Precious Time: The Lilies Lantern Clock, 1650

Lantern Clock of Silver
David Bouquet, 1650
The Victoria & Albert Museum

Lantern clocks such as the one pictured here were first developed in England in the 1620s. The name “lantern” is thought to have come from the word “laton” - meaning brass - as most of these timepieces featured brass cases.

These clocks were always driven by weights and were made to stand on a bracket or to hang on the wall.

This clock is exceptional in that it is the only known lantern clock with a silver, and not brass, case. The dial plate, chapter ring, alarm disc, side doors and pierced silver gallery are all comprised  of silver. Because of the unusual medium, we can only assume that this clock was a special commission for a wealthy patron from David Bouquet, a French immigrant who was admitted to the Blacksmiths' Company in 1628.  Bouquet joined the Clockmakers' Company as a founding member in 1632.  He was known for his fine engraving—work which we can see nicely here.  The front of the clock is engraved with pinks, tulips, lilies and other flowers.  Meanwhile,  above, an openwork gallery is surmounted by pierced floral crestings with vases at the corners.

The clock dates to about 1650.

Painting of the Day: A Portrait of Mary Stuart, 1804

Mary Stuart
Denis Brownell Murphy, 1804
The Victoria & Albert Museum

Mary Stuart (1542-87) succeeded to the Scottish throne in 1542. She was only six days old at the time. Mary’s life wasn’t a whole lot of fun after that. She had some family issues, you could say. She had a rocky relationship with her cousin, Queen Elizabeth I, and, also had some troubles with her husband for the one year that she was Queen Consort of France. Battles for the Scottish throne forced Mary flee to England in 1568. She had asked Elizabeth I for sanctuary and Elizabeth said, “Sure, honey. Come on over.” But, you see, Mary had already claimed Elizabeth’s throne as her own, so by the time she asked to “crash on Elizabeth’s couch,” Elizabeth was thinking that perhaps her cousin was a threat. So, by the time Mary arrived in England, she was effectively a prisoner of the English Queen. This ended with Mary being was executed in 1587, having been found guilty of plotting to overthrow Elizabeth.

Good times. 

This attractive enamel miniature depicts Mary Stuart—centuries after her death. It was made during a time in the Nineteenth Century when artists and jewelers were combining their skills and remembering the Seventeenth Century notion that enamel lasted much longer, and without fading, than oil paint. It’s the work of Denis Brownell Murphy who painted a series of images illustrating the lineage of the House of Stuart, beginning with Mary Queen of Scots. Mary is shown wearing a red embroidered dress with a high ruff, a gold cap and a cross at her neck. The frame is papier-mâché with ormolu mounts formed to resemble shells and a crown.

Mastery of Design: A Doll's Earrings, 1690-1700

Earrings made for the Lady Clapham Doll
England, 1690-1700
The Victoria & Albert Museum

This set of mismatched earrings belonged to a doll.  The Lady Clapham doll--the be exact.  The Lord and Lady Clapham Dolls were made in the Seventeenth Century for the Cockerell Family--descendants of the famed diarist Samuel Pepys (1633-1703) who first recorded Mr. Punch's presence in Covent Garden.


The dolls were outfitted with complete wardrobes and furnishings befitting full-size nobility.  Among Lady Clapham's accessories were these earrings.  The stud is made of brass and backed in silver while the more formal drop is a paste set in a silver mount.

The Home Beautiful: The Thomas Risley Doll's House, 1889

Doll's House
Assembled in 1889 by one Thomas Risley
Possibly from a kit by an unknown model co.
Click to enlarge the image
The Victoria & Albert Museum

Made by Thomas Risley in 1889 possibly from a kit, this villa puts me in mind of Queen Victoria’s Osborne House, though it is a doll’s house. This beauty is rendered in the style of a brick house which would have been quite the fashion about 1860—with a glass conservatory and coach house on each side.

When we hear the words “doll’s house,” we automatically imagine that this was made to be a child’s plaything. But, not. This was not for a child. It’s far too fragile. This was meant as a collectible pursuit and a hobby for an adult, and quite probably for a male with an interest in architecture and design.

