Visitor´s guide 'Masterpieces in Miniature'

EN

Masterpieces in Miniature

Treasures from the Rosalinde and Arthur Gilbert Collection

05.03.2021 - 15.08.2021 Please return this exhibition guide after your visit. You can consult the brochure online at www.divaantwerp.be

“We had always loved beautiful things and [the Collection] just grew...”

Rosalinde Gilbert, 1987

Arthur and Rosalinde Gilbert at a poolside, ca. 1951 © V&A Archive of Art and Design

MASTERPIECES IN MINIATURE: HIGHLIGHTS FROM THE ROSALINDE AND ARTHUR GILBERT COLLECTION The Rosalinde and Arthur Gilbert Collection is a celebration of beautiful craftsmanship, renowned for its masterpieces in gold and silver as well as its micromosaics. Founded in the United States and gifted to the United Kingdom, it has been safeguarded by the Victoria and Albert Museum since 2008. This is the first time that highlights of the entire collection have been presented as an international touring exhibition.

Arthur (1913-2001) and Rosalinde (1913-1995) Gilbert made their first fortune by launching a wholesale fashion label ‘Rosalinde Gilbert Ltd’ in 1930s London. By 1945, the business was supplying high-end fashion retailers, eventually allowing the Gilberts to retire to California while in their mid-thirties. There, they made their second fortune from US real estate. An interest in finding unusual pieces to furnish their Beverly Hills villa soon developed into a passion for collecting.

They built one of the 20th century’s most comprehensive collections of decorative arts in private hands and, early on, wanted to make it available to the public.

This exhibition offers a unique opportunity for visitors to immerse themselves in Arthur and Rosalinde Gilbert’s world of dazzling masterpieces.

Young Rosalinde and Arthur Gilbert © V&A Archive of Art and Design

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Waxwork effigy of Arthur Gilbert

Dressing table or writing desk

Los Angeles, ca. 2000

Paris, 1690-1700

Wax, resin, hair, glass, paint, leather and various fabrics

Engraved brass and tortoiseshell on a softwood frame

V&A, Loan:Gilbert.1089-2008

DIVA, S75/176

Arthur wished to be immortalised in his most iconic pose: wearing his tennis outfit and speaking on the telephone.

He was renowned for making incessant calls to a network of international art agents, regardless of the time differences, to hunt down the best pieces on the market and enter relentless bidding wars against other collectors.

Little is known about how this type of furniture was used. They are often listed as writing desks, but on paintings, they are just as frequently depicted as dressing tables. The table is finished using a marquetry technique that makes use of two layers of copper on tortoiseshell and tortoiseshell on copper. This technique reached the pinnacle of perfection in the hands of Charles Boulle (1642-1732). The motifs are inspired by ornament prints by Jean Louis Bérain (1640-1711).

2 Chair 19th century Mahogany, gilt-bronze mounts, silk upholstery, foam padding V&A, Loan:Gilbert.1079-2008

The Gilbert’s Tudor-style house in Los Angeles © V&A Archive of Art and Design

Magnifiers

On Sundays, Arthur would inspect his collection at the Los Angeles County Museum of Arts, on display there from 1975 to 1995. He offered magnifying glasses to museum visitors so they could discover for themselves the marvels of the collection in the minutest detail. In the meanwhile he explained the crafts and histories behind his beloved objects.

The fashion business

Little is known about the Gilberts’ fashion business, these being the only two garments traced so far. They were manufactured in London around 1947-1948, a time when UK fashion was responding to the opposing effects of post-war rationing and a desire for Hollywood glamour.

Designers sought to conceive elegant yet affordable garments with clever embellishments. Both evening dress and jacket feature a peplum, a frill around the waist to accentuate the silhouette without using excessive fabric.

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Evening dress with chinoiserie scene

Swallow-tailed evening jacket

London, ca. 1948

London, ca. 1947

Rosalinde Gilbert Ltd

Rosalinde Gilbert Ltd

Silk, embroidered bodice and black skirt with peplum

Artificial silk moiré

V&A, Loan:Gilbert.2-2019

V&A, Loan:Gilbert.2-2014

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“You have to see it to believe, because there is no possible way of discerning between a painting and this.”

Arthur Gilbert, 1998

Micromosaic plaque of a lady and her courtier, Rome, ca. 1880-1900 © Rosalinde and Arthur Gilbert Collection, on loan to Victoria and Albert Museum

THE ART OF ILLUSION Rather than being an art collector, Arthur Gilbert considered himself, ‘a maniac that is collecting micromosaics’. His passion started in 1969, with the acquisition of what were initially believed to be two cracked paintings.

They were, in fact, mosaics made of the most minute pieces of coloured glass he had ever seen. This was a forgotten artform and the Gilberts became its champion, allegedly coining the term ‘micromosaic’ to distinguish the technique from traditional Roman mosaics. They swept the art market in search of examples, from delicate jewellery to substantial tabletops, amassing one of the largest collections in the world and contributing their knowledge towards publications and exhibitions.

Arthur also acquired pietre dure, or hardstone mosaics.

He sought museum-quality pieces as well as lesser examples, and sometimes collected several versions of the same subject to demonstrate the incredible variety and multiple facets of these mosaic crafts.

The Eternal Picture

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The art forms of pietre dure and micromosaics emerged in Italy, with the ambition to create the eternal illusion of a painting in stone or glass. In 16thcentury Florence, the establishment of the Galleria dei Lavori (Grand Ducal Workshops) was to encourage craftsmen to push their technical expertise to create prized masterpieces for their rulers. Meanwhile in 18th-century Rome, the Vatican Mosaic Workshop initiated a program to replace fading church paintings with images made from durable glass mosaics. This led to the technical innovation of micromosaic which was rapidly used to serve a wider clientele.

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Drinking Cavalier panel Florence, 1870-1890 Pietre dure, wood frame

Drinking Cavalier plaque Rome, 1865-1875 Glass micromosaic, wood frame

V&A, Loan:Gilbert.1060-2008

V&A, Loan:Gilbert.1056-2008

VIDEO How was it made? Micromosaics This film depicts a craftsman making a modern replica of a detail from a micromosaic table in the Gilbert Collection. The replica is made using the same techniques as the original, from the preparation of materials to the finishing polish.

