). Plate 68a except for its plain loops and same as another;212 same criss- Same holder as another (see crossed collar as that in Plate 69 Note 212) and in Plate 68b,c, except (see Note 210); embossed paper for loop decoration; same paper backing similar to other mirrored backing as FG1 #55 (Plate 53), holders; same handle, round- link suggesting a common source; same chain (see Notes 207, 208), and handle, round- link chains (see chain attachments as most FG2 Note 208), and chain attachments holders. as on most FG2 holders. 212. Hermitage 15 has the same plain loops and a keyhole-s haped handle loop, although it is missing mirrors and chains. FRENCH GROUP 2 M 201 PLATE 69. TWO “FG2” HOLDERS WITH THE SAME CRISSCROSSED PETAL COLLARS, THE SECOND WITH BEJEWELED ENAMELED OVALS a b c PLATE 69a. FJP.1987.038. Gilt brass, glass, PLATE 69b. Second view of #38 in Plate 69a, PLATE 69c. FJP.1987.041. Gilt brass, mother-o f-p earl showing the alternate ivy leaf. enameling; glass; bone (13 cm, 33 g) Gilt- brass vase of two repli- One of two alternating ivy leaf Gilt-b rass vase of four replicates cates of a plain loop around a replicates atop a thin wire vine partly enameled black and white, fower-a nd-l eaf stamped frame winding up from the base of the a scrolled crest above a stamped containing a marbleized lavender vase, encompassed by a smaller oval with glass gems, fowers atop glass oval, a textured leaf below; plain loop than the one around wires at the sides, and a bow atop alternating with other replicates the framed glass ovals (see a decoratively stamped spiral in (see Plate 69b); upturned six-p etal Plate 69a). the middle; downturned six- petal collar with crisscrossed incised collar with incised crisscrossed lines atop a plain sheet neckband; Wire loops encompassing elements lines above a plain sheet neck- mother-o f-p earl handle; link similar to those in Plates 67b,c, band; short bone handle (prob- around a vase loop attaching a 68a,c, 69a, and 70c. ably not original); link around round-l ink chain and a keyhole- a spiral attaching a round-l ink shaped loop on the handle, the chain for a foral pin. same chain ending in a fat fnger ring. Same vase as another married to a typical FG2- type mother- of- Same crisscrossed petal collar as pearl handle, indicating probable that in Plates 68b,c and 69c; same replacement of this handle;213 handle, chains (see Notes 207, 208), oval, shown enlarged in Plate 70a, and chain attachments as other similar to a larger one on #47 FG2 holders. (Plate 70b); oval, spirals, fowers, collar, and chains similar to others with FG2- type handles.214 213. MMA 38.23.411 has the same vase stampings, collar, neckband, and an FG2-t ype mother-o f-p earl handle. 214. Deitsch 71 has the same spirals and multicup collar as #240. Enameled and bejeweled Deitsch 97 has the same flowers. MMA 38.23.410 has the same ovals below elaborately framed mirrors alternating with different stampings. 202 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 70. “FG2” ENAMELED BEJEWELED OVALS ON VASES IN TWO SIZES a b c PLATE 70a. Second view of #41 in Plate 69c, PLATE 70b. FJP.1987.047. Gilt brass, PLATE 70c. Second view of #47 in Plate 70b, detail of the enameled oval. enameling; glass; mother- of- pearl showing the alternate face. (14 cm, 28 g) Bezel-s et oval, peach-c olored A shorter, imitation twisted-w ire glass gem at the center alternat- Gilt-b rass vase of two large oval loop than the frst design, ing with a blue glass gem shown replicates of an imitation twisted- topped by a stylized fower(?) in Plate 69c; remnants of black wire loop encircling an oval enameled in of- white. and white enameling on the crest enameled in black and white with above, bow below, and fower at fve bezel-s et glass gems in blue Alternate stampings atop a loop left. and red above a shell enameled similar to those in Plates 67b,c, in blue and white above a pair of 68a,c, and 69a,b. Oval similar to that in Plate 70b, scrolls; alternating with a smaller but smaller and only one glass gem stamped element (see Plate 70c); at the center instead of fve. plain neckband; round-l ink chain attached by a link around a vase loop; mother-o f-p earl handle (end missing along with the chain). Enameled, bejeweled oval similar to that in Plate 70a, but larger and with four more gems, and to other FG2 holders with enameling and glass gems; FG2- type handles and chain attachments.215 215. Deitsch 88 and ROM 35 have essentially the same vase as #47, with slightly different enameling on shells. ROM 36 has similar enameled bejeweled stampings encircled by plain loops. The same maker seems plausible for Hermitage 9, enameled in black and white, and essentially the same as Kenber 47 (without enameling). These two otherwise have identical stampings with bezel- set blue and red glass gems, also on necks and finger rings, and FG2- type mother- of- pearl handles with keyhole- shaped attachments for handle chains. FRENCH GROUP 2 M 203 PLATE 71. “FG2” HOLDERS WITH FG2- TYPE PLAIN NECKBANDS, HANDLES, AND CHAIN ATTACHMENTS a b c PLATE 71a. FJP.1987.123. Gilt brass, mother- PLATE 71b. FJP.1987.185. Gilt brass, mother- PLATE 71c. FJP.1987.138. Gilt brass, mother- of- pearl (12 cm, 34 g) of-p earl (14 cm, 28 g) of-p earl (14 cm, 26 g) Gilt- brass vase of four full- height Gilt-b rass vase of four stamped Gilt-b rass vase of four stamped stamped mesh- like bands looped replicates of a feather atop cupid’s replicates of a feather atop cupid’s over a rim band of the same arrow, its tip on a plain neck- arrow, its tip on the plain neck- mesh; four large stamped hemi- band; mother- of-p earl handle; band; mother-o f-p earl handle (tip spheres attached to the lower round- link chains, the foral pin broken of); round- link chains, rim atop wires at corners, a link chain attached by a link around the foral pin chain attached by around one wire attaching a the shaft of a feather and the a round link around the shaft round- link chain for a foral pin; wire fnger ring on the handle of a feather and the chain for a a square plate at the bottom with chain attached to a keyhole- wire fnger ring (resoldered to its diferent mesh around it; plain shaped loop below. small attaching ring) attached neckband; stubby mother- of- pearl by a keyhole-s haped loop on the handle with a keyhole- shaped Same holder as that in Plate 71c handle. loop attaching a round- link chain and one in another collection;218 ending in a fattened twisted- same feathers as a third;219 handle, Same holder as that in Plate 71b wire fnger ring (for detail, see chains, and chain attachments sim- and one in another collection (see Figure 115). ilar to those on other FG2 holders. Note 218) and same feathers as a third (see Note 219); handle, chains, Same stamped mesh strips as and chain attachment similar to another FG2-t ype holder;216 same those of other FG2 holders. fattened twisted-w ire ring as another;217 essentially the same handle and chain attachments as on other FG2 holders. 216. Deitsch 95 has the same stamped mesh with glass gems, plate at the bottom, plain neckband, and stubby FG2-t ype handle. 217. Deitsch 86 (right), its vase and neck of stamped mesh sheet with a small repeat pattern, has the same twisted-w ire ring, stubby FG2-t ype handle, round-l ink chains, and chain attachments. 218. Kenber 53 is essentially the same as #185 and #138. 219. Hermitage 8 has the same feather stampings encircled by plain loops like many FG2 holders, a multicup collar atop a plain neckband like FG2 #240, and an FG2- type mother- of- pearl handle. 204 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS FRENCH GROUP 3 French group 3 of 14 holders (Plates 72–77) has materials typical of FG1 and FG2 holders: mostly gilt-b rass vases, neckpieces, and chains; and mostly spindle handles in mother- of-p earl, ivory, or bone. By defnition, none has stampings in common with holders in the previous groups. The frst six holders are considered showstoppers because they are generally bolder, more elaborate, and heavier than FG1 or FG2 holders. Vases of two showstoppers have dangling glass beads and gilt-b rass drops, one of them also hung with bone fowers, and others are set with glass gems and brass beads. Five have large sinuous mother-o f-p earl spindle handles with lips at the top; and a sixth has a large carved J-s haped handle in bone and a vase with glass and red-d yed fttings, probably in ivory. A few showstopper-t ype holders identifed in other collections have stampings in common with FG1 holders, and showstopper #124 has a center spike like holders in the FG1 #216 subgroup. Showstopper-t ype sliding ring holders in other collections also have similarities to sliding ring showstopper #198 with a horn handle. Thus, it is hypothe- sized that all eight holders were made in the same workshop or milieu as FG1 holders, perhaps during a transitional period around the same time as the #216 subgroup holders or later. This hypothesis is considered preliminary: evidence is minimal, showstoppers often seem to be one-o f-a -k ind, and they are defned largely in the eye of the beholder. The next six holders are more disparate. One is likely an FG1 holder, and three have similarly fattened vases likely made in France, but probably not in the workshops or milieus identifed thus far. Finally, Plate 77 has two holders of questionable origin. FRENCH GROUP 3 M 205 PLATE 72. TWO “FG3” SHOWSTOPPERS WITH LARGE LOOPS, DOUBLE-C URVED NECKS, AND BOLD CURVY HANDLES a b c PLATE 72a. FJP.1987.208. Gilt brass, PLATE 72b. Second view of #208 in PLATE 72c. FJP.1987.176. Gilt brass, enameling; mother-o f-p earl (15 cm, 30 g) Plate 72a, showing alternate stamped enameling; mother- of- pearl (15 cm, 55 g) bands. Showstopper; gilt- brass vase of Heavy showstopper; gilt- brass two replicates of curved elements Three- banded concave curved stamped vase of two replicates of topped by a pair of lavender vertical element: the wider center superimposed convex rings inter- enameled shells, green leaves, and band without enameling and woven by mirror- image textured a green knot, alternating with short tubes opposite at the top spirals; the larger upper ring enameled bands (see Plate 72b); for insertion of a long foral pin topped by a three-l obed leaf, a double-c urved neckpiece; curvy (missing); side bands enameled bud attached by a wire mid- vase, mother-o f-p earl handle. dark green diverging at the top and oval pods hanging mid- sides; from the center band, extending alternating with replicates of a Same neckpiece as those in Plates downward on either side; broken two- band convex curved vertical 72c, 73a, and 74a; curvilinear vase wire loop at the base of a center element (partially visible at left; stampings similar to those in Plates band for attachment of a foral 72c and 73; enameling similar to holes opposite at the top for pin chain (missing); fat space on that on #150 (Plate 73a,b); bold insertion of a long foral pin; wire the handle for attachment of a curvy handle similar to those on loop through the base attaching fnger ring chain (missing). showstoppers #124, #150, #157, #176, chains ending in a fnger ring and and #234. Same attachment of chains as most ball- headed foral pin; double- FG1 holders; high insertion on the curved stamped neckpiece; curvy vase for a foral pin similar to that mother- of- pearl handle. in Plates 72c and 73a. Same neck as those in Plates 72a, 73a, and 74a; vase stampings similar to those in Plates 72a and 73; same high insertion for foral pins as those in Plates 72b and 73a; bold handle similar to showstop- pers in Plates 72, 73, and 74b, c; same chain attachments as most FG1 holders; ball- headed foral pin similar to #157 (Plate 74) and show- 220. Showstoppers Kenber 54 and 56, Hermitage 5 and 17, Deitsch 62, Galliera 1929.1.2774, and MCNY 33.125.1 stoppers in other collections.220 have similar ball- headed floral pins. 206 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 73. TWO “FG3” SHOWSTOPPERS WITH GLASS DECORATIONS AND BOLD CURVY HANDLES, THE SECOND WITH A CENTER SPIKE a b c PLATE 73a. FJP.1987.150. Gilt brass, PLATE 73b. Second view of #150 in Plate 73a, PLATE 73c. FJP.1987.124. Gilt brass, glass, enameling mother-o f-p earl showing the alternate face. mother- of- pearl (14 cm, 43 g) Heavy showstopper (not weighed); The alternate face features a Heavy showstopper; gilt- brass gilt- brass vase of four loops en- stamped fower atop a spiral wire vase of four replicates of vines compassing two alternate designs stem, comprised of four circular and leaves cutout from a sheet (see Plate 73b for the alternate); gilt-b rass cups, red- painted glass with machine made ticked a three- lobed leaf with green spheres pinned in two (others borders, a pair of opposite red enameling and a gilt- brass bead missing) around a center four- glass bevel-s et gems on curled (missing) set in a four- pronged pronged cup (missing its deco- wires; center spike made from a cup at the center (bead present on ration but the same as prongs foral pin with a bent loop head the opposite face), a similar pair retaining a brass bead on the partially covered by solder (see of pronged cups missing beads other stamping); double-c urved Figure 109); fat eight-p etal collar above; holes through opposite neck, a round link soldered to with petals slightly dished in the joins near the top (upper right one side for attachment of a middle atop a plain neckband; in this image) for insertion of a foral pin chain (missing); curvy curvy mother-o f-p earl handle, a foral pin (missing); four textured mother-o f-p earl handle with long broad gilt-b rass band near the leaves enameled green in between swells at the top; a wide gilt- brass tip for attachment of a fnger ring loops at the base. band repair, probably covering a chain (missing). break where a band had attached Enameling similar to that in the fnger ring chain (missing). Same spike made from a foral Plate 72a,b; high insertion for pin as on #133 (see Figure 108), foral pins similar to those in Plate Gilt brass and glass bead deco- probably so made on all six #216 72; colorful decorations similar to rations and enameling similar to subgroup holders, also six others those in Plates 72a, 73c, and 74. that on other showstoppers; same with spikes and similar fat eight- neckpiece as those in Plates 72 and petal collars;221 cutout and bent- 74a; curvy handle similar to those sheet vase similar to six FG1 and in Plates 72, 73c, and 74b. others, most machine engraved (see Note 178). 221. A flat eight- petal collar topped by a small sphere and center spike is on Kenber 109, a similarly cut and bent-s heet vase; Deitsch 71 (left), with loops, a cameo, and purple glass gems; Deitsch 105 (right) with a perfume bottle and blue glass drops; Deitsch 10, Deitsch 85 (right), and Hermitage 16 with inset dark flat glass or enamel, the last two with FG1-t ype bands for finger ring chain attachments; and Deitsch 105, with a perfume bottle and blue glass spheres. FRENCH GROUP 3 M 207 PLATE 74. “FG3” SHOWSTOPPERS WITH GLASS, BONE, AND RED- DYED IVORY OR BONE DECORATIONS a b c PLATE 74a. FJP.1987.154. Gilt brass, glass, PLATE 74b. FJP.1987.157. Gilt brass, glass, PLATE 74c. FJP.1987.234. Gilt brass, glass, mother-o f-p earl bone, mother- of- pearl (15 cm, 54 g) red- dyed ivory(?), bone Heavy showstopper (not weighed); Heavy showstopper; vase of four Heavy showstopper (not weighed); vase of four stamped gilt- brass gilt- brass replicates of a serrated vase of four alternating stamped replicates of a large cornucopia wire loop encompassing three gilt- brass replicates, one prong hung with 44 blue glass spheres stamped faux- fligree leaves, set with a faceted colorless glass or ovals (many cracked and 11 three dimpled hemispheres, and a gem atop broad plain sheet, its missing), four gilt- brass drops faux- granulation wreath of eight base covered by a leaf; the other hung from ovals between repli- circles at the base hung with a an oval atop a red rod, probably cates; four stamped hearts, tips glass imitation pearl, bone fower, red- dyed ivory or possibly bone, on a double- curved neckpiece, a and gilt- brass drop; torc collar attached by bands; stamped cage, wire loop attaching a fnger ring atop a stamped foral neckband, a fgure- eight link loop- in- loop chain; mother- of- pearl handle, a wire loop through it attaching sheet chain ending in a fat- ended narrow rings ending in a drop- chains, one with a ball- headed foral pin with three perforations like tip. foral pin and the other a fnger attached around a cage element; ring; bold curvy mother- of- pearl J- shaped bone handle with fruit Glass spheres and gilt- brass drops handle. and leaf carvings. similar to those in Plate 74b and on others;222 same neck as that in Same stamped faux-f ligree leaves Stamped settings for glass gems Plate 72 and 73a; wire-l oop for as another;223 torc collar similar similar to those on #216 (Plate 64); attachment of a foral pin chain but not identical torc collars on red- dyed ivory or bone rods similar similar to FG1 holders; drop-l ike FG1 holders (see Note 158); spheres to red- dyed ivory handles and fow- tip on the handle similar to that on and drops similar to those in ers on three FG1 holders (Plate 56); showstoppers in Plates 72a and 73a, Plate 74a and others (see Note 222); cage similar to those of FG1 holders but not as bold and curvy. same wire loop through the vase at- (see Note 154); sphere atop a neck- taching the foral pin chain as FG1 band similar to FG1 holders in holders; same ball- headed foral Plate 75a,b (see Note 165); loop-i n- pin as #176 and seven showstoppers loop chain similar to that on FG1 in other collections (see Note 220); holders (see Note 138); bone handle curvy handle similar to those of similar to another.224 other showstoppers. 222. Showstopper MCNY 33.125.1 has a cameo, similar imitation pearls, gilt-b rass drops, and the same arrow-l ike stamping as FG1 #184, #228, and #377; Kenber 64 has 208 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 75. “FG3” HOLDERS WITH RELATIVELY FLAT VASES, TWO HANDLES IN IVORY AND THE THIRD IN MOTHER- OF- PEARL a b c PLATE 75a. FJP.1987.233. Gilt brass, elephant PLATE 75b. FJP.1987.202. Gilt brass, mother- PLATE 75c. FJP.1987.207. Gilt brass, ivory (15 cm, 46 g) of- pearl (14 cm, 52 g) enameling; ivory Heavy holder; two replicates of Heavy holder; thin stamped Heavy holder (not weighed); an open stamped fower and leaf sheet crest, a neoclassical head at thick, fat gilt-b rass vase (cast?); crest; thick gilt-b rass vase of two center (similar crest apparently two replicates curving slightly replicates of a relatively fat shield broken of on the back); gilt- up at the sides, fowers enameled with few piercings, thick curled brass vase of two thick, fat leafy red, green, blue, and white; thick wires at the sides; stamped sphere replicates, smooth on the interior collar with a beaded rim atop a atop a plain sheet neckband; (cast?), two strands of brass beads foral neckband; delicate ivory elephant ivory spindle handle between stampings at the top; spindle handle; foral pin chain made in two pieces identifed by thick wires at sides, a thin wire attached by a round link on the engine turnings; double solder- design between curls; sphere atop vase and fnger ring chain by a less twisted-l ink chain attached a plain sheet neckband; stubby stamped band around the handle; by a round link around a vase mother- of- pearl handle (probably ungilt links attaching chains and wire, ending in a loose coppery not original: the tang of the accoutrements. wire fnger ring (probably not handle is much smaller than the original). neckband). Flat vase similar to that in Plate 75a,b; vase shape similar Flat vase, thick curled wires, and Flat vase similar to those in to an FG1- type holder in another sphere atop a plain band similar Plate 75a,c; thick curled wires collection;226 delicate ivory handle to those in Plate 75b,c; fat vase similar to those in Plate 75a and similar to other French handles and thick curled wires similar to another (see Note 225); sphere atop (Plate 56); ungilt attaching links another;225 sphere atop a plain a plain neckband similar to those similar to those of FG1 holders (see neckband similar to others (see in Plates 74c and 75a, and others Note  137). Note 165). (see Note 165). imitation pearls, blue-g lass spheres, and gilt-b rass drops; Kenber dance card 54 has micromosaics, imitation pearls, and gilt-b rass drops; and Schwartz 21 has coral spheres and gilt-b rass drops. 