Made of wood, it is painted a deep cream, with a striped yellow and white awning over the front entrance. The coach house has been made to look as if it is a brick structure, and the conservatory is constructed of real glass. A set of railings with two gates run around the front of the house. 

Gifts of Grandeur: The Gustavus III of Sweden Box, 1751

The Gustavus III Box
Swedish, 1751
The Victoria & Albert Museum

We’ve looked at a lot of pretty boxes over the past few years and a half. Here’s one more. This enameled gold box is set with a miniature in watercolor on ivory under glass of Gustavus III of Sweden (1746-1792), surrounded by moonstones.

On the base, a miniature of a double-hulled paddle-wheeled ship has been mounted. On the front, a view of a harbor with warships is displayed. The harbor has been identified as the Swedish naval port of Karlskrona. The hinge side of the box features a scene of a fortification which has been identified as Sveaborg, the Swedish fort which is now part of Helsinki. The box’s ends are also mounted with watercolors on ivory of a Swedish gun barge on one side, and, on the other, a Swedish frigate.

King Gustavus III of Sweden presented this box to Patrick Miller of Dalswinton (1731-1815)—a British banker, inventor and patron of the poet Robert Burns, no earlier than 1791. That’s the date the box was made. King Gustavus III died in 1792 after enduring an infected wound following an assassination attempt at a masked ball. How very Pine Valley-ish.

The box was given to Miller after he offered his double-hulled ship with a paddle wheel to the King. This ship is depicted on the base. The ship--the paddle turned by manpower-- became known in Sweden as “the British sea monster.”

Mastery of Design: The Edward East Clock Watch, 1645

Clock Watch
Edward East, 1645
The Victoria & Albert Museum

Beautiful and functional, this clock-watch strikes the hours and also has an alarm mechanism. The back plate is signed “Eduardus East Londini.”

Edward East (born 1602, died around 1697) was, in 1660, appointed Chief Clockmaker to King, Charles II (ruled 1660-1685). He enjoyed a large and thriving business until 1697, when he may have died. It has, however been noted, that he never really wanted to be a clockmaker and only entered the profession reluctantly.

Despite his rumored resistance, he talent in the profession is undeniable as evidenced by the

finely engraved naturalistic flowers on the reverse of the case. These are in the style of the prints published for the use of engravers and enamellers by Jacques Vauquer (1621-1686) in Paris.

King Charles I was always fascinated by mechanical objects, and also enjoyed making gifts of them. It is thought that this watch was made for the King who gifted it to his sister, Elizabeth, Queen of Bohemia to, in turn, gave it to Gilbert Spencer in 1661. 

Painting of the Day: The Stray Kitten, 1835

Click Image to Enlarge
"The Stray Kitten"
William Collins, 1835
The Victoria & Albert Museum

William Collins (1788-1847) a student of the Royal Academy of Arts quickly became a celebrated and fashionable painter whose landscapes and rustic genre paintings (especially those of children—a favorite subject of Collins) were eagerly collected. The art-buying public gobbled up Collins’ scenes, drawn-in by his ability to convey emotion and feeling without being overtly sentimental. Prints created after Collins’ paintings were big sellers. Collins remained popular even after his death due, in large part, to the loving biography written by his equally famous son, author Wilkie Collins.

Here’s one of Collins’ typical works. This one is the second version of the same scene. The original was commissioned by one Mr. Holden and first exhibited at the Royal Academy in 1833. This 1835 version is nearly identical to the original painting. Since the original had been so well-received, Collins knew he had a hit. However, Mr. Holden was not keen on continuing to exhibit the original version, preferring to keep it in his own collection. And, so, Collin’s created this second canvas to display at the Royal Academy. I don’t think anyone really ever noticed the difference. 

Called “The Stray Kitten,” (happy kitty, sleepy kitty, purr, purr, purr)  both versions of the painting drew large crowds who were attracted to its easily-relatable theme and content. In May of 1833, “The Athenaeum” critic wrote of the original version of the painting that it was, “in his best manner; it is a picture that many will covet, for it cannot but be felt by all.”