Film duration: 4:42 minutes Sicis workshop in Ravenna, 2018

The Flora of two Sicilies, Micromosaic Table, Michelangelo Barberi, Rome, ca.1850 © Rosalinde and Arthur Gilbert Collection, on loan to Victoria and Albert Museum

Painting in glass Mosaics are composed of small, coloured tiles called tesserae. The revolutionary technique for making micromosaics consists of fusing glass tiles together and drawing them into long, slender canes from which even smaller pieces could be cut. In 1775, Giacomo Raffaelli became the first maker to present a selling exhibition of micromosaics. Later, in the 1810s and 1820s, Antonio Aguatti is credited with having developed new shapes, sizes and colours of tesserae, allowing craftsmen to replicate the brushstrokes of a painting.

8 Hawk attacking a cockerel Rome, ca. 1850 Plaque: attributed to Giacomo Raffaelli (1753-1836) Glass micromosaic, purpurine glass and painted wood bonbonniere V&A, Loan:Gilbert.471-2008

9 Cupid riding a shell drawn by winged sea snakes Rome, ca. 1805-1809 and Paris, 1809-1819 Plaque: Antonio Aguatti (died 1846), signed; snuffbox: Pierre-André Montauban (active 1806-1822) Glass micromosaic, chased and engine-turned gold V&A, Loan:Gilbert.474-2008

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This is not a painting

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Depictions of the natural world have always presented the biggest challenge for makers of pietre dure and micromosaics alike. How to capture the delicate shading of a petal, a shell or the plumage of a bird? Here, this micromosaic uses elongated tesserae in innumerable colour shades with the interconnecting joints being blended in with paint to convey the perfect illusion of a smooth picture. The pietre dure uses a foil backing to enhance the translucency of the grapes and pomegranates.

10 Still life with fruits and flowers Rome, ca. 1840-1860 Glass micromosaic, gilt wood frame V&A, Loan:Gilbert.114-2008

11 Still life in Neoclassical style Florence, ca. 1890 Plaque: F. Scappini, signed Pietre dure table-top, gilt-bronze table V&A, Loan:Gilbert.1055-2008

VIDEO Hardstones jigsaws Pietre dure is an abbreviation of commessi di pietre dure, literally ‘hardstone jigsaws’. New colour palettes were developed thanks to innovative stone-cutting, carving and assembling techniques, combining antique stone fragments with new pieces excavated locally or sourced from as far afield as Persia. The birds-and-flower pattern on this cabinet is typical of Florentine production and includes finches as an allusion to the original owner, Daniel Finch (1647-1730), second Earl of Nottingham.

12 Cabinet with birds and flower Florence, ca. 1675 Galleria Dei Lavori Pietre dure, marble, ebony, marquetry of various woods, rosewood, gilt bronze, silk V&A, Loan:Gilbert.73-2008

How was it made? Pietre Dure

This film depicts a craftsman making a modern replica of a 17th-century hardstone panel from a cabinet in the Gilbert Collection.

The replica is made using the same techniques as the original.

Colourful hardstones are cut, shaped and set into black Belgian marble.

Most remarkably, green chalcedony is cut into hemispheres and coated with gold dust to create a pearlescent shimmer.

Film duration: 3:30 minutes.

Paci Workshop, Florence, 2008

Cabinet with birds and flowers, Florence, ca. 1675 © Rosalinde and Arthur Gilbert Collection, on loan to Victoria and Albert Museum.

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Italian Art

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While Florence dominated the pietre dure hardstones market from the late 16th to the 18th centuries, Rome was preeminent for micromosaics during the 19th century. Each craft developed its own canon of images to resonate with their European clientele: fauna and flora, idealised Italian landscapes, and antique Roman sites. Initially produced as bespoke, prestigious commissions, mainly for monarchs, they evolved into standardised plaques for the high-end tourist market, either mounted locally or back at home. These artworks signified that their owner had the financial means and cultural curiosity to have travelled and discovered the wonders of Antique and Renaissance Italy.

Homage to Rome As early as the 1430s, local people lived among ancient Roman ruins out of necessity. The Forum was once a cow field (Campo Vaccino) while other sites were quarried for building materials. This changed from the late 1740s as newly excavated sites and antique ruins became valued for their architectural ingenuity. The Colosseum became the most admired site of ancient Rome and one of the most popular views for micromosaics, with Arthur Gilbert acquiring at least eleven different versions.

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13 Night and Day Rome, 1853 Michelangelo Barberi (1787-1867) Black marble inset with micromosaic

14 The Colosseum Rome, ca. 1860 Glass micromosaic, gold brooch V&A, Loan:Gilbert.135-2008

V&A, Loan:Gilbert.921-2008

15 & 16 The Forum and the Colosseum Rome, ca. 1851 Domenico Moglia (ca. 1780-1862), one plaque signed Glass micromosaic, marble support V&A, Loan:Gilbert.183 & 182-2008

The Doves of Pliny Excavations of antique sites revealed an abundance of motifs on walls and floors which inspired European artists. In the 1st century AD, the author Pliny the Elder described a mosaic of doves at the fountain as the perfect illusion, but it remained a myth until it was rediscovered in 1737. It inspired Roman micromosaicists to create even better versions, and became an iconic scene reproduced in innumerable numbers and formats, of which Arthur Gilbert acquired at least seven different specimens.

17 Plaque Rome, 1800-1825 Glass micromosaic, copper support V&A, Loan:Gilbert.197-2008

18 Bonbonnière Rome, 1815-1820 & Paris, 1819-1838 Glass micromosaic, tortoiseshell, gold, wood V&A, Loan:Gilbert.469-2008

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Religious imagery

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The main purpose of the Vatican Mosaic Workshop has always been to create and protect mosaics in Roman churches. From the 1820s, the workshop also developed products with religious imagery for secular purposes, such as papal portraits to be used as diplomatic gifts, or images of celebrated Roman church interiors for the tourist market.

19 Interior of St Peter’s Basilica Rome, 1899 Augusto Moglia (died 1846), signed and dated Glass micromosaic, slate and metal support, wooden frame V&A, Loan:Gilbert.122-2008

20 Pope Gregory XVI Rome, 1839 Raffaelle Castellini (1791-1864), signed Glass micromosaic, gilt-metal frame V&A, Loan:Gilbert.214-2008

21 Madonna del Dito Rome, ca. 1830-1850 Luigi Moglia (active ca. 1850-1870), signed Glass micromosaic, gilt brass, garnets, turquoise brooch V&A, Loan:Gilbert.153-2008

The Italian countryside Foreign visitors who came to Italy during the 19th century drove the market for depictions of Arcadia, the idealised Italian landscape of shepherds and unspoilt nature portrayed by earlier painters, such as Salvator Rosa (1615-1673). Meanwhile, a taste for traditional regional costume and peasant life conveyed a powerful message in support of the rise of nationalism which shook Europe in the 1830s. In Italy, this movement was known as the Risorgimento.

