Opera glasses-statement of significance

       Figure 1. The author bought these opera glasses through the Etsy website in February 2021 from an           antique shop selling various types of vintages items. 

Report 2 focuses more on these opera glasses’ significance based on historic, aesthetic, economic and research values (Figure 1).

Regarding historic value, binocular opera glasses became the new trend in the 19^th century Europe after two spyglasses successfully being attached (The College of Optometrists 2021). More bourgeois audiences were attending the theatre, and the details of stage designs and costumes became essential regarding historical accuracy (V&A Museum 2021). This may have increased the need for opera glasses. However, many theatres were relatively small, so opera glasses were not always needed to see the stage (The College of Optometrists 2021). They became a sumptuous accessory or a way to spy on other audience members or performers (The College of Optometrists 2021). 

Essential properties of opera glasses were compactness, portability and fashionableness (Kitchiner 1818). They were considered fairly common when the opera glasses lacked any other decorations regarding the aesthetic value, such as delicate enamels or ivory barrels (The College of Optometrists 2021). However, the mother-of-pearl strips and the golden brass still successfully create a lustrous and sumptuous impression. 

Opera glasses are indispensable in the research of the 19^th-century people’s recreation regarding opera. They are also optic equipment that has encouraged the development of optical techniques. Additionally, the object has also broadened my knowledge of the conservation and deterioration of organic and inorganic materials.

Some well-known manufacturers’ opera glasses were sold at a high price (Etsy 2021). However, this object’s producer remains unknown. Moreover, this object is not complete because three strips of the mother of pearl were dropped and lost. Its case is also lost. Nevertheless, this object is still structurally sound as no cracks or fractures are present on the surface. Each component is solid and tightly attached to the others, though much dust accumulated on it. 

Metal Boat Ornament - Statement of Significance

Figure 1: Object photograph.

The main areas of significance identified in this object can be divided into 3 categories: personal, religious and historical. The personal significance pertains to a relative who received this object as a wedding gift and later had passed it down to her sister. The object was passively part of many family members lives as it was displayed in the living room of two homes and consequently witnessed significant events in their lives.
The religious significance is largely due to its addition of the Arabic metal cast components, that read ‘Allah’ (name of God) and ‘Muhammad’ (name of prophet). It may also be connected to a religious site, Bibi Pak Daman, a mausoleum with graves of the prophet Muhammad’s relatives. The objects boat shape and connection to light can also be seen as religious symbolism. The boat representing how far Islam had spread. The candle stick holder and lamp-like shape of the boat hull making the connections to light. Light symbolism in Islam is extensive, and its importance highlighted multiple times in the Qur’an.

Figure 2: An oil lamp with a similar shape to the boats hull.  (Source: Filmotel 2018).

The historic significance can be seen in Pakistan’s brass handicrafts, this craftsmanship has existed since the beginning of the country itself. The use of brass for decorative purposes is common within Pakistan even today. However, it seems the industry is losing significance as brass objects are becoming too expensive for locals to purchase. In the future this object could become a valuable example of Pakistani brass decorations.

Derby coffee-can and saucer: statement of significance

The proposed dates of the Derby coffee-can and saucer, between 1795 and 1800, suggest the tea and coffee service, of which these objects are part, came into the family’s collection around the same time. John Frederick Sackville (1745-1799) became the third Duke of Dorset in 1769. He was an avid collector and patronised the Sèvres porcelain factory in France. His interest in porcelain could indicate that he was the purchaser of the objects. However, records from the Derby showroom in Covent Garden (London) between 1786 and 1796 allude to the increasing purchasing power of women during this period, especially in the acquisition of teawares (Anderson 2000). In 1790, John Frederick married Arabella Cope, and this gendered dimension could equally imply that she was the principal purchaser. 

The coffee-can and saucer were acquired the late-18^th century culture of aristocratic collecting, consumption and display. The purchasing of tea and coffee services cannot be disentangled from the consumption of imported ‘luxury groceries’ including tea, coffee and sugar. In terms of both use and display, this coffee-can and saucer was the ultimate projection of a refined taste, social status and etiquette. The design of the coffee-can and saucer is Neoclassical, marking a shift from Rococo decoration prior to c.1770. The extensive gold gilding gives the coffee-can and saucer glistening and ephemeral qualities that further reinforce status and wealth, whether on display, or being used.

The significance of the object today is primarily sentimental through its familial associations. The coffee-can cannot be used because of its condition (previous restoration work adhered broken fragments together). Furthermore, the objects remain in rudimentary and dusty storage, somewhat detracting from their aesthetic value. However, the objects hold potential for further research into the methods of manufacture which would be valued by those researching 18^th-century English porcelain production.

(See images on previous blog post)

Verner’s Pattern VII dry card prismatic compass and carry case.

 

Photo showing the leather case and lid of the compass. Accession Number: 2021-01. The leather is stamped with the maker's mark, date and Broad Arrow symbol. The compass is stamped with Verner’s Pattern VII- the style and model number. 

This compass was made in Switzerland in 1915. The case, manufactured from animal leather, was made in 1916. The compass has a hinged lid, with a glass window and hairline sight. The compass body was manufactured from a copper alloy, likely brass, which was cast into molds. The dial was formed from mother of pearl. A rubber friction ring would have been glued to the base of the compass body with an unknown adhesive. A layer of lacquer or black oxide was used to colour the lid of the compass black.

Image showing the base of the Verner's Prismatic Marching compass VII. Accession Number: 2021-01. The production date, ‘Made In Switzerland’, ‘№ 27943’, ‘B-L’, and broad-arrow were stamped into the copper-alloy. 

The carry case is made from animal leather, most likely cow skin. The case is hand sewn with a light brown twisted threat. Both the case and compass are stamped with their manufacturing information and the ‘broad arrow symbol of the British War Office.

opera glasses

These opera glasses could be divided into three parts from the top to the bottom including two circular eyepieces, three flat bridges and two cylindrical lenses barrels plus one circular focus ring (figure 1&2).

The materials of metal components are deemed to be brass from the former owner, and this could be confirmed by their golden colour (Barclay et al. 2020). Die-casting technique might be used for manufacturing. Only 1.5 cm concave lenses and 3 cm convex lenses are used for magnifying the image. The surface of the two lenses barrels is covered with 21 stripes. They could be mother of pearls that contain aragonite because of iridescence with a parallel pattern (Liu 2001). Figure 3 represents the assemblage.

                      Figure 3. The assemblage of opera glasses (drawn by author).

Hollinshead and Kirkham Teacup

  

Figure 1. Front of the teacup. Details shown of the hand painted flowers and cottage. Also shows one chip on the lip of the cup. 

This object is a children’s teacup without a handle made in the 1930’s in Staffordshire, England. It weighs approximately 81 grams and has a base diameter of 6cm and a top diameter of 9cm. As a replacement for Chinese porcelain, this earthenware cup has materials sourced from southern England. There is hand painting under the delft-type tin overglaze of green and blue ‘drips’ from the top edges. The main hand painted design on one side of the cup is of multicoloured flowers surrounding a small cottage and a path. There is no evidence of markings from positioning in a kiln, but as the cup comes from a large manufacturer, it is probable that the cup itself was mass fired and slip-cast based on the symmetry of the sides. 

 

Figure 2. Reverse and bottom of the teacup. Shows the printed stamp makers mark of Hollinshead and Kirkham, Tunstall- ceramic manufacturers. An imprint of dirt around the bottom round edge of the cup visible.  

 

Figure 3. Sketch of teacup, with dimensions.