223. Deitsch 62 has the same faux-f iligree leaves with a mirror opposite a painting that resembles a painting on FG1 #55. 224. The carved cylindrical ivory handle is somewhat similar to that on enameled Deitsch 91, which has the same handle cap as on the enameled handle of FG1-t ype Kenber 42. 225. Kenber 102 has a similar flat vase with thick wire loops below. 226. A similar vase with a flattened shape upturned at the sides and a French-t ype funnel above the neckband was sold as Lot #0203 by Roland Auctions in Glen Cove, New York, on 12 January 2020, https://www.liveauctioneers.com/catalog/157149_january- 12- 2020- estates- sales/?page=10. FRENCH GROUP 3 M 209 PLATE 76. TWO “FG3” HOLDERS, A COLORED GLASS GEMS VASE WITH A BONE HANDLE AND A SLIDING RING VASE WITH A HORN HANDLE a b c PLATE 76a. FJP.1987.178. Gilt brass, glass, PLATE 76b. Second view of #178 in Plate 76a, PLATE 76c. FJP.1987.198. Gilt brass, horn bone (15 cm, 37 g) showing the alternate scroll stamping. (15 cm, 34 g) Gilt-b rass vase showing one of Alternate replicate of a large, Gilt-b rass six- leaf sliding ring two replicates alternating three leafy S- shaped scroll (partial vase (see Plate 77a for detail); times (for other, see Plate 76b); view of the frst replicate with plain but bold hexagonal neck- twisted-w ire loop around a a red glass gem at right); ringed piece with rolled rims; hollow stamped circular feature, a bone handle slightly bulbous at molded handle, probably horn; prong-s et green glass gem at the bottom, a band for attach- gilt-b rass band around the handle center (diferent colored glass on ment of the handle chain. for attachment of a fragmentary other replicates), three leaves atop fnger ring chain. pairs of wires at the base; plain Slightly bulbous handle shape sim- neckband. ilar to others, especially a holder Neckpiece with a plain rolled- rim with a dimpled cap that recalls neckband and handle similar Twisted wires and prong- set gems early sliding ring #173 and related to those of other showstoppers, similar to those on another French holders;228 same band around the especially sliding ring- type show- holder.227 handle attaching the fnger ring stoppers;229 FG1- type attachment chain as FG1 holders. for the fnger ring chain. 227. A flirting mirror holder with similar twisted-w ire loops and glass gems, a plain neckband, and a band around a mother-o f-p earl handle for attachment of the finger ring chain. Ruby Lane, 1860 French Gilt Tussie Mussie Posey Holder, Porte Bouquet Flirting Mirrors and Exquisite Agate Handle, https://www.pinterest.com /pin/633740978789538642? 228. Slight swelling of the handle shape toward the bottom also recalls sliding ring ROM 1, ROM 2, and a third with purple glass gems sold by Coutau-B égarie, Porte- Bouquet, vers 1860, Lot 28, https://www.coutaubegarie.com/lot/102276/12586180?. 229. Kenber sliding ring 101 has a similar bold rolled rim neckpiece, tortoiseshell handle, and J-s haped gilt-b rass tip. Deitsch dance card holders 78 and Deitsch 98 have J-s haped mother-o f-p earl handles with similar carved tips and the same five-s ection palmettes as Deitsch 57, with several features of the #216 subgroup. Deitsch 78 and perforated sliding ring vases of MCNY 41.35.12 and Deitsch 98 have plain rolled neckbands. 210 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 77. “FG3” DETAIL OF SLIDING RING #198 AND TWO QUESTIONABLE FRENCH HOLDERS a b c PLATE 77a. Detail of sliding ring #198 in PLATE 77b. FJP.1987.046. Gilt brass, bone PLATE 77c. FJP.1987.147. Silver, brass, bone Plate 76c, showing notched hooks at (10 cm, 26 g) sides. Gilt-b rass vase of four eighteenth- century-s tyle stamped replicates, Fluted silver vase with two Notches on hooks secure the each with an oval mirror set scratched-o ut marks, one featur- sliding ring when pushed upward in a delicate stamped frame; a ing the outline of a cock similar to tighten metal leaves after hook at one corner on the back; to a Parisian mark in use from insertion of fowers; pins between neckpiece stamped in two pieces, 1809 to 1819 and the second leaves keep them aligned as the a round link poorly attaching an featuring a four- legged animal leaves are expanded for insertion oval-l ink loop- in- loop sheet chain, in a rectangle;232 fragmentary of fowers and retracted to secure mostly gilt but some links with- brass curb chain attached to the them, as in this image. out gilding (may not be original) brass neckband by a red brass Elaborate sliding ring mechanisms and ending in a poorly attached wire loop; perforated designs on similar to those on fancy French bent-l oop foral pin; decoratively a cylindrical bone handle (for sliding ring holders;230 hooks and pierced bone handle. detail, see Figure 48). pins are unique to date. Vase stampings generally similar Wire- loop chain attachment simi- to French holders; stamped frame lar to those on FG1 holders; perfo- for mirrors similar to those setting rated design on the handle similar gems on Plates 64a, 74c, and on an- to a holder ascribed to England;233 other;231 relatively rare two-piece curb chain similar to those of stamped neckpiece and pierced English holders (see Note 32). bone handle on a French holder. 230. Such as those on Émile Froment-M eurice’s Kenber 70 and MN 467. Fiori freschi: Porte-b ouquets, 4–6. 231. Kenber 20. 232. Marks are crudely scratched out and smeared to the point of near illegibility, but the shape of the upper stamp appears to match a Parisian rooster. The lower stamp does not seem to match any known stamps. Tardy, Les poinçons de garantie internationaux, 168. 233. Similar designs drilled and carved in bone are on the ivory vase of Deitsch 33. FRENCH GROUP 3 M 211 HOLDERS FROM GERMANY PLATE 78. TWO GERMAN HOLDERS BY P. BRUCKMANN & C. AND A GERMANIC HUNTING HORN a b c PLATE 78a. FJP.1987.170. Gilt silver, mother- PLATE 78b. FJP.1987.183. Silver, mother- of- PLATE 78c. FJP.1987.231. Silver, turquoise of-p earl (12 cm, 20 g) pearl (12 cm, 19 g) (11 cm, 32 g) Gilt- silver bulbous vase (see Sterling silver bulbous vase (see Elaborate German- style hunting Appendix Table A.3) of four Appendix Table A.3) of four horn; two replicates of a pair of stamped replicates of tiny fowers stamped replicates of berries grotesque heads in the middle on leaves; four-l obed neckpiece and leaves; stamped four- lobed and a grotesque head at the bot- with a rolled edge, a stamped neckpiece with a rolled edge and tom, inlaid with turquoise blue eagle mark of P. Bruckmann round-l ink chains attached one glass gems; slightly elongated & C. of Heilbronn, Germany, and above the other, one ending in round-l ink chain attached as a “13” for 13 lothig, the German an adjustable ring (Figure 117); carrying loop. standard for silver (see Figure 27); curved mother-o f-p earl handle round- link chains one above the ending in a ball. Holder similar to three others other on the neckpiece; curved with several diferent chain mother-o f-p earl handle (end Same bulbous vase shape, neck, arrangements.236 missing). chains, chain attachment, and handle as that in Plate 78a, many Same neckpiece and handle as of these features on seven others those in Plate 78b and a similar made by P. Bruckmann & C. (see bulbous vase shape; same chains Note 234); same adjustable ring as and chain attachments as those related holders.235 in Plate 78b and seven others by Bruckmann & C. with some fea- tures in common.234 234. Kenber 36 is identical; Galliera 1990.121.2 has a similar vase and the same neckpiece, handle, and chains. Deitsch 12 has the same neckpiece and chains. Schwartz 12 (bottom right) and Kenber 38 have identical vase leaves and neckpieces with chain attachments similar to those on #170. Kenber 39 and 40 have similar vase stampings and chain attachments. 235. Kenber 38 has the same adjustable finger ring, as does a similar Antique Cupboard holder at https://antiquecupboard.com/Sterling- Art- Nouveau- Tussie- Mussie -with- Leaf- Cup- j1292_p_203729.html. 236. Roe 358 and Kenber 16 have most of the same designs; the first has glass gems, a carrying loop, and the same niche figures as the second, which lacks gems and has separate chains ending in its accoutrements. Deitsch 77 has different but related designs with a floral pin chain attached to the inner side and two rings near the bottom for additional chains (missing). 212 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS HOLDERS FROM THE UNITED STATES PLATE 79. TWO SIMILAR AMERICAN HOLDERS STAMPED “STERLING,” ALMOST CERTAINLY MADE BY GORHAM a b c PLATE 79a. FJP.1987.211. Silver (14 cm, 18 g) PLATE 79b. FJP.1987.146. Silver (14 cm, 19 g) PLATE 79c. Detail of #146 in Plate 79b, showing the “STERLING stamp near the Silver vase of two stamped Silver vase of two main stamped center. replicates of fowers, leaves, foral replicates and a separately scrolls, and a shell, a loop on the stamped rim; marked “STER- Same sterling stamp as in rim; marked “STERLING” above LING” near the center (see detail, Plate 79a. the shell near the center on the Plate 79c), identifying it as made opposite face, almost certainly in the United States and almost made by Gorham Manufacturing certainly by Gorham Manufactur- in Providence, Rhode Island.237 ing in Providence, Rhode Island (see Note 237). Same holder as others238 and similar to that in Plate 79b, almost Holder similar to that in Plate 79a certainly also by Gorham; same and others (see Note 238); same sterling stamp as that in Plate 79c. sterling stamp as that in Plate 79a. 237. A holder with similar handle decorations has Gorham marks (a lion, anchor, and g) followed by “STERLING 61”; formerly item 3121 on the Antique Cupboard website but no longer available. 238. Schwartz 20 (bottom left) and Deitsch 107 are essentially the same, except that Schwartz 20 has round- link chains attached to the loop on the rim with both accoutrements and holes at rim sides for the floral pin. UNITED STATES M 213 HOLDERS FROM GENOA, ITALY PLATE 80. LION- HEAD STAMPS IDENTIFY THE FIRST TWO FLOWER- PETAL FILIGREE HOLDERS AS MADE IN GENOA, AND THE THIRD IS SIMILAR a b c PLATE 80a. FJP.1987.063. Silver PLATE 80b. FJP.1987.071. Gilt silver (14 cm, PLATE 80c. FJP.1987.219. Silver 49 g) Vase of seven rounded petals, Vase of eight pointed petals; an arrow indicating a Genoese Heavy fligree holder; rounded fligree of outlined tight circular lion-h ead stamp;239 stretched eight- petal vase, pairs of small spiral fowers(?) and leaves(?) spiral fligree, wavelike wires silver sheet diamonds at top joins; on the vase; loops and wavelike adjacent to thicker wire borders, wavelike wires around rim; four- wires adjacent to thicker wire and fowers with silver centers; a petal fowers of stretched spirals borders on the handle; small few links of a wire loop- in- in- loop (Figure 37); handle separated by spheres at the bottom; round- link chain at right; shapely handle a sheet band, a Genoese lion- head chains and a fat fnger ring. with two silver bands; small loop stamp at center (see Figures 28, at the bottom for attachment of a 37); small sphere at the bottom; Same holder as another (see fnger ring chain (missing). wire loop- in- loop chains (smaller Note 241); petal vases and fligree links on the vase chain). similar to those in Plates 80a,b Same Genoese lion- head stamp as and 81a (see Note 241); delineated that in Plate 80b and others;240 Same Genoese lion- head stamp fowers and open loops similar to petal vase with stretched spiral as that in Plate 80a, and others those in Plate 81a,b and Genoese fligree similar to those in Plates (see Note 240); petal vases, fligree, fligree objects at the turn of the 80b,c, and 81a; wavelike wires and chains similar to those in century;243 fat fnger ring similar similar to those in Plates 80b,c, and Plate 80a; petal vases and fligree to another.244 81a,c, and others;241 wire loop-i n- similar to others (see Note 241); loop chain similar to that in Plates wire loop- in- loop chains similar to 80b and 81c, hair pins, a Genoese others (see Note 242). purse handle, and seven brooches related to Plate 81c.242 239. Roccatagliata, Orafi e argentieri Genovesi, 112. 240. Lion-h ead stamp on the upper band of Kenber 80, which has filigree similar to Schwartz 14 (lower right) and 16 (upper right); and on pieces in Gere and Rudoe, Jewellery in the Age of Queen Victoria, 319. 241. Petal vases with stretched spiral filigree are on Kenber 81, Schwartz 16 (bottom right), and PMA 1901-2 03, essentially identical to #71. Wavelike wires are on Kenber 74, 80, and 81 and ROM 42, a spectacles case; but not on two holders with similar petal vases in the Museo della Filigrana. Roccatagliata, Orafi e argentieri Genovesi, 116; Gianna Roccatagliata, L’arte della filigrana in Liguria e nel mondo, Genoa, Italy: Tormena, 1994, 57, 59. 242. Wire loop-i n-l oop chains are on Schwartz 16 (lower right); two hair pins in Gere and Rudoe, Jewellery in the Age of Queen Victoria, 319; and a purse dated in the early twentieth century in Roccatagliata, L’arte, 57, 58; also in Bongera and Bottero, La filigrana: L’arte, 132, 133. See Note 246 for related vase brooches with these chains. 243. A round box and Genoese purse (see Note 242) with delineated flowers and leaves are dated in the late nineteenth century and early twentieth century 214 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 81. A GENOESE- TYPE FILIGREE FLOWER PETAL HOLDER AND TWO RELATED BROOCHES a b c PLATE 81a. FJP.1987.125. Silver (8 cm, 14 g) PLATE 81b. FJP.1987.239. Silver (15 cm, 24 g) PLATE 81c. FJP.1987.229. Silver, glass (20 g) Small vase of six rounded petals, Small horn- shaped fligree pin Vase brooch of blue opaline each petal enclosing a thickly brooch; thickly delineated fower glass; sheet silver rim (at- delineated fower and leaves petals and leaves, each enclosing tachment pin on the back) comprised of stretched spirals, a stretched spiral; fller of open surmounted by a large stretched- long- tailed tight spiral heads loops; fligree chain links. spiral fligree fower, bud, and (buds?) and wavelike wires next leaves circumscribed by wavelike to cell walls; sphere at the bot- Horn shape similar to another wires (for detail, see Figure 38); tom; fligree chain links. Genoese-t ype brooch with wavelike sheet around the tip surmounted wires;245 thickly delineated fower by a fligree bow circumscribed Shape and wavelike wires similar and leaves similar to those in Plate 81a and others, suggesting by wavelike wires and hung with to those in Plate 80 (see Note 241); thickly delineated fowers and a date around the turn of the a pair of bells (parts missing); leaves similar to those in Plates twentieth century (see Note 243); loop- in- loop wire chain and 80c, 81b, and items made in Genoa fligree chain links similar to those cotter pin (part missing). around the turn of the century in Plate 81a. Same stretched-s piral fligree and (see Note 243); long- tailed tight wavelike wires as lion- head marked spiral heads similar to another Genoese holders #63 and #71, other (see Note 245); fligree chain links Genoese objects (see Note 241), similar to those in Plate 81b. and six similar vase brooches in other collections;246 same wire loop- in- loop chains as the marked Genoese holders and six similar vase brooches; cotter pins similar respectively. Roccatagliata, Orafi e argentieri Genovesi, 50. Similar open spirals are on horn-s haped to those on a Genoese object and Kenber brooch 73 with a cotter pin. similar vase brooches.247 244. A flat finger ring and wavelike wires are on horn-s haped Kenber 74 (see also Note 245). 245. Horn-s haped Kenber 74 (see Note 244) also has long-t ailed tight spiral heads similar to #125. 246. Six similar brooches are Deitsch 16 (in blue glass) and Deitsch 42 (in ruby red glass); three brooches on Schwartz 10, one in ruby glass and two opaline; and Kenber 41 (in blue opaline glass); all have wire loop-i n-l oop chains. Kenber 41 is inscribed “REGISTERED/Feb 8 – 1850,” providing a date around 1850 for these vase brooches, but its design was not registered in England. 247. A cotter pin is on horn-s haped Kenber 73, with stretched spiral filigree similar to #63 and #71, and cotter pins are visible in images of five of the six vase brooches. Schwartz and Deitsch attribute the brooches to France, ruled out by the absence of cotter pins on French holders. GENOA, ITALY M 215 HOLDERS FROM INDIA PLATE 82. A HEAVY SILVER FILIGREE INDIAN TRIPOD AND CONTRASTING DELICATE ONE a b PLATE 82a. FJP.1987.064. Silver (16 cm, 182 g) PLATE 82b. FJP.1987.060. Silver (17 cm, 37 g) Filigree tripod, the heaviest holder in the collection; Silver holder, relatively light in weight; asymmetri- fve replicates of roses in three diferent sizes, the cally topped vase of delicate spirals, loops, twisted largest with many ball- like stamens known as a wires, rickrack, disks, and wire petal fowers with Cuttack rose; pair of solderless twisted- link chains domical centers (for detail, see Figure 34); a complex hung between them and about 20 wire spiral solderless twisted- link chain ending in a foral pin; tassels hanging from each (see Figure 33); bifur- sheet handle with spiraling design and pointed tip. cated tripod legs with threaded feet (one leg broken of); pair of the same chains attached to the vase, Holder similar to two collected in India for London’s one ending in a foral pin and the other ending in a India Museum, subsequently acquired by the V&A and fnger ring, a threaded fligree cap partway forming others, one ascribed to Cuttack;249 chain similar to a handle when screwed onto the threaded feet. those in Plates 82a and 83a but more complex. Tripod similar to one collected in India for London’s India Museum, subsequently acquired by the Victoria and Albert Museum (V&A) and others, one ascribed to Cuttack;248 same tripod mechanism as English tripods, such as #85 (Plate 35); chain similar to #72 (Plate 83) and similar but simpler than the chain in Plate 82b. 248. V&A tripod no. 03337 I.S. (India Museum) has similar Indian roses and profuse ornamentation; other similar Indian tripods are V&A S.11-1 987, Deitsch 113, Kenber 78 and 79, and Hermitage 5041 in Porte- bouquets, 143–144. A necklace and pin with similar roses are ascribed to Cuttack in Hendley, Indian Jewellery, Plate 16, no. 800. The tripod mechanism is similar to Kenber 50, made in Birmingham. 249. V&A 03335 I.S. and 03336 I.S. are similar, as are Kenber 83, Schwartz 16 (center), and a holder illustrated in a 1909 publication identified as made in Cuttack. Hendley, Indian Jewellery, Plate 16, no. 801. 216 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 83. INDIAN SILVER FILIGREE PIN BROOCHES WITH IRREGULAR SILVER BANDS AND IRREGULAR TWISTED WIRES a b PLATE 83a. FJP.1987.072. Silver, brass (7 cm, 12 g) PLATE 83b. FJP.1987.098. Silver, brass (5 cm, 6 g) Pin brooch; delicate fligree of slightly stretched Small pin brooch of twisted- wire stretched spirals spirals and tight connected spirals; irregular sheet and open loops; irregular wires and sheet bands bands suggestive of hand working (for detail, see suggestive of hand working; a pointed tip (Fig- Figure 35); ending in a pointed knob with a small ure 36); brass pin in a silver hinge on the back for spherical tip; brass pin in a silver hinge on the back attachment to clothing, seen at upper left. (attachment pin lost) for attachment to clothing; fragmentary solderless twisted-l ink chain attached Hinge, hinge pin, slightly irregular wires and sheet, to the inner side near the top. and tip similar to those in Plate 83a, indicating that it, too, was likely made in India. Pin brooch similar to one collected for London’s India Museum, subsequently acquired by the V&A, and others, two ending in fnger ring chains;250 solderless twisted- link chain similar to #64 (Plate 82). 