22 Mercury, Argus and Io Rome, 1800-1825 Glass micromosaic, parcel-gilt metal frame V&A, Loan:Gilbert.211-2008

23, 24 & 25 Doves and costumed peasants Rome, ca. 1870 Glass micromosaic, gold bracelet, pendant and earrings V&A, Loan:Gilbert.139,140,141-2008

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Across countries and centuries

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One of the strengths of the Gilbert Collection is that it comprises micromosaics and pietre dure (hardstones) from many different centers of production. In fact, Arthur insisted that, “it [was] important in collecting [to] have a selection of the different types of art in [any] particular field”. Although, by the 1880s, these crafts had fallen out of favour, due mainly to high production costs and old-fashioned subject matter, the Gilberts acquired such pieces to demonstrate their development across centuries. This vision led to the creation of a unique survey collection which Arthur proudly declared was, ‘very popular with visitors’.

26 Venetian micromosaics: The Tigress Venice, 1880-1910 Decio Podio (born ca. 1860), signed Glass micromosaic, gilt wood frame V&A, Loan:Gilbert.170-2008

This micromosaic, one of the earliest acquired by Arthur Gilbert, depicts an image after a popular masterpiece from around 1780: Tigress Lying Below Rocks by British painter George Stubbs (1724-1806). By the 1880s, Roman mosaicists had lost their prestigious clientele, but Venetian craftsmanship resurged as it developed some fundamental new approaches, keeping up with the latest technologies.

Russian micromosaics The Russian nobility and Imperial family were among the first to be seduced by Roman micromosaicists. They initially imported works such as The Beautiful Sky of Italy table, which was commissioned by Tsar Nicholas I (reigned 1825-1855) after his tour of Italy. Soon they invited micromosaicists to establish workshops in Russia to train a new generation of artists, like Georgi Wekler who was trained by Domenico Moglia and quickly received commissions from the Imperial family from the 1820s.

27 Choir of the Capuchin Church in Rome St. Petersburg, 1825 Georgi Ferdinand Wekler (1800-1861) Glass micromosaic, wooden frame V&A, Loan:Gilbert.877-2008

28 The Cottage Palace in Alexandria Park, Peterhof St. Petersburg, 1843-1850 Georgi Ferdinand Wekler (1800-1861) Glass micromosaic, bronze casket V&A, Loan:Gilbert.220-2008

29 The Beautiful Sky of Italy Rome, 1845 Cavaliere Michelangelo Barberi (1787-1867) Glass micromosaic V&A, Loan:Gilbert.894-2008

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“Without the Gilberts’ love affair with silver, their collection would never have been formed.”

Timothy Schroder, former curator at Los Angeles County Museum of Arts, 1988

Compote and cover, Paul Storr, London, 1820-1821 © Rosalinde and Arthur Gilbert Collection, on loan to Victoria and Albert Museum

SHINE AND SCALE Arthur Gilbert acquired his first piece of silver from an antique shop on Rodeo Drive, Los Angeles, in 1969.

At that stage, he and Rosalinde were attracted by the look of objects to furnish their new home in Beverly Hills, although they rapidly acquired a connoisseur’s expertise. They gained knowledge of the most important makers and developed a keen eye for the array of fascinating techniques and treatments used to embellish silver and gold. To the core of 18th- and 19th-century British silver, they added Russian, European, Indian, and South and North American examples to form a comprehensive survey of gold and silver artworks. The collection demonstrates how silver- and goldsmiths have responded, throughout history and across the globe, to the evolving fashions, tastes and habits of their patrons.

Grandeur and Statement

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Artworks in silver and gold are made to impress, to be admired for their aesthetics, fashionability and value, as well as for their makers’ technical prowess. Such gleaming masterpieces have often been intended as presentation gifts, reflecting the generosity and wealth of the donors while simultaneously honouring the recipient, whether divine or human. Researching inscriptions, monograms, coats of arms, crests and mottos engraved onto these pieces allow long-forgotten names to be brought back to life. These are the stories which Arthur Gilbert cherished and wanted to share.

Presentation gifts Presentation gifts were often imbued with diplomatic, financial or political meanings. They could represent an elegant payment between political powers or mark strategic milestones such as christenings or marriages. These examples recognise military or political achievements. The vase, commissioned by the French Government, commemorates the monumental career of the Marquis de Lafayette, notably during the American Revolution. The gold beaker, worth 20 times more than silver, would have been deemed appropriate for the second richest man of the Russian Empire.

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Beaker with cover and stand, presented to Count Petr Borisovitch Sheremetev (1713-1787), Adjutant-General of the Russian Army St Petersburg, ca. 1760 Johan Henrik Hopper (active ca. 1760) Raised, cast, chased and engraved gold

Monumental Vase, presented to Marie Joseph Paul Yves Roch Gilbert du Motier, Marquis de Lafayette (1747-1834) Paris, 1830-1835 Silver: Jacques-Henri Fauconnier (1776-1839); Model: Jean-Etienne Chaponnière (1801-1835) Cast, raised and chased silver-gilt, gilt-copper, brass and iron structure

V&A, Loan:Gilbert. 26,27-2008

V&A, Loan:Gilbert.2-2008

32 Ciborium with a half-ecu coin Antwerp, 1715-1716 Josephus I Hennekin (active ca. 1667-1720) Cast, raised, engraved, chased and pierced silver-gilt V&A, Loan:Gilbert.98-2008

Although Arthur Gilbert was of Jewish faith and closely involved with Jewish philanthropy, he barely collected any Judaica. He did, however, acquire several spectacular pieces of Christian art, symbols of a powerful church which received and commissioned innumerable pieces for divine worship.

33 Gates from the Church of the Nativity of the Mother of God, Kyiv-Pechersk Lavra Kyiv, ca. 1784 Attributed to Gregory Chizhevski (active ca.

1770-1800) Cast, pierced, engraved, chased silver and silver-gilt, with iron structure V&A, Loan:Gilbert.97-2008

This magnificent pair of gates, made of solid silver, was acquired by Arthur Gilbert at the start of his collecting career, although Rosalinde consigned them to the garage. They came from one of the most preeminent centers of Orthodox Christianity in eastern Europe and were probably a gift from Tsarina Catherine the Great (reigned 1762-1796).

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Renaissance Treasures

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The Gilberts amassed a superb selection of Renaissance treasures, predominantly drinking vessels, made with silver and gold mounts and exotic and precious materials such as nautilus shells or ibex horn, then exclusive to the princely court of Salzburg. These demonstrated the wonders of nature, the technical prowess of the artist, and the culture and prestige of their owners. Arthur chose the exquisite partridge as a heraldic symbol for his coat of arms, designed when he was knighted in 2001.