Painting of the Day: A Portrait by Frederick Cruickshank

Portrait of a Lady Seated in an Armchair
Frederick Cruickshank
England, 1830
The Victoria & Albert Museum

Frederick Cruickshank (1800-1868) was an English painter who is often confused with the other notable Cruikshanks (George, Isaac and Isaac Robert), however, there’s no obvious relationship and the names are spelled differently.

While the “K with no C” Cruikshanks are best known for their sociopolitical, satirical and theatrical drawings, Cruickshank (with an extra C) was known for his portraiture. This portrait of an anonymous subject is an excellent example of Frederick Cruickshank’s work. Here, we see a rather morose woman in a room adorned with musical accoutrement. The sitter’s identity has never been deduced, but there are some curious clues in the composition which hint to her situation. There’s an abandoned pair of men’s gloves on the floor—perhaps a suggestion that she has been cast aside by a husband or lover. Furthermore, a prominent bust on a pedestal resembles any of a series of busts made by Sir Francis Chantrey of engineer and steam engine innovator, James Watt. Does this mean that this woman is a member of the Watt family? Is she a relative from the Campbell family?

We will never know who she is. We know only that she is surrounded by beautiful things arranged in an intentionally peculiar way. An expensive guitar and piano indicate wealth, while the cut flowers on the mantel are arranged in an ice-bucket—a signature of an individual style.

And, that’s the beauty of this Cruickshank’s work. He was known to be able to say quite a lot about his sitters without identifying them by name and by only including unique attributes.

This work of watercolor and body color was painted in 183o and exhibited at the Royal Academy in 1831 and Cruickshank was careful not to reveal the identity of the sitter by calling the picture simply, “Portrait of a Lady Seated in an Armchair.” 

Figure of the Day: John Liston as “Paul Pry,” 1820-29

John Liston as Paul Pry
1820-1829
The Victoria & Albert Museum

This Staffordshire figure, made in the 1820s, depicts John Liston (1776-1846), considered one of the leading comic actors of his day. The figurine shows Liston in character as “Paul Pry” in the play of the same name. This was one of the actor’s most famous roles and, therefore, this is one of several different figurines of Liston as Pry, the nosy and interfering star of the comic play by John Poole, which were produced in the 1820s—each modeled after contemporary engravings. 

Liston made the annoying character seem quite charming, somehow. The play enjoyed considerable success and, even, introduced several of the character’s catch-phrases into the popular vernacular. By 1825, people were quoting “Pry,’ with: “I hope I don't intrude,” “Just dropped in,” and “It's nothing to me,” with considerable gusto, and, soon, the name Paul Pry became a colloquial term for a busybody.

Print of the Day: Mr. Punch's Fancy Ball, 1844

Click image to enlarge.

Mr. Punch's Fancy Ball
Unknown Origins, 1844
The British Museum

The oversized comic scene shows traditional Punchinello characters gathered for a fancy ball and dance. The engraving is printed on two folding sheets and dates to 1844. We’re not sure who produced this wood engraving. Though the title is printed along the bottom, there’s no mention of artist, engraver or publisher. Even the date is not printed, but rather was added later in pencil.

Masterpiece of the Week: “The Fairytale,” by James Sant, 1845

The Fairytale
James Sant, 1845
The Walker Art Gallery, Liverpool

A favorite painter of Queen Victoria’s, James Sant enjoyed painting landscapes, but was better known as a portrait painter. This member of the Royal Academy was welcomed into the most prominent homes in England, including the Royal residences, where his prestigious sitters were delighted by his beautiful canvases and marveled at his exceptional work ethic. The collections of many of England’s stately homes include portraits and landscapes painted by Sant.

Every so often, Sant combined his two loves—landscape and portraiture—into genre paintings, domestic scenes and historical or literary groups with strong compositions and delicately painted figures. He especially thrilled in painting mothers and children. One of his more famous paintings is a portrait of a mother and child in a allegorical composition entitled “The Fairytale.” 

Now housed in the Walker Art Gallery, Liverpool, the painting is at once tranquil and tender as well as urgent and mysterious. On the surface, it is simply a scene of a mother telling her young child a fairytale, but look closer. This is a study of Victorian-era ideals. Examine the painting and see what it says to you. 

