Drawing of the Day: Alexander the Circus Pony, 1940-60

Sketch from "Alexander the Circus Pony,"
Phyllis Ginger, 1940-60
The Victoria & Albert Museum

Well, look, it’s Alexander the Circus Pony!  I’m unfamiliar with Alexander the Circus Pony, but if I were a pony I would want that to be my name.

This drawing is by Phyllis Ginger (1907-2005) and was created for the children's story, “Alexander, the Circus Pony.”  This book was Miss Ginger’s primary commission from Puffin books in which the entire book, story and illustrations were her own exclusive creation. Published in 1943, the book was quite popular in Britain and has been reprinted many times.

Here, we can see Ginger’s trademark bright and brilliant watercolor style. Previously, Ginger had been best known as topographical watercolor artist, who donated her talents to the Pilgrim Trust’s World War II “Recording Britain” project.  Throughout her early career, Ginger longed to be an illustrator.  She finally achieved her dream with “Alexander” and, then, illustrated another children's story featuring a horse a few years later, “The Mushroom Pony,” which was written by Joan Lamburn.

A Preliminary Sketch for "Alexander"

Antique Image of the Day: Illustration from 'Beauty and the Beast,’ 1910

She found herself face to face with a stately and beautiful lady…

Scene from Beauty and the Beast
Edmund Dulac, 1910
The Victoria & Albert Museum

This watercolor of a blue fairy drawing back a canopy is signed Edmund Dulac (1882-1953).  Created in 1910, the drawing was intended to accompany text from the story of “Beauty and the Beast”to face page 104 of “The Sleeping Beauty and other fairy tales retold by Sir Arthur Quileer-Couch,” which was published by Messrs. Hodder & Stoughton, London.

Unusual Artifacts: The Sheldon Tapestry Book Cover, 1615

Tapestry Book Cover
Sheldon Tapestry Works, 1615
The Victoria & Albert Museum

Books in general, until recently, were highly-valued objects which were treated with the utmost respect. Most upper class Seventeenth Century households would proudly display and protect their precious books, especially the family Bible. The expensive and intricate bindings of books were often protected with ornate covers made from a variety of materials.

This book cover dates to about 1615 and is constructed of a particularly expensive bit of tapestry. Tapestry, though more costly, would have worn better than the more common embroidery protective covers. The tapestry was professionally made of silk and metal thread and is adorned with biblical scenes.

Made in Warwickshire, England, by the Sheldon Tapestry Works the cover’s front shows a square cartouche depicting “Moses and the Burning Bush,” with the presence of God indicated by the word DEUS which appears in a cloud. A similar cartouche graces the back and shows Jonah emerging from the Whale. A golden star surrounded by a cloud adorns the spine.

Gifts of Grandeur: Queen Alexandra's Christmas Gift Book, 1908

Queen Alexandra's Christmas Gift Album
"Pleasant Recollections."
Britain, 1908
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

A page from the album.
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty
Queen Elizabeth II

In 1908, shutterbug Queen Alexandra, consort of King Edward VII (1844-1925) amused herself—while her husband was doubtlessly amusing himself in other, yuckier ways—by producing an album of her photographs which she intended to be published to raise funds for her favorite charities. 

Though known as “Queen Alexandra’s Christmas Gift Book,” the album was actually titled “Pleasant Recollections.” The leather, gilt-tooled book with relief duo-tone photographs was enclosed in a deep red jacket of suede and velvet. Queen Alexandra personally chose the photos of her family and friends which were to be included in the book from her huge collection of personal photos, most of which she had taken herself.

We see here the Queen’s own personal copy of her book. Ninety of the 137 photos were printed in photogravure (a very detailed intaglio print from a copper plate) and forty-six of them were mounted by hand on the dark green pages, so that those who purchased the photograph book would feel that they had, in fact, the Queen’s personal album.

The book, sold at 2s 6d (12 ½ p) a copy and it was published simultaneously in England and America on November 12, 1908. Huge orders were also rushed to Russia, Denmark, Sweden, Norway, Germany, France. The album proved incredible successful, and, much to the Queen’s pleasure and satisfaction, raised vast amount for over thirty charities of Her Majesty’s choosing.