34 Tankard England, ca. 1600-1658 Malling ware (tin-glazed earthenware) (Kent), raised, cast, chased, pierced and engraved silver V&A, Loan:Gilbert.583-2008

35 Nef cup Regensburg, ca. 1610 Maker’s mark AP in monogram Raised, cast, chased and engraved silver and silver-gilt, painted cold enamel V&A, Loan:Gilbert.67-2008

36 Partridge cup Mounts: Nuremberg, 1598-1602 Georg Rühl (active ca. 1598-1625) Carved mother-of-pearl (south-east Asia), cast, pierced and chased silver and silver-gilt, rubies and emeralds V&A, Loan:Gilbert.6-2008

37 Hawk cup Mounts: Ulm, ca. 1600 Possibly Samuel or Hans Kassborer Carved coconut shell (south-east Asia), cast, chased and pierced silver and silver-gilt, set with semi-precious stones V&A, Loan:Gilbert.61-2008

38 Shell cup Mounts: England or Flanders, ca. 1585 Polished sea-snail shell (south-east Asia), cast, pierced and chased silver-gilt V&A, Loan:Gilbert.58-2008

39 Beaker and cover Mounts: Augsburg, 1751 Johann Jacob Adam (active 1748-1791) Carved ibex horn (Salzburg), raised, cast and chased silver-gilt V&A, Loan:Gilbert.11-2008

Shatzkammer Treasures: Porringer and Nautilus Cup, ca. 1600-1680, Pieter van Roestraten (1629-1700) © Victoria and Albert Museum, London

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Precious beverages

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With the expansion of international trade and the development of European colonies from the 1680s, exotic commodities increasingly appeared in Europe.

Tea, coffee and chocolate were precious beverages which spurred new social occasions. Alongside grandiose dinners, the day became divided into social gatherings for sharing such luxuries, with new vessels invented for storage, preparation and serving such as tea canisters and kettles. Tea leaves were so expensive that canisters were lockable or locked inside wooden caddies for additional security.

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Tea kettle London, 1730-1731 Paul de Lamerie (1688-1751) Cast, raised, chased, embossed silver, wickerwork V&A, Loan:Gilbert.672-2008

41, 42 & 43 Set of tea canisters London, 1747-1748 Peter Archambo (active 1720-1767) Cut and soldered, cast, chased, matted and engraved silver V&A, Loan:Gilbert.686 to 688-2008

Chocolate Chocolate pots are distinguishable by their finials which lift to uncover a hole through which a stick can be placed to stir the thick beverage. In the 1680s, chocolate cups were usually made of Oriental porcelain which remained fashionable throughout the 18th century, although more precious examples from European factories became increasingly popular. They sometimes took the form of a trembleuse, supposedly designed to be spill-proof when used by those with a trembling hand or while travelling.

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Chocolate pot London, 1750-1751 Samuel Courtauld (1720-1765) Raised, cast, chased, engraved silver and carved wood V&A, Loan:Gilbert.677:1, 2-2008

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Trembleuse chocolate cup and saucer Paris, ca. 1720 Japanese Imari porcelain, cast, chased, pierced and raised silver V&A, Loan:Gilbert.872-2008

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Entertaining

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The Gilberts were renowned as generous and lavish party hosts, using their historic silver collection to make guests experience some of the most elegant dining traditions of the past. From the 16th century, silver objects were increasingly popular when entertaining and welcoming guests. As the number and type of social gatherings multiplied, so too did the quantity and range of silver wares, reflecting the evolution of wealth across Europe. Silver became affordable to a greater variety of customers as a new class of urban merchants emerged who had made their fortunes in trades such as slavery and banking, and who closely followed the latest entertaining habits of royalty and the aristocracy in a bid to enhance their own social standing. Although silver items were often melted down and reshaped to suit changing needs and tastes, the Gilberts managed to acquire some rare survivors.

Shine and light Silver has long been used to amplify and reflect candlelight which typically emanated from two main sources in a room. The first, from candlesticks placed on flat surfaces, accompanied by a pair of snuffers to trim candlewicks and prevent too much smoke. The second, from wall-mounted sconces which evolved, from the mid-17th to the late 18th century, to become elaborate ornamental pieces used as part of the interior design scheme.

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Sconce, from a pair, with later coat of arms and coronet for the Barons Foley of Kidderminster London, ca. 1717 Paul de Lamerie (1688-1751) Cast, raised, chased and engraved silver-gilt

Candle snuffers and stand with monogram of John Campbell, 2nd Duke of Argyll (1680-1743) London, 1716-1717 Snuffers: Augustin Courtauld (active 1701-1751); stand: James Fraillon (active 1706-1727/1728) Cast, raised and engraved silver-gilt

V&A, Loan:Gilbert.716-2008

V&A, Loan:Gilbert.593-2008

Candlesticks and candelabra Until the 1820s, candles were expensive commodities and their number was evidence of the financial status of the host. Candlesticks were made as pairs or larger sets, sometimes being augmented by additional branches and called candelabra. The pairs shown here are representative of 18th-century Rococo and 19th-century Regency fashions. They were made by the most celebrated English goldsmiths of their time, who were not simply craftsmen but also acute businessmen, instigating creativity and high quality silversmithing in their workshops.

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Pair of Regency candelabra with abundant acanthus foliage London, 1816-1817 Paul Storr (1771-1844) of Storr & Co, for Rundell, Bridge & Rundell (active 1797-1843) Cast, chased and engraved silver-gilt

Pair of Rococo candlesticks with a hidden peacock London, 1741-1742 Paul de Lamerie (1688-1751) Cast, chased and engraved silver V&A, Loan:Gilbert.653 & 654-2008

V&A, Loan:Gilbert.827 & 828-2008

52 Testimonial presented to George Hay, 8th Marquess of Tweeddale (1787-1876) London, England, 1849-1850 John Samuel Hunt (1785-1865) of Hunt & Roskell (1843-1897); design: Alfred Brown (active 1845-1881) Cast, chased, polished and matted silver V&A, Loan:Gilbert.862-2008 Testimonials represent the pinnacle of British taste for monumental presentation pieces during the time of Queen Victoria (reigned 1837-1901). This exceptionally large piece, weighing 38 kilograms, celebrates the career of the Marquess of Tweeddale, noted for his role as Governor of Madras, India, and compares his military achievements with those of his ancestor who conquered the Danes in AD 890.