Click on the image below for a super big copy:

The Home Beautiful: Pochoir Furnishing Fabric, 1925

Click on image to see a pink spaniel.
Furnishing Fabric, c. 1925
The Victoria & Albert Museum

Made in Manchester, England, around 1925 by Tootal, Broadhurst, Lee & Co, this furnishing fabric was designed by George Sheringham. The repeat of the material depicts a couple attired in Eighteenth Century court costume. Their companion is a pink spaniel. 

Such fairytale-inspired scenes were popular in the 1920s. This one borrows its theme from a series of Italian fashion plates which were made by with pochoir stencils.

The Home Beautiful: A Silver Snuff Grater, 1700

Silver Snuff Box with Built-in Steel Grater, 1700
Made in Britain
The Victoria & Albert Museum

A box with a hinged lid and two compartments, this snuff grater was designed to hold a block of compressed powdered snuff in the smaller compartment while the larger compartment, fitted with a perforated grater, would have held the grated snuff powder. The lid was made to close very tightly—an essential state for keeping snuff dry and sniff-able. 

Boy, but that just sounds like terrible stuff.  Nevertheless, it was quite popular and it made for some attractive containers and tools like this one.  The lid of this grater is engraved with the monogram “HE” for the Edmonds family of Yorkshire, and with the family crest of a three-masted ship in full sail.  It was made around 1700.

Oddly enough, snuff, and tobacco in general, was thought to have some handy medicinal uses.  Aside from being addictive and completely ruining one’s nasal respiration, I can’t see what else it could do.  But, again…we do have some lovely containers left behind from this revolting habit.  

Antique Image of the Day: The old goat and young kid- or the Queenborough-novelist, 1798

Click on the image like a spider on a fly.

"The Old Goat and the Young Kid"
Fores, 1798
The British Museum

This satirical print dates to 1798. Entitled “The Old Goat and Young Kid—or the Queenborough-Novelist,” the print was published by S W Fores though for a long time it was attributed to F. Sansom.

We see here a peer on the front steps of his Piccadilly house. He’s leering at a busty girl through a double spy glass. The girl, a country lass, is with her yokel father who is being solicited by a bawdy older gal. She says:

"It’s very lucky I met with you my honest Man if she behaves well she shall be promoted to the service of a Duke.”

He responds, "Very lucky indeed I'se Woundily Obliged to your Ladyship. My Dame always said as how Bet was cut out for Zarvice of your great Volkes."

A delivery man looks up at the leering Duke and says, "Ah! I knew he'd dart out like an Old Spider at a Fly.”

Unfolding Pictures: The Emily Beauclerk Fan, 18th C.

Click image to enlarge.
Hand Fan
French or British, Eighteenth Century
Watercolor on paper leaf with ivory sticks and guards.
The Victoria & Albert Museum

In the Seventeenth and Eighteenth Centuries, a variety of hand fans were imported from the East into Europe. China exported a vast array of fans into England and Europe and, soon, the Chiense style became quite fashionable for hand fans. European artists strove to emulate these Chinese fans in order to keep local business going. This fan, made in the Eighteenth Century, probably comes from either Britain or France and is a clever take on the Chinese style which was growing in popularity at the time.

With expertly carved and pierced ivory sticks, the fan sports a paper leaf which has been hand-painted with a watercolor Chinoiserie landscape. However, instead of depicting the usual Chinese figures in Eastern dress, the men and women in the scene are show in fashionable European dress. Their faces, nevertheless, are meant to look Asian. One of the figures, a woman, is shown holding a paper fan with a floral pattern in pink which nearly replicates the flowers which have been painted on the reverse of the leaf. 

The fan was donated to the V&A by one Emily Beauclerk, its last owner.

Pets of the Belle Époque: “A Girl with Dogs” by Charles Burton Barber, 1893

Girl with Dogs
Charles Burton Barber, 1893
The Lady Lever Art Gallery
Liverpool

A popular subject matter of the late Nineteenth Century was the sentimental portrait of a child and his/her pets. Near the end of his life, painter Charles Burton Barber painted several such paintings, not so much out of a deep love for the subject, but because he knew they’d sell. And, sell they did.


