Royal Pets: The Companions of Frederica, Duchess of York, 1820

Frederica, Duchess of York
With a Dog and a Monkey
1820, Unknown Painter after Hüet-Villiers
Miniature: Watercolor on Ivory
Crown Copyright
The Royal Collection
Image Courtesy of
Her Majesty Queen Elizabeth II

The second daughter of Frederick William II of Prussia, Frederica, the Princess Royal of Prussia, married the second son of King George III, Frederick, Duke of York. Their marriage was beset by scandal—particularly one involving the Duke’s mistress which caused him to have to resign his posh military post.


Owing in large part to the fact that her marriage was strained, Frederica preferred to be by herself and spent most of her life in seclusion in their country house in Surrey. Though not a fan of people, Frederica did enjoy the company of her animals and surrounded herself with many dogs, and, as one does, a monkey.

This gorgeous portrait of the Duchess of York is a miniature on ivory styled after a larger painting by Jean-François-Marie Hüet-Villiers. We see the Duchess looking rather dour, but lovely, contentedly sitting with a canine and a simian friend.

This miniature came into the Royal Collection in 1910.

Crown Copyright
The Royal Collection
via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II

Click on Image to Enlarge

Painting of the Day: A Still Life with Fruit, Lobster, Monkey and Silver Vessels, 1660-70

Still Life with Fruit, Lobster and Silver Vessels
Willem van Aelst, 1660-1670
The Victoria & Albert Museum

This is about as Dutch as a still life can get. The Dutch (and the Flemish), especially in the Seventeenth Century, had a love of canvases of scenes of tables laden with dead animals, overripe fruit and shiny objects. Sometimes these scenes would be given an added dimension by including living figures—usually animals—interwoven within the foodstuffs. Here, dating between 1670 and 1680, we have a still life with fruit, flowers, lobster, dead birds, shells, fine porcelain and silverware on a creased red and blue tablecloth. The scene is adorned by the presence of three living animals--a dog, a parrot and a monkey—and is further heightened in drama by the presence of a rather vulgar grimacing man behind a very Dutch window in the background.

This is most likely the work of Willem van Aelst (1627-1687) who was born in Delft where he trained with his uncle, Evert van Alest (1602-57), a celebrated painter of similar still life works. Willem went to France and Italy where he worked as a court painter, returning to the Netherlands in 1656 where he taught until his death.

Willem had a flare for rendering glassware, precious silverware, fruit and flowers and was celebrated for the symmetry of his compositions. 

Royal Pets: The Companions of Frederica, Duchess of York, 1820

Frederica, Duchess of York
With a Dog and a Monkey
1820, Unknown Painter after Hüet-Villiers
Miniature: Watercolor on Ivory
Crown Copyright
The Royal Collection
Image Courtesy of
Her Majesty Queen Elizabeth II

The second daughter of Frederick William II of Prussia, Frederica, the Princess Royal of Prussia, married the second son of King George III, Frederick, Duke of York. Their marriage was beset by scandal—particularly one involving the Duke’s mistress which caused him to have to resign his posh military post.


Owing in large part to the fact that her marriage was strained, Frederica preferred to be by herself and spent most of her life in seclusion in their country house in Surrey. Though not a fan of people, Frederica did enjoy the company of her animals and surrounded herself with many dogs, and, as one does, a monkey.

This gorgeous portrait of the Duchess of York is a miniature on ivory styled after a larger painting by Jean-François-Marie Hüet-Villiers. We see the Duchess looking rather dour, but lovely, contentedly sitting with a canine and a simian friend.

This miniature came into the Royal Collection in 1910.

Crown Copyright
The Royal Collection
via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II

Click on Image to Enlarge

Object of the Day, Museum Edition: A Bizarre Dutch Still Life, c. 1660

Still Life with Fruit, Lobster and Silver Vessels

Willem van Aelst, 1660-1670

The Victoria & Albert Museum

This is about as Dutch as a still life can get. The Dutch (and the Flemish), especially in the Seventeenth Century, had a love of canvases of scenes of tables laden with dead animals, overripe fruit and shiny objects. Sometimes these scenes would be given an added dimension by including living figures—usually animals—interwoven within the foodstuffs. Here, dating between 1670 and 1680, we have a still life with fruit, flowers, lobster, dead birds, shells, fine porcelain and silverware on a creased red and blue tablecloth. The scene is adorned by the presence of three living animals--a dog, a parrot and a monkey—and is further heightened in drama by the presence of a rather vulgar grimacing man behind a very Dutch window in the background.


