Four-sided silver posy holder. The vase is composed of four symmetrical panels designed to appear like a stock of wheat. The delicate threadlike silver grows sinuously from a central shaft each ending in a tendril. Then intricate features are encapsulated in a thin silver lip that domes at the top. A chain and pin extend from the center of the holder. This pin would be pushed the vase, thus piercing the stems to keep them in place. The handle of the bouquet holder is a straight-shafted ending in a round ball. It is formed by two chased wheat stalks that extend up the handle and is repeated at the four lower corners of the bowl of the vase. A chain and ring are attached to the ball at the end of the shaft allowing the bouquet holder to be worn about the finger or on a chatelaine at the waist to free the lady's hands while dancing. Wheat was a popular motif at the time and symbolic the harvest, bounty, fertility, and the Resurrection. Typically associated with autumn, this may be indicative of the time of year or the occasion which it commemorated.
Label Text:
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.
