Silver filigree bouquet holder with tripod base. The vase is formed by five serrated leaf-shaped panels with intricate filigree interiors. Applied to the exterior are filigree flowers and hanging swags of balls and tassels. Two short lengths of chain are attached to the side of the vase. The first attaches to a floral pin, which would be inserted through the vase to pierce the stems of a bouquet in order to secure the flowers inside the holder. The second chain has a filigree sphere-shaped charm hanging from it and terminates in a ring. The ring would allow the bouquet holder to be worn from the finger or on a chatelaine at the waist to free the lady's hands while dancing. The handle of the bouquet holder also serves as a tripod stand. This would allow the bouquet holder to act as a free-standing table or mantle ornament. Three curved panels spring out (one of which is missing), each with a foot at the end to add stability. The legs are each filled with more substantial filigree than the delicate vase. The when the legs were secured together, they acted as a straight, stem handle for the bouquet holder. This type of silver filigree is typical of bouquet holders made in India.
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Flowers used for personal adornment were a popular, almost mandatory, fashion accessory in the nineteenth century. Small bouquets, called nosegays, posies, or tussie mussies were carried by debutantes, matrons, and girls, and they were a popular gift in the mid to late 1800s among friends and suitors. They were typically created in concentric rings of flowers, tightly wound together, and were often tied with ribbon or placed in a bouquet holder depending on the tastes and fashions. By the 1830s carrying small bouquets of flowers in decorative holders was an established fashion accessory of the upper class and royalty of Europe. These small accessories, also known as posy holders, ‘porte-bouquets’, and ‘bouquetiers’ were both decorative as well as useful. By providing a water source in the bottom of the receptacle, they were able to keep the flowers fresh throughout an occasion, and they also protected the wearer’s gloves or clothing from being stained by the plant pigments. Queen Victoria helped popularize the bouquet holder, and she is seen holding one in her portrait “Queen Victoria at the Drury Lane Theatre, November 1837” painted by E.T. Parris. When the fashion of carrying hand bouquets in decorative holders caught the fancy of the wealthy and middle class, holders were copied and mass produced in a variety of sizes, materials, and embellishments. During the second half of the nineteenth century, holders might be commissioned or purchased from the stock at a jeweler or florist shop. Few were made in the United States, instead they were usually imported from Europe and Asia. They were often given as a commemorative memento of historic encounters or events by the royalty and courts of Europe, but they were also used to celebrate and commemorate important, though less prestigious, events of the wealthy and middle class. Bouquet holders reached the peak of their popularity between the 1830s and 1880s, but it began to dwindle as bouquets of long-stemmed flowers (the latest horticultural development) loosely tied with ribbons surpassed the posy bouquet style. They were not totally out of fashion until the “Roaring Twenties,” when such objects became regarded as trivial and useless. The diversity of styles and mechanisms of bouquet holders is evidence of their longevity as a fashion accessory.
