Wednesday, November 10, 2010

Painting of the Day: Prince Albert’s Greyhound, “Eos” by Sir Edwin Landseer, 1841

Eos
Sir Edwin Landseer, 1841
Commissioned by Queen Victoria as a gift
for Prince Albert
The Royal Collection
Those Royals and their dogs…it’s a long-standing love. Prince Albert and Queen Victoria always had dogs around the house and, by all accounts, loved each of them dearly. In 1841, Queen Victoria wanted to make a present to her husband of a painting of his favorite greyhound. Of course, she commissioned Sir Edwin Landseer who was well known for his skill in depicting dogs in his artwork.


Here, we see a lovely portrait of the greyhound that the prince called “Eos.” Greyhounds were a symbol of court life of the time, and Prince Albert had a particular fondness for this particular fellow. He described the dog as, “very friendly if there is plum-cake in the room … keen on hunting, sleepy after it, always proud and contemptuous of other dogs.”

Landseer has portrayed Eos in a fittingly dignified light as he stands in attention, guarding his master’s tall hat, gloves and stick. Prince Albert was thrilled with the gift. And, well he should have been. It’s a truly stunning painting.

Unusual Artifacts: Queen Victoria’s Costume for the Stuart Ball, 1851

Queen Victoria's Costume for
the Stuart Ball, 1851
Designed by Lemi
Pearls, Silk, Gold Braid, Silver Fringe,
Irish Lace
The Royal Collection
For the Stuart Ball of 1851, Queen Victoria commissioned the Royal Dressmakers to create a truly breathtaking gown for her—drawing inspiration from her court of King Charles II. Though we often tend to remember Victoria as the Dowager Queen, we must remind ourselves that during her marriage, she was a vibrant and vivacious woman with a taste for fine clothes and gems.


Beaded with seed pearls, the silk gown is also adorned with gold braid, silver fringe and lace. The underskirt was a luxurious brocade created in Benares. The lace is of the finest quality—created in Ireland—in a Venetian raised-point needle style. The lace was most likely purchased at The Great Exhibition of 1850.

While the exact makers of the gown are unknown, it is known to have been designed (with much instruction from the Queen) by Eugéne Lemi—a favorite of the Queen. In this magnificent costume, she’s sure to have made the grand entrance that she’d hoped for.



Punch’s Cousin, Chapter 93

Mr. Punch looked at Robert with tears in his eyes, “Did you know ‘bout this?”


Robert smiled, “I did.”

“Let me help you,” Adrienne said, removing Fuller from Mr. Punch’s Lap. Toby rose and sniffed the box that sat in front of Mr. Punch on the floor. The dog wagged his tail as he sniffed.

Mr. Punch moved aside the tissue paper and studied his gift.

“You made this?”

“We did,” Cecil nodded. “I’m afraid you’ve already seen part of it. That’s my contribution. I painted it myself based on memories of Covent Garden. Adrienne made the rest herself.”

“I’m afraid that it may not be exactly as your old one.” Adrienne said. “Remember, I grew up with Guignol, so I’m not sure if I made the costume quite right, but I worked from a drawing that Cecil made for me.”

“Me hands, Chum,” Mr. Punch sniffed. “Would you help me with him?”

“Of course,” Robert knelt down next to Mr. Punch and removed his gift from the box.

Robert held the puppet up the light of the bay window.

“He’s beautiful!” Mr. Punch whooped. “Can I hold him?”

“Of course, Mr. Punch,” Robert said, gently placing the puppet in Mr. Punch’s lap. “He’s yours.”

“He’s me.” Mr. Punch sniffed. He cradled the puppet and examined it closely. “There’s me head—just as it once was. Me nose all hooked to me chin and me big red smile. My eyes—all wide and blue, just like they was. And me body! Lady Chum, you made me body!”

“Cecil made the hands.” Adrienne smiled. “But, I sewed the rest of the body.”

“Look at him in his red suit with his ruff! And his hat! With a bell and all, just like the one I had before. Gold trim, and…look, there’s little buttons on the front an’ all!” Mr. Punch murmured excitedly.

“We thought that since your own body has been lost, you might like to have this one.” Cecil said. “We do hope you’re pleased.”