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Dining

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As the culinary arts developed in France and across Europe from the 1690s onwards, so too did methods of serving food. Grandiose dinners consisted of an increasing number of courses, each demanding innovative, bespoke vessels such as soup tureens, sauceboats and condiment sets, to be displayed on the table rather than on the traditional buffet sideboard. Meanwhile, wine coolers evolved from being large, floor-standing cisterns holding numerous bottles to individual bottle-holders placed on the table.

53 Wine cooler London, 1794-1795 James & Elizabeth Bland (active 1794-ca. 1800) Raised, cast, chased and engraved silver V&A, Loan:Gilbert.861-2008

54 Soup tureen London, 1806-1807 Paul Storr (1771-1844) for Rundell, Bridge & Rundell (active 1797-1843) Raised, cast, chased and engraved silver V&A, Loan:Gilbert.784-787-2008

55 Table centrepiece London, 1763-1764 Thomas Pitts (active 1759-1793) Raised, pierced and cast silver V&A, Loan:Gilbert.689-2008

The epergne, or table centrepiece, represents one of the most iconic and dramatic items of 18th-century dining silver, especially in Britain. Its baskets would have been filled with delicacies such as fruit or sweetmeats, with some of the smaller baskets being interchangeable for candlesticks.

Elegant luggage sets At a time when travelling was a carefully planned operation, with long-distance journeys taking a matter of weeks and months, silver and gold vessels became an essential part of the elegant luggage set. From the 17th century onwards, toilet services included all accessories required for what was then the first social event of the day: the ceremony of getting dressed. Throughout the centuries, more individual accessories were developed, such as this extravagant 18-carat-gold spirit flask.

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Highlights from a 26-piece toilet service Augsburg, ca. 1695 Tobias Baur (ca. 1660-1735) Glass, cast, raised, pierced silver-gilt and silver, painted enamel V&A, Loan:Gilbert.553, 555, 567, 566, 571-2008

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Spirit flask with ‘CH’ monogram Birmingham, 1878 George Unite & Sons (ca. 1865-1928) Raised and engraved gold V&A, Loan:Gilbert.40-2008

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“[Gold boxes] are actually sensual, SENSUAL, and they have to be handled…”

Arthur Gilbert, 1998

Gold snuffbox with two enamel portrait miniatures, the box: John Northam, London, 1816-1817; the portraits: French, ca. 1800-1815 © Rosalinde and Arthur Gilbert Collection, on loan to Victoria and Albert Museum

POCKET-SIZE PERFECTION The Gilberts became enthralled with collecting objects of vertu, those quintessential elements of the 18th-century world of luxury. Enamel portrait miniatures, snuffboxes, sewing tools and other accessories became expensive trinkets used for everyday elegant manners. The couple started collecting snuffboxes and enamel portraits by chance.

They acquired their first gold snuffbox in 1975, which also happened to be mounted with two enamel portraits. Within just two decades, they had built one the most comprehensive collections of snuffboxes from all the major European goldsmithing centers, including some of the finest-known French and German examples. Meanwhile, their enamel portraits collection offers an historical overview of the medium, often with direct links to other works in the collection.

Many of Arthur Gilbert’s contemporaries remember him appreciatively handling his latest acquisition, gaining immense enjoyment from inspecting the minutest details.

Diplomacy versus Intimacy 34

Due to their technical accomplishment and cost, enamel portraits were mainly produced for diplomatic use. This tradition started with Louis XIV of France (reigned 1643-1715), who issued enamel portraits of himself as gifts for ambassadors and courtiers. The custom became well-established across Europe and Russia, with miniatures increasingly applied to snuffboxes which, being made from a wide variety of materials, offered more options to fit with the nuances of diplomacy. In 18th-century England, however, a wider range of privileged customers cherished enamel miniatures for personal and familial portraits.

62 Boîte à portrait Dusseldorf, ca. 1690-1695 J.M. Khaetscher (active ca. 1690-1715) Painted enamel on gold, original silver-gilt and diamond pendant frame V&A, Loan:Gilbert.294-2008

The term boîte à portrait (French for ‘box with a portrait’) is a mystery since these diplomatic gifts are actually portraits framed by diamonds rather than being boxes. Since the value was in the jewels, it was allowed for the recipient to dismantle and sell them for cash, which makes this example an extremely rare survivor of the period.

Political intentions Presentation snuffboxes with a portrait of the sovereign have long been among the most lavish and expensive of presents, while others were sometimes adorned with a royal monogram. This tradition continued into the early 20th century, until the First World War resulted in the fall of numerous monarchies. In England especially, they could also bear the arms of a city. These so-called ‘Freedom boxes’ would honour a citizen by granting the freedom of the city along with specific privileges.

63 Presentation snuffbox of Napoleon I (1769-1821) Paris and Geneva, ca. 1812 Portrait: Jean-Baptiste Isabey (1767-1855), signed and dated; box: Moulinié, Bautte & Moynier (active 1808-1821) Miniature on ivory under glass; chased, engine-turned and enamelled vari-coloured gold V&A, Loan:Gilbert.456-2008

64 Presentation snuffbox of Queen Victoria (1819-1901) Hanau, 1837 Charles Colin & Sons (active ca. 1825-1870) Diamonds cypher VR (Victoria Regina) below a royal crown, chased and engraved vari-coloured gold V&A, Loan:Gilbert.444-2008

65 Freedom box engraved with the arms of the City of London London, 1809-1810 Alexander James Strachan (active 1799-ca. 1842/1850) Chased, engine-turned and matted vari-coloured gold V&A, Loan:Gilbert.454-2008

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Théâtre de la Guerre, 1757, double-opening snuffbox Possibly Berlin, 1757 Painted enamel on copper, with chased gilt copper mounts V&A, Loan:Gilbert.506-2008 Frederick II, the Great of Prussia (reigned 1740-1786), developed a range of snuffboxes as propaganda tools to celebrate his military prowess during the Seven Years War (1757-1763). Some were painted with his portrait surrounded by the names and dates of different battles while others, such as this version, were painted with detailed maps of conflict zones and troop movements.

Homage to Thomas and Nathaniel Dimsdale: pioneers of inoculation This snuffbox and portrait celebrate the distinguished careers of inoculation pioneers, Thomas Dimsdale (1712-1800) and his son, Nathaniel (1748-1811). The snuffbox was presented to Nathaniel by the Russian imperial family following their successful inoculation against smallpox. Thomas was elevated to Baron of Empire, enjoying an eminent political career and reaching a prominent position in British society. This rather pompous portrait, commissioned in the year of Thomas’s death from the prestigious enameller Henry Bone, celebrates his achievement.

