Thursday, June 30, 2011

Gratuitous Bertie Dog Picture: Fender Bender

“I don’t know if you’re aware of this, Johnnie, but I like to sit in fireplaces.  So, let’s put the fire out.  Okay?  And, while you’re at it, you can take the barricade down.”
(click image to enlarge)

Image: John Forster in His Library, Edward Matthew (E.M.) Ward, 1850, The Victoria & Albert Museum

Mastery of Design: The Coral Tiara, 1860-1870

Tiara
Coral and Gilt Metal
Philips Brothers, London
1860-1870
This and all related images courtesy of
The Victoria & Albert Museum
During a period when most tiaras glittered with diamonds (or paste), some ladies wanted to stand out from the crowd by adorning their elaborate hairstyles with something a little different. While, in my opinion, nothing’s better than a nice lot of diamonds, this coral tiara has a great deal of appeal of its own, and, is really very handsome.


Coral branches and beads have been fitted to a gilt metal frame, giving an immediate look of both the natural and the ornate. Still in its original leather case, this coral tiara has its original comes from “PHILLIPS. 23, COCKSPVR STREET LONDON,” as embroidered into the silk lining.

Phillips Brothers, largely managed by one Robert Phillips, was the leading supplier of coral objects in London, in addition to their status as celebrated and jewelers. So influential in the world of coral exporting, they once advertised in that Phillips Brothers was in possession of “the most complete collection of fine coral work in the world.” They weren’t alone in that assessment. Robert Phillips received the order of the Crown of Italy for his support of the coral industry in Naples.




Precious Time: A Cabinet Clock from Augsburg, 1700-1725

Cabinet Clock
1700-1725
Augsburg (Made)
Meissen (Tea Set, Made)
This and all related images courtesy of
The Victoria & Albert Museum
This artful arrangement of wood, boulle marquetry, tortoiseshell, silver, silver-gilt, inlaid mother-of-pearl, ivory, enamel, brass, pietre dure, faceted garnets, turquoise, micromosaic, velvet, porcelain, mirrored glass, gilt bronze, and oil paint on copper sheeting makes for one very involved, brilliant timepiece.


This monumental cabinet clock comes from Augsburg. Both Augsburg and Nuremberg were hubs of important clock making from the 1650 through 1750. Master craftsmen from a variety of media would join forces to create majestic and unusual cases for the clock. This, surely, is one of the finest examples of their capabilities.

Truly extraordinary, this cabinet clock is comprises of nearly twenty costly different materials. Coupled with the high cost of labor for such a piece, surely this was a royal or, at least, noble commission. We don’t know for whom the clock was originally produced, however, the curators at the V&A have determined that this was the same clock that once belonged to Lord Rosebery, British Prime Minister from 1894-5, as evidenced by photographs of the Lord from that time period (see the black and white picture detail below).

Though the clock is certainly interesting in all that’s apparent, from the little Buddha figures to the impressive inlay-work, it also contains some hidden treasures which aren’t immediately seen. For example, a neatly in-set drawer contains a Meissen tea set in a pattern which matches the clock as well as a silver picture frame.

This was a gift to the V&A from Sir Arthur Gilbert and his wife Rosalinde—two of the world's foremost decorative arts collectors, and was included in their 1996 bequest of silver, mosaics, enameled portrait miniatures and gold boxes.







Gifts of Grandeur: An Openwork Diamond and Gold Ring

Ring
Forked Openwork Gold Shoulders
Rectangular openwork bezel-set diamonds lined in gold.
1775-1825
France
The Victoria & Albert Museum
At first glance, this impressive diamond ring appears to have been produced during the Art Deco period. However, it’s a much, much earlier creation, the work of a French jeweler dating between 1775 and 1825.


Mounted atop a band of “forked” openwork gold with a pattern that mimics the top surface of the ring, European-cut diamonds are set in silver, lined in gold. The cut of the diamonds is quite advanced for the age of the piece. They’re a few facets beyond the traditional European-cut diamonds and bordering on the modern brilliant-cut.

This ring was part of the collection of Dame Joan Evans who donated this, and other pieces, to the Victoria & Albert Museum.






Punch's Cousin, Chapter 283

Mr. Punch allowed his ethereal body to go limp in the darkened phantom room. He held his breath, and became aware that the body he shared with Julian (and Scaramouche and apparently Jack Ketch and another) had also ceased to breathe. Punch knew that outside—in that small flat above a dress shop—his “chums” were watching, and he hoped that they were not alarmed by this strange behavior.


“Musn’t think too much,” Punch thought silently. “I’ll wager he can hear me, that hangman.”

Punch lay as still as he could, but it was difficult because of his hunched back. That’s when he realized that—internally, when not out in the world using Julian’s handsome body--he was, in fact, Mr. Punch entirely: hunchback, potbelly, hooked nose and jutting chin. He wanted to grin at the very thought of his own figure, the point of his back, the sharpness of his jaw, the comic eyes which never blinked.