250. Similar examples are V&A 03416 I.S. (India Museum); Kenber 76; Deitsch 73, a complete finger ring chain attached on the inner side; Schwartz 11 (two examples, bottom), one with a complete chain ending in a finger ring attached to the inner side; and one in the collection of the Museo della Filigrana (Roccatagliata, L’Arte, 58). Several incorporate a face near the top. INDIA M 217 HOLDERS FROM CHINA PLATE 84. THREE SIMILAR CHINESE FILIGREE HOLDERS WITH VASES THAT PROBABLY SIMULATE OPENING FLOWERS a b c PLATE 84a. FJP.1987.086. Silver (16 cm, 27 g) PLATE 84b. FJP.1987.111. Silver (18 cm, 33 g) PLATE 84c. FJP.1987.016. Silver (17 cm, 27 g) Silver fligree holder (see Appen- Silver fligree holder with light- Silver fligree holder (see Appen- dix Table A.2); vase of parallel colored solder repairs (see Appen- dix Table A.2); vase of parallel twisted wires on the shank, dix Table A.2); vase of parallel twisted wires on the shank, spreading out at the top to an al- twisted wires on the shank, spreading out halfway to the top most fat open network; opposite spreading outward toward the to form a cone- shaped network; wire fowers near the top for in- top to form a cone- shaped open opposite wire fowers for inser- sertion of a foral pin; mesh below network; opposite wire fowers for tion of a foral pin; mesh below of parallel rows of open spiral insertion of the foral pin; mesh of parallel rows of open curls curls topped by thicker plain below of parallel rows of open topped by thicker plain wires wires forming fower and leaf curls topped by thicker plain forming fower and leaf designs; designs (for details, see Figures wires forming fower and leaf de- wire fowers with domical centers 29, 30); wire fowers with domical signs; wire fowers with domical on the neck and sphere at the centers on the neck and sphere at centers on the neck and sphere at bottom, the latter area severely the bottom of the handle; foral the bottom of the handle; round- corroded. pin chain with small round links. link chains ending in a foral pin and fnger ring with tiny fowers Holder similar to those in Plate Holder similar to those in Plate (for detail, see Figure 118). 84a,b; vase similar to others (see 84b,c; vase similar to another;251 Note 251); handle similar to that handle similar to those in Plates Vase similar to those in Plate 84a,c in Plates 80a,b, 81a, and on others 84b,c and 85a and others;252 same and others (see Note 251); handle (see Note 252). chain as that in Plates 84b and 85a. similar to those in Plates 84a,c, 85a, and on others (see Note 252). 251. MCNY 33.30 with a mother- of-p earl handle and Hermitage 12 without a handle. 252. Similar handles are on Peabody Essex Museum E45981, inscribed “Cutshing” on the original fitted box. Crossman, The Decorative Arts of the China Trade, 226. Kenber 71 is inscribed “Lui Jhe Guin, Canton” in Chinese on its box. Others are Schwartz 11 (upper left); Deitsch 114 and 115; Hermitage 13 and 14, the latter also illustrated in Menshikova, Silver Wonders from the East, 28, 109. 218 M CATALOG OF FRANCES JONES POETKER COLLECTION OF BOUQUET HOLDERS PLATE 85. TWO CHINESE HOLDERS, THE FIRST DATED TO THE NINETEENTH CENTURY AND THE SECOND AROUND THE TURN OF THE TWENTIETH CENTURY a b c PLATE 85a. FJP.1987.379. Gilt silver (15 cm, PLATE 85b. FJP.1987.116. Gilt silver (10 cm, PLATE 85c. Second view of #116 in Plate 85b, 24 g) 24 g) showing the back. Gilt-s ilver holder (see Appendix Gilt-s ilver fligree brooch (see Back of the brooch, showing Table A.2); vase of diaphanous Appendix Table A.2) consisting of intact gilt-s ilver mesh and the looped wire mesh foliage with a three-l obed leaf, its veins, edges, stem backing sheet; sheet clip thicker plain wire outlines and and stem delineated by thicker stamped on the interior face veins; handle shaft mesh of par- rectangular wires atop fat mesh with “CHINA,” “SILVER,” and allel rows of open curls topped of overlapping wire loops (for an image of a horse(?), dating it by thicker plain wire fower and details, see Figures 31, 32); at the between 1891, when U.S. Customs leaf designs; elaborate fowers center, a small cylindrical vase regulations required imports to with multiple rows of petal loops atop the leaf center with two be marked with the name of the atop spiral mesh on the neck and delineated fowers (for details, see country of origin, and 1921, when knob, small coiled wire petal Figures 31, 32); stem delineated it required the additional word- fowers with domical centers just atop plain sheet backing (signif- ing of “MADE in [the country of below the neck and above the cant gold loss from thick perime- origin].” knob; fne round-l ink chains, one ter wires and mesh on the front). ending in a foral pin and the other, a fne twisted-w ire ring, Design wires atop fne wire mesh loose on the chain’s attachment similar to those in Plates 84, 85a, link. and on other Chinese fligree objects. Holder similar to those in Plate 84, but closer to fve others; fnger rings loose on the chain link attach- ing four of them (see Note 252).253 253. Hermitage 13 and 14, Kenber 71, Deitsch 114 and 115, and Schwartz 11 (left) are similar; all but Hermitage 13 have extant finger rings loose on a large link attaching the round-link handle chain (see also Note 252). CHINA M 219 APPENDIX: RESULTS OF INSTRUMENTAL ANALYSES OF BOUQUET HOLDER MATERIALS Smithsonian Museum Conservation Institute (MCI) scientists performed nondestructive elemental analyses on nearly half of the bouquet holders in the catalog (106) to check visual identifcation of metals or alloys by characteristic colors, chiefy gold, silver, and brass.1 Analyses also provided specifc information about plating, base metals, alloys, trace elements, and enamel, shedding light on places of manufacture and practices of individual makers. They were performed primarily using portable X-r ay fuorescence (pXRF) spectrometry, supplemented by measurements made with a scanning electron microscope (SEM) equipped with an energy dispersive X-r ay spectrometer (EDS) for nine holders and a sterling silver coupon.2 ANALYTICAL INSTRUMENTS AND TECHNIQUES Most XRF analyses were done using MCI’s Bruker Elio Portable Micro-X RF Spectrom- eter, referred to hereafter as the Elio pXRF or XRF. The Elio pXRF was typically oper- ated at 40–50 kV and 20 µA for 60 s. The spot size of the instrument is relatively small (≈1 mm), and the noncontact system can be employed on irregular surfaces, but fat areas were sought for analysis to optimize results. The standard procedure was to ana- lyze three nearby spots for averaging and calculation of standard deviation. On plated holders, additional areas were analyzed according to estimated wear: typically, three spots in an area that appeared to have intact plating, three spots with some wear, and three spots with little or no plating remaining. Single analyses were occasionally done as a quick compositional check, for example, on Chinese fligree holders. Data from the Elio XRF were displayed using a square root function on the ordinate to facilitate trace element identifcation, and processed results are presented as weight percentages of each element. The XRF analyses had initially been performed on 33 bouquet holders in the cat- alog using MCI’s Bruker pXRF Tracer, which has a spot size 10 times larger than the Elio pXRF at ≈1 cm.3 A few Tracer results are cited in the text, notably trace mercury and nickel found on English holders and the constituents of a French handle made of alabaster.4 Results appear to be similar for 14 holders that were analyzed by both the Bruker Tracer and Bruker Elio pXRF, but the Tracer software does not provide percent- age concentrations. Analysis using MCI’s Hitachi S-3 700N SEM with a Bruker XFlash 6|60 EDS detector was performed at variable pressure with the bouquet holder placed in an aluminum PRODUCING POSIES M 221 foil cradle during analysis. Electron beam imaging allowed for high- fdelity positioning of SEM- EDS spectra for smaller analysis areas relative to pXRF, notably at the narrow solder join on an English holder; SEM- EDS was also employed to detect sodium and other light elements in the vitreous enamel on French handles. Diferences between the two instrumental techniques include (1) a shallower depth of penetration for SEM- EDS, recently measured and calculated for gold during another project at less than ≈1.6 µm;5 (2) the ability of SEM-E DS to measure light elements, for example, carbon, oxygen, and sodium; and (3) better elemental sensitivity of XRF for many trace metals compared to SEM-E DS (≈1,000 ppm vs. ≈10–50 ppm). The diference in penetration by the two instruments on plated holders precludes direct comparison of elemental percentages in results, but the ratio of elements in base metal alloys derived from analyses should be a constant except for elements to which the instruments have diferent sensitivities. A few elements are not easily measured by the two instruments, such as mercury by SEM-E DS and sodium and other light elements by XRF when per- formed in air. Calibration using both instruments on a sterling silver coupon proved essential for interpretation of silver data. RESULTS Results of analyses are grouped in Tables A.1–A.11 and organized by type of material, such as silver, fligree, silver- or gold- plated metals, brass, glass, etc. At a minimum the test area is identifed as the vase or handle for comparison to the same stamped part on related holders. Results are for the Elio pXRF unless specifed otherwise. An exception is Table A.11, which presents only SEM-E DS results for vitreous enameled copper handles. XRF op- erated in air does not measure light elements in glassy materials well because of atmo- spheric scattering of low-e nergy X-r ays.6 It can measure some elements not measured by SEM-E DS, however, and a few XRF results for glass colorants are cited in the text, for example, cobalt in the dark-b lue colorant of enamel. In the interest of readability, small amounts of iron, silicon, and calcium, likely from dirt or cleaning materials, are omitted from tables of metals. Low amounts of nickel (≈0.3% or less) are also excluded because of Elio pXRF’s baseline nickel in detector assembly materials.7 METALS STERLING SILVER HOLDERS TABLE A.1 The international standard for sterling silver is 92.5% silver and 7.5% copper, and using the SEM under vacuum, EDS results for a sterling silver coupon provided with the Elio pXRF instrument were close to sterling at 92.3% silver (Table  A.1). In contrast, when the SEM was operated at variable pressure, EDS results for silver on the coupon were elevated to 97.6%, and Elio pXRF results were elevated to 98.0%. The Elio pXRF results for silver bouquet holders were then assessed in comparison to the coupon results. Results for seven bouquet holders assayed as sterling for hallmarking and nine holders visually estimated to be made of sterling are listed from the highest to lowest 222 M APPENDIX ratios of percent silver to percent copper (Ag : Cu) on the vase in Table A.1.8 Elio pXRF results for most holders, including hallmarked holders, range from ~96% to 97% silver, and ratios range from 99 Ag : 1 Cu to 96 Ag : 4 Cu, almost always showing less silver than the sterling coupon measured by the Elio pXRF at 98.0% silver but in six instances showing the same ratio of 98 Ag : 2 Cu. At frst, data for the handle of #10 suggested that it was not sterling, but it is visibly repaired with lead solder, and its ratio is 98 Ag : 2 Cu when lead is excluded. Only unmarked English high quality (EHQ) #82 is clearly not sterling, with results showing 93.4% silver and a ratio of 94 Ag : 6 Cu. A few unmarked holders showed a bit more lead than assayed holders, and half showed small amounts of zinc.9 Standard deviations are generally low in Table A.1, attributed to the purity and consistency of sterling sheet from which they were formed. SILVER FILIGREE HOLDERS TABLE A.2 Table A.2 presents XRF results for silver fligree bouquet holders made in China, India, Italy, and Birmingham, England. The literature reports that fne silver higher in silver content than sterling was used for making fligree.10 An alloy higher in silver is softer and easier to draw for making wire, and the wire is more pliable and easier to shape to make fligree designs.11 Elio pXRF results for most fligree on bouquet holders show more silver than sterling, and standard deviations are generally low. The frst four nearly identical Chinese fligree handles, probably produced by the same maker or at least in the same milieu, show similar fne silver results. The vase of #16 also shows 7% lead, probably from a repair. A 2% concentration of gold on the vase of #379 is likely from a gold wash since it has a golden sheen, whereas smaller amounts of gold on the other three Chinese holders may be from remelted Western silver often employed in China during the nineteenth century.12 Considerable gold can be seen on the back of the late Chinese brooch #116, but most of the gold has been lost from show surfaces, refected in the low amounts in results. Literature on Indian silver fligree notes the inclusion of lead,13 which was found in amounts up to 3% on two of three Indian holders analyzed but absent on the third. This may refect diferent time periods or traditions in India’s widely dispersed fligree centers. During the nineteenth century, manufacture of fligree in Genoa was done on a semi-i ndustrial scale, and silver compositions likely varied among the numerous mak- ers. Results for Genoese fligree holders are limited, but those for vase brooch #229 show a higher silver content than #125 and #239, which may accord with an earlier maker for #229. As expected for Birmingham holders made with both fligree and silver sheet, re- sults for fligree portions showed higher silver, the diference ranging from 0.8% to 2.6%. Results for stamped tripod legs, feet, and handles are mostly closer to sterling. PLATED HOLDERS Plating would have been about the same thickness throughout when a holder was new because bouquet holders were normally plated after the vase and handle were assem- bled in order to cover joining solder. During initial examination, a low-p ower binocu- lar microscope proved useful in confrming the presence of plating and also revealed PRODUCING POSIES M 223 considerable variation in plating thickness, apparently because of wear after more than a century of handling and cleaning. Thickness generally ranges from most plating re- tained in seldom- touched recessed areas to little plating in more frequently touched and cleaned areas of higher relief. XRF results for plating on visibly intact surfaces correlate with higher percentages of plating concentration, and worn surfaces correlate with lower percentages; thus, percentages are taken to refect relative plating thickness. Because of diferential wear, caution should be exercised when only one analysis was performed. Results for both pXRF and SEM- EDS analyses invariably identifed the base metal, indicating that plating is less than the instruments’ depths of penetration, which is shallower for SEM- EDS. Plating thickness of less than 1 µm for gold flms and 1.5 µm for silver flms was calculated for SEM- EDS on the basis of layers in bulk Monte Carlo simulations of electron beam–induced X-r ay interaction volumes.14 These results are similar to simulations performed in a previous study on metal threads, confrmed by measurements of thickness using SEM- EDS.15 In order to present data more clearly for plated metals and facilitate comparison, results in tables are generally listed in order from the highest to lowest percentage of plating metal on the vase. To compare results for base metal alloys of related bouquet holders, ratios of their elements derived from analyses in Tables A.3 to A.6 are pre- sented in Tables A.7 to A.10. GILT- SILVER HOLDERS MADE IN GERMANY AND ENGLAND TABLE A.3 Table A.3 presents results for four gilt-s ilver holders, a silver holder by the same maker as one of them, and a holder with gold plating over silver plating on brass base metal. Silver-t o- copper ratios for the silver holders are listed for the frst fve holders, and the copper-t o- zinc ratio is listed for the holder with brass base metal. Standard deviations are higher than in the Tables A.1 and A.2 because of diferential wear of plating and variable distribution of lead. German gilt-s ilver holder #170 and EHQ #158 and #194 show concentrations of gold in a relatively high range (64%–79%); the gold was almost certainly applied by electro- plating since the two English holders were hallmarked well after electroplating was available. In addition, mercury that would indicate amalgam plating was not found in XRF analyses. Thus, the German holder was probably made around 1850 or whenever electroplating became available; an eagle stamp on its neck corresponds to Peter Bruck- mann & C.’s mark employed between 1814 and 1850 (see Figure 27).16 German #170 is also marked “13,” indicating the highest silver standard in Germany of 13 lothig, although at only 13 of 16 parts silver, the standard is only 81.3% silver, much less than sterling. The frst analyses on a leaf showed sterling as the base metal, how- ever, as did #183 without plating by the same maker. A second leaf on #170 showed more copper than sterling, probably because of contamination by solder on the leaf. The XRF results for English gilt-s ilver #158 and #194 are also lower than for ster- ling, although both were hallmarked during 1869–1870. A contemporary electroplating source describes two diferent practices likely responsible for the elevated copper: (1) in- tentional mixing of electrocopper and electrogilding baths to achieve a desired gold color and (2) application of a frst coat in an exhausted solution contaminated by copper followed by fnishing in a new electrogilding bath.17 224 M APPENDIX Results for a Birmingham mass produced (BMP) regular gilt- silver holder featuring a Native American woman (#88) show essentially the same silver content as two sterling holders with the same Native American woman vase stamping (#10, #160) in Table A.1. The gold percentage on #88 is much lower than for the German and hallmarked En- glish holders but similar to BMP regular holder #4 and other regular BMP holders (Table A.5). BMP regular #4 with a fox- and- grapes vase design registered by Birmingham- based Henry Jenkins & Sons is unique in the collection for thin gold plating over thick sil- ver plating on brass. The comparatively high concentration of silver in plating on the handle (58%) would seem to rule out the technique of using intermediate plating of a diferent metal for better adhesion of the show layer. Coupled with the absence of any other examples of double plating, the most likely scenario instead is that a gilt holder was requested, and only a silver- plated holder was available, so it was gilded to make the sale. Holder #4 with a fox- and- grapes vase design registered by Henry Jenkins & Sons is also unusual for being married to a spade handle with a registry mark for the date on which another Birmingham- based frm, Robert & Josiah Walsham, registered two jew- elry designs but not the spade handle, although it was likely intended to be registered.18 Associations with the same holder by the two frms indicate that they worked together in some fashion in the highly interconnected world of the Birmingham Jewellery Quar- ter and raised the question as to whether the double plating was a consequence. Nearly identical results for the vase and handle, however, indicate that they were stamped using the same sheet. Table A.7 shows similar brass compositions for two spade handles, #4 and #22, whereas a third, #59, has a signifcantly higher zinc concentration. BMP REGULAR SILVER- PLATED BRASS HOLDERS TABLE A.4 Table A.4 presents silver- plated brass results for 12 BMP regular holders grouped by makers and similar features. Tables A.7 and A.8 present brass results derived from these data. Results show maximum concentrations of silver >35% in plating for the majority of holders, indicating relatively thick coatings compared to gilt-b rass counterparts in Tables A.3 and A.5. The highest, at a concentration of 82% silver on regular #7, is com- parable to the highest, at 86%, on French group 1 (FG1) #142 (Table A.5). Results also show silver plating at a concentration of 36% on #1980.026, more than 10 times the 3% concentration of gold plating on #237 (Table A.5), which has the same pattern-i mpressed handle and a similar brass composition. Thicker silver plating would better cover the golden color of brass base metal but also refects silver’s lower cost, a signifcant factor for mass production in Birmingham. Lead was found in amounts of 2% or more on several BMP regular holders, perhaps related to a particular maker. These include a faux-g ranulation vase (#70), a Native American woman vase (#1980.026), a grape vase (#172), and a rose vase (#186), which has the same stampings as gilt-b rass #236 and a similar percentage of lead (Table A.5). Analysis of solder on #22 was performed using both XRF and SEM-E DS for compar- ison to a usual Birmingham formulation cited in 1866 