“I am. Oh, yes, I am.” Mr. Punch whispered. “Reminds me o’ what I was, it does.”

“Perhaps you can talk to him the way Julian once talked to you before the two of you…” Robert began, unsure of how to continue.

“Before the two o’ us shared a body.” Mr. Punch nodded. He sighed. “What a lark it must be for the other Mr. Punchs. Sittin’ up in the tent with their sticks, talking through their swazzles. ‘That’s the way to do it!’” Mr. Punch wiped Julian’s eyes on the bandages on his hands. “He’s a big one, too. Bigger than I was. I was from a toy shop. I wasn’t this big. This is a right proper Mr. Punch.”

“Well, you’re a big man now.” Cecil grinned. “Of course you should have a big portrait.”

“A portrait of me.” Mr. Punch nodded. “Like I was. There’s portraits of me master, there are—at Fallbridge Hall, hangin’ on the wall all flat. Never had one of me. And, mines not flat at all. Mines got arms what move and a head that’s round what you can touch.” Mr. Punch looked up with a helpless expression. “I promise I’ll love him always, I will.”

“I’m so glad.” Adrienne smiled.

They all watched as Mr. Punch stroked the puppet for a few seconds. “When me hands get better, I’ll make him talk. And, then, when Julian’s usin’ the body, maybe he can make him talk for me. Right?”

“Right.” Robert nodded. “Shall I help you put him back in the box for now?”

“Oh, no.” Mr. Punch shook Julian’s head. “He don’t wish to be in the box.”

“Very well.” Robert smiled.

“Here, I got things for all of you, too.” Mr. Punch said. “Over there—see them things by the tree?”

“I do.” Robert nodded.

“Would you mind giving the envelope to Adrienne for me?” Mr. Punch asked.

“I’d be happy to.” Robert said. He fetched a crème-colored envelope and handed it to Adrienne.

“Open it careful. There’s somethin’ inside. Then, there’s a note, there is. Naasir helped me write it.”

Adrienne opened the envelope and held it over her palm. Into her hand, a glittering green stone fell out.

“It’s what’s called an emerald.” Mr. Punch said as if Adrienne might not know. “Me master’s been carryin’ it ‘round in his jewel case waitin’ to find the right place for it. He wants you to have it. Maybe he can make it into somethin’ you can wear sometime.”

“It’s stunning.” Adrienne said softly.

“Color of your dress.” Mr. Punch nodded. “Color of Springtime and good things like the things what you brought to us. Here! Open the note. That’s the bit what’s from me. It’s what’s called a poem. I thought it up. Naasir wrote it down for me. Go on, read it.”

Adrienne read aloud.


Songs what talk about angels and beauty
Do not know that they have failed their duty.
For the true angel what comes from prayin’
Is me new sister, lovely Adrienne.


Happy Christmas. 25 December, 1852


From Julian Lord Fallbridge and Mr. Punch Molliner

Adrienne’s lip quivered. “Thank you, Mr. Punch.”

“I made them words up me-self.” Mr. Punch said proudly.

“They’re beautiful.” Adrienne nodded. “So very…”

“See, then, there’s a little box for Cecil.” Mr. Punch pointed.

Robert retrieved the box and handled it to Cecil who opened it slowly to reveal a silver handled folding knife. On the handle, the initial “M” had been engraved.

“This is from me master and me both.” Mr. Punch said. “It’s a knife what folds into itself so you can carry it in your pocket. I figured since you carve things, you might could use it.”

“It’s quite handsome,” Cecil grinned. “I’ve always wanted one of these.”

“And, you’ll use it?” Mr. Punch asked.

“Often.” Cecil nodded appreciatively. “Thank you.”

“One more!” Mr. Punch whooped. “This one’s for you, Chum, the leather case there.”

Robert opened the case and smiled. “It’s a gold pen.”

“That shiny blue rock on the top is what’s called a sapphire. I was thinkin’. Bein’ as you’re so smart, you should write a book. Smart fellas like you write books, they do. You could write a book ‘bout medicine with that. Maybe you could write a book ‘bout you and me. I’ll wager there’s other folk like me and me master—folk what got two people inside ‘em. Maybe you could write somethin’ down ‘bout us that might help them other folk know that it ain’t no pantomime, but a real thing what happens. You could use the pen, you could, to write with.”