This is most likely the work of Willem van Aelst (1627-1687) who was born in Delft where he trained with his uncle, Evert van Alest (1602-57), a celebrated painter of similar still life works. Willem went to France and Italy where he worked as a court painter, returning to the Netherlands in 1656 where he taught until his death.

Willem had a flare for rendering glassware, precious silverware, fruit and flowers and was celebrated for the symmetry of his compositions. 

Object of the Day, Museum Edition: Queen Mary's Siamese Monkeys, pre-1896

Carved of rare buff chalcedony by Gustav LeMaire, this pair of monkeys has an interesting history.  They were originally made for Queen Alexandra while still Princess of Wales.  Her Majesty had long been a fan of LeMaire's work and, after seeing a novelty monkey act at London's Hippodrome, commissioned the master carver to create a pair of figures to represent the many hours she had spent, amused by "Churlicuff and his Famous Monkeys of Siam."

However, when LeMair delivered the figures personally to York House on the Sandringham Estate, the future Queen Alexandra discovered that LeMaire was a "soft talker."  Suffering from increasing  hearing loss, Alexandra thought that LeMair was not responding to her questions, and worse still, mocking her.  And so, she tossed LeMaire and his monkeys into the cold.

In 1935, the "Siamese Monkeys" were discovered by Queen Mary while visiting the London household of Lord and Lady Snardgarten.  Queen Mary recalled her mother-in-law's many rants about the duo, and, figuring that she was owed some sort of gift from the Lord and Lady in honor of her Silver Jubilee, picked up the pair and tossed them in her reticule.  They are now on display in the "Albert Room" at Windsor Castle.






OR....

Not.  APRIL FOOLS!  This merry pair sits on the window sill above the tub in my parents' bathroom.  I really don't know what they are.  

Royal Pets: The Companions of Frederica, Duchess of York, 1820

Frederica, Duchess of York
With a Dog and a Monkey
1820, Unknown Painter after Hüet-Villiers
Miniature: Watercolor on Ivory
Crown Copyright
The Royal Collection
Image Courtesy of
Her Majesty Queen Elizabeth II

The second daughter of Frederick William II of Prussia, Frederica, the Princess Royal of Prussia, married the second son of King George III, Frederick, Duke of York. Their marriage was beset by scandal—particularly one involving the Duke’s mistress which caused him to have to resign his posh military post.


Owing in large part to the fact that her marriage was strained, Frederica preferred to be by herself and spent most of her life in seclusion in their country house in Surrey. Though not a fan of people, Frederica did enjoy the company of her animals and surrounded herself with many dogs, and, as one does, a monkey.

This gorgeous portrait of the Duchess of York is a miniature on ivory styled after a larger painting by Jean-François-Marie Hüet-Villiers. We see the Duchess looking rather dour, but lovely, contentedly sitting with a canine and a simian friend.

This miniature came into the Royal Collection in 1910.

Painting of the Day: A Still Life with Fruit, Lobster, Monkey and Silver Vessels, 1660-70

Still Life with Fruit, Lobster and Silver Vessels
Willem van Aelst, 1660-1670
The Victoria & Albert Museum

This is about as Dutch as a still life can get. The Dutch (and the Flemish), especially in the Seventeenth Century, had a love of canvases of scenes of tables laden with dead animals, overripe fruit and shiny objects. Sometimes these scenes would be given an added dimension by including living figures—usually animals—interwoven within the foodstuffs. Here, dating between 1670 and 1680, we have a still life with fruit, flowers, lobster, dead birds, shells, fine porcelain and silverware on a creased red and blue tablecloth. The scene is adorned by the presence of three living animals--a dog, a parrot and a monkey—and is further heightened in drama by the presence of a rather vulgar grimacing man behind a very Dutch window in the background.


This is most likely the work of Willem van Aelst (1627-1687) who was born in Delft where he trained with his uncle, Evert van Alest (1602-57), a celebrated painter of similar still life works. Willem went to France and Italy where he worked as a court painter, returning to the Netherlands in 1656 where he taught until his death.

Willem had a flare for rendering glassware, precious silverware, fruit and flowers and was celebrated for the symmetry of his compositions. 