for joining brass with silver solder, also known as hard solder: 20 parts silver, 9 parts copper, and 3 parts brass (an alloy of copper and zinc [Zn]),19 equivalent to 63 Ag : 34 Cu : 3 Zn. The SEM-E DS instrument PRODUCING POSIES M 225 was focused on the narrow joining solder, and the resulting 70 Ag : 20 Cu : 2 Zn is close to that of the usual formulation; that is, the ratio of copper to zinc is similar, whereas higher silver concentration can be attributed in part to the silver plating. The XRF result for handle solder at 58 Ag : 34 Cu : 7 Zn is lower in silver and higher in zinc than the usual formulation; contamination by adjacent brass because of the larger spot size and/or inhomogeneity of solder may have been contributing factors. GILT- BRASS ENGLISH AND FRENCH HOLDERS TABLE A.5 Table  A.5 presents results for eight English bouquet holders in gilt brass, the alternately gold- and silver- plated brass vase of Birmingham- made #131, 16 French holders with gilt- brass vases (three with contrasting silver decorations), and the only two French holders with silver- plated brass vases. The XRF results showed thickly applied silver plating at concentrations of 42% and 86% on the French holders, probably to cover the diferent color of the brass. A much thinner layer of gold could cover the similar color of brass, and XRF results show much lower concentrations of gold: a maximum concentration of 9% on English holders and 14% on French holders and a low concentration of only 1% or 2% gold for both places. Results for the ridged neckband of #55 show four times the concentration of gold as XRF results on the vase. This could be explained partly by the shallower depth of penetration of the SEM- EDS, although it could also be from difer- ential loss of plating in diferent test spots. The missing gilt- brass cap on the enameled handle of French #55 enabled XRF analysis of the bare support for enamel, showing copper with less than 2% lead. Because of its specifcity, the term preferred in this text for such handles is vitreous enameled copper or enameled copper rather than ceramic.20 For brass compositions derived from these data, see Tables A.7 to A.9. Results for silvered decorations on gilt-b rass French vases correspond to diferent application methods. Gold was not found on silver-p lated brass ornaments of #49 and #216, indicating that they were added mechanically to the vases after electrogilding: silver-p lated beads on #49 were wired in place, and pins on the back of #216’s silver ornaments were slotted into sleeves. In contrast, results for the rim of a separately attached gilt-b rass fower on #35 show both silver and gold, indicating that the gold was stopped out when the rim was silver-p lated or the silver was applied in a medium, although brush strokes are not apparent. The XRF results for related BMP regular #195 and #236 (with the same rose stamp- ings as #186 in Table A.4) show lead in concentrations greater than 2%, similar to re- sults for a few related holders listed in Table A.5, also associated with Robert & Josiah Walsham. Lower lead was generally found on those associated with Henry Jenkins & Sons, but further analyses would be required to establish higher lead as indicative of Walsham products. Lead was also found on 7 of 16 French holders, but in smaller amounts. SILVER- PLATED BRASS HOLDERS WITH TRACE MERCURY TABLE A.6 Trace mercury was found on six silver-p lated brass holders in the collection, and Table A.6 presents Elio pXRF results for three of them, two English and one French.21 By the 1860s when these holders would have been made, mercury amalgam plating had 226 M APPENDIX generally been supplanted by electroplating, and mercury is almost certainly from pre- treatment with mercury salts for better adhesion of plating, described in contemporary references mainly in connection with silver plating.22 Trace mercury was found on English silver-p lated #179, which has an impressed pattern on its handle similar to gilt- brass BMP #51 and #237 without trace mercury (Table A.5). It was also found on a silver- plated ornament on the gilt- brass stamped vase of French #216 but not on any of the 16 French gilt- brass vases analyzed, including the gilt brass vase of #216. This suggests that the mercury- based cleaning process may have been more common prior to silver plating, although it is mentioned in the contemporary literature prior to both silver and gold plating.23 BRASS RATIOS FOR BMP HOLDERS, ESPECIALLY FULL- HEIGHT VASES TABLE A.7 Table A.7 presents brass ratios derived from data in Tables A.3–A.6 for fve BMP ele- gant holders and 15 BMP regular holders with full- height vases. The elegant holders would have been made after about 1850 when electroplating was fully established and patterned-i mpressed sheet found on eight elegant BMP holders was patented in 1852. The frst three holders are in the elegant BMP group, and the fourth, #1980.026, has the same neck as elegant #15 and #169 and the same roller- impressed patterning as both of them and elegant #237 and #179, although it is in the regular BMP subset.24 The XRF results for the frst four holders and elegant #381 show similar composi- tions of largely commercial bronze (90 Cu : 10 Zn) and more consistency than later reg- ular holders associated with designs registered between 1863 and 1880. Such consistency might be ascribed to earlier fabrication of the elegant holders in a smaller workshop rather than a factory, such as that opened by Henry Jenkins & Sons in Birmingham’s Jewellery Quarter in 1866. Brass compositions for BMP regular holders may be associated with particular mak- ers, although there are insufcient analyses for confrmation. Brass results for holders registered by Henry Jenkins & Sons mostly show compositions close to red brass (85 Cu : 15 Zn), with the notable exception of fox-a nd-g rapes #7, which has more zinc. Brass results for holders associated with Robert & Josiah Walsham, which have designs reg- istered during the same period, also range from commercial bronze to red brass, with the exception of the spade handle of #59, married to the frm’s butterfy vase, having 15% more zinc than its commercial bronze vase. Aside from these relatively few outliers, however, most brass alloys for holders registered by both makers range from about 85% to 90% copper, probably because those alloys were ideal for stamping.25 Results show most vases and handles are fairly close in composition, suggesting stamping at the same time using the same sheet blanks. Of 10 holders for which there are data on both the vase and handle in Table A.7, results for 8 are essentially the same on one holder (#172), within 1% on two (#188 and #195), within 2% on three (#22, #182, #237), and within 3% on two more (#4, #166). A 15% diference between the red brass vase and spade handle in cartridge brass (75 Cu   :  25 Zn) on #59 is exceptional. The most likely explanation for diferent brass on parts of the same holder is that they were stamped at diferent times. By 1855, Henry Jenkins & Son had added “dealers in all kinds of fancy metal and wire” to their products,26 and by 1866, the frm had built its large factory, surely with PRODUCING POSIES M 227 enough capital to keep preferred brass blanks on hand. Once the drop stamp was set up with a die and its force, it would seem most efcient to stamp a number of copies and store at least a few for later use. Just-i n-t ime production has been posited as advan- tageous in Birmingham since “the manufacture, once dies were cut, did not need to tie up capital in unsold stock, but could fulfll demand as and when it arose.” 27 That late 20th-century dictum is not supported by 19th-century references, however, or it may have applied mainly to smaller manufacturers. Results for analyses of more than one full-h eight vase design on the same regular holder are remarkably consistent. Likely stamped at the same time for replication on a given holder, results for diferent foxes on the fox-a nd-g rapes designs of #4, #182, and #56 vary by just 1% or 2%, for example, which also indicates good reproducibility of pXRF analyses. Results for the same design on #7 show lower zinc, suggesting that they were stamped at a diferent time, probably because of demand for the popular Aesop’s Fables design. BRASS RATIOS FOR SEVEN MIXED- METAL ENGLISH HOLDERS TABLE A.8 Table A.8 presents brass results derived from data in Tables A.4–A.6 for seven similar English holders of mixed metals. Two related holders with diferent plating are pre- sented frst for comparison of base metals, followed by holders composed of diferent base metals on parts of the same holder. Two heavy wire and oak-t hemed English holders (#11 and #83) with diferent plating are similar in style, fabrication, and heavy weight, indicating that they were by the same maker, probably early because of those characteristics (see Table 4). Results proved to be diferent, but more comprehensive analyses might be warranted, such as analysis of wire on the handle of #83 for comparison to wire on the vase of #11. Among holders with multiple stampings on the same part, #179 is likely early, both because of its heavy weight and multiple stampings forming each replicate design, including a braid. The design on the vase of the next holder, #70, is also composed of several separately stamped pieces, including a faux fligree piece. In contrast to al- most identical compositions found for analyses of the full-h eight stampings on vases in Table A.7, results for both vases show diferent compositions for base metals of sepa- rately made pieces, including copper wire employed for the braid. The next two holders have dissimilar metal alloys and/or plating on diferent parts. Holder #165 has the same handle as the previous holder, #70, but it is made of sterling silver and married to a silver-p lated low-b rass vase (Table  A.4). Holder #189 shows some- what diferent brass results for XRF and SEM analyses of the underlying vase sheet and brass half of handle B, which could be from diferent penetration of thick gold plating and/or wear on the handle (see Table A.10 for more complete results on the silver-p lated vase and nickel silver base metal on handle A of this complex holder). Brass base metal compositions are nearly identical on #131 set with “Scottish peb- bles,” which has alternating silver and gold plating on four full-h eight stampings. The stampings were joined mechanically at the sides after plating, apparently to avoid sol- dering after plating. The vase of a holder with identical stampings in another collection, soldered together before it was gold-p lated, is far more solid.28 228 M APPENDIX BRASS RATIOS FOR GILT- AND SILVER- PLATED FRENCH HOLDERS TABLE A.9 Table A.9 presents brass compositions for 18 French holders, 2 silver- plated and 16 gold- plated, derived mainly from XRF data in Table A.5. Brass runs the gamut from gilding metal (95 Cu : 5 Zn) to low brass (80 Cu : 20 Zn), skewing slightly higher in copper than English holders. Brass base metal on the gilt- brass vase of #49 has identical composition to its silver- plated brass beads, whereas vases of tripod #216 and #35 have diferent base metal alloys from their silver- plated portions. NICKEL SILVER AND A BRITANNIA METAL HOLDER TABLE A.10 Table A10 presents XRF and SEM-E DS results for three plated nickel silver holders stamped in Birmingham, followed by a plated holder made of britannia metal. Data were renormalized after excluding plating to determine base metal alloy compositions in the last column. Nickel silver, which has no silver, is a silver- colored alloy of copper, nickel (Ni), and zinc. It was developed in Germany and was often referred to as German silver prior to the First World War. Nickel silver is particularly associated with electrotype production at the huge Elkington & Co. factory in Birmingham’s Jewellery Quarter, where it was often employed as a base metal because it was less expensive than brass and closer in color to silver, usually employed for plating.29 A 40 Cu : 20 Zn : 20 Ni alloy, known as standard 20% nickel silver, was considered the best; 10% nickel silver, containing 10% nickel, was less desirable.30 The XRF results show that miscellaneous probably English (MPE) #107 patented by B. H. Joseph & Co.31 employs 20% nickel silver with relatively thick silver plating, averaging a concentration of 64% silver. Both XRF and SEM-E DS results show lower quality nickel silver of about 10% nickel for two other BMP regular holders. Compared to the 20% nickel silver holder, one of the 10% holders, #381, has less than half the concentration of silver plating at 22% covering its nickel silver vase and brass handle. On #189, half of the handle, designated handle A, has nickel silver as the base metal whereas the other half, designated handle B, has brass base metal. They were almost certainly electrogilded at the same time as the backing plate for the vase, and gold plat- ing, well preserved on the protected backing plate, shows a concentration of 31%, nearly twice as thick as silver on the vase at 16%, an inversion of the usual plating thicknesses for the metals. This suggests that gilt parts were kept in the plating bath until the diferent colors of base metals on the handle were well covered. Because of wear on the handle’s raised dots, color diferences are now obvious for base metals on the handle but may not have been apparent when the holder was newly made. Britannia metal is a soft pewter typically consisting of 92% tin, 6% antimony, and 2% copper, and percentages derived from XRF data for silver- plated #120 showed 93% tin and 7% antimony. Britannia was especially used in Shefeld, where steam-p owered spinning lathes shaped the relatively soft britannia as early as 1820, and electroplating was introduced in the late 1840s.32 PRODUCING POSIES M 229 ENAMELED HANDLES SEM- EDS RESULTS FOR TWO FRENCH ENAMELED HANDLES TABLE A.11 Table  A.11 presents results for two French holders with vitreous enameled handles containing precious metal foil paillons. To provide sufcient counts for measuring the vitreous enamel using SEM- EDS, the detector was tilted. Results show enamel on the handles is a leaded potassium soda lime silicate glass for #55 and #80; arsenic was also found on #55. Only qualitative XRF was performed on heavy elements of the vitreous enamel. Silver paillons on both holders were identifed by SEM- EDS and pXRF, and a gold paillon on #55 was identifed by pXRF. Both techniques failed to identify a paillon on #80 as gold until the area was mapped using SEM- EDS. Cobalt is the main blue colorant identifed for French vitreous enamel in the litera- ture,33 found by pXRF analysis at a concentration of 0.58% in the dark-b lue enamel of French #80. The SEM-E DS results for the light-b lue enameled handle of #55 showed no cobalt and 0.2% copper, a colorant used for green enamel.34 The XRF results for the turquoise-b lue opaline glass vase of #229 attributed to Genoa also lacked cobalt but showed a higher concentration of copper at 0.47%, its likely colorant. CONCLUSIONS The XRF analysis proved useful in confrming that most unmarked silver holders are made of sterling by comparison to results for a sterling silver coupon. As anticipated from the literature, results for silver fligree wires showed slightly higher amounts of silver than sterling sheet parts. Little diference in composition for fligree made around the world was found by XRF apart from small amounts of lead on two of three examples of Indian fligree and the vase of one of fve Chinese holders, probably a repair in the latter instance. Another analytical technique with a greater detection limit, such as inductively coupled plasma–mass spectroscopy, would likely be required to determine whether trace element fngerprinting could associate fligree with place of origin. It was expected that nickel silver might be found on bouquet holders on the basis of its well- known use in Birmingham,35 and wear suggested its use for the base metal on half of the handle of #189, which had the appearance of a white metal other than silver. Holder #25 had also been suspect because removal of tarnish was difcult, confrmed by the Bruker Tracer pXRF. Nickel silver was not expected on #107, however, because of its thick silver plating. The amount of nickel in alloys seemed to correspond with higher percentages of silver plating in accordance with better- quality holders such as #107, almost certainly made by B. H. Joseph & Co. Instrumental analyses confrmed that most holders were made of brass electro- plated with precious metals. Relatively thick gold concentrations (64%–79%) were found on three marked gilt-s ilver holders, #170, made in Germany, and EHQ #158 and #194, hallmarked in England (Table A.3), whereas concentrations on other holders made in England and France were mostly less than 10% (Table A.5). Because of the similarity 230 M APPENDIX of its color to brass, gold could be thinly electroplated on brass without becoming as apparent when worn. In comparison to gold plating, silver plating was found to be thick on many English holders and on the only two French holders in the collection, probably both to cover the diferent color of the brass and because of the lower cost of silver. Trace mercury found on fve silver- plated English holders and ornaments on a French gilt- brass tripod is attributed to pretreatment with mercury salts for better adhesion of plating rather than mercury amalgam plating. Both instrumental pXRF and SEM- EDS invariably penetrated nondestructively through plating to the base metal for analyses. The thickness of the plating layer was estimated by Monte Carlo simulations of the attenuation of the X- rays generated in the base metal by the SEM- EDS electron beam as they passed through the overlying gold or silver layer. This was found to be less than 1 µm for gold flms and 1.5 µm for silver flms. Thus, plating is very thin by modern standards, where standard plate measures 10 µm in the United States and at least twice as much in the United Kingdom.36 Results provided data for determining the composition of base metal alloys, mainly brass in the range of 85% to 90% copper, with the remainder being zinc. On English holders, brass ratios were consistent for multiple analyses on full- height stamped vase replicates and mostly similar for vases and handles. They difered when vase designs were assembled from multiple small stampings and occasionally between the vase and handle, indicating stamping at diferent times and storage of stamped parts for later use. Composition of brass within individual French vases was not assessed, but difer- ences would be interesting since multiple separately stamped pieces typically comprise many designs. The SEM- EDS results showed that the vitreous enamel on two French handles is a leaded soda lime silicate glass and confrmed compositions of paillons embedded in the enamel as gold and silver foils. The XRF results confrmed that the composition of the sheet metal support is primarily copper and showed that plausible colorants for the glass are small concentrations of cobalt for dark- blue enamel and copper for lighter- blue enamels. In addition, they indicated that copper is the colorant for the turquoise- blue glass vase of Genoese fligree brooch #229. Use of XRF together with SEM- EDS proved essential. In particular, results for anal- yses under variable pressure confrmed the composition of the sterling silver coupon in tandem with the approximate amount of silver in results analyzed by the Elio pXRF. Ratios of elements derived from pXRF and SEM- EDS data seem to vary somewhat for the two techniques, although comparative data are limited. They were relatively close for #76 (Table A.1) and for #1980.26 and #90 (Table A.7), for example, but less close for brass on the handle of #381 and the vase and handle of #189 (Table A.10). On the one hand, SEM- EDS has the advantages of identifcation of light elements, better quantif- cation accuracy than the Elio pXRF, and higher magnifcation for less interference from adjacent material during analysis. On the other hand, XRF has the advantages of not requiring placement of the entire holder in the SEM chamber and providing results much more rapidly, so that many more spots could be analyzed in a given amount of time, in addition to measurement of elements such as mercury. When multiple analyses were performed, XRF results proved remarkably consistent for both sterling silver and base metal alloys derived from XRF data, thus showing reliability of the technique when applied to bouquet holders. PRODUCING POSIES M 231 NOTES 1. Research intern Matthew Busse performed most XRF analyses using the Bruker Elio pXRF and postprocessed data. Thomas Lam supervised Busse in the technical operation of the Elio pXRF and postprocessing and later performed XRF analyses himself. Gwen Kavich employed the Bruker Tracer pXRF for initial analyses of 33 bouquet holders. Edward P. Vicenzi assisted in planning for the project and operated the scanning electron microscope with Lam. I selected holders for analysis, compiled data, summarized results, and wrote the text. Further analyses would have been worthwhile because of questions that arose during interpretation of the data, but the bouquet holders had been returned to Smithsonian Gardens’ storage because of the COVID- 19 pandemic lockdown. 