“I think that’s a fine idea.” Robert said, his voice catching in his throat.

“There’s more.” Mr. Punch added. “See, there’s a paper in the bottom of the box. That’s from me.”

“Ah, yes.” Robert said, composing himself. He withdrew the paper, unfolded it and read aloud.

25 December, 1852


Dear Chum,


Knowing you made all this worthwhile. Goes to show that sometimes lovely things grow in the hardest of rocks.


With affection,


Mr. Punch Molliner on the occasion of Christmas morning.

Robert lowered his head and trembled for a moment.

“Here, not feelin’ sick are ya?” Mr. Punch asked.

“Not at all…just the opposite.” Robert responded.

They sat in contended silence for a few seconds.

“This is, I think,” Adrienne said after awhile, “the loveliest Christmas anyone could have.”

Little did they know, but Agnes Rittenhouse was climbing the stairs to their front porch. Her hand on the bell would signal an end to their peace.



Did you miss Chapters 1-92? If so, you can read them here.

Goal for the Day: Let Someone Know You Care

Sometimes we go about our business assuming that our loved ones know how we feel.  But, it’s not something that you can take for granted.  Everyone needs reminding—every so often—that you care about them.  So today, take a few minutes to make a phone call, send an email, write a card, or simply show your appreciation for the special people in your life.  On your way home, pick up a little treat for your family.  Rent a favorite movie, bring home a small bouquet of flowers, or just come in with a smile that says, “Everything is all right.”  The comfort you’ll be giving is worth more than you can imagine.

Object of the Day: A French Slate Clock

Dating to the late Nineteenth Century, this black slate temple-form mantle clock features an ormolu face and Corinthian columns. The face of the clock is marked, “James Wiseman, Paris.” The clock’s movement was made by Marti et cie—a famed Parisian maker of clockwork movements. Marti et Cie often made movements for other companies to use in clock cases of their own design.

This handsome clock has the clean lines that heralded the transition from more ornate Victorian styles to the more Classical motifs which became prevalent at the start of the Edwardian era. As if often the case with these slate clocks, this timepiece is quite heavy. While its movement is not presently in working order, the clock makes for a rather imposing decorative piece. Antique clocks are very touchy, but the beauty they bring is worth their inherent crankiness.

Tuesday, November 9, 2010

Her Majesty’s Furniture: Queen Victoria’s Throne and Footstool, 1850

The Royal Collection
This magnificent throne of ivory, diamonds, rubies, emeralds, gold, ormolu and hardwood was presented as a gift to Queen Victoria after being on display as the centerpiece of the Indian section of the Great Exhibition. Craftsman in Travancore, Southern India, toiled over the chair, making sure that it was the perfect representation of their masterful carving skills. The ivory plaques which cover the throne and footstool represent both English and European scenes. The piece is upholstered in Indian silk velvet.


This was not a throne that Queen Victoria used often—if at all. In fact, it wasn’t really meant to be used, but rather appreciated as a work of art. For this reason, it’s in excellent condition and remains in the Royal Collection so that it can continue to be admired.

The Belle Époque Today: The Art of Vivien Mallock

Queen Elizabeth, The Queen Mother
Vivien Mallock
A member of The Royal Society of British Sculptors since 1998, Vivien Mallock creates amazing works—predominantly in bronze—which range from portrait sculpture to large-scale figures to wildlife sculpture. Her highly-regarded and much-sought-after work is celebrated for the natural sense of movement she conveys by the way she composes her sculptures.


Stand-out pieces from Mallock’s collection of both intimate and grand sculptures include her bust of Queen Elizabeth, the Queen Mother which was the last sculpture for which Her Majesty was to sit. Her largest sculpture thus far is the nine-foot tall memorial to the Royal Tank Regiment which Queen Elizabeth II unveiled in 2000. This monumental work contains five finely sculpted figures.

Royal Tank Regiment Memorial,
Whitehall
Vivien Mallock
This master sculptor has adapted the ideals of classical sculpture into contemporary works of art which seem to tremble with life. To learn more about Vivien Mallock, you can visit her Web site. There, you can view galleries of her work, her portraiture and her public sculptures.