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Portrait of Thomas Dimsdale London, 1800 Henry Bone (1755-1834) Painted enamel on copper, ormolu (gilded-copper alloy) frame

Snuffbox presented to Nathaniel Dimsdale Berlin or St. Petersburg, ca. 1768 Chased gold with diamonds encrusted in silver settings: four diamonds with pink tint and foil backing, the others set over black foil backing

V&A, Loan:Gilbert.257-2008

V&A, Loan:Gilbert.346-2008

Personal treasures Britain was among the most important markets for enamel portraits in the 18th and 19th centuries. Commissioned to commemorate renowned family dynasties or more intimate acquaintances such as mistresses, these treasures sometimes inadvertently lost their correct identification as they passed through family generations. Although engraved at the back, ‘Mr and Mrs Tilson’, evidence shows that these examples are in fact more likely to be of Mrs Tilson and her son-in-law, Sir Robert Deane (ca. 1707-1770), whom her daughter married in 1738.

69 Portrait of Mrs Tilson London, ca. 1720 Christian Friedrich Zincke (ca. 1683-1767) Enamel on copper, paste-set silver-rim frame with agate backs V&A, Loan:Gilbert. 284-2008

70 Portrait possibly of Mr Tilson or his son-in-law, Robert Deane London, ca. 1735-1745 Gervase Spencer (ca. 1715-1763), signed Enamel on copper, paste-set silver-rim frame with agate backs V&A, Loan:Gilbert.283-2008

71 Snuffbox with Elizabeth, Marchioness Conyngham, mistress of King George IV of England (reigned 1820-1830) London, 1810-1812 Portrait: Henry Bone (1755-1834); box: Alexander James Strachan (1774-1850) Painted enamel miniature under glass, chased two-coloured gold on matted ground V&A, Loan:Gilbert.462-2008

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Jewelled necessaire with seven-bell carillon London, ca. 1770 James Cox (ca. 1723 - ca. 1792), signed on dial Chased and cast gold, agate, pearls, paste, clockwork mechanism and carillon V&A, Loan:Gilbert.35-2008

A necessaire was a personal, portable case for everyday tools such as tweezers and sewing items. Such expensive trinkets were known as ‘toys’ in 18th-century England, with James Cox being among the best-known English toymakers. His fame reached as far as China as he embellished his creations with mechanical and musical movements, turning them into delightful topics of conversation.

Forgotten fashions As these precious objects enriched art collections, their initial way of being carried around was lost. Men were rarely depicted with portrait miniatures, unlike women who often wore them as bracelets, chokers or on long chains. Snuffboxes were hidden in the lining of a man’s coat or in large pockets tied around a woman’s waist, safe from thieving ‘pick-pockets’.

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Shawl The Netherlands, ca. 1750-1770 White embroidery, cotton

Women’s dress (Robe) The Netherlands, ca. 1770-1780 Brocaded taffeta, silk

MoMu, T12/960/A116

MoMu, T12/1042/J11

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Men’s waistcoat (Gilet) The Netherlands, ca. 1750-1770 Brocaded Gros de Tours, silver lamé and silver thread

Pocket bag 18th century Quilted fabric, cotton

MoMu, T13/491/G11

MoMu, MVT 81A

Innovations and Fashions The fashion for precious snuffboxes emerged in Paris in the 1700s. Originally embellished with gold elements and later made entirely of gold when French law changed, the boxes allowed goldsmiths to drive technical innovations such as gold chasing, enamelling and cagework mounts. Makers explored different materials in response to the demand for ever-changing fashions from their local and European clientele. While Paris remained the pinnacle of gold-box production until the early 19th century, several European towns flourished and developed their own distinctive styles, often proudly using their own local materials and craftsmen to compete with la mode de Paris.

77 Snuffbox with hunting scene Germany, ca. 1730 Pierced and chased gold, carved mother-of-pearl, enamel, glazed miniature V&A, Loan:Gilbert.403-2008

Early snuffboxes, such as this one, were made from mother-of-pearl, horn or tortoiseshell, as organic materials were considered the best for storing tobacco powder. This approach prevailed in northern Europe until the 1730s, although the boxes progressively became embellished with gold and enamel.

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Subliming the gold

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Chasing – decorating metal from the front – was the prime technique used to embellish gold snuffboxes. Vari-coloured gold was another innovation, produced by adding different metals to create a gold alloy: copper for red; arsenic or steel for blues; silver for greens and whites; iron for yellow. In the early 19th century, the Kirstenstein family developed a virtuoso technique combining chasing and repoussé – decorating metal from the back – to create lively panels in high relief.

78 Snuffbox with flowers and sunburst Paris, 1755-1756 Jean Ducrollay (1710-1787) Gold, rubies and diamonds set in silver and gold V&A, Loan:Gilbert.328-2008

79 Snuffbox with musical and horticultural trophies Paris, 1768-1769 François-Guillaume Tiron (active 1747-1776) Gold V&A, Loan:Gilbert.379-2008

80 Snuffbox with hunting scenes Strasbourg and Geneva, ca. 1826-1831 Panels: Jacques-Frédéric Kirstenstein (1765-1838), signed; box: Bautte & Moynier (1826-1831) Gold panels under glass, cagework gold and enamel mounts V&A, Loan:Gilbert.458-2008

Enamel novelties Enamel decoration was first used by goldsmiths to paint highlights directly onto high-relief gold surfaces. Basse taille was a later technique where translucent enamels enhanced surfaces with low-relief patterns. Eventually, enamelling was applied en plein, or directly onto the plain, low-relief gold ground, to create small vignettes such as flowers, interiors, pastoral scenes or Neoclassical motifs. By the 1760s, new colours were being invented almost every year, enabling enamels to even imitate natural materials such as mother-of-pearl and polished stones.

81 Snuffbox with gallant couple Stockholm, 1759 Andreas Almgren (active 1746-1778) Engraved gold with basse taille enamels V&A, Loan:Gilbert.329-2008

82 Snuffbox with dogs Paris, 1763-1764 François-Nicolas Gérard (active 1754-1790) Chased gold, with enamel painted en plein V&A, Loan:Gilbert.323-2008

83 Snuffbox with putti Vienna, ca. 1780 Gold: Pierre Michel Colas (1763-1781); enamel: Philipp Ernst Schindler (1723-1793), signed Chased, engraved and matted vari-coloured gold, with enamel painted en plein V&A, Loan:Gilbert.364-2008

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Exploring materials

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The 18th century was a constant race for goldsmiths to innovate in techniques and design, with cagework mounts among the most successful inventions. These were skeleton boxes made of gold to which separate panels could easily be fitted to reflect the latest fashions. They allowed goldsmiths to experiment with an incredible array of materials: lacquers, mother-of-pearl, verre églomisé or painted glass, gouache and porcelain as well as cheaper products, such as poudre d’écaille used to imitate lacquer.