2. SEM- EDS was performed on the metals of English #1980.026, #22, #90, #189, #380, and #381; French enameled handled #55 and #80; and the opaline glass vase of #229 attributed to Genoa. 3. Gwen Kavich analyzed 33 holders using the Bruker Tracer pXRF: #1, #6, #16, #17, #20, #25, #43, #57, #60, #63, #64, #71, #72, #75, #76, #109, #114, #116, #122, #135, #144, #153, #163, #170, #189, #217, #219, #231, #239, #379, #380, #381, and #382. 4. Mercury was found on the vases of #6, #57, and #163 and nickel silver on #25. Calcium and sulfur on the off- white teardrop handle of #144 confirmed that it was made of alabaster. 5. Aleksandra Popowich, Thomas Lam, and Edward P. Vicenzi, Nondestructive Microanalysis of Thin- Film Coatings on Historic Metal Threads, Analytical Chemistry 93 (2021):12906–12913. 6. Michael Haschke, Laboratory Micro-X -r ay Fluorescence Spectroscopy: Instrumentation and Applications (Eggersdorf, Germany: Springer, 2014), 82. 7. Thomas Lam, Comparison of Quantification from Field Deployable pXRF and Laboratory Based-M icro-X RF with an SEM of Cu-B ased Alloys, Microscopy and Microanalysis 27, Suppl. S1 (2021):3200–3202. 8. Bouquet holders did not have to be hallmarked, which required an assay, but makers sometimes marked them as an incentive for sales. 9. Small amounts of zinc (maximum 0.23%) were found on #105, #10, #151, and #160. 10. The percentage of silver in filigree has been said to range from greater than 92.5% to 96%, with the remainder being gold, copper, lead, and/or zinc. Maria Menshikova, Silver Wonders from the East: Filigree of the Tsars (Amsterdam: Lund Humphries, 2006), 13. Better than 92.5% silver, with the rest being copper, is said to be used for Indian jewelry. Oppi Untracht, Traditional Jewelry of India (New York: Abrams, 1997), 297. Pure silver with one part lead, from T. N. Mukharji’s “Art Manufacturers of India” (1888), is reported in Thomas Holbein Hendley, Indian Jewellery, 1909, Reprint (Delhi: Low Price Publications, 1995), 130. 11. Oppi Untracht, Metal Techniques for Craftsmen (Garden City, N.Y.: Doubleday, 1975), 196. 12. Menshikova, Silver Wonders from the East, 22–23; Carl L. Crossman, The Decorative Arts of the China Trade (Woodbridge, Suffolk, U.K: Antique Collectors’ Club, 1991), 338–341. 13. A small amount of lead was said to be in Indian filigree. George Watts and Percy Brown, Arts and Crafts of India: A Descriptive Study (1904; repr., New Delhi: Cosmo, 1979), 38; Rustum J. Mehta, The Handicrafts and Industrial Arts of India (Bombay: Taraporevala, 1960), 21; Hendley, Indian Jewellery, 130. 14. Nicholas W. M. Ritchie, Spectrum Simulation in DTSA-I I, Microscopy and Microanalysis 15 (2009):454–468. 15. See Note 5. 16. Marc Rosenberg, Der Goldschmiede Merkzeichen, volume 2, Deutschland D-M (Frankfurt: Frankfurter, 1923), 161–162; Silber aus Heilbronn für die Welt: P. Bruckmann & Söhne (1805–1975) (Heilbronn, Germany: Städtische Museen Heilbronn, 2002), 211. 17. A. Roseleur, Galvanoplastic Manipulations: A Practical Guide for the Gold and Silver Electroplater and the Galvanoplastic Operator, trans. A. A. Fesquet (Philadelphia: Baird, 1872), 162–163. 18. Representation volumes in the National Archives at Kew show that Robert & Josiah Walsham registered a brooch (no. 255918) and a crucifix (no. 255919) on 22 September 1871 but not the spade handle. Only four other metal items were registered that day, none remotely connected to the spade handle: a dust preventer, a stove waiter, a frame for a footstool, and “The Dudley” star. Spade handles with registry marks (several partially legible) are on #4, #8, #57, #59, #164, #191, #201, and #210; those without the marks are #22, #141, and #166. Since the spade handle is identical to 10 others on BMP regular holders, three of them married to vases bearing designs registered by the Walshams (#59, #191, and #201), it seems almost certain that the Walshams made the spade handle and likely intended to register it. See chapter 2, “Interactions Among Birmingham Firms,” for further discussion. 19. William Ryland, The Plated Wares and Electro-p lating Trades, in The Resources, Products, and Industrial History of Birmingham and the Midland Hardware District, ed. S. Timmins (London: Hardwicke, 1866), 486. 20. Similar vitreous enameled handles on Kenber 42, 43, 44, 45, and 99 are referred to as “céramique émailée” in Porte-b ouquets (Paris: Paris Musées, 2005), and one is referred to as a “ceramic handle” in F. Gordon Roe, Four Hundred Bouquet Holders, Apollo 126 (June 1935):356. Glass scientists may also refer to enameled metal as ceramic. 21. In addition to those with mercury listed in Table A.6, mercury was found by the Bruker Tracer pXRF without proving percentage con- centrations on the vase and handle of #6, #57, and #163. Mercury on #6 and #163, which have the same Greek key vase stampings, is consistent with those holders having been sent to the same plater. 22. In contemporary nineteenth-c entury literature, use of mercury salts in Birmingham is discussed primarily in connection with silver plating. Ryland, Plated Wares, 493, 495. Trace mercury has also been found by XRF analysis of an electrotyped Milton Shield plated with silver and gold plating in the collection of the Philadelphia Museum of Art. Andrew Lins and Sally Malenka, The Use of Mercury Salts in Gold Electroplating, in Gilded Metals: History, Technology and Conservation, ed. Terry Drayman-W eisser (London: Archetype, 2000), 267–282. 23. This cleaning method is mentioned prior to gold plating in Roseleur, Galvanoplastic Manipulations, 32–33, 124. 24. Featuring a Native American woman, #1980.026 was placed in the regular subset because other holders featuring Native American women are married to the same handles as regular holders. They are likely among the earliest regular holders. 25. Jewelry and costume jewelry are listed as applications for brasses at 85%, 90%, and 95% copper and not those with 80% or 70% cop- per and more zinc. They are also said to be suited “to forming by blanking . . . stamping” and to have “excellent cold working properties, good hot working properties.” ASM International, ASM Handbook, volume 2, Properties and Selection: Nonferrous Alloys and Special- Purpose Materials (Materials Park, Ohio: ASM International,1990), 910–917. 232 M APPENDIX 26. Francis White & Co., General and Commercial Directory and Topography of the Borough of Birmingham (Sheffield, U.K.: printed by S. Harri- son, 1855), 182. W. H. Dix and Compy., General and Commercial Directory of the Borough of Birmingham and Six Miles Round (Birmingham, U.K.: printed by James Upton, 1858) 440, advertisements, 37. 27. Gay Booth, The Manufacturing Silversmiths of Sheffield, in Silver and Jewellery: Production and Consumption Since 1750, ed. Kenneth Quickenden and Neal Adrian Quickenden (Birmingham: Article Press, 1995), 34. 28. Deitsch 26 is otherwise identical to #131. 29. Ryland, Plated Wares, 488. 30. Ryland, Plated Wares, 489; Judy Rudoe, From Oroide to Platinageld: Imitation Jewellery in the Late 19th Century, Jewellery Studies 3 (1989):49–72. 31. Joseph Joseph, Dress or bouquet holder, English Patent 440, dated 6 February 1873 and issued 1 August 1873. 32. Shirley Bury, Victorian Electroplate (London: Country Life Books, 1971), 33. 33. Andrew Ure, A Dictionary of Arts, Manufactures, and Mines: Containing a Clear Exposition of Their Principles and Practice (London: Long- man, Brown, Green and Longmans, 1853), 646; Claudius Popelin, L’émail des peintres (Paris: Lévy, 1866), 145, 169; Henry H. Cunynghame, European Enamels (London: Methuen, 1906), 8, 112. 34. Cunynghame, European Enamels, 8, 112. 35. In 1866, 7,000 persons were said to be employed in nickel silver manufacture in Birmingham. Stephen Barker, Nickel-G erman Silver Manufacture, in The Resources, Products, and Industrial History of Birmingham and the Midland Hardware District, ed. S. Timmins (London: Hardwicke, 1866), 671–675; Rudoe, From Oroide to Platinageld, 49–72. 36. The ASTM standard for silver plating on medium-q uality holloware and short-l ife domestic cutlery and flatware is 10 µm. ASTM Inter- national, B 700 – 97 Standard Specification for Electrodeposited Coatings of Silver for Engineering Use, in Annual Book of Standards, section 2, Nonferrous Metal Products, volume 02.05, Metallic and Inorganic Coatings; Metal Powders, Sintered P/M Structural Parts (West Conshohocken, Pa.: ASTM International, 2002), 439. In the United Kingdom, the standard is not less than 20 µm for place settings and not less than 12 µm for serving pieces. For a “special” category, a thickness not less than 33 µm is specified, and for serving pieces, not less than 19 µm. Kenneth Blakemore, The Retail Jeweller’s Guide, revised by Eddie Stanley (Oxford, U.K.: Elsevier, 2000), 21. PRODUCING POSIES M 233 TABLE A.1. Portable X- ray fuorescence (pXRF) and scanning electron microscopy–energy dispersive X- ray spectroscopy (SEM- EDS) results of metal content for a sterling silver standard, followed by re- sults for 14 silver bouquet holders made in England and two made in the United States; each group is listed in order from the highest to lowest ratio of silver to copper on the vase. Abbreviations: BMP, Birmingham mass produced; EHQ, English high quality; MPE, miscellaneous probably English; N, number of analyses; R, BMP regular type; SD, standard deviation for multiple analyses. A dash (—) indicates not applicable or not present or not detected. Instrument or Group Date or Percent Percent Percent FJP#a Test area or place mark N Ag (SD) Cu (SD) Ag:Cu Pb (SD) SEM-E DS and ELIO pXRF results for ELIO’s sterling silver couponb SEM-E DS (vacuum) — — — 3 92.29 (0.57) 7.71 (0.57) 92:8 — SEM-E DS (variable — — — 3 97.64 (0.33) 2.36 (0.33) 98:2 — pressure) Elio pXRF — — — 1 98.02 1.98 98:2 — ELIO pXRF results and an SEM-E DS result for bouquet holders assayed and marked as sterling silver #100 (Plate 1) Vase EHQ 1838–1839 1 97.17 2.55 97:3 0.07 #79 (Plate 6) Vase EHQ 1913–1914 2 96.86 (0.04) 3.04 (0.04) 97:3 — #76 (Plate 6) Vase, pXRF EHQ 1912–1913 2 96.69 (0.08) 3.17 (0.08) 97:3 — Vase, SEM 3 95.58 (0.24) 4.26 (0.19) 96:4 — #211 (Plate 79) Vase U.S. Sterling 4 96.53 (0.21) 3.34 (0.22) 97:3 0.14 (0.01) #126 (Plate 6) Vase EHQ Illegible 4 96.35 (0.15) 3.51 (0.14) 97:3 0.14 (0.00) #112 (Plate 2) Vase EHQ 1863–1864 1 96.17 3.65 96:4 — Handle 1 97.01 2.75 97:3 0.06 #146 (Plate 79) Vase U.S. Sterling 3 96.12 (0.38) 3.72 (0.37) 96:4 0.15 (0.02) ELIO pXRF results for unmarked silver bouquet holders estimated to be made of sterling silver #105 (Plate 3) Vase EHQ — 3 98.08 (0.19) 1.40 (0.21) 99:1 0.11 (0.01) #10 (Plate 20) Vase BMP-R — 2 97.53 (0.14) 2.09 (0.16) 98:2 0.18 (0.01) Handle — 3 90.55 (0.73) 2.08 (0.11) 98:2 6.86 (0.85) Legs — 3 97.32 (0.20) 2.16 (0.22) 98:2 0.10 (0.01) #160 (Plate 21) Vase BMP-R — 4 96.71 (0.19) 1.79 (0.36) 98:2 1.26 (0.40) Handle — 3 96.89 (0.12) 2.61 (0.26) 97:3 0.27 (0.16) #151 (Plate 5) Vase EHQ — 3 96.62 (0.65) 2.17 (0.15) 98:2 0.27 (0.17) Handle — 3 97.57 (0.31) 1.89 (0.31) 98:2 0.21 (0.11) #140 (Plate 5) Vase EHQ — 5 96.93 (0.32) 2.83 (0.23) 97:3 — Handle — 3 97.26 (0.05) 2.61 (0.05) 97:3 — #227 (Plate 48) Vase MPE — 4 96.57 (0.15) 3.30 (0.15) 97:3 — #126 (Plate 6) Vase EHQ — 4 96.35 (0.15) 3.51 (0.14) 96:4 — #101 (Plate 45) Vase MPE — 3 96.25 (0.27) 3.61 (0.26) 96:4 — #82 (Plate 2) Vase EHQ — 2 93.43 (0.25) 5.49 (0.71) 94:6 0.67 (0.68) a FJP# = short form of accession number. See Notes to Reader for explanation. b Nominally 92.5% silver : 7.5% copper. 234 M APPENDIX TABLE A.2. Portable XRF results of metal content for silver fligree bouquet holders made in China; India; Genoa, Italy; and Birmingham, England. Each group is listed in order from highest to lowest silver- to- copper ratio on the vase. Parts are made of fligree unless marked “stamped” or “sheet.” For abbreviations and symbols, see Table A.1. Percent Percent Percent Percent Percent FJP# Test area N Au (SD) Ag (SD) Cu (SD) Ag:Cu Zn (SD) Pb (SD) China #86 (Plate 84) Vase 1 0.14 98.35 1.39 99:1 — — Handle 1 0.17 97.15 2.54 97:3 — — #379 (Plate 85) Vase 2 2.05 (0.2) 96.57 (0.2) 1.28 (0.0) 99:1 — — Handle 3 — 97.69 (0.3) 2.18 (0.3) 98:2 — — #111 (Plate 84) Vase 1 0.13 97.99 1.76 98:2 — — Handle 1 0.12 97.30 2.44 98:2 — — #16 (Plate 84) Vase 1 1.20 88.23 3.44 96:4 — 7.04 Handle 1 0.12 97.02 1.44 99:1 — 1.29 #116 (Plate 85) Vase fower 3 0.45 (0.0) 96.82 (0.6) 2.20 (0.6) 98:2 — — Mesh 2 1.37 (0.6) 95.79 (1.1) 2.68 (0.5) 97:3 — — Sheet stem, back 3 0.76 (0.1) 97.00 (0.4) 2.07 (0.3) 98:2 — — India #64 (Plate 82) Vase 3 — 97.06 (0.2) 2.24 (0.4) 98:2 0.55 (0.3) — Legs 3 — 97.34 (0.2) 2.06 (0.2) 98:2 0.47 (0.1) — #72 (Plate 83) Vase 2 — 97.65 (0.1) 1.89 (0.0) 98:2 0.13 (0.0) — Vase 2 95.03 (1.4) 1.65 (0.1) 98:2 0.44 (0.3) 2.77 (1.6) Sheet band 1 — 97.81 1.25 99:1 0.24 0.50 #60 (Plate 82) Vase 1 0.21 95.97 2.73 97:3 — 0.96 Vase 1 — 94.66 2.72 97:3 — 2.51 Stamped handle 2 0.21 95.32 (0.9) 2.73 (0.0) 97:3 — 1.74 (1.1) Italy (Genoa) #229 (Plate 81) Vase leaf 1 — 98.47 0.77 99:1 0.07 0.57 #125 (Plate 81) Vase 3 — 97.94 (0.5) 1.77 (0.6) 98:2 0.16 (0.1) — #239 (Plate 81) Vase 2 — 96.75 (2.1) 3.12 (2.1) 97:3 — — England (Birmingham) #113 (Plate 7) Vase 3 — 97.80 (0.1) 1.38 (0.1) 99:1 0.19 (0.08) 0.50 (0.2) Stamped feet 2 0.41 (0.6) 95.94 (1.4) 1.94 (0.3) 98:2 0.09 (0.01) 1.50 (1.2) #209 (Plate 14) Vase 3 — 98.01 (0.2) 1.63 (0.2) 98:2 0.22 (0.1) — Stamped handle 3 — 96.92 (0.6) 2.81 (0.6) 97:3 — 0.10 (0.0) #67 (Plate 9) Vase 3 — 97.41 (0.5) 2.25 (0.4) 98:2 0.17 (0.0) — Stamped legs 3 — 96.63 (0.7) 2.74 (0.7) 97:3 0.50 (0.0) — #122 (Plate 12) Sheet rim 3 0.11 (0.0) 96.04 (0.3) 3.57 (0.3) 96:4 0.05 (0.1) 0.09 (0.0) PRODUCING POSIES M 235 TABLE A.3. Portable XRF results of metal content for gilt- silver holders, one of two made in Germany, the second by the same maker without gilding for comparison, and three in England; and for a BMP regular holder with gold plating over silver plating on brass. Each group is listed in order from largest to smallest concentration of plating metal on the vase. At right are silver to copper ratios for the fve silver holders, and copper to zinc ratios for the brass base metal on the sixth. For abbreviations and symbols, see Table A.1. Percent Percent Percent Percent Percent FJP# Test area N Au (SD) Ag (SD) Cu (SD) Zn (SD) Pb (SD) Ag:Cu Cu:Zn Gilt- silver holders and a related silver holder Germany #170a (Plate 78) Gilt-s ilver 2 78.98 (1.9) 20.24 (1.8) 0.71 (0.1) — — 97:3 — vase Vase, leaf 2 42.42 (0.9) 53.17 (0.6) 3.91 (0.3) — — 93:7 — #183a (Plate 78) Silver vase 3 — 95.79 (2.3) 2.29 (1.5) — 1.82 (3.0) 98:2 — Vase, berry 3 — 94.90 (4.3) 1.90 (0.5) — 3.13 (3.9) 98:2 — enGland #158b (Plate 3) Gilt-s ilver 3 63.99 (2.4) 32.80 (2.1) 2.76 (0.3) — — 92:8 — vase Legs 3 53.00 (7.2) 44.47 (7.1) 2.13 (0.3) — — 95:5 — #194c (Plate 4) Gilt-s ilver 1 14.63 80.15 4.79 — — 94:6 — vase Handle 1 77.81 21.08 1.02 — — 95:5 — #88d (Plate 20) Gilt-s ilver 3 4.98 (1.8) 92.14 (1.7) 2.16 (0.2) 0.16 0.23 (0.1) 98:2 — vase (0.0) Native Ameri- 3 2.68 (2.1) 95.20 (2.5) 1.52 (0.2) 0.09 0.23 (0.1) 98:2 — can vase (0.0) Vase 3 2.50 (1.6) 95.17 (1.9) 1.69 (0.3) 0.11 (0.0) 0.28 (0.1) 98:2 — Gold- and silver- plated brass holder #4e (Plate 31) Fox on vase 3 3.92 (0.4) 39.24 (8.2) 47.54 (7.0) 8.54 (1.3) 0.19 (0.1) — 85:15 Fox on vase 1 — 6.77 74.31 13.37 4.68 — 85:15 Spade handle 3 6.15 (0.8) 57.82 (5.1) 31.42 (5.3) 4.20 0.11 (0.0) — 85:15 (0.4) a Holders with the same stamped necks, #170 with an eagle mark for Peter Bruckmann & C., Heilbronn (1814–1850), and a “13” mark, indicating the German silver standard of 13 loth (13/16 silver, or 81.2%). b EHQ holder hallmarked by Alexander Macrae in London during 1869–1870. c EHQ holder hallmarked by Roberts & Belk in Sheffield during 1869–1870. d BMP regular holder with Native American woman replicates on both the vase and handle, one of four with this replicate on the vase (see #10 and #160, Table A.1; #1980.026, Table A.4). e BMP regular holder with a fox- and- grapes vase design registered by Henry Jenkins & Sons in 1871 and a spade handle with a registry mark dated 22 September 1871 associated with Robert & Josiah Walsham; for comparison of brass on all four holders, see Table A.7. 236 M APPENDIX TABLE A.4. Portable XRF and SEM-E DS results of metal content for 12 BMP regular silver- plated brass holders. For abbreviations and symbols, see Table A.1. Percent Percent Percent Percent FJP# Test area N Ag (SD)f Cu (SD) Zn (SD) Pb (SD) Registered vase designs and/or handles associated with Henry Jenkins & Sonsa #7b (Plate 31) Vase, fox 2 81.99 (1.00) 13.74 (0.82) 4.13 (0.16) — Fox 2 73.86 (0.52) 20.85 (0.60) 5.16 (0.08) — #182b (Plate 34) Vase, fox 3 24.89 (0.80) 63.63 (0.94) 9.56 (1.38) 1.18 (0.46) Hexagonal handle 3 41.80 (2.15) 47.88 (1.85) 8.31 (0.33) 1.49 (0.28) Handle 3 14.75 (0.34) 70.39 (0.63) 13.11 (0.27) 0.98 (0.36) #1980.026c Native American 2 36.23 (0.59) 54.63 (0.11) 5.02 (0.09) 3.47 (0.77) (Plate 20) vase Vase 3 9.79 (2.32) 78.33 (3.50) 6.95 (0.35) 4.00 (2.20) Four-p iece spherical 1 48.28 43.59 5.52 0.17 neck (SEM) #181d (Plate 30) Floral vase 5 59.69 (8.05) 31.71 (7.69) 5.99 (1.07) 2.36 (1.63) Vase 3 22.67 (11.02) 64.15 (9.19) 11.00 (1.52) 1.62 (0.25) Bud- topped curled 3 48.00 (8.71) 45.31 (7.93) 5.21 (0.72) 1.16 (0.34) end loop handle Handle 3 16.89 (6.74) 73.15 (6.12) 8.12 (0.59) 1.32 (0.42) Designs registered or associated with Robert & Josiah Walshama #59e (Plate 38) Butterfy vase 3 45.72 (7.97) 46.47 (6.05) 6.22 (0.31) 1.08 (1.62) Vase 3 8.39 (1.69) 78.83 (1.47) 11.04 (0.26) 0.93 (0.03) Spade handle 3 24.12 (7.00) 54.39 (4.84) 20.28 (2.03) 0.53 (0.10) #22e (Plate 37) Grape leaf vase 2 70.05 (1.60) 22.27 (2.21) 3.58 (0.62) — (SEM) Spade handle (SEM) 1 24.15 65.68 9.58 0.40 Handle solder 1 70.38 24.10 5.52 — (SEM) Handle solder 2 57.66 (1.92) 34.07 (0.04) 6.58 (0.20) 1.38 (1.78) Same four-s ided handle indirectly associated with Robert & Josiah Walshamf #70g (Plate 40) Faux granulation 3 65.69 (3.93) 24.22 (7.09) 8.95 (2.73) 0.30 (0.29) vase Vase 2 53.34 (1.37) 36.02 (3.30) 6.50 (0.59) 3.85 (5.30) Vase 2 36.91 (8.39) 50.76 (9.53) 9.54 (0.97) 2.41 (2.23) Four-s ided handle 3 59.32 (5.26) 33.26 (4.40) 6.41 (0.74) 0.75 (0.12) Handle 3 9.30 (3.66) 75.87 (3.33) 13.70 (0.67) 0.51 (0.34) #165g (Plate 39) Sheet vase 3 41.96 (1.29) 46.72 (1.11) 10.89 (0.17) — Four-s ided sheet 3 — 97.04 (0.46) 2.47 (0.45) 0.19 (0.01) handle (continues) PRODUCING POSIES M 237 TABLE A.4. (Continued) Percent Percent Percent Percent FJP# Test area N Ag (SD)f Cu (SD) Zn (SD) Pb (SD) Similar designs and gems indirectly linked with both previous frmsa #90h (Plate 42) Vase, plum leaf 3 30.78 (2.07) 59.85 (2.19) 7.59 (1.26) 1.37 (1.86) Vase, plum 3 0.05 (0.02) 87.97 (0.05) 10.85 (0.08) 0.61 (0.01) Plum (SEM at 7 kV) 1 67.28 21.74 5.90 — Plum (SEM at 7 kV) 1 2.54 78.15 19.31 — Plum (SEM at 20 1 0.80 84.73 11.02 — kV) #186i (Plate 41) Vase, rose leaf 6 15.82 (2.91) 67.40 (2.92) 11.97 (0.68) 3.90 (1.04) Vase, rose 3 6.69 (0.60) 76.33 (1.01) 14.05 (0.11) 1.96 (0.58) Vase, leaf 4 0.16 (0.14) 81.14 (1.94) 14.95 (0.34) 3.81 (1.68) Unrelated holdersa #17j (Plate 36) Vase, cherry leaf 3 18.26 (0.15 70.67 (0.26) 8.70 (0.24) 1.64 (0.50) Vase, cherry 3 0.10 (0.05) 86.28 (1.46) 12.36 (1.05) 0.51 (0.50) #172k (Plate 44) Grape vase 3 6.48 (0.64) 80.17 (1.15) 10.28 (0.08) 2.34 (0.64) Vase 3 0.07 (0.01) 86.00 (0.12) 11.19 (0.11) 1.94 (0.30) Curled handle 3 9.47 (2.29) 77.43 (3.44) 9.80 (0.47) 2.87 (0.92) Handle 3 0.08 (0.01) 86.11 (0.81) 10.47 (0.13) 2.92 (0.88) a For brass, see Table A.7. b Two of four holders with fox- and- grapes vase designs registered in 1871, same as #4 with a spade handle (Table A.3), #56 with a curled- end handle (Table A.6), and #182 (this table and Table A.7). c Same Native American woman vase as #10 (Table A.1), married to the same handle as filigree #209 (Table A.2); gilt-s ilver #88 (Table A.3); and #160 (Table A.1), married to the same plain silver loop handle as #14, #31, and #220, the latter with the same small grape leaf vase as #12 and #214, married to bud- topped loop handles among 10 associated with Jenkins. Holder 1980.026 has the same spherical neck and patterned handle as elegant #15 and #169. d Floral vase with the same bud- topped curled- end loop handle as Jenkins- associated #8, #23, #56 with a fox- and- grapes vase design registered by Henry Jenkins & Sons (Table A.6), #168, #187, and #212. e Same butterfly design on #59 registered by Robert & Josiah Walsham as #191 (not analyzed), both married to the same spade handle as the next holder, #22, and nine others, including #166 (Table A.7) and #4 (Table A.3); eight have registry marks dated 22 September 1871, the date on which jewelry was registered by Robert & Josiah Walsham, although it was not found in the Design Registry. Same grape leaf vase as #8, #57, and #197, which were not analyzed. f For brass results, see Table A.8. g Same four-sided handle as on #165 and #70 but made with different metals. h Plum vase, mid- vase wire sphere, and loop handle; same holder as #143 and one in another collection with an added glass gem; same mid-v ase wire sphere as gilt-b rass #195 (Table A.5). i Same rose vase as #236 with glass gems (Table A.5); same flower but larger than on thistle vase of #166 with spade handle (Table A.7). j Squarish loop handle also on regular #167 and #204, which were not analyzed, and truncated on elegant #381 in brass married to a nickel silver vase (see Table A.10). k Same asymmetrically topped curled handle as #205 (not analyzed). 