Soap magnate Lord Leverhulme purchased this painting in 1901 for the purpose of using it in advertisements for Lever Brothers soap. The image of the little girl projected an innocent quality as she struggled to carry two puppies in her skirts while their nervous mother and sibling look on. As was often the case with Lord Leverhulme, he purchased the painting for business, but kept it for pleasure. It still resides in the Lady Lever Art Gallery in Liverpool. 

History's Runway: A Seaside Dress, 1872

Seaside Day Dress
England, c. 1872
This and all related images from:
The Victoria & Albert Museum

Inspired by the classic sailor suit, this day dress was made in the early 1870s as a sporting outfit to be worn for a day at the seaside—walking or boating. Constructed of easily-laundered (by Victorian standards) cotton, the outfit is meant to be practical without sacrificing style.

A hip-length jacket with a square collar is finished in scarf ends. The overskirt boasts patch pockets with another pocket in the seam. A stitched bow adorns the belt. Unlined, the ensemble would have been ideal for a warm day.  Bone buttons offer a charming contrast to the combination of medium blue and ecru stripes and the rich, deep blue of the finish-work.

It was made in the United Kingdom, likely in London. Few such example of sporting outfits of this period remain. Though the materials were durable, these types of ensembles were more quickly consumed due to the nature of their use.

You'll see that, as was the style of the time, this was worn with a bustle beneath the dress.  The skirts are shorter than would have been acceptable for city-wear, but this served to keep the hem from dragging in the sand.  

Gifts of Grandeur: Edward Burne-Jones' Marriage Piano, 1860

"[I] lived inside the pictures and from the inside of them looked out upon a world less real than they."

--Pre-Raphaelite artist Edward Burne-Jones, in a letter to May Gaskell

Piano
Frederick Priestly, 1860
Painted panels by Edward Burne-Jones
This and all related images courtesy of the Victoria and Albert Museum

The name Edward Burne-Jones immediately puts one in mind of the Pre-Raphaelite Brotherhood and theatrical images of languid, titian-haired beauties, rich turquoise and emerald hues and deceptively sparkling waters.  Burne-Jones was one of the most influential of the Brotherhood, the conductor of a beautiful orchestra, if you will.

Georgiana Burne-Jones

And, so, such an artist should have a lovely instrument.  This piano, made in 1860, is the work of Frederick Priestley, an otherwise, as the V&A puts it, unknown piano maker.  The piano was presented as a wedding gift to Edward Burne-Jones and Georgiana "Georgie" MacDonald in 1860. 

Burne-Jones decorated the otherwise modest and plain instrument's case of American oak with a scene from the Medieval Romance,  the Chant d’Amour as an allegory of death--you know, standard wedding stuff. 

In her biography, The Memorials of Edward Burne-Jones, Georgie referenced a portrait of Death on the panel below the keyboard of their piano.  She described Death as  "standing outside the gate of a garden where a number of girls, unconscious of his approach, are resting and listening to music."

The Art of Play: The Eleanor Lloyd Doll, “Amelia Ann”, 1955-65

Composition Doll (left) in hand-sewn uniform, 1955-65
The Victoria & Albert Museum

Here we see two dolls which once belonged to one Eleanor Lloyd and her sister. Let’s take a look at the blonde.

She has been dressed in the image of her owner.  Eleanor Lloyd, along with her sister were active in the Brownies and Guides respectively.  The girls hand-sewed outfits for their dolls to look like them in their uniforms.

In making the outfit for her doll,  young Eleanor demonstrated great attention to detail, recreating her uniform exactly and even hand-embroidered skill badges including “the hostess badge”, “the pony rider badge” and the “first aid badge”—all badges which Eleanor herself had attained.

Eleanor called the doll “Amelia-Ann” and pretended that her little stiff friend belonged to the same pack that Eleanor attended—“The Gnomes.”  This is identifiable from the badge on Amelia Anne’s left arm.

Amelia Ann is a doll of composition. Her hair has been cut in to a stubby fringe with shoulder-length waves. She has red-painted finger nails and lips, a jointed neck, upper-arm and leg sockets.

To make matters more exciting for Eleanor, the doll is a “walking/talking” model and the head moves from side to side as the leg joints are moved to mimic walking. Sadly, “Amelia Ann’s” voice box has been broken and covered over with a “plaster” as if she were really suffering from some illness.