84 Snuffbox with Japanese kiji-nuri lacquer Paris, 1774-1775 Pierre Genest de La Guérinière (active 1757-1793) Japanese lacquer panels, chased and vari-coloured gold cagework mounts V&A, Loan:Gilbert.1052-2008

85 Snuffbox with a young girl and a dove Paris, 1776-1777 Pierre-Robert Dezarot (active 1775-1781) Verre églomisé (painted glass) panels, chased and vari-coloured gold cagework mounts V&A, Loan:Gilbert.367-2008

86 Snuffbox in the form of an envelope Ca. 1755 Hard paste porcelain with painted enamel, Meissen Factory, chased gold mounts, probably Dresden V&A, Loan:Gilbert.501-2008

87 Bonbonnière Paris, 1764-1765 Poudre d’écaille and tortoiseshell, applied with vari-coloured gold and silver ornaments, raised, chased, pierced gold mounts V&A, Loan:Gilbert.1033-2008

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Boîte à miniatures

Snuffbox with Justice Choosing Minerva Austrian Netherlands, ca. 1730-1750 Panels: Norbertus Heylbrouck (1700-1762), signed Engraved mother-of-pearl, gold, glazed miniature on lid interior

Paris, 1777-1779 Miniatures: workshop of Louis Nicolas (1716-1794) and Henri Joseph van Blarenberghe (1750-1826); box: Pierre-François Drais (1726-1788) Gouache miniatures under glass, gold, pearls, enamel V&A, Loan:Gilbert.361-2008

The late 1750s and 1760s saw a new vogue for snuffboxes mounted with gouache miniature paintings, notably those by the celebrated and talented van Blarenberghe family. The scene here depicts a royal hunt which took place in 1740 in the royal forest of Compiègne, where a stag had escaped pursuit by climbing onto the roof of a thatched cottage.

V&A, Loan:Gilbert.392-2008

This snuffbox is typical of northern Europe and reflects the extensive network of specialists, sometimes spread across countries, used to produce such objects. Norbertus Heylbrouck was a celebrated engraver of mother-of-pearl and silver, who provided decorative plaques to box-makers in Ghent, Amsterdam, London and Bruges. Without a mark, it is impossible to assert where this box was assembled.

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The Frederick the Great snuffbox Berlin, ca. 1765 Carved chrysoprase, chased, pierced and engraved gold, hardstones and diamonds with foil backing V&A, Loan:Gilbert.412-2008

Frederick II, the Great of Prussia (reigned 1740-1786) was renowned for his obsession with snuffboxes, reputedly owning over 300.

He commissioned, and possibly helped design, this large diamond-set box made of his cherished apple-green hardstone, chrysoprase. This is one of 26 snuffboxes surviving from his collection, and one of five in the Gilbert Collection, the largest privately-held group outside Germany.

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Hardstones Hardstones are a recurring material in 18th-century German snuffboxes. They were almost exclusively sourced locally and variously carved, incised and encrusted to enhance their natural shades and patterns. Johann Christian Neuber (1736-1808), jeweller to the royal court of Saxony in Dresden, created exquisite precious objects which have always been prized internationally. He developed these delicate patterns made of hardstones and gold, combined with the latest inventions in Europe, such as micromosaics.

91 Snuffbox with butterflies Possibly Dresden, ca. 1770 Rock crystal set with translucent enamels, chased, engraved and matted vari-coloured gold V&A, Loan:Gilbert.419-2008

92 Snuffbox with micromosaic plaque of doves Rome and Dresden, ca. 1780 Micromosaic plaque: Rome; box: Johann Christian Neuber (1736-1808) Lapis lazuli, hardstones including agates and jaspers, glass micromosaic, chased and bright-cut engraved gold mounts V&A, Loan:Gilbert.353-2008

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“Not for us but for everyone…”

Rosalinde & Arthur Gilbert, 1987

BEYOND THE GILBERT COLLECTION Before he died in 2001, Arthur Gilbert made it clear that his collection should be kept alive and made available for future generations. This is achieved in a number of ways. New acquisitions, including contemporary pieces, are made in the spirit of the Gilberts, while a conservation program provides a deeper understanding of materials and techniques represented by the collection. The Gilbert Trust appointed a Curator of Spoliation and Provenance to undertake research into possible Nazi looting, the first such post in a British museum. Although it has revealed some troubling histories, an aspect of the Collection which was unknown by the Gilberts, they would undoubtedly have endorsed this new research considering their own Jewish heritage. In addition, both the Gilbert Trust for the Arts and the Gilbert Foundation continue the generous philanthropy and patronage of their founders by supporting important causes among communities in the UK, Israel and southern California.

New generations of artists

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In the 1950s, a concerted effort was made by the Opificio delle Pietre Dure (successor to the Galleria Degli Lavori) in Florence to reinvigorate the art of hardstone mosaics.

Young artists were invited to submit their creations for an exhibition which may have included the examples shown here. To this day, very few workshops know the secrets of this virtuoso craft, and the majority of those focus on conserving old pieces rather than creating new work.

93 Portrait of a woman Florence, ca. 1950-1960 Renato Bresci, Renzo Ciampi & Renzo Biondo (active ca. 1950-1960) Pietre dure (hardstones), wooden frame V&A, Loan:Gilbert.911-2008

94 Sketch of flowers Florence, ca. 1950-1960 Renato Bresci (active 1950-1960), signed Pietre dure (hardstones), gilt and black wooden frame V&A, Loan:Gilbert.918-2008

95 Visual Feast gold box London, 2018 Silvia Weidenbach ‘Moon dust’ (3-D printed nylon), gold, mother-of-pearl and diamonds V&A, Loan:Gilbert.1-2018

Jeweller Silvia Weidenbach combines goldsmithing with 3-D printing technology, using a secret recipe which she calls ‘moon dust’. After several months exploring the collection, she created a series of objects for a display entitled Visual Feast. This box is the pinnacle of her work and the first contemporary commission since the collection arrived at the V&A in 2008.

The making of Visual Feast Silvia Weidenbach was the first artist-in-residence for the Gilbert Collection at the V&A. This film explores her response to the wealth of elaborate and dazzling objects, most notably her creation of this new gold box which, she explains, “embodies the push and pull between the historic and the contemporary that defines the Gilbert Collection”.