The Interior Cover
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Unusual Artifacts: A Shagreen Pocket Book and Stylus, 1680

Click image for detail.
Shagreen Pocket Book with Gold Mounts and Stylus
English, c. 1680
This and all related images from
The Victoria & Albert Museum

This Seventeenth Century pocket book is just that—a pocket book. While we tend to think of a purse when we hear that term, this object is actually a small book with a matching gold stylus which would have fitted into a person’s pocket to use as a diary or notebook.

The cover of the book is covered in black shagreen (shark or fish skin) which has been adorned with rounded gold studs. The inside of the cover is lined with a thick paper which has been painted with gold foliage on a purple ground.

Four bands of engraved gold create a holder for the stylus. When first used, this book would have been filled with paper which had been coated in wax. The metal stylus would have left a track or mark in the wax which could be later smoothed out and used again. We know to whom this lovely little item belonged. The end of the stylus is mounted with a seal which depicts the arms of Burnet impaling those of the See of Salisbury. In this case, “impaling” refers to two coats of arms which appear on a shield which has divided vertically into two. Gilbert Burnet (1643-1715) was a prolific politician of the Late Seventeenth Century in Britain and Europe. He was, as many were at the time, staunchly anti-Roman Catholic. This bias caused his dismissal from his post as King's Chaplain under Charles II (ruled 1660-1685). Burnet was then exiled to The Hague in The Netherlands where was appointed as an adviser to William of Orange (1650-1702), and, later William III of England. This led to his commission as the Bishop of Salisbury. Known also as a writer and historian, Burnet is best known for his book “History of My Own Times,” which is ostensibly an amalgam of anecdote, history and autobiography.

Painting of the Day: A Leaf from a Calendar, 1510-60

Leaf from a Calendar or Book of Hours
1510-60
Simon Bening
This and all related images from:
The Victoria & Albert Museum

Dating between 1510 and 1560, this double-sided leaf is thought to be from the calendar of a book of hours.  The sides appear to illustrate, on one side, the month of April, and, on the other, side the month of May.

April depicts music-makers by a canal while in the fields beyond them a cow is being milked as sheep are taken out to graze and stork makes its nest on a chimney pot.

Meanwhile, May shows a scene of typical May Day merrymaking, including a boat trip with musicians, a floral procession and joyful dancing in a town square.

This is the work of Simon Bening, from Bruges, who was one of the most celebrated illuminators of his time. He worked mainly in Bruges. His works often look more contemporary than they really are and he was responsible for many an illuminated manuscript like this one.  

In the late medieval period, Books of Hours, like the one from which this page was taken, were a type of prayer book meant for private use by the worshipful. These portable books consisted of psalms and devotions for the eight canonical hours of the day.

Antique Image of the Day: Illustration from 'Beauty and the Beast,’ 1910

She found herself face to face with a stately and beautiful lady…

Scene from Beauty and the Beast
Edmund Dulac, 1910
The Victoria & Albert Museum

This watercolor of a blue fairy drawing back a canopy is signed Edmund Dulac (1882-1953).  Created in 1910, the drawing was intended to accompany text from the story of “Beauty and the Beast”to face page 104 of “The Sleeping Beauty and other fairy tales retold by Sir Arthur Quileer-Couch,” which was published by Messrs. Hodder & Stoughton, London.

Object of the Day: "Punch and Toby," a Children's Book

I received this beautiful book from my parents for Christmas. Since English books before 1970 often didn’t list a copyright date, it’s difficult to say when the book was published, but it’s the work of London’s Juvenile Productions, Ltd., and likely was written and illustrated in the 1940s. Neither the author nor illustrator is named.

The illustrations are truly stunning. I wish I could have reproduced all of them for you, but I didn’t want to risk damaging the book by opening it wide enough to scan all of the pages.

Entitled, “Punch and Toby,” the story explains that Mr. Punch lives in a steam-lined caravan and travels to seaside towns to entertain children. Along the way, he meets a stray dog and decides to call him, “Toby.” After being given a bath (which Punch calls the worst part) and dinner (which Punch calls the best part), Dog Toby is Punch’s friend for life and they travel about together, riding on roundabouts, visiting the marketplaces, and putting on their show.

I’m especially tickled that Punch greets Toby initially with, “Hullo, Chum”—just like our Mr. Punch/the Duke of Fallbridge from “Mr. Punch of Belgrave Square.”