238 M APPENDIX TABLE A.5. Portable XRF and SEM- EDS results of metal content for 27 holders in gilt- brass (9 English and 18 French) and in associated holders and metals. For abbreviations and symbols, see Table A.1. Percent Percent Percent Percent Percent FJP# Plating Test area N Au (SD) Ag (SD) Cu (SD) Zn (SD) Pb (SD) England Similar heavy mPe holderSa #83 (Plate 47) Gilt Vase, oak leaf 3 10.07 (4.28) — 73.40 (4.66) 16.10 (0.43) — Gilt Handle, 3 3.58 (0.26) — 80.07 (0.22) 15.83 (0.14) — acorn #11 (Plate 47) Silver Vase, wire 3 — 14.11 (4.61) 74.71 (8.26) 7.28 (0.89) — Silver Oak leaf 3 — 5.65 (4.43) 81.28 (3.01) 11.88 (1.25) — handle BmP holderSb #51c (Plate 16) Gilt Floral vase 3 5.71 (0.29) — 87.09 (0.22) 6.67 (0.06) — #237c (Plate 15) Gilt Vase, pansy 3 3.36 (0.73) — 87.88 (0.63) 8.19 (0.12) — Gilt Pansy 1 3.00 — 87.00 9.00 — Gilt Vase, base 1 1.30 — 89.00 9.00 — Gilt Handle, 3 2.35 (0.12) — 88.93 (0.16) 7.13 (0.23) 0.82 (0.06) patterned #29c (Plate 18) Gilt Vase, spiral 1 8.60 (0.00) — 82.00 9.00 — #131d (Plate 19) Gilt, Sheet vase 1 9.00 — 80.00 9.00 — half Silver, Sheet vase 1 — 1.20 85.00 12.00 0.90 half #188e (Plate 25) Gilt Palmette vase 3 2.18 (0.56) — 81.20 (0.52) 16.09 (0.64) — Gilt Looped leaf 3 1.89 (0.53) — 80.60 (0.97) 15.25 (0.23) 1.66 (0.67) handle #236f (Plate 41) Gilt Vase, leaf 3 2.99 (0.25) — 80.09 (0.97) 12.12 (0.23) Gilt Vase, rose 6 2.83 (0.85) — 79.68 (1.59) 12.14 (0.36) 4.79 (1.71) #195f (Plate 43) Gilt Floral vase 3 1.29 (0.32) — 87.28 (0.80) 9.26 (0.06) 1.65 (1.08) Gilt Handle, 3 2.20 (1.18) — 86.63 (1.85) 9.09 (0.02) 1.44 (0.91) notched Franceg #142 (Plate 54) Gilt Vase, rim 3 — 85.80 (2.97) 12.14 (2.66) 1.97 (0.31) — #133 (Plate 65) Gilt Sheet vase 3 — 41.99 (1.34) 46.72 (1.11) 10.89 (0.17) — #124 (Plate 73) Gilt Sheet vase 1 13.70 — 74.00 10.70 1.00 #157 (Plate 74) Gilt Vase, leaf 1 9.60 — 83.00 6.40 — #178 (Plate 76) Gilt Vase, middle 1 7.00 — 75.60 16.30 — #41 (Plate 69) Gilt Vase, spiral 1 6.90 — 75.00 17.30 — #35 (Plate64) Gilt Vase, wire 1 6.60 — 77.00 15.50 — Silvered Vase, fower 1 6.00 9.00 67.00 18.00 — rim (continues) PRODUCING POSIES M 239 TABLE A.5. (Continued) Percent Percent Percent Percent Percent FJP# Plating Test area N Au (SD) Ag (SD) Cu (SD) Zn (SD) Pb (SD) France (continued)g #40 (Plate 51) Gilt Sheet vase, 2 6.20 (1.13) — 83.50 (0.71) 9.00 (0.00) 0.68 (0.06) skirt #55 (Plate 53) Gilt Mirrored 3 4.03 (0.05) — 83.53 (1.34) 11.07 (1.64) 0.81 (0.42) vase Gilt Neckband 1 17.42 — 66.74 10.31 2.23 (SEM) Base Handle, 3 — — 97.93 (0.88) — 1.81 (0.89) metal missing cap #233 (Plate 75) Gilt Vase, shield 1 4.00 — 81.00 14.00 — #49 (Plate 65) Gilt Vase, tip 1 4.00 — 84.00 12.00 — Silver Vase, bead 1 — 7.50 80.50 10.00 0.85 Gilt Neckband 2 4.00 — 83.00 (0.00) 11.00 (0.00) 0.85 (0.07) #216 (Plate 64) Gilt Tripod vase 1 3.50 — 85.00 10.50 — Silver Vase, 1 — 48.00 43.00 9.00 — (Hg) ornament #42 (Plate 68) Gilt Vase, leaf 1 3.30 — 80.00 16.00 — #43 (Plate 61) Gilt Sheet vase, 1 3.00 — 85.00 10.00 0.70 tip #50 (Plate 62) Gilt Vase, feather 1 3.00 — 84.00 11.70 0.50 spine #228 (Plate 55) Gilt Red-g em vase 3 2.77 (0.46) — 90.35 (0.35) 6.36 (0.15) — Gilt Vase, base 1 1.50 — 88.50 9.00 1.50 #215 (Plate 59) Gilt Sheet vase, 1 2.70 — 81.00 14.50 0.75 base #9 (Plate 66) Gilt Mirrored 2 1.89 (0.00) — 81.80 (0.00) 15.35 (0.00) — vase a Probably early (see catalog for other related examples); for brass results, see Table A.8. b For brass results, see Table A.7, except for #131, which is in Table A.8. c Elegant BMP holder. d BMP elegant “Scottish pebble” holder with alternate plating on four vase stampings. e BMP regular holder, its vase design registered in 1880 by Henry Jenkins & Sons; others registered by the firm are on #4 (Table A.3), #7 and #182 (Table A.4), and #56 (Table A.6). f Related regular holders are #236 and #195 in this table; and #90 and #186 in Table 4. g For brass results, see Table A.9. 240 M APPENDIX TABLE A.6. Portable XRF results for trace mercury related to silver plating on BMP elegant #179, BMP regular #56 with a fox design registered by Henry Jenkins & Sons, and an FG1 gilt-b rass tripod #216 ornament. Mercury was also found using the Tracer pXRF on BMP regular #6 and #163 with the same Greek key vase design associated with Henry Jenkins & Sons and #57 with a large grape leaf vase and spade handle associated with Robert & Josiah Walsham. See Table A.1 for abbreviations and symbols. Part and test Percent Percent Percent Percent Percent FJP# area N Ag (SD) Cu (SD) Zn (SD) Pb (SD) Hg (SD) England #179a (Plate 16) Magpie vase, base 3 71.34 (0.26) 24.98 (0.35) 2.74 (0.05) 0.70 (0.24) 0.15 (0.10) Vase, leaf 3 69.65 (1.70) 27.70 (2.79) 1.90 (1.53) 0.59 (0.51) 0.16 (0.06) Vase, braid 3 68.97 (3.80) 30.36 (3.73) — 0.27 (0.11) 0.28 (0.10) Vase, plaquette 3 67.85 (2.71) 27.85 (2.72) 3.35 (0.76) 0.75 (0.61) 0.10 (0.02) Patterned handle 3 71.59 (1.43) 25.07 (1.07) 2.71 (0.12) 0.75 (0.15) 0.13 (0.02) #56b (Plate 30) Vase, fox 3 54.87 (4.28) 37.48 (3.65) 6.84 (0.47) 0.37 (0.37) 0.15 (0.02) Vase, fox 4 44.11 (2.73) 45.07 (2.21) 7.95 (0.36) 1.14 (0.87) 1.35 (1.42) Vase, fox 2 33.29 (6.80) 53.25 (5.29) 9.36 (0.86) 1.31 (0.25) 2.34 (0.86) France #216c (Plate 64) Silver-p lated 1 48.0 43.0 9.0 — 0.65 ornament a Vase design of pieces separately made in several metals (see Table A.8 for brass results); handle with the same patterning as elegant #15, #169, and #237 (Table A.5) and regular #1980.026 (Table A.4). Heavy weight similar to BMP regular #73 and MPE #11 and #83 (Table A.5) suggests early products of Henry Jenkins. b For data of other fox- and- grapes vases without mercury, see Table A.3 (#4) and Table A.4 (#7 and #182). The same curled loop end handle is on #8, #23, #168, #181 (Table A.4), #187, and #212. For brass results, see Table A.7. c For data on #216 and related #35 and #49, see Table A.5; for brass results, see Table A.9. PRODUCING POSIES M 241 TABLE A.7. Brass base metal elemental content results derived from XRF and SEM- EDS data for 20 BMP holders, arranged by group: elegant holders, regular holders associated with Henry Jenkins, regular holders associated with Robert and Josiah Walsham, and regular elegant holders with the same or similar handles. Assigned brass type by the percentage ratios of copper and zinc (Cu:Zn): gilding metal (95:5), commercial bronze (90:10), red brass (85:15), low brass (80:20), and cartridge brass (70:30). See Table A.1 for abbreviations. Type of Percent Percent FJP# plating Test area N Cu (SD) Zn (SD) Cu:Zn Nearest brass type BMP Elegant Holders #51a (Plate 16) Giltb Vase, petal 3 87.1 (0.2) 6.7 (0.1) 93:7 Gilding metal #237a (Plate 15) Giltb Vase, pansy 3 87.9 (0.6) 8.2 (0.1) 91:9 Commercial bronze Handle, patterned 3 88.9 (0.2) 7.1 (0.2) 93:7 Gilding metal sheet #29 (Plate 18) Giltb Vase, spiral 1 82.0 9.0 90:10 Commercial bronze #1980.026a Silver platedc Vase, Native Ameri- 3 78.3 (3.5) 67.0 92:8 Commercial bronze (Plate 20) can woman (0.4) Vase 2 54.6 (0.1) 5.0 (0.1) 92:8 Commercial bronze BMP Regular Holders Associated with Henry Jenkins & Sons #188d (Plate 25) Giltb Palmette vase 1 81.2 (0.5) 16.1 (0.6) 83:17 Red brass Leaf loop handle 1 80.6 (1.0) 15.3 (0.2) 84:16 Red brass #4e,f (Plate 31) Gilt- and Fox on vase 1 74.3 13.4 85:15 Red brass silver-p latedg Fox on vase 3 47.5 (7.0) 8.5 (1.2) 85:15 Red brass Spade handle 3 31.4 (5.3) 4.2 (0.4) 88:12 Commercial bronze #182e (Plate 34) Silver platedc Fox on vase 3 63.6 (0.9) 9.6 (1.4) 87:13 Red brass Fox on vase 3 47.9 (1.9) 8.3 (0.3) 85:15 Red brass Hexagonal handle 3 70.4 (0.6) 13.1 (0.3) 84:16 Red brass #56e (Plate 30) Silver plated, Fox on vase 3 53.3 (5.3) 9.4 (0.9) 85:15 Red brass trace Hgh Fox on vase 4 45.1 (2.2) 8.0 (0.4) 85:15 Red brass Fox on vase 3 37.5 (3.7) 6.8 (0.5) 85:15 Red brass #7e (Plate 31) Silver platedc Fox on vase 2 20.9 (0.6) 5.2 (0.1) 80:20 Low brass Fox on vase 2 13.7 (0.8) 4.1 (0.2) 77:23 Low brass #181i (Plate 30) Silver platedc Floral vase 5 31.7 (7.7) 6.0 (1.1) 84:16 Red brass Vase 3 64.2 (9.2) 11.0 (1.5) 85:15 Red brass Curled loop handle 3 45.3 (7.9) 5.2 (0.7) 90:10 Commercial bronze Handle 3 73.2 (6.1) 8.1 (0.6) 90:10 Commercial bronze BMP Regular Holders Associated with Robert & Josiah Walsham #59e,f,j (Plate 38) Silver platedc Butterfy vase 3 78.8 (1.5) 11.0 (0.3) 88:12 Commercial bronze Butterfy vase 3 47.5 (6.1) 6.2 (0.3) 88:12 Commercial bronze Spade handle 3 54.4 (4.8) 20.3 73:27 Cartridge brass (2.0) #22e,f,k (Plate 37) Silver platedc Grape leaf vase (SEM) 2 22.27 (2.2) 3.6 (0.6) 89:11 Commercial bronze 242 M APPENDIX TABLE A.7. (Continued) Type of Percent Percent FJP# plating Test area N Cu (SD) Zn (SD) Cu:Zn Nearest brass type BMP Regular Holders Associated with Robert & Josiah Walsham (continued) Spade handle (SEM) 1 65.68 9.58 87:13 Red brass #166 j,k,l Brass onlyf Thistle/small rose 3 82.8 (0.9) 14.9 (0.1) 85:15 Red brass (Plate 40) vase Thistle vase 3 86.1 (0.41) 12.2 (0.1) 88:12 Commercial bronze #195l (Plate 43) Giltb Floral vase 6 87.3 (0.8) 9.3 (0.1) 90:10 Commercial bronze Notched loop handle 3 86.6 (1.9) 9.1 (0.0) 91:9 Commercial bronze #90l (Plate 42) Silver platedh Plum vase 3 88.0 (0.1) 10.9 (0.1) 89:11 Commercial bronze Plum vase 3 59.9 (2.1) 7.6 (1.3) 89:11 Commercial bronze Vase (SEM) 1 83.6 10.9 89:11 Commercial bronze Vase (SEM) 1 18.1 5.34 88:12 Commercial bronze #236l (Plate 41) Giltb Rose vase leaf 3 80.1 (1.0) 12.1 (0.2) 87:13 Red brass Rose 6 79.7 (1.6) 12.1 (0.4) 87:13 Red brass #186l (Plate 41) Silver platedc Rose on vase 3 81.1 (1.9) 15.0 (0.3) 84:16 Red brass Leaf on vase 3 76.3 (1.0) 14.1 (0.1) 84:16 Red brass Rose on vase 6 67.4 (2.9) 12.0 (0.7) 85:15 Red brass BMP Elegant #381, Regular #17 with the Same Handle, and Regular #172 with a Related Handle #381 (Plate 17) Silver platedm Handle, stubby 5 58.77 6.09 91:9 Commercial bronze #17 (Plate 36) Silver platedc Cherry on vase 3 86.3 (1.6) 12.4 (1.1) 87:13 Red brass Leaf on vase 3 70.7 (0.3) 8.7 (0.2) 85:15 Red brass #172 (Plate 44) Silver platedc Grape leaf vase 3 86.0 (0.1) 11.2 (0.1) 88:12 Commercial bronze Vase 3 80.3 (1.2) 10.3 (0.1) 89:11 Commercial bronze Curled handle 3 86.1 (0.8) 10.5 (0.1) 89:11 Commercial bronze Handle 3 77.4 (3.4) 9.8 (0.5) 89:11 Commercial bronze a Handles are made from the same roller- impressed patterned sheet. b For data, see Table A.5. c For data, see Table A.4. d Jenkins- registered palmette design (1880). e One of four Jenkins-r egistered fox designs on this Table (#4, #7, #56, and #182), all with different handles. Holder #4 has a spade handle with a registry mark (1871) associated with Robert & Josiah Walsham; others are on #59 and #22 (Table A.4). f Brass data for three spade handles (#4, #22, and #59) is on this table; eight other spade handles were not analyzed, including the handle of #166 on this table, for which the vase was analyzed. g For data, see Table A.3. h For data, including for mercury, see Table A.6. i Floral vase related to Jenkins fox vase holder #7 by the same curled loop handle. j Holder #59 has a Walsham- registered butterfly design (1869) and spade handle (1871); see footnotes e and f for other spade handles. k Same grape leaf vase as #8, #57, and #197, none of them analyzed. l Holders indirectly related to Walsham holders with registered designs. m For data, see Table A.10. PRODUCING POSIES M 243 TABLE A.8. Brass base metal elemental content results derived from pXRF data for seven English holders: two related holders with diferent plating and fve with mixed plating and/or base metals. See Table A.1 for abbreviations and symbols; see Table A.7 for brass types. Percent Percent FJP# Test area N Cu (SD) Zn (SD) Cu:Zn Closest brass type Similar Heavy MPE Holders with Diferent Plating #11a Vase, wire 3 74.7 (8.3) 7.3 (0.9) 91:9 Commercial bronze (Plate 47) Oak leaf handle 3 81.3 (3.0) 11.9 (1.3) 87:13 Red brass #83b Vase, oak leaf 3 73.4 (4.7) 16.1 (0.4) 82:18 Low brass (Plate 47) Handle, acorn 3 80.1 (0.2) 15.8 (0.1) 84:16 Red brass Two BMP Holders with Multi-P iece Vase Stampings of Mixed Base Metals #179c Vase, braid 1 30.4 — 100:0 Copper (Plate 16) Vase, leaf 3 27.7 (2.8) 1.9 (1.5) 94:6 Gilding metal Vase, fower 3 27.9 (2.7) 3.4 (0.8) 89:11 Commercial bronze Vase, plaquette 3 25.0 (0.4) 2.7 (0.1) 90:10 Commercial bronze Handle, patterned 3 25.1 (1.1) 2.7 (0.1) 90:10 Commercial bronze four-s heet leaf #70d Faux fligree vase 3 24.2 (7.1) 9.0 (2.7) 89:11 Commercial bronze (Plate 40) Vase 2 50.8 (9.5) 9.5 (1.0) 85:15 Red brass Vase 2 36.0 (3.3) 6.5 (0.6) 73:27 Cartridge brass Four-s ided handle 3 75.9 (3.3) 13.7 (0.7) 84:16 Red brass Handle 3 33.3 (4.4) 6.4 (0.7) 84:16 Red brass Two Regular BMP Holders with Mixed Alloy Parts Disguised by Plating #165e Three-t iered vase, 3 42.0 (1.3) 10.9 (0.2) 81:19 Low-b rass (Plate 39) silver-plated Silver four-s ided 3 2.47 (0.5) 0.2 (0.0) — Sterling silver handle #189f Vase, silver-p lated 2 67.3 (2.3) 0.8 (0.4) 86:14 Red brass (Plate 27) Greek key Vase (SEM) 2 61.5 (22.5) 13.5 (4.9) 82:18 Low brass Vase backing, gilt 3 56.8 (1.6) 9.2 (0.3) 86:14 Red brass Vase backing (SEM) 1 59.1 11.8 83:17 Red brass Handle B, gilt 3 74.1 (2.0) 13.3 (0.7) 85:15 Red brass Handle B 1 80.9 14.7 85:15 Red brass Handle B 3 77.4 (2.0) 14.4 (0.5) 84:16 Red brass Handle B (SEM) 2 64.9 (15.9) 15.8 (4.7) 80:20 Low brass 244 M APPENDIX TABLE A.8. (Continued) Percent Percent FJP# Test area N Cu (SD) Zn (SD) Cu:Zn Closest brass type “Scottish Pebble” Holder with Mixed Plating on the Same Alloy #131g Sheet vase, gilt 1 80.0 9.0 90:10 Commercial bronze (Plate 19) Sheet vase, 1 85.0 12.0 88:12 Commercial bronze silver-p lated a Silver- plated brass wire vase with oak leaves around the neck and on the curved handle (data from Table A.5). b Gilt- brass vase with oak leaves and acorns on wires and cylindrical handle with acorns at top and bottom (data from Table A.5). c Heavy elegant holder (51 g) related to holders #11 and #83, likely early because of their weightiness (data from Table A.6). d Regular silver-p lated brass holder with the same four- sided handle as holder #165 except for the metal (data from Table A.4). e Three-t iered silver-p lated brass sheet vase married to a four- sided stamped sterling silver sheet handle (data from Table A.4), using the same die as #70 listed just above, but metal compositions are different. f Greek key vase with a scalloped sheet backing and gilt handle in two different base metals: handle A in nickel silver and handle B in brass. Note somewhat different results for SEM analyses of alloys. For all results, see Table A.10. g Vase of alternating gilt-b rass and silver-p lated replicates set with “Scottish pebbles;” data from Table A.5. PRODUCING POSIES M 245 TABLE A.9. Brass base metal elemental content results derived from pXRF and SEM-E DS data for 18 plated French vases: 2 silver plated and 16 gold plated. Also included are results for the copper base of enameled handle #55 and silver-p lated brass ornaments on #35, #49, and #216. See Table A.1 for abbreviations and symbols, Table A.5 for all data, and Table A.7 for brass classifcations. Percent Percent FJP# Part tested Group N Cu (SD) Zn (SD) Cu:Zn Closest brass type French Holders with Silver- Plated Brass Vases #142 (Plate 54) Crown-l ike vase 1 3 12.14 (2.66) 1.97 (0.31) 86:14 Red brass #133 (Plate 65) Sheet vase 1 3 46.72 (1.11) 10.89 (0.17) 81:19 Low brass French Holders with Gilt-B rass Vases #157 (Plate 74) Vase, fligree leaf 3 1 83.00 6.40 93:7 Gilding metal #228 (Plate 55) Vase, with red gems 1 3 90.35 (0.35) 6.36 (0.15) 93:7 Gilding metal Vase 1 1 88.50 9.00 91:9 Commercial bronze #40 (Plate 51) Sheet vase, dress 1 1 84.00 9.00 90:10 Commercial bronze Vase, near top 1 1 83.00 9.00 90:10 Commercial bronze #43 (Plate 61) Gothic sheet vase 1 1 85.00 10.00 89:11 Commercial bronze #216 (Plate 64) Tripod vase, base 1 1 85.00 10.5 89:11 Commercial bronze Silver-p lated brass 1 1 43.00 9.0 83:17 Red brass ornament #55 (Plate 53) Vase, mirrored 1 1 83.50 11.07 88:12 Commercial bronze Neckband (SEM) 1 1 66.74 10.31 87:13 Red brass Handle, bare metal 1 3 97.93 — 98:2 Copper #49 (Plate 65) Vase, tip 1 1 84.00 12.00 88:12 Commercial bronze Neckband 1 2 83.00 11.00 88:12 Commercial bronze Silver-p lated bead 1 1 80.5 10.00 89:11 Commercial bronze #124 (Plate 73) Sheet vase, base 3 1 74.00 10.70 87:13 Red brass #50 (Plate 62) Vase, feather spine 1 1 84.00 14.50 85:15 Red brass #215 (Plate 59) Sheet vase, base 1 1 81.00 14.50 85:15 Red brass #233 (Plate 75) Vase, shield 3 1 81.00 14.00 85:15 Red brass #9 (Plate 66) Vase, mirrored 2 1 82.00 15.40 84:16 Red brass #42 (Plate 68) Vase, mirrored 2 1 80.00 16.00 83:17 Red brass #35 (Plate 64) Vase, wire 1 1 77.00 15.50 83:17 Red brass Vase, fower rim 1 1 67.00 18.00 79:21 Low brass #178 (Plate 76) Vase, scroll 3 1 75.60 16.30 82:18 Low brass #41 (Plate 69) Vase, spiral 2 1 75.00 17.30 81:19 Low brass 246 M APPENDIX TABLE A.10. Portable XRF and SEM- EDS results of metal content (percentage and SD) for three silver- plated English holders with nickel silver base metal, a white metal alloy of copper, zinc, and nickel (nickel silver was also found on #25 using the Bruker Tracer XRF); and a holder in britannia, a white metal com- posed primarily of tin, some antimony, and a small percent copper. Elemental ratios for base metals derived from data are at right. For abbreviations and symbols, see Table A.1. Nickel silver holders Group and Alloy FJP# Test area N Au (SD) Ag (SD) Cu (SD) Zn (SD) Ni (SD) Pb (SD) (Cu:Zn:Ni) MPE #107a Vase 3 — 66.76 (0.6) 19.37 (0.3) 6.88 (0.2) 6.35 (0.1) 0.15 (0.0) 59:21:20 (Plate 48) Vase 3 — 61.96 (5.3) 22.25 (2.4) 7.58 (1.0) 7.07 (1.1) 0.59 (0.8) 60:21:19 BMP-E #381b Vase 4 — 22.49 (1.7) 5.44 (2.4) 25.06 (2.1) 5.44 (2.5) 1.00 (1.2) 60:33:7 (Plate 17) Vase (SEM) 1 — 24.98 37.39 28.18 6.01 0.33 52:39:9 Vase (SEM 1 — 19.32 39.38 29.91 6.36 0.16 52:39:9 map) Vase/han- 3 — 15.71 (1.7) 51.15 (0.9) 30.00 (1.1) 2.13 (0.9) 0.68 (0.2) 61:36:3 dle join Handle 2 — 32.57 (0.9) 51.05 (1.6) 5.41 (0.0) — 10.56 90:10:0 (0.9) Handle 3 — 25.30 (6.9) 63.92 (7.2) 6.54 (0.0) — 3.72 (1.2) 91:9:0 Handle 2 — 31.88 (18.9) 57.76 (16.8) 8.32 (2.5) — 0.46 (0.6) 87:13:0 (SEM) Handle 1 — 37.91 50.73 7.28 — — 88:12:0 (SEM map) BMP- R #189c Greek key 2 — 15.52 (0.9) 67.34 (2.3) 10.76 (0.4) — 5.35 (1.9) 86:14:0 (Plate 27) vase Vase (SEM) 2 0.01 (0.0) 16.02 (18.6) 61.45 (22.5) 13.47 (4.9) — — 82:18:0 Vase 3 30.66 (0.6) 0.05 (0.0) 56.84 (1.6) 9.21 (0.3) — 2.37 (2.0) 86:14:0 backing Backing 1 22.20 2.81 59.08 11.81 — 0.51 83:17:0 (SEM) Handle A: 3 22.78 (1.8) 0.04 (0.1) 43.56 (2.7) 21.36 (3.4) 8.34 (0.6) 3.51 (4.8) 59:29:11 nickel silver base metal Handle A 1 1.63 0.06 51.92 26.92 9.27 9.87 59:31:10 Handle A 3 — 0.05 (0.0) 57.30 (0.8) 32.37 (0.3) 9.34 (0.2) 0.50 (0.1) 58:33:9 Handle A 2 8.34 (10.0) 0.70 (0.6) 42.00 (6.0) 28.91 (9.7) 8.62 (2.6) — 53:36:11 (SEM) Handle B: 3 10.64 (2.3) 0.03 (0.0) 74.07 (2.0) 13.25 (0.7) — 1.12 (0.4) 85:15:0 brass base metal Handle B 1 2.29 0.03 80.85 14.73 — 0.90 85:15:0 Handle B 3 0.43 (0.3) 0.04 (0.0) 77.44 (2.0) 14.39 (0.5) — 6.90 (2.3) 84:16:0 Handle B 2 12.94 (16.6) 0.68 (0.7) 64.88 (15.9) 15.82 (4.7) — — 88:12:0 (SEM) M (continues)PRODUCING POSIES 247 TABLE A.10. (Continued) Britannia- metal holder FJP# Test area N Au Ag Cu Sn Sb Pb Sn:Sb #120d Vase 1 — 40.0 — 55.0 4.0 — 93:7 (Plate 49) a Holder with a “PATENT” stamp, almost certainly made by B. H. Joseph & Co. in Birmingham. b Mixed holder with a silver-p lated nickel- silver vase and silver- plated brass handle. c Mixed holder with a silver-p lated brass vase and gilt- brass backing sheet; handle A in gilt nickel silver and handle B in gilt brass (some data in Table 8). d Silver-p lated britannia holder, possibly made in Sheffield. 