Film duration: 3:11 minutes 2018, Silvia Weidenbach

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DIVA’S COLLECTION The areas of interest of the collectors Rosalinde and Arthur Gilbert seamlessly complement the collection at DIVA, the museum for diamonds, jewellery and silver in Antwerp. Of all locations in Europe, Antwerp is the place in which art and luxury products from all points of the compass have come together since the 16th century. In the case of certain pieces from the Gilbert Collection, especially those that originated in Antwerp or Flanders, this exhibition makes it feel like they have returned home. While Hennekin and Heylbrouck aren't perhaps names that immediately ring a bell, their artistic wrought gold and silverwork and engravings were the pinnacle of perfection in the 17th and 18th century.

To the Gilberts, no costs or efforts would have been too much had they been given an opportunity to acquire certain items from the DIVA collection, especially those from the Room of Wonder, to enhance their own collection. DIVA has mapped out an interactive route for you to follow during your visit. Along the way, those objects can be viewed in conjunction with the Gilbert Collection. Partridge and owl blend their voices to sing a 16th-century song, King Leopold II and Queen Victoria hold a cosy family get-together, and a late 17th-century French dressing table or writing desk from DIVA's art storage rooms with marquetry even managed to take up a prominent position in the exhibition.

DIVA'S STUDY COLLECTIONS As passionate collectors, the Gilberts focused on anything they perceived to be beautiful. DIVA's collection policy is also exploring other pathways. DIVA is in the process of bringing together a high-quality collection of diamonds, jewellery and silver that will be representative for the Low Countries. Not only will the collection be used for presentation, but also for research and education. That is why DIVA is preserving and cataloguing archives, drawings, prints and books about all of these topics. A selection from a number of 18th-century designs and ornament prints acquired recently with the support of the King Baudouin Foundation, combines very effectively with the theme of Pocket-size perfection. The drawings and engravings provide an insight not only into the design practices of the time, but also into the way that models, which were influenced by the French style in that period, were disseminated internationally. If you would like more information or would like to know more about this topic, be sure to familiarise yourself with the activities of our richly endowed library.

Library

Collection

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Designs for a bracelet, necklace, earring, brooch and snuffbox France or the Southern Netherlands, ca.1770 Attributed to L. Vander Cruycen (documented 1770-1784) Pen on paper with underdrawing in pencil

Designs for three epaulettes, two brooches and a snuffbox France or the Southern Netherlands, ca.1770 L. Vander Cruycen (documented 1770-1784) Pen on paper with underdrawing in pencil King Baudouin Foundation - Léon

King Baudouin Foundation - Léon Courtin-Marcelle Bouché Fund, in the custody of DIVA, B512/22/10

Courtin-Marcelle Bouché Fund, in the custody of DIVA, B512/22/16

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Plate 4 with lids for (snuff) boxes from the section entitled Orfèvre Bijoutier of the Encyclopédie

by Denis Diderot and Jean le Rond d’Alembert Paris, 1751-1772 Robert Bénard (°1734), after Jacques Raymond Luçotte (ca.1733-1804) Copper engraving on paper

Design for the lid of a snuffbox, showing a representation of Venus offering armour to Aeneas France or the Netherlands, ca. 1711-1733 Attributed to Bernard Picart (1673-1733) Pen on paper with underdrawing in pencil

DIVA, P2018/1/33

DIVA, P2016/1

COLOPHON Masterpieces in Miniature: Treasures from the Rosalinde and Arthur Gilbert Collection. A V&A exhibition – Touring the world with the support of the Gilbert Trust for the Arts – presented at DIVA, museum for diamonds, jewellery and silver, Antwerp, Belgium.

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05.03.2021 - 15.08.2021

Composition Curator: Alice Minter Assistant curator: Jessica Eddie

Project coordination Wim Nys, Leonie Maerevoet

Scenography Exhibition design: Dries Otten, Axelle Vertommen Production: Marie Vandecasteele Realisation: Solution nv Light installation: Chris Pype

Texts Authors: Alice Minter, Wim Nys Editors: An Labis, Leonie Maerevoet, Wim Nys Graphic design: Emma Thyssen

Lenders V&A London, Rosalinde and Arthur Gilbert Collection King Baudouin Foundation, Fonds Léon Courtin-Marcelle Bouché MoMu Antwerp

AG Culturele Instellingen / Erfgoed Board of directors: Nabilla Ait Daoud, Yolande Avondroodt, Lebuin D'Haese, Omar Fahti, Luk Lemmens, Bartold Maréchal, Koen Palinckx, Tatjana Scheck, Annelies Thoelen Management board: Yannick Bochem, Lies Buyse, Isabelle Hernould, Milan Rutten, Wim Van Damme

DIVA Team Director: Eva Olde Monnikhof Security: Marc Brosens, Annemie De Meester, Walter Geldolf, Gert Govaerts, Vanessa Gruda, Maria Janssens, Raf Lippens, Ronny Mewis, Marianne Scholten, Ilse Van De Weyer, Henk van Genderen, Sven Wendrickx Library: An Labis, Giacomo Visini Collection and research: Inge Cloetens, Carl de Smit, Wim Nys, Kristina Valiulis, Vincent van Beek, Ann Verbecque Communication and public activities: Els Crollet, Suzanne de Lange, Tom Iriks, Leen Thielemans Front desk: Katelijne Decraene, Maaike Delsaerdt, Raphaël Lauwers, Soun Liekens, Lieve Van Looveren Organisation and public relations: Eduard Backelant, Kelly de Rybel-van Campenhout, Stéphane Keersmaekers, Martine Nieuwenhuysen, Danielle Serré, Wim Verhulst Exhibitions: Leonie Maerevoet, Catherine Regout, Marie Vandecasteele

With special thanks to V&A Touring Exhibitions, V&A Publications, Tessa Murdoch, Charlotte Johnson, Wim Mertens, City of Antwerp - Management and Conservation team, all volunteers and interns

With the support of

Images © V&A, DIVA © 2021 DIVA for this publication, all rights reserved Publisher: Eva Olde Monnikhof, director DIVA, Gildekamersstraat 9, 2000 Antwerp Copyright registration: D/2021/14.608/5 Disclaimer: While DIVA has made every effort to acknowledge all copyrights in accordance with copyright law, anyone who believes that an omission has occurred should contact the publisher.

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Masterpieces in Miniature Treasures from the Rosalinde and Arthur Gilbert Collection.

A V&A exhibition – Touring the world with the support of the Gilbert Trust for the Arts – presented at DIVA, museum for diamonds, jewellery and silver, Antwerp, Belgium.

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