Gifts of Grandeur: Queen Alexandra's Christmas Gift Book, 1908

Queen Alexandra's Christmas Gift Album
"Pleasant Recollections."
Britain, 1908
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

A page from the album.
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty
Queen Elizabeth II

In 1908, shutterbug Queen Alexandra, consort of King Edward VII (1844-1925) amused herself—while her husband was doubtlessly amusing himself in other, yuckier ways—by producing an album of her photographs which she intended to be published to raise funds for her favorite charities. 

Though known as “Queen Alexandra’s Christmas Gift Book,” the album was actually titled “Pleasant Recollections.” The leather, gilt-tooled book with relief duo-tone photographs was enclosed in a deep red jacket of suede and velvet. Queen Alexandra personally chose the photos of her family and friends which were to be included in the book from her huge collection of personal photos, most of which she had taken herself.

We see here the Queen’s own personal copy of her book. Ninety of the 137 photos were printed in photogravure (a very detailed intaglio print from a copper plate) and forty-six of them were mounted by hand on the dark green pages, so that those who purchased the photograph book would feel that they had, in fact, the Queen’s personal album.

The book, sold at 2s 6d (12 ½ p) a copy and it was published simultaneously in England and America on November 12, 1908. Huge orders were also rushed to Russia, Denmark, Sweden, Norway, Germany, France. The album proved incredible successful, and, much to the Queen’s pleasure and satisfaction, raised vast amount for over thirty charities of Her Majesty’s choosing.

The Interior Cover
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Unusual Artifacts: A Shagreen Pocket Book and Stylus, 1680

Click image for detail.
Shagreen Pocket Book with Gold Mounts and Stylus
English, c. 1680
This and all related images from
The Victoria & Albert Museum

This Seventeenth Century pocket book is just that—a pocket book. While we tend to think of a purse when we hear that term, this object is actually a small book with a matching gold stylus which would have fitted into a person’s pocket to use as a diary or notebook.

The cover of the book is covered in black shagreen (shark or fish skin) which has been adorned with rounded gold studs. The inside of the cover is lined with a thick paper which has been painted with gold foliage on a purple ground.

Four bands of engraved gold create a holder for the stylus. When first used, this book would have been filled with paper which had been coated in wax. The metal stylus would have left a track or mark in the wax which could be later smoothed out and used again. We know to whom this lovely little item belonged. The end of the stylus is mounted with a seal which depicts the arms of Burnet impaling those of the See of Salisbury. In this case, “impaling” refers to two coats of arms which appear on a shield which has divided vertically into two. Gilbert Burnet (1643-1715) was a prolific politician of the Late Seventeenth Century in Britain and Europe. He was, as many were at the time, staunchly anti-Roman Catholic. This bias caused his dismissal from his post as King's Chaplain under Charles II (ruled 1660-1685). Burnet was then exiled to The Hague in The Netherlands where was appointed as an adviser to William of Orange (1650-1702), and, later William III of England. This led to his commission as the Bishop of Salisbury. Known also as a writer and historian, Burnet is best known for his book “History of My Own Times,” which is ostensibly an amalgam of anecdote, history and autobiography.

The Belle Époque Today: The Art of Chad Crowe

What started as a habit of drawing birds in top hats has eventually led to a collection of characters from the Belle Époque, when Paris was the epicenter for art, entertainment, and debauchery. Toulouse-Lautrec, the most celebrated drunken and lecherous dwarf in all of art history, is the most likely inspiration for these drawings. 

                                                              --Chad Crowe

Painter, illustrator, cartoonist and self-proclaimed designer of “giant parade floats”, the appropriately-named Chad Crowe offers up a “a questionable cast of deranged hookbills, lustful parakeets, and a bearded barbet with an Oedipus complex” in his new book, Birds of the Belle Époque.

This delightful romp affords us an entertaining glance into the private world of some very fascinating birds—all of whom are imbued with a palpable sense of aristocratic ennui and an utterly engaging theatricality. Crowe’s brilliant artwork allows each scene to unfold in a series of undulating lines, architectural planes and flirtatious winks at the predominant styles of the Art Nouveau and Belle Époque. At once bizarre and amusing, Crowe’s book is so much a late Victorian curio—taxidermy under a glass dome, complete with preserved beetles and wired foliage of hair and beads. Lift the dome and take a whiff. You know you want to. 