Mr. Punch tried to control himself. His hunchback did pose something of a problem. As he’d collapsed in an attempt to trick Jack Ketch—still unseen in the pitch-black imaginary room—Punch had landed on his back which rather served liked the rockers on a toy horse or an old man’s chair. Punch slowly tightened his muscles as best he could so that his body would not rock, and, thusly, he waited for some sign from the hangman—some indication that Jack Ketch had retreated or, at least, loosened the noose. “If he thinks he killed me, he’ll set me free.” Punch thought.

“Here,” Punch thought to himself, “how long can a body go without breathin’?” It was easy enough for a spirit—a thought—a persona of light and memory to function without air, but a human body—one of water and flesh and warmth needed breath in order to maintain itself. Aware that he was also controlling the exterior body—the creature as a whole—Punch began to panic, thinking perhaps their shared shell might expire during this sweaty pantomime.

“Where’s me master?” Punch thought. “Why don’t he take over the body?”

“Gone.” Jack Ketch responded deeply, loosening the noose.

“Here, what do you mean?” Punch gasped.

“Gone.” Jack repeated.

“So, you can hear me?” Punch replied, rubbing his throat.

“Yes.” Jack answered mockingly.

“Why’d you stop chokin’ me if you knew I was fakin’?”

“Because.” Jack grunted.

“See, you realized what I done just. That you can’t choke the breath out of a thought. Right now, I ain’t nothin’ but an idea.

“Yes.” Jack growled.

“What’d you do with me master?”

Jack didn’t answer.

“Come on, what’d you do with him?”

“Punished.” Jack barked his response.

“Here, what for?”

“Foolishness.” Was Jack’s singular response.

“Where is he?” Punch shouted, realizing that he was free to stand. Still unable to see in the dark “room,” he stumbled into the chairs that surrounded the massive dining table.

“Fool.” Jack laughed.

“Where is me master? Where’s Scaramouche? Why don’t you light a lamp?” Punch squawked, attempting to retreat from the hangman.

Jack’s response came right into Punch’s ear—his flat, painted, wooden ear. “No.”

Punch put his hands on his face. “Hold on, then.” While his hands moved and his fingers bent like those of a human, they were rough and rigid as if made of wood. His face, too, seemed made of wood—smooth and cool and…

Punch squinted in the darkness.

“In here, I ain’t a man.” Mr. Punch said aloud.

“No.” Jack responded with disinterest.

“But, I ain’t really a puppet. I am whatever I think I am because I’m nothin’ but a trick of me own master’s mind. It don’t have to be dark if I don’t want it to be.”

With that, the room grew bright and there before Mr. Punch stood the hangman—draped in a black robe with a hood which covered his face. Only a long pink nose peeked out from beneath the hood.

“Stop!” Jack bellowed, turning away quickly.

“I won’t.” Mr. Punch smiled. He tilted his head to one side. Did he smile? Was his face capable of smiling? Regardless, the emotion he felt was the same as if he had actually smiled. “I see now I don’t have to do anything I don’t want.”



Did you miss Chapters 1-282? If so, you can read them here.

Card of the Day: The King at the Tate Gallery

I can imagine that Queen Mary was particularly excited about the opening of two new galleries at the Tate Gallery in London. An avid patron of the arts, Mary of Teck showed an interest in a variety of media and time periods. The opening of these new galleries was particularly important after the Great War when evidence that British culture was flourishing was more important than ever.


The twenty-fifth card in the series of Wills’s Cigarette Cards commemorating the Silver Jubilee of King George V and Queen Mary shows the King visiting the newly opened portions of the Tate Gallery.

The reverse of the card reads:

THE KING AT THE TATE GALLERY


The two splendid new galleries—The Sargent and Modern Foreign Art Galleries—which the munificence of Sir Joseph Duveen added to the Tate Gallery, were opened by His Majesty on June 26th, 1926. He is seen walking with the Queen through the extensions, Lord D’Abernon, Chairman of the Board and Trustees, on his left, and Lord Peel, then First Commissioner of Works, immediately behind. The pictures of modern foreign artists were inadequately represented in this country until room was thus found for them, and a gift of £50,000 by Mr. Samuel Courtauld enabled discriminating purchase. The Tate is now the largest gallery in Europe.


Here’s a glimpse at the Tate Gallery as it is today. The original building now houses Tate Britain while the Tate Modern is a different facility. Plans to expand the complex are in the works.

Tate Britain

Object of the Day: A Coronation Teacup, 1953

This smart, little teacup was found this past weekend. It’s the mate to a saucer that I already had in my collection.


A souvenir of the 1953 coronation of Queen Elizabeth II, this china teacup features a portrait of the beautiful young queen surrounded by the flags of the empire and surmounted by the Imperial Crown and animal attendants.

The 1953 coronation was one of great hope for Britain. The press hyped the occasion as the dawn of a “new Elizabethan age.” Queen Elizabeth II is soon to tie Queen Victoria as longest reigning monarch in British history, and, like Victoria’s, her reign has been marked by both tragedy and triumph. But, also like Victoria, Queen Elizabeth II has faced each new situation with dignity and grace, working for what she believes is best for her people.

The reverse of the cup shows the entwined ciphers “E” and “P” to include Elizabeth’s husband, Prince Philip, the Duke of Edinburgh.