Sunday Morning Special: The Smoking Monkey Automaton

Louis Toot
Also known as Joseph Teeny
Fox Broadcasting

By now, you know, of course, that I’m a lover of antiques and history, and you might have noticed that I’m a devoted fan of The Simpsons. I particularly enjoy when my favorite things somehow converge.


When I was looking for the “Sunday Morning Special,” I came across this lovely automaton of a smoking monkey by a French, Nineteenth Century maker. My first thought was, “Oh, it’s an antique Mr. Teeny!” For those who don’t know, Louis “Mr. Teeny” Toot (also known as Joseph Teeny) is Krusty the Clown’s loyal sidekick. With a long and proud lineage, Mr. Teeny finds himself treated in undignified ways by Krusty and deals with his anxiety by chain smoking. It’s also known that Louis is not the first Mr. Teeny as Krusty’s prop room contains a shelf of past Mr. Teenies who remain in his arsenal via taxidermy.

Enjoy this wonderful, ridiculous thing.

The Art of Play: The Gair Wilkinson Monkey Puppet, 1928

Marionette
Wood
1928
This and all
related images:
The Victoria &
Albert Museum

This  little wooden simian is quite realistic and beautifully carved. This marionette is easy to operate due to its flawless construction and remarkably light weight. This is the work of artist Arthur Wilkinson (1882-1957) who was inspired to make puppets after becoming enchanted by a group of toy Italian puppets in 1914. 

This new passion led to Wilkinson becoming a professional puppeteer, subsequently touring England in a caravan with his brother, Walter. Walter Wilkinson, later, independently, spear-headed a revival of glove puppetry in Britain, while Arthur Wilkinson continued with his marionettes.

Feeling much the way that I do about puppetry in the present-day U.S., Arthur Wilkinson was distressed that puppetry had been neglected in England in the 1920s. His answer to this was to introduce The Marionette Society which was dedicated to producing marionette theatre throughout England. 

The inaugural performance of his new Marionette Society was at the Poetry Bookshop in London in November 1923. During the performance he employed his own figures including Harlequin, Columbine, the dragon and Pantaloon. Later, around 1928, he carved an impressive set of marionettes and introduced them into the show. This set includes this monkey and Marino, Pagliacci and Pimpinella, and different figures of Harlequin and Columbine. 

This figure is referred to as the Gair Wilkinson monkey because after Arthur Wilkinson married Lily Gair his show became known as the “Gair Wilkinson Marionettes.” Later Arthur used the professional name Gair Wilkinson as his own moniker. 

The Art of Play: The Buhler Tin Monkey, c. 1950

Tin Monkey
Made in England
Circa 1950
The Victoria & Albert Museum

Tin Monkey! Yay! From the Michael Buhler collection of tin toys at the V&A, we have this English toy monkey which was made around 1950. The very first tin toys appeared in the U.S. in the Nineteenth Century, but the medium quickly spread to Europe where it was employed for decades. 


Chances are, this handsome monkey was designed to be part of a circus set. He has blue trousers painted on and a red and cream vest top with yellow ribbon edging Clearly, he is costumed for a circus act. At his left simian side, there is a hole on where a key or winder could fit. Winding the mechanism allowed for his arms and legs to spin all the way around--enabling the monkey to do a fine somersault.

Painting of the Day: A Still Life with Fruit, Lobster, Monkey and Silver Vessels, 1660-70

Still Life with Fruit, Lobster and Silver Vessels
Willem van Aelst, 1660-1670
The Victoria & Albert Museum

This is about as Dutch as a still life can get. The Dutch (and the Flemish), especially in the Seventeenth Century, had a love of canvases of scenes of tables laden with dead animals, overripe fruit and shiny objects. Sometimes these scenes would be given an added dimension by including living figures—usually animals—interwoven within the foodstuffs. Here, dating between 1670 and 1680, we have a still life with fruit, flowers, lobster, dead birds, shells, fine porcelain and silverware on a creased red and blue tablecloth. The scene is adorned by the presence of three living animals--a dog, a parrot and a monkey—and is further heightened in drama by the presence of a rather vulgar grimacing man behind a very Dutch window in the background.


This is most likely the work of Willem van Aelst (1627-1687) who was born in Delft where he trained with his uncle, Evert van Alest (1602-57), a celebrated painter of similar still life works. Willem went to France and Italy where he worked as a court painter, returning to the Netherlands in 1656 where he taught until his death.

Willem had a flare for rendering glassware, precious silverware, fruit and flowers and was celebrated for the symmetry of his compositions.