Unusual Artifacts: The Sheldon Tapestry Book Cover, 1615

Tapestry Book Cover
Sheldon Tapestry Works, 1615
The Victoria & Albert Museum

Books in general, until recently, were highly-valued objects which were treated with the utmost respect. Most upper class Seventeenth Century households would proudly display and protect their precious books, especially the family Bible. The expensive and intricate bindings of books were often protected with ornate covers made from a variety of materials.

This book cover dates to about 1615 and is constructed of a particularly expensive bit of tapestry. Tapestry, though more costly, would have worn better than the more common embroidery protective covers. The tapestry was professionally made of silk and metal thread and is adorned with biblical scenes.

Made in Warwickshire, England, by the Sheldon Tapestry Works the cover’s front shows a square cartouche depicting “Moses and the Burning Bush,” with the presence of God indicated by the word DEUS which appears in a cloud. A similar cartouche graces the back and shows Jonah emerging from the Whale. A golden star surrounded by a cloud adorns the spine.

Painting of the Day: A Leaf from a Calendar, 1510-60

Leaf from a Calendar or Book of Hours
1510-60
Simon Bening
This and all related images from:
The Victoria & Albert Museum

Dating between 1510 and 1560, this double-sided leaf is thought to be from the calendar of a book of hours.  The sides appear to illustrate, on one side, the month of April, and, on the other, side the month of May.

April depicts music-makers by a canal while in the fields beyond them a cow is being milked as sheep are taken out to graze and stork makes its nest on a chimney pot.

Meanwhile, May shows a scene of typical May Day merrymaking, including a boat trip with musicians, a floral procession and joyful dancing in a town square.

This is the work of Simon Bening, from Bruges, who was one of the most celebrated illuminators of his time. He worked mainly in Bruges. His works often look more contemporary than they really are and he was responsible for many an illuminated manuscript like this one. 

In the late medieval period, Books of Hours, like the one from which this page was taken, were a type of prayer book meant for private use by the worshipful.  These portable books consisted of psalms and devotions for the eight canonical hours of the day.

Antique Image of the Day: Illustration from 'Beauty and the Beast,’ 1910

She found herself face to face with a stately and beautiful lady…

Scene from Beauty and the Beast
Edmund Dulac, 1910
The Victoria & Albert Museum

This watercolor of a blue fairy drawing back a canopy is signed Edmund Dulac (1882-1953).  Created in 1910, the drawing was intended to accompany text from the story of “Beauty and the Beast”to face page 104 of “The Sleeping Beauty and other fairy tales retold by Sir Arthur Quileer-Couch,” which was published by Messrs. Hodder & Stoughton, London.

Drawing of the Day: Alexander the Circus Pony, 1940-60

Sketch from "Alexander the Circus Pony,"
Phyllis Ginger, 1940-60
The Victoria & Albert Museum

 

Well, look, it’s Alexander the Circus Pony!  I’m unfamiliar with Alexander the Circus Pony, but if I were a pony I would want that to be my name.

This drawing is by Phyllis Ginger (1907-2005) and was created for the children's story, “Alexander, the Circus Pony.”  This book was Miss Ginger’s primary commission from Puffin books in which the entire book, story and illustrations were her own exclusive creation. Published in 1943, the book was quite popular in Britain and has been reprinted many times.

Here, we can see Ginger’s trademark bright and brilliant watercolor style.  Previously, Ginger had been best known as topographical watercolor artist, who donated her talents to the Pilgrim Trust’s World War II “Recording Britain” project.  Throughout her early career, Ginger longed to be an illustrator.  She finally achieved her dream with “Alexander” and, then, illustrated another children's story featuring a horse a few years later, “The Mushroom Pony,” which was written by Joan Lamburn.

A Preliminary Sketch for "Alexander"

Obscure Book of the Day: Princess Elizabeth's Wedding Day

At the age of thirteen, Princess Elizabeth—daughter of King George VI and Queen Elizabeth, and heir to the British throne—met Prince Philip of Greece and Denmark and, even at that tender age, fell in love with the man who was her second cousin once removed through King Christian IX of Denmark and third cousin through Queen Victoria. They exchanged letters for years, and Elizabeth decided that Philip was the man she would marry.