248 M APPENDIX TABLE A.11. SEM- EDS results of metal content (percentage and SD) for two French group 1 copper handles coated with vitreous enamel embedded with gold and silver foil paillons. Note that SEM-EDS cannot measure small amounts of cobalt. See Table A.1 for abbreviations and symbols. Au Ag Cu Pb Fe Co Ca Si K As Al Na FJP# Test area N (SD) (SD) (SD) (SD) (SD) (SD) (SD) (SD) (SD) (SD) (SD) (SD) #55 Light- blue 4 0.55 0.19 0.20 23.82 0.70 — 1.73 55.37 11.18 1.26 0.69 4.80 (Plate 53) enamel (0.3) (0.2) (0.2) (2.0) (0.0) (0.3) (2.4) (0.6) (1.8) (0.2) (1.1) Silver 1 — 50.48 0.05 9.11 — — 1.75 28.24 — 0.79 1.13 — paillon #80 Dark blue 1 — — — 28.74 — — 0.78 54.91 10.59 — 0.94 3.78 (Plate 53) enamel Gold 1 4.56 — — 28.94 — — 1.15 49.59 10.80 — 1.17 3.44 paillon PRODUCING POSIES M 249 ACKNOWLEDGMENTS I gratefully acknowledge the many people who assisted me with this project. Profession- als who kindly met with me with regard to bouquet holders include Victorian jewelry expert Charlotte Gere and curator Judy Rudoe at the British Museum; V&A curator of South Asian art Nicholas Barnard and volunteer Jane Perry; and Wilfried Zeisler, chief curator, Hillwood Estate, Museum & Gardens in Washington, D.C. Julia Belopolsky translated the Russian catalog for an exhibition at the Hermitage. I was especially delighted by the enthusiasm of the Royal Ontario Museum’s curator emeritus Peter Kaellgren, who provided photographs and notes for an important collection acquired by the museum in 2009 that inter alia supplied a critical connection for attribution of French tripods. Two major collectors kindly allowed me to examine their collections, Bilgi Kenber in Paris and Irene Deitsch in California, and visits to museum collections provided sig- nifcant connections, including the Royal Collection at Windsor Castle and Buckingham Palace; the V&A collection, especially the extensive collection from the India Museum in storage; and in New York, the Metropolitan Museum of Art’s Costume Institute and Museum of the City of New York. Because of COVID- 19, further museum visits were precluded, but websites of the Boston Museum of Fine Arts, Cooper Hewitt Museum, Musée national des beaux- arts du Québec, New- York Historical Society, Palais Galliera in Paris, Philadelphia Museum of Art, Royal Collection Trust, Royal Ontario Museum, and V&A proved invaluable. Smithsonian staf was excellent as always. High-q uality photographs in the catalog and most details in the text are credited to Smithsonian Gardens (SG), Horticultural Artifacts Collection, Gift of Frances Jones Poetker. Staf members responsible for the collection were invariably helpful, including Christine Brown, Kelly Crawford, Joyce Connelly, and Paula Healy. I am appreciative of Smithsonian Museum Conservation Institute staf who supported this work over several years: Director Robert J. Koestler, head of conservation Jessica Johnson, and painting conservator Dawn Rogala. Research scientists Thomas Lam and Edward P. Vicenzi assisted with the analytical research de- sign, conducted SEM-E DS analyses, and corrected appendix text. I am especially proud of two summer interns who contributed hard work and enthusiasm to the endeavor. Matthew Busse performed several thousand XRF analyses under the supervision of Lam, who also made XRF analyses at the last minute and monte carlo simulations related to plating thickness. Conservation intern Anna Zastrow examined and pho- tographed all 252 holders at the beginning of the project and organized purchase of materials for improved storage. The director of the Smithsonian Institution Scholarly Press, Ginger Minkiewicz, was invariably helpful and quick to answer my queries, as was my managing editor Meredith McQuoid-G reason. 250 M ACKNOWLEDGMENTS Finally, I am thankful to friends and family who hosted me on my bouquet holder odyssey: Clare Finn, Tracy Power, Anne Liégey, and Robert Mark. Richard A. Living- ston patiently provided expertise regarding scientifc data. The indomitable Charlotte Houghton supplied wisdom following last- minute reading through the entire text, as did Donna Strahan by her comments. PRODUCING POSIES M 251 BIBLIOGRAPHY Aitken, W. C. Brass and Brass Manufactures. In The Resources, Products, and Industrial His- tory of Birmingham and the Midland Hardware District, ed. Samuel Timmins, pp. 225–380. London: Hardwicke, 1866. Aitken, W. C. The Revived Art of Metal- Working in the Precious Metals, Brass, and Iron on Medieval Principles. In The Resources, Products, and Industrial History of Birmingham and the Midland Hardware District, ed. Samuel Timmins, pp. 536–551. London: Hardwicke, 1866. Arminjon, Catherine, and Michèle Bilimof, ed. Métal: vocabulaire technique. Paris: Éditions de patrimoine/Centre des monuments nationaux, 2010. ASM International. ASM Handbook. Volume 2, Properties and Selection: Nonferrous Alloys and Special- Purpose Materials. 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See 93, 126, 142–147; fligree subset, 3–4, 11, also handles 13nn25–28, 18n100, 22, 26–27, 40–41, 53–56, Albert, Prince of Wales, 2, 4, 10, 13n9, 24, 28, 96. 63nn58–59, 75–76, 79–81, 99–100, 107, 126, See also Edward VII; Princess Alexandra 133–141, 138–139n40; interactions among frms Alexander the Great, 75. See also Indian holders making, 38–41; makers and practices, 22–23, Alexander III, Emporer, 2. See also Russia 26–41; materials, 53–54, 74–75, 116–117nn6–9, Alexandra, Princess of Wales, 2, 10, 13n9, 26, 133, 142, 148; mid- nineteenth century American 130n18 owners Charlotte Irving and Mary O. Have- American holders. See U.S. holders meyer, 3–4, 13nn25–28; registered designs, 23, analyses of holders: 221–249; conclusions, 230–231; 29–38, 61n11; regular subset, 23, 29–41, 53–56, instruments and techniques, 221–222, 231; sur- 64nn89–96, 126, 148–173; silver solder, 75, 237; prises, x; plating thickness, 223–224, 231–232, size and weight, 114–116, 144; subject matter, 233n36. See also brass base metal, britannia, 6–7, 14–15nn47–59, 15nn61–63, 15n71, 23, 24, 29, electroplating, enameled copper, fligree, gilt- 133, 142, 148; tripods, 5, 14n37, 98–100 brass, gilt-s ilver, gold electroplating, Indian, boar tusk, 42, 56, 85, 174, 178 nickel silver, scanning electron microscopy, bone, 48, 49, 54, 56, 85, 119n66, 208, 210, 211 silver-p lated brass, sterling silver, X-r ay bosom bottles, 1 fuorescence Boston Museum of Fine Arts, BMP fligree hold- Animal Products collection, 42 ers, 140n46. See also Lowell, Mrs. Robert Assay Ofces: Birmingham, 21–24, 26, 31, 61n17; Boulton, Matthew, 21, 26, 63n62 London, 23 bouquet holders; forms and features, 5–6, Aston, Henry Hyde, 22, 24, 62nn33–34, 128 14nn31–38; guidelines for identifying places of Aston, Thomas, 24 origin, viii; high- resolution images, xi; history Austria-H ungary, 16n77 and usage, 1–4, 13n1; photographic digitization, ix; popularity, ix, 10, 11; size and weight, 47, 49, 68n217, 112–116, 123nn190–196 Bacchus, 6, 7, 15n68, 49, 182 Bourg- en- Bresse, 4, 10, 17n92, 18n149, 43, 45, 51, beavers, 7, 14n56, 19n108, 34, 62n44, 65nn121–122 67n186, 67n195, 84, 115, 180 Belk, Charles, 24. See also Roberts & Belk Ltd. boutonniere, 176, 176n122 B. H. Joseph & Co., 25–26; Joseph Joseph patent brass: English holders, 74, 148; French holders, 43, for dress or bouquet holder, 63n51, 130, 174, 178; 74 PATENT stamps, 15n72, 25, 42, 178; Princess of brass base metal, copper/zinc ratios derived from Wales holder, 2, 25–26, 130n18 analysis: English holders, 227–228, 231, 232n25, Big Peg, 36, 65n136 236–239, 241–245; French holders, 229, 231, birds, 7, 14n54, 66n149 239–240 Birmingham, England: brass founding and brass britannia and britannia holders, 42, 53, 67n183, trade, 74; metalworking, 21–22; Toy Shop to the 73, 75, 95, 179, 229, 248 World title, viii. See also Jewellery Quarter, British East India Company, 60 Birmingham British Royal Collection, 9, 15n71 PRODUCING POSIES M 259 brooches: attachment, 14n45–46; characteristics, clothing, devices for attachment to holders: 6; Chinese, 6, 14n45, 219, 223, 235; English, 5, 6; Birmingham wire- loop clips, 6, 14n45, 23, 27, French, 6, 14n46; Genoese, 5, 6, 14n45; Indian, 42, 61n20, 121n132; Chinese fat brooch clip, 6, 5, 6, 14n45, 217, 223, 232n13, 235; MPE, 42, 14n45; English, Genoese, and Indian barrel- 67nn174–176, 174–176 hinged wire brooch pins, 6, 14n45, 101; English Brummagem products, 32 single- wire brooch pin, 176; French pair of Buccaneers, The (Wharton), and marriages of sharp prongs, 6, 14n44, 121n133, 191 American women into the English aristocracy, cobalt oxide colorants for glassy blue enamel on 4, 13n30 copper sheet, 84, 119n60, 222, 230, 231. See also butterfies, 7, 11, 14nn53–54, 18n99, 34–40, 65n125, copper colorants 66n159, 167 collections of bouquet holders: abbreviations and short- form references, xii–xiii; European collections, 9–10, 15–16nn71–74, 16nn76–78, Campo Ligure, 59 16–17nn80–82, 17nn84–86, 17n88; North Canton, 17n84, 60, 71n309, 218n252 American collections, 10–12, 17–19nn90–106, card cases, 26, 61n17, 63n65 19nn108–111 Cassatt, Mary, 4 Comstock Lode (Nevada), source of silver, 2–3, 73 Castellani, 7, 28, 63n75 Cooper Hewitt Museum, 11, 18nn96–97 catalog of bouquet holders: American, 213; Chi- copper colorants for glassy green enamel on nese, 218–219; English, 125–179; French, 180–211; copper sheet, 230, 231, 233n34. See also cobalt Genoese, 214–215; German, 212; Indian, 216–217; oxide colorants information included in entries, xi, 125 copper handles, enameled, 74, 84, 117n14, 180, cathedral- inspired designs (le style cathédrale), 7, 182–186 15n65, 15–16n73, 46, 51 copyright protection, duration, and violations Catherine the Great’s fligree, 10, 17n85, 60. See of registered designs, 30, 35, 40. See also also Russia registrations Cellini, Benvenuto, 75 cornucopia design, 16n77, 38, 66n148, 127, chains for holders: attachment on American, 110; 168nn106– 108, 170nn111– 112. See also horn- attachment on Chinese, 110; attachment on shaped holders English, 5, 28, 52, 55, 57, 64nn82–84, 71n279, Costume Institute, Metropolitan Museum of Art, 106–107; attachment on French, 45–50, 55, 57, 11, 18–19nn103–104 68n211, 69nn221–222, 69n235, 106, 108–110, 180; crown- like vases, 7, 15n66, 186, 188, 190, 192, 193, carrying loops on FG1 holders, 6, 14n43, 46, 195 68n208, 180; loss, alteration, or replacement of, cupids (putti), 7, 15n57, 29, 32, 34, 65n122, 152 69, n233, 102; machines for making, 102. See Cutshing. See Canton also chain types on holders; ungilt links for Cuttack fligree, 60, 61, 77, 78, 215n248, 216. See chain attachment on FG1 holders also Indian holders chain types on holders: 56–58; crimpable French, 47, 49, 68n210, 70n277, 106, 109, 122n157 180, 181, 190, 196, 197; curb BMP fligree, 13n27, dance card holders (French), 5, 14n35, 46, 49, 103, 106, 137, 137n32, 138–141, 194; loop- in- loop 68nn204–205, 94, 118nn53–54, 189 sheet link French, 44, 46, 68n209, 104–106, Deakin, James, 25. See also James Deakin & Sons 122n157, 182, 183, 187–189, 190, 192, 195, 208; Deitsch, Irene, xiii, 12, 19nn109–110 loop- in- loop wire link BMP fligree, 103, 136, Dresser, Christopher, 25, 132 141; loop- in- loop wire link Genoese fligree, 59, drop stamp: development, x, 85; production, 71nn299–300, 79, 117–118n36, 214; solderless 85–92, 119nn70–71; sinking/cutting dies, 86 twisted wire BMP, 103, 104, 121n150, 145, Duchess of Kent. See Kent, Duchess of 145n61, 154, 156, 160, 164, 169, 177, 179; solderless Durant, John, 38, 66n151. See also Knight & twisted wire Indian, 102; universal round link, Durant 44, 46, 102–104 Durant, Thomas, 66n151 Chinese silver fligree holders: 8, 9, 15n69, 18n93, 60, 71n307, 71n309, 75–77, 218–219; analyses, 223, 230, 235; catalog, 218–219; exportation, edelweiss, 42, 67nn175–176, 176, 176n124 60; makers and practices, 60, 218n252; Edward VII, King, 26. See also Albert, Prince of materials, 73, 75; size and weight, 116; subject Wales matter, 8–9 Elder, J. Lawrence, 4 Christofe, Charles, 51, 96. See also Elkington & Elder, Louisine Waldron, 4 Co. electroplating: analyses of plated holders, 223–231, C. J. Vander Ltd., 24. See also Macrae, Alexander 236–248; BMP holders, 22– 23, 32, 34, 74–75, 260 M INDEX 96; Elkington & Co. patents, 22, 23, 34, 51, 96; on FG1 handles, 46–49, 55, 57, 57n285 69n222, facilities in Jewellery Quarter, 32–34, 65n117, 108–111, 122n167, 186– 194, 196; by keyhole- shaped 65n119; French holders, 43, 44, 51–52, 74, 96, loop on FG2 handles, 48, 55, 109, 122n168, 198, 180; German holders, 58; mass production, 200–203; by link perpendicular to the fnger 22–23; metals for plating, 23, 74–75; MPE hold- ring, 47, 56, 69n222, 111, 123n184, 184, 186, 197; ers, 42; opinions about merits, 22; processes, x, by ring around elegant BMP handles, 28, 57, 32, 34, 41, 51, 65n117, 96, 120n111, 224; thickness 64nn82–84, 107, 122n168; to round link on neck of plating, 223–224, 231, 233n36. See also of German P. Bruckmann & C. holders, 58, Christofe, Charles; Elkington & Co.; gilt-b rass 71nn284–285, 211, 281n234. See also ungilt brass holders; gilt-s ilver holders; gold electroplating; links for chain attachment silver-p lated brass; silver plating fnger rings for securing to owner, 6, 56, 111–112; Elkington, Mason & Company, 67n183, 96 adjustable English, 64n83, 112, 145, 146; adjust- Elkington & Co., 22, 23, 25, 51, 74, 96; patents for able German, 112, 113, 123n189; Chinese, 112, 113; electroplating, 34, 96 dangling from while dancing, 6; English, 56, Emanuel, Harry, 24, 62n39. See also Macrae, 111–113; foliate, 56, 112, 123n187; French, 47, 56, Alexander 68n214, 111–112, 198; German, 58, 71n285, 112, enameled copper (French): analyses, 84, 119n60, 113; knurled BMP fligree, 56, 123n186, 138–141; 222, 230, 231, 249; holders, 43–45, 47, 54, 67n186, wire, 112. See also knurling tool 84, 182–186; process, 84, 119n58. See also cobalt foral pin chain attachment to vase or neck, 14n43, oxide colorants for glassy blue enamel; copper 55, 57, 101, 106–108, 110; English 57, 71n280, 110, colorants for glassy green enamel 122n179; FG1, 46–47, 56, 57; FG2, 50, 56, 111, 198; enameling on gilt brass holders, 84; EHQ, 23, 54, FG3, 56, 111 84, 129; FG1, 180, 182–187, 190, 192–193, 195–197; foral pins for securing fowers, 5; English cotter, FG2, 48, 202–203; FG3, 49, 52, 206–207, 209 19n108, 42, 56, 57, 59, 110, 122nn175–176, 127n6, English high quality (EHQ) holders: catalog, 128; French ball-h eaded, 49, 69n238, 111, 126–132; characteristics, xii, 126; makers and 122n181; Genoese cotter, 59, 110, 122nn175–176; practices, 21–26; materials, 53–54, 75, 117n20; loop- headed French employed for center size and weight, 113–115, 132; subject matter, 7; spikes, 110–111. See also spikes tripods, 98 fowers, 6–9, 14nn51–52, 15n67 English holders: assembly, 97–100; catalog, fy press, 95, 120n97. See also Henry Jenkins & 125–179; characteristics distinguishing from Sons; Robert & Josiah Walsham French holders, 52–57; manufacture, 85–90, Forte, Emilio, 59. See also Genoa, Italy, silver 93–96, 119nn78–79; materials, 53–54, 73–75, fligree holders 81–85, 116–117nn6–10, 125; size and weight, Fossin, Jules (?), 3, 10, 13n18, 14n32 112–116; sliding ring, 5, 14n33; subject matter, Fossin et fls, 5, 13n18, 142n32, 51 6–7, 8, 14–15nn47–59, 15nn61–63, 15nn71–72, fox- and- grapes, Henry Jenkins & Sons registered 42 design, 7, 14n47, 14n55, 29, 30, 34, 35, 65n125, Eugénie, Empress, 3, 9–10, 13n18, 14n32, 43, 118n47. 159–160, 163, 225, 236, 237, 242 See also Museo Napoleonico Frances Jones Poetker (FJP) Collection, viii, ix, 22, Exhibitions. See International Exhibitions 127n1 Frederic Marès Museum, xi, 9, 16n78 French group 1 (FG1) holders: catalog, 180–197; factors and merchants, 24, 31, 39, 41, 62nn30–31 characteristics, xii, 180–181; FG1 #216 subset, 47, Fales, Martha Gandy, xiii 50–52, 68n216, 68nn218–219, 69nn223–224, 196, Fearn, Thomas, 65n119, 67n183 197; LEBRUN mark, 43, 44, 67n187, 191; makers ferns, 6–7, 14n53, 34, 35, 162 and practices, 45–47, 50–51; materials, 53–54, fligree holders (silver): analyses, 223, 230, 232n10, 74; mirrored, 14n34, 185; size and weight, 47, 232n13, 235; BMP fligree, 3–4, 11, 13nn27–28, 68n217, 114, 115–116, 123n192, 123n194, 196 18n100, 22, 24, 26–27, 40–41, 53–55, 63nn58–59, French group 2 (FG2) holders: catalog, 198–204; 75–81, 99–100, 107, 126, 133–141, 138–139n40, characteristics, xii, 198; makers and practices, 223, 235; Chinese, 8, 9, 15n69, 18n93, 60, 71n307, 44, 47–48, 50; materials, 53–54, 198; mirrored, 71n309, 75–77, 110, 218–2 19, 223, 235; fabrica- 14n34, 199–201; size and weight, 114–116, tion, 27, 60, 75–81, 133; Genoese, 8, 27, 58–59, 123n193 71nn299–301, 71n304, 75, 79–81, 117–118nn36–37, French group 3 (FG3) holders: catalog, 205–211; 214–215, 223, 235; history of production in characteristics, xii, 205; makers and practices, Birmingham, 26–27, 63n62, 63n67; Indian, 8–9 , 44, 49–50; materials, 53–54, 205; showstoppers, 15n70, 60–61, 75, 77–78, 216–217, 223, 232n13, 44, 47, 49, 50, 52, 69nn235–238, 69–70nn240– 235; repairs to, 75 244, 115, 123n191, 205–208; size and weight, 47, fnger ring chain attachment, 101–102; by band 49, 114, 115, 123n191, 206–209 PRODUCING POSIES M 261 French holders: assembly, 97–99; catalog, 180–211; Greek key motif, 7, 15n62, 29, 34–35, 38, 41, 62n38, characteristics distinguishing from English, 65n125, 66n169, 87, 88, 156–157, 156n88, 173 52–57; dating, 51–52; manufacture, 43–44, Grinell, William R., 3. See also Irving, Charlotte 90–92, 94–96, 119–120nn85–90; materials, guilloche strip, French, 90, 91, 118n53, 119n86, 53–54, 73, 74, 81–85, 180; milieus, ix–x, 45, 185–186 50–51; size and weight, 112–116; subject matter, 7–8, 15n63, 15nn65–68, 15–16nn72–73 French jewelry, 3 hallmarked holders: English makers and Froment-M eurice, Émile, 13n18 practices, 21–26, 126; FJP collection, 22; Henry Froment-M eurice, F.