This union was not without opposition. Queen Elizabeth, the Queen Mother, was said to have been violently opposed to the marriage, dubbing Philip as “the Hun,” while Royal advisors worried that the Prince’s ties to German relatives would be problematic in the post World War II climate. The Prince renounced his Greek and Danish titles, taking the style of Lieutenant Philip Mountbatten and converted to Anglicanism. Still, this was not enough to quiet his detractors who then considered him an untitled foreigner without a home or country. Nevertheless, the marriage proceeded.

In 1947, the future Queen married Philip Mountbatten at Westminster Abbey. The Princess—ever devoted to her country—insisted on acting as a normal citizen and used ration coupons to purchase the material used by Norman Hartnell for her wedding gown. Further scandal came when the Princess’ uncle, The Duke of Windsor (formerly King Edward VIII) was not invited to the ceremony—causing her Aunt, Princess Mary, to refuse to attend in protest. Nevertheless, Queen Mary (Elizabeth’s grandmother, widow of King George V and mother of the present King, the Duke of Windsor and Princess Mary) showed her support. And, the nation turned out—as they always do—to witness the Royal wedding.

Queen Mary enjoyed a nice wedding banquet.  No doubt,
she took home a centerpiece. 

A variety of souvenirs were produced—some official, some not—as is always the case. The next obscure book in our series is also from the Pitkin Publishing Company. Entitled, “Princess Elizabeth’s Wedding Day,” it was printed in 1947 to chronicle the event and contains, on the back cover, a message from the Princess to the people of Britain, thanking them for their support. The volume is filled with beautiful pictures, and, in fact, the front cover features a lovely photograph which has been carefully glued on.

Let’s take a look inside…

Shots of the bride.  Here, she's seen in the carriage wearing the Russian Fringe Tiara which
is still a favorite of Her Majesty's. 

Big.  Royal.  Cake.



Walkies.


Of course, we know how the marriage turned out.  Now Queen Elizabeth II and Philip, the Prince Consort and Duke of Edinburgh, they're still married and, presumably, still happy. 

Object of the Day: A Special Biography of Queen Mary, September 1955

Yesterday, I was surprised with a Fathers’ Day gift from Bertie (with considerable help from my father and mother who guided him). I was presented with a copy of a book by James Pope-Hennessy about the life of Mary of Teck that I had seen mentioned previously. This isn’t just any edition of this book. In fact, it’s not, technically, even an edition at all. It’s a pre-publication proof of the book, sent by the author’s agent to a reviewer in 1955. Ostensibly a bound galley without formal cover, the book includes the note sent by the author’s agent, sent to a Mr. M. Charles. The note states, “This may be an important book this Fall. Will you please take a look through it and see what possibilities it has. Pub. Date Sept. Roy M.” The note is written on letterhead which is printed, “Memo from R. J. Montgomery, Thomas Nelson & Sons (Canada) Limited.”

The reviewer to whom this pre-publication copy was sent held onto the copy and later made a notation in his own hand on the frontispiece. F.M. Charles wrote, “James Pope-Hennessy was murdered in his London flat, Jan. 25 – 1974.” How odd and sad.

I began reading the book last night and find it utterly fascinating, fond as I am of Queen Mary. The book begins with a short history of her parents and their relationship with their cousin Queen Victoria. Queen Victoria had a rocky, at best, relationship with Mary of Teck’s mother, Princess Mary Adelaide (known throughout Britain as “Fat Mary”) and stated that she was surprised that the enormously obese woman was able to conceive a child, especially at age thirty-three. The child, known as “Princess May,” was described by Queen Victoria as being bright and engaging, but wholly unattractive, and in possession of a freakishly large head and body which the diminutive Queen found quite alarming. Ha! I’ve always contended that Mary had a large head. Only thirty-one pages in and I know I’m going to love this book.

The book also contains dozens of rare photographs of the Royal Family from before Mary’s birth to her 1953 death as well as the reviewer’s (F.M. Charles) handwritten notations. It’s an interesting bit of history and one that I can’t wait to further dive into. Of course, you know you’ll be hearing about this quite often on Stalking the Belle Époque as I discover new and wonderful things about my favorite deceased Royal.