-D ., 3 Jenkins & Sons hallmarking punch, 31; owner- ship by upperclass women, 2 hand stamps, 56, 85, 119n71. See also Henry Gelston & Treadwell (New York City), 3, 13n26 Jenkins & Sons Genoa, Italy, silver fligree holders: analyses, 8, handles, 54, 56; BMP elegant pattern-i mpressed, 27, 71nn297–305, 75, 79–81, 117–118nn36–40, 28–29, 64n77; BMP regular bud-t opped loop, 214–215, 223, 235; catalog, 214–215; makers and 29, 35, 41, 151–154, 157–159, 170; BMP regular practices, 58–59; size and weight, 116; subject looped leaf, 154, 170–172; BMP regular spade, matter, 8; Twain’s writings, 59 29, 30, 38–40, 160, 160n96, 164, 166, 169, 225, George Unite & Sons, 24, 157n91. See also Unite, 232n18; English hexagonal, 25, 35, 39, 42, George 62n44, 65n125, 68n202, 89, 90, 161–164, 166; German holders: adjustable fnger rings, 112–1 13; English horn, 85, 178; FG1 alabaster, 84, 119n65, catalog, 212; makers and practices, 58, 71n285; 195, 221, 232n4; FG1 copper (enameled), 74, materials, 73, 74, 116n4; size and weight, 116; 84, 117n14, 180, 182–186; FG1 glass, 46, 54, 57, subject matter, 8. See also P. Bruckmann & C. 68n208, 83, 180, 193–195; FG3 horn, 85, 210; gilt-b rass (electrogilded) holders: analyses, 226, FG3 J-s haped, 69n240, 70n241, 208; French 239–240; derived copper/zinc ratios for brass, bone, 48, 49, 85, 119n66, 202, 208, 210, 211; 227–229, 231, 239–240, 242–243, 245, 246; French ivory, 49–50, 85, 90, 91, 180, 188, 209, English, 52, 53, 127, 129, 130, 132, 143–149, 154, 210; French red-d yed ivory, 45, 68n202, 85, 156, 160, 164, 165, 169, 170, 172, 175, 177, 226, 239, 90–91, 180, 188, 208; German silver, 81. See also 241; French, 43, 52, 53, 74, 182–197, 199–204, mother-o f-p earl handles 206–211, 226, 229, 239–240, 242–243; thickness Haussmann, Georges-E ugène, 1, 15n71 of gold, 226, 230–231. See also brass base metal Havemeyer, Frederick Christian, 4 gilt-s ilver holders: analyses, 224–225, 236; Chinese, Havemeyer, Henry O., 4 219, 235; English, 74, 75, 113, 127, 129, 130, 132, Havemeyer, Mary O., 4, 26, 41, 63n67, 98, 100, 133, 149, 157, 176, 224–225, 230–231, 236; German, 58, 134, 134n23 75, 212, 224–225, 230, 236 Havemeyer, William Frederick, 4 glass brooch vases: English, 83, 176; Genoese Havemeyers & Elder, 4 fligree, 215 Henry Jenkins & Sons: copper/zinc ratios for glass gems, beads, and spheres on gilt-b rass vases: brass base metal, 227–228, 242, 244–245; English, 145; French, 43–45, 49–51, 67n194, establishment and manufacturing, 31–35, 69n237, 83, 97–98, 118nn50–51 64–65n109, 65n117, 133, 225; fy press glass handles: French, 46, 54, 56, 57, 68n208, 83, toolmaking, 95; hand stamp, 56, 85, 119n71; 176, 180, 193–195 interactions with Robert & Josiah Walsham, Goa, 9, 15n70, 60, 75. See also Juana of Austria 38–41, 225; patent, 64n109; registered designs, godets d’or, 43, 51, 84. See also pearls, imitation 6–7, 14–15nn53–57, 15n62, 19n108, 30–32, gold electroplating/electrogilding: analyses, 74, 34–36, 38–41, 62n44, 64n91, 65nn121–122, 116–117n9, 230–231, 236, 239–240, 247; facilities 65n125, 66n169, 85, 87–89, 119n71, 148, 149, in Jewellery Quarter, 34, 65n119; plating 151–160, 162–164, 164–165n102, 166, 170–172, 177, thickness, 226, 230–231; process, 96. See also 225; Unity Works factory, 11, 31–32, 33, 40, 41, brass base metal; gilt-b rass holders; gilt-s ilver 65n115 holders; mercury amalgam plating horn. See handles Gorham Manufacturing holders, 3, 13n24, 58, horn-s haped holders, 5, 59, 79–81, 127, 139, 177, 178, 71n290, 213 212, 215, 217. See also cornucopia design grape leaves, grape vines, and grape designs, 6, Howell, James & Company, 24, 62n38, 66n169, 12, 14n49, 15n68, 18, 22, 23, 29, 33, 39, 57, 61n18, 129n12. See also Macrae, Alexander 150–151, 162, 166–167, 170–171, 177, 214, 220. See Hughes, G. Bernard, xiii also fox-a nd-g rapes Hukin and Heath, 25 Great Exhibition, London. See International Hunt & Roskell, 24, 62n39. See also Macrae, Exhibitions: London (1851) Alexander 262 M INDEX Indian fligree holders: 5, 6, 9, 14n45, 15n70, 60–61, lathes, 95; for britannia metal, 95, 179; for spindle 75, 77–78, 216–217; analyses, 223, 232n13, 235; handles, 48, 82 catalog, 216–217; fligree centers, 60; importance Laufer, Geraldine Adamich, xiii of jewelry in India, 60; makers and practices, leather dies, 51, 119n83. See also Marchand, 60–61; materials, 73; size and weight, 116; Edouard subject matter, 8–9 Lebrun, Marc-A ugustin, 43–44, 67n187, 95, 191. International Exhibitions: London (1851), 3, 22, 32, See also French group 1 holders 42, 52, 67n178, 96, 154n85; London (1862), 7, 24, lion-h ead stamps on Genoese holders, 11, 59, 79, 38, 41, 51–5 2, 59, 66n169, 70n265, 79, 129n12, 103, 104, 214, 215 129n15; Paris (1855), 43, 51, 52; Paris (1867), 52, London Assay Ofce, 23 102; Paris (1878), 52 London Exhibition. See International Exhibitions: Irving, Charlotte, 3, 4, 26, 41, 99–100, 133, 138, London 138–139n40 Louis-P hilippe [King of the French], 51 Irving, Washington, 3 Lowell, Mrs. Robert (née Charlotte Loring), 11, Italy, 75. See also Cellini, Benvenuto; Genoa, 18n99, 66n147. See also Boston Museum of Fine Italy Arts ivory (English) holder, 73, 119n67, 174, 179 Lui Jhe Guin, 60, 71n309 ivory (French): dance cards, 180; fowers, 188, 208; handles, 49–50, 54, 56, 68n202, 85, 90–91, 180, 188, 209. See also red- dyed ivory Macrae, Alexander, 22, 24, 38, 62nn38–39, 66n169, 98–99, 129 Macrae & Goldstein, 62n38 James Deakin & Sons, 22, 25, 132 Madras Exhibition, 60–61. See also Indian fligree James Moran & Co., 8 holders Jenkins, Henry, 40–41, 133. See also Henry Marchand, Edouard, 51, 119n83. See also leather Jenkins & Sons dies Jewellery Quarter, Birmingham: business Maria Feodorovna, Empress, 2, 10, 13n14, 17n83. See characteristics, 22; copyright protection, ix; also Alexander III; Olga Alexandrovna; Russia electroplating works, 32, 34, 65n117, 65n119, 96; Mellerio, 41, 66n169. See also Greek key motif; focus of production, 22; Henry Jenkins & Sons International Exhibitions: London (1862) factory, 11, 31–33, 40, 41, 65n115; interactions merchants and factors. See factors and merchants among frms, 38–41; metalworking, 21–22; mercury amalgam plating, 51, 70n254, 74, 96, number of people employed, 22; relationships 120n105; probably on an early French sliding between silversmiths, 23–24; Robert & Josiah ring holder, 96, 180, 182 Walsham workshops, 35, 36 mercury salt cleaning to improve adhesion of plat- Joseph, Barnet Henry, 26. See also B. H. Joseph ing: analyses, 226–227, 231, 241; English silver- & Co. plated brass holders with trace mercury, 116n8, Joseph, Joseph, patent. See B. H. Joseph & Co. 144, 144n53, 157, 159, 167; French silver-p lated Josiah Walsham Company, Providence, 36 brass ornaments with trace mercury pinned to Juana of Austria, 15n70, 60. See also Goa; a gilt-b rass vase, 197, 197n202; mid-n ineteenth Portugal century electroplating guides, 74, 116–1 17n9 mermaids, 7, 15n58, 15n62, 34, 35, 66n169, 158, 164. See also Henry Jenkins & Sons Kenber, Bilgi, xi, xiii, 9 Metropolitan Museum of Art, Costume Institute, Kenber collection: catalog entries for holders, xi; 11, 18–19nn103–104 catalogs for exhibitions, xi, 9–10; countries of middle-c lass women’s ownership of Birmingham origin of holders, 9, 16nn77– 78 mass-p roduced holders, x, 2 Kent, Duchess of, 1–2, 127n5 Mills, Nathaniel (elder), 24, 26, 62n26, 63n65. See Kienlé, Georges, 13n18, 70n271 also Nathaniel Mills & Son King, Stephen, viii Mills, Nathaniel (younger), 14n36, 24, 41, 62n26, Knight, Brian (Bryan), 38, 66n151 62n30, 141, 141n47. See also Nathaniel Mills & Knight & Durant: partners, 38, 66n151; registered Son designs, 30, 31, 38–40, 66n153, 66n169, 89, 148, Mills, William, 24, 62n26 173 Mills Mü ller & Roux, 62n30. See also Mills, knurling machines, 95, 120n102. See also zigzag Nathaniel (younger); Mü ller, Henry machine-m ade decoration mirrored holders, firting (French), 5, 14n34, knurling tool for fnger rings: BMP fligree 95, 112, 45–46, 68n203, 83, 118–119nn53–55, 180, 185, 123n186, 138–141. See also fnger rings 198–201, 211; characteristics, 5, 47, 48, 50, 69nn226–227; paper backing, 83, 185, 201 PRODUCING POSIES M 263 miscellaneous probably English (MPE) holders: 18–19nn104–106, 19nn108–109, 19n111; Genoese brooches, 42, 67nn174–176; catalog, 174–179; holders in, 11, 12, 19n109, 19n111; German holders characteristics, xii, 126; makers and practices, in, 12, 19n109, 19n111, 212, 212nn234–235; Indian 23, 42; materials, 42, 53–54, 67n179, 67n183, 85, holders in, 12, 18n93, 19n109, 19n111; other 174; size and weight, 114, 115, 177; subject matter, countries of origin in, 12 42, 67nn174–176, 174 Moretz, James, xiii Morris, Margaret Antoinette, 11, 18n95. See also Olga Alexandrovna, Grand Duchess, 2, 13n14. See New- York Historical Society also Maria Feodorovna, Empress; Russia mother- of- pearl buttons (Birmingham), 82, 118n42 Olivieri, Antonio, 59, 71n297. See also Campo mother- of- pearl handles: English, 28–29, 54, Ligure 64n85, 81–83, 118n42, 142, 146–147; French, 43, 48–50, 54, 56, 67n186, 69nn231–232, 69n240, 70n241, 81–83, 118nn43–44, 180, 184, 186–1 87, paillons, 45, 74, 84, 117n11, 119n58, 180, 182, 184, 189–192, 196–209; German, 58, 212 186, 230, 231, 249. See also pearls, imitation in Mü ller, Henry, 62n30. See also Mills Mü ller & enamel Roux Palais Galliera, 9, 15–16nn73–74 Musée Cognacq-J ay, xi, 9. See also Kenber Palais Royal perfume bottle, 43; holders with collection glass handles and identical stampings, 194 Musée national des beaux-a rts du Québec, 12, Paris Exhibition. See International Exhibitions: 19n108, 34, 65n121. See also beavers Paris Museo Napoleonico, Rome, xi, 9–10, 43. See also Parkin & Marshall, possible maker of a holder Eugénie, Empress with a partial hallmark, 22, 24–25, 132 Museum of Fine Arts, Boston, 11, 18nn98–99. See patents: See B. H. Joseph & Co.; Elkington & Co.; also Lowell, Mrs. Robert Henry Jenkins & Sons; Sturges, Richard Ford Museum of the City of New York, 4, 10, 17– pattern- impressed sheet: English holders, 28, 54, 18nn90– 93, 129 93, 94, 142–146, 227; French holders, 54, 94, 180, 189. See also patents; Sturges, Richard Ford P. Bruckmann & C., 58, 71nn284–285, 212. See also Napoleon III, Emperor, 2. See also Eugénie, German holders Empress; Haussmann, Georges- Eugène Peabody Essex Museum, Salem: 11, 218n252 Nathaniel Mills & Son, 24, 62n26. See also Mills, pearls, imitation (French): in enamel atop gold Nathaniel (elder); Mills, Nathaniel (younger) paillons (godets d’or) on enameled copper, Native American woman, BMP regular holders, 7, 70n271, 84, 119n61, 184; in glass on, 70n271, 83, 8, 15n63, 29, 41, 66n168, 86, 119n74, 148–150, 225, 118n49, 180; making, 84 237, 242 pebble jewelry and holders, 24, 29, 64nn85–86, 83, Neal, William, 24, 62n38, 129n13. See also Macrae, 97, 142, 147, 147n69 Alexander Pemberton, Samuel, 26 neckbands/neckpieces and collars: English Philadelphia Museum of Art, 11, 18nn100–101 holders 28, 29, 54, 57; French holders 15–16n73, pins. See foral pins 17n92, 43–46, 49, 54, 57, 90–92, 119n87–898, 181 plated holders. See electroplating Netherlands, 16n77. See also Kenber collection Portugal, 9, 15n70, 60, 75. See also Goa; Juana of New- York Historical Society, 10–11, 18nn94–95. Austria See also Morris, Margaret Antionette; Stevens, posy holders, 1. See also bouquet holders John Austin, Jr. Prince of Wales plumes, 7, 15n59, 24, 28, 64n76, Nichols, William, 1, 13n6, 98, 127. See also horn- 128. See also Albert, Prince of Wales; Alexan- shaped holders; Victoria, Queen dra, Princess of Wales; Edward VII nickel silver (copper, zinc, and nickel alloy) hold- prongs: external French pair for attachment to ers: analyses, 221, 222, 229, 230, 244, 245, 247; clothing, 6, 14n44, 191, 191n80; internal English BMP 42, 53, 145, 148, 153, 156; MPE, 42, 53, 174, for securing fowers, 5, 23, 27, 42, 54, 61n19, 178; material, 74–75, 117n17; mixed with other 110–111, 122n178, 127, 127n4, 144, 146, 175 metals, 27, 145; number of people employed in Providence, Rhode Island, 3, 36, 58. See also Gor- Birmingham, 15, 117n15, 233n35 ham Manufacturing; Josiah Walsham Company North American collections, 10–12; American putti. See cupids holders in, 12, 19n109, 19n111; Asian holders in, 10, 17n90; Chinese holders in, 10–12, 19n109, 19n111; English holders in, 10–12, 17n91, 18n94, red- dyed ivory: French 45, 68n202, 85, 90–91, 180, 18nn96–100, 18n103, 19n105, 19nn108–111; 188, 208. See also handles French holders in, 10–12, 17n92, 18n95, 18n101, registration/registered designs in England: 1884 264 M INDEX abolishment of marks for serial numbers, siliceous materials, 83. See also enameled copper; 64n97; Birmingham manufacturers and enameling; glass practices, 23, 29–38, 61n11; British National silver and silver jewelry: cost, 2–3, 73–74; Archives, ix; copyright protection, duration, degradation of dies for, 41, 89; SILVER stamp and violations, ix, 30, 35, 40, 64n99; cost of on Chinese holder, 60; U.S. tarifs on imported registration, 29, 64n96; Henry Jenkins & silver, 3, 13n22, 27, 63n69. See also sterling Sons registered designs, 7, 14nn53, 15n62, silver holders 19n108, 30–32, 34–36, 38–41, 57, 62n44, 64n91, silver- plated brass analyses: copper/zinc ratios 65nn121–122, 65n125, 66n169, 87, 88, 148, 149, derived for English brass, 227–228, 236, 151–164, 164–165n102, 166, 170–172, 177, 225; 242–243; copper/zinc ratios derived for French Knight & Durant registered designs, 30, 31, brass, 229, 231, 246; English holders, 128, 129, 38–40, 66n153, 66n169, 148, 173; registration 144, 145, 147, 159, 160, 163, 165–169, 173, 177, stamp example, 30; Robert & Josiah Walsham 224–227, 229, 236–238, 241, 244–245; French registered designs, 11, 14n54, 16n77, 18n99, holders, 186, 196, 197, 226, 239–240; trace 19n108, 30–31, 36–41, 64n91, 66nn144–149, mercury from cleaning to improve adhesion 66n155, 148, 160, 160n96, 164, 166–172, 225, of silver plating for brass on English holders, 232n18; stamp identifcation, ix, 30–31; submis- 157, 159, 167, 226–227, 231, 241; trace mercury on sion procedure, 30, 37, 39, 40 French ornaments for a gilt- brass #216 subset rings. See fnger rings holder, 226–227, 231, 241 Robert & Josiah Walsham: copper/zinc ratios for silver plating: ASTM standard, 233n36; base brass base metals made by, 227–228, 242–243; metals for, 42, 74–75; process, 96; thickness establishment of and manufacture by, 35–38, of plating, 223–224, 230, 231, 233n36. See also 65n117; fy press toolmaking, 95; interactions brass base metal; silver-p lated brass analyses with Henry Jenkins & Sons, 38–41, 225; sliding ring holders: characteristics, 5; elephant prosecution of Frederick Smith, 40; registered ivory, 42, 174, 179, 179n131; English, 5, 14n33, 42, designs, 11, 14n54, 16n77, 18n99, 19n108, 30–31, 52, 70n273, 174, 179; French, 5, 14nn31–32, 44, 36–41, 64n91, 66nn144–149, 66n155, 148, 160, 49, 50, 52, 67n189, 70nn244–245, 70n273, 180, 160n96, 164, 166–172, 225, 232n18 182, 205, 210–211 Roberts, S., 24. See also Roberts and Belk Ltd. Smith, Frederick, 40. See also Robert & Josiah Roberts & Belk Ltd., 22, 24, 62n42, 130 Walsham Roe, F. Gordon, xiii solder: analyses, 75, 166, 224–225, 237; silver/hard roller- patterned impressed sheet. See pattern- solder, 75, 77, 97 impressed sheet spade handles (BMP regular), 38–40, 160, 160nn95- Royal Ontario Museum, Toronto, 12, 19nn105–106. 96, 164, 166–169, 225, 232n18 See also beavers spikes, securing fowers in: FG1 #216 holders, 5–6, Russia: holders made in, 10, 16n77; Maria 14n40, 47, 54, 68n218, 111, 181, 196, 197, 205; FG3, Feodorovna collection, 2, 10, 13n13; popularity 207, 207n221. See also foral pins for securing of holders in, 10. See also Alexander III; fowers Catherine the Great; Olga Alexandrovna; stag amid foliage, 66n144, 66n149. See also State Hermitage Museum Walsham, Robert State Hermitage Museum, St. Petersburg, xi, 10, 16–17nn80–82, 17nn84–86, 17n88 scanning electron microscopy–energy dispersive sterling silver coupon for calibration, 221–223, 230, X- ray spectroscopy (SEM- EDS) analyses: 231, 234 copper base metal on FG1 enameled handle, 84, sterling silver holders: American, 234; analyses, 240; enamel on FG1 handle, 84, 119n6, 222, 230, 222–223, 230, 231, 234; English, 21, 41, 52, 53, 231, 249; instrument and technique, 221–222, 126, 129, 131–141, 150, 234; German, 212; hall- 231, 232n2; plated holders, 230, 237, 238, 246, marked, 21, 22, 53, 74, 223, 232n8; standard, 222; 247, 249; solder, 75, 237; sterling silver holders, STERLING stamp, 3, 13n24, 58, 71n290, 213 222–223, 234 Stevens, John Austin, Jr., 11, 18n95. See also New- Schwartz, Jeri, xiii, 12, 19n111 York Historical Society Scottish pebble jewelry and holders, BMP, 24, 29, Sturges, Richard Ford, patent for metal sheets 64nn85–86, 83, 97, 142, 147, 147n69 pressed between rollers, 93, 120n91. See also Semper, Gottfried, 58, 71n288. See also German pattern- impressed sheet holders subject matter of holders, 6–9; American, 8; Shenstone & Mills, 24, 62n30. See also Mills, Chinese, 8–9; English, 6–8, 14–15nn47–59, Nathaniel (younger) 15nn61–63, 15nn71–72, 23, 24, 29, 42, 67nn174– showstoppers, FG3, 44, 47, 49, 50, 52, 69nn235– 176; French, 7–8, 15n63, 15nn65–68, 15–16nn72– 238, 69–70nn240–244, 115, 123n191, 205–208 73; Genoese, 8; German, 8; Indian, 8–9 PRODUCING POSIES M 265 Sunnyside, Historic Hudson Valley, 3. See also Victoria, Queen, xiv, 1–2, 9, 15n71, 43, 51, 98, 118n47, Irving, Charlotte; Irving, Washington 126, 127 Sweden, 71n285, 212. See also German holders; Victoria and Albert Museum, 9, 15n72, 42 P. Bruckmann & C. Syratech Corporation, 24. Wallis, George: machinery vs. worker, 32, 65n116; revival of fligree in Birmingham, 26, 63n66 Taft, Helen Herron, 127, 127n1 Walsham, Josiah, 35, 36, 65nn137–138. See also Taft, William Howard, 127n1 Robert & Josiah Walsham T. & J. Bragg, 23, 129n15. See also International Walsham, Josiah (Robert’s son), 40 Exhibitions: London (1862) Walsham, Robert, 35, 40, 65nn137–138, 66nn144– T. Aston & Son, 24 145. See also Robert & Josiah Walsham thistle, 6, 14n47, 144, 159, 160, 163, 169 Warstone Works, 35–36, 65n136. See also Robert tobacco advertisement, 7–8. See also Native & Josiah Walsham American woman Watt, James, 21, 96. See also Boulton, Matthew tripod holders, 5, 98–99; BMP fligree subset, Welchman, Josiah, 36, 65nn137–138. See also 26–27, 99–100, 133–137, 139; English, 14n36–37, Josiah Walsham (to which his name was 24, 26–27, 61n23, 99–100, 128–129, 164; French, changed) 12, 47, 68n215, 98–99, 120–121n128; Indian and Welchman, Robert, 36, 65nn137–138. See also Rob- French copies of English tripods, 5 ert Walsham (to which his name was changed) tussie-m ussies, 1. See bouquet holders Wharton, Edith, 4, 13n30 Tussie- Mussies (Deitsch), 12 Willmore, Joseph, 22–24, 61n17, 127, 138, 138n37 Twain, Mark, 59 wire- loop clips, 6, 14n45, 23, 27, 42, 61n20 Ungilt brass links for chain attachment on FG1 X-r ay fuorescence (XRF) analyses: alabaster, 84, holders, 46, 55, 68n212, 105, 106, 109, 110, 182, 119n65, 221, 232n4; conclusions, 230–231; glass 187–189, 191–193, 195–197 and enamel, 84, 119nn59–60, 230, 231, 245; Unite, George, 23–24, 61–62nn23–24, 157. See also instruments and techniques, 221, 222, 231, 232n1, George Unite & Sons 232n3; plating, 223–231, 236–247; silver fligree, Unity Works factory, ix, 32, 33, 65n115. See also 223, 230, 235; sterling silver, 222–223, 230, Henry Jenkins & Sons; Wallis, George 234. See also mercury salt cleaning for trace upper-c lass women’s ownership of hallmarked mercury holders, 2 U.S. holders: catalog, 213; history and usage, 3–4; importation, ix, 10, 11, 60; makers and practices, Yznaga, Consuelo, 4, 10, 13nn29–30, 18n93 58, 71n290; popularity, ix; size and weight, 116; subject matter, 8. Zigzag machine- made decoration: 95, 102; English holders, 95, 120nn, 101–102, 129, 129n16, 131, Vanderbilt, Consuelo, 4. See also Buccaneers, 161, 168; French holders, 95, 180, 189n170, 191, The 191n178, 192, 193, 197 266 M INDEX WHEN THE LOVELY AND NEWLY CROWNED 18˜YEAR˜OLD QUEEN VICTORIA attended the theater carrying fl owers arranged in a bouquet holder, the new accessory—also known as a posy holder, porte- bouquet, or tussie mussie—became essential for a fashionable woman’s evening dress in England. PRODUCING During the years of her reign (1838–1901), indus- trialization put silver holders within reach of a burgeoning middle class in the U.K. In France, imitation gems and pearls in glass, fl irting mir- rors, and ivory cards with a pencil for scheduling POSIES dance partners were added to gilt-brass holders for a similar clientele. Exotic silver fi ligree hold- ers were imported from China, India, and Italy. These were copied in Birmingham, England, and A TECHNICAL STUDY OF THE exported to America for purchase by the wealthy FRANCES JONES POETKER in New York, Boston, and Philadelphia. Producing Posies features Carol A. Grissom’s technical study and analyses of 239 holders in COLLECTION OF the Frances Jones Poetker Collection, donated to Smithsonian Gardens in 1987. The catalog attributes these and related holders in published international collections to places of their BOUQUET manufacture based on materials, manufacturing techniques, and design detail—even report- ing by whom some were made. This evidence-based study and reference guide accompanied by high-resolution photographs fi lls a signifi cant gap in previously available literature. It not HOLDERS only will serve as a resource for museums and collectors, but also will increase the apprecia- tion of posy holders among collectors, curators, and fashion historians. AT SMITHSONIAN GARDENS CAROL A. GRISSOM has been senior objects conservator at the Smithsonian Museum Conser- vation Institute for 40 years. Highlights of her career include an in-depth examination of the Wright Flyer, laboratory excavation and reassembly of 8,000-year-old plaster statues from CAROL A. GRISSOM Jordan, and a 700-page book on American zinc statues. Smithsonian Scholarly Press https://scholarlypress.si.edu ISBN (online): 978-1-944466-74-9 ISBN (print): 978-1-944466-75-6 This publication is open access and available online from the publisher. GRISSOM PPRROODDUUCCIINNGG PPOOSSIIEESS SmithsonianScholarly Press