Gifts of Grandeur: The August Hollming Brooch, 1895-1899

Brooch
August Hollming, 1895-1899
The VIctoria & Albert Museum

This attractive circular brooch consists of a sinuous gold stem which twines around a central cluster of three cabochon sapphire and diamond buds. Indicative of the Naturalistic tendencies of Art Nouveau jewelry, the brooch dates to 1895-1899.


The exceptionally clean cabochon sapphires, exquisitely-set diamonds and flawless gold-work are, at first, mistaken for the work of a French jeweler, however, we can tell by the mark that this is from the hand of August Hollming, one of the many Finnish craftsmen working in pre-revolutionary Russia. Hollming is best known as one of Fabergé's most celebrated work-masters. The gold is also stamped 56 [zolotniki], the equivalent standard of 14 carat gold. Russian jewelers, especially those who worked with Fabergé were applauded for their outstanding work and produced some of the most gorgeous jewels of the period. Their work, in fact, proved influential throughout Europe and the U.S.

Mastery of Design: The Lucknow Throne, 1820

Lucknow Throne
1820
Robert Home
The Victoria & Albert Museum

Since we looked at St. Edward’s chair earlier this morning, I thought we should examine a throne from another culture. Here, we see an Indian throne chair of wood, gilt brass and gilt gesso mounts, painted decoration and blue velvet upholstery. The chair dates to about 1820.

Known as the “Lucknow Throne Chair,” this chair is a rare surviving example of palace furniture from Lucknow in northern India. This opulent piece of furniture was a gift from Ghazi-ud-din Haidar, Nawab and King of Oudh (ruled 1814 to 1827), to Lord Amherst, the Governor-General of India which was given during Amherst's visit to Lucknow in 1827.

Though it was built to be used by an Indian ruler, the chair was actually designed by the celebrated Scottish artist Robert Home who was court painter at Lucknow. There, Home designed regalia, royal carriages, howdahs, barges and palace furnishings in the popular European fashions of the day. The typical British design of this piece is further adorned with the twin-fish badge of the rulers of Lucknow.

Treat of the Week: Brown Sugar Walnut Pound Cake

I’m always amazed when my mother comes up with a new recipe. There seems to be no end to her repertoire. In fact, if you go back and look at all of the “Treat of the Week” posts, you’ll see that there has not been one repeated recipe in over a year.

This week’s treat was, as always, quite lovely. Here we have a beautiful Brown Sugar Walnut Pound Cake. It is exactly what the name implies. However, what is not evident by the name is the rich, mellow taste of this dense, moist cake.

Served with freshly whipped cream, strawberries and raspberries, this is a dessert that looks hopefully to the Autumn by offering us the rich flavors of Fall.

Person of the Week: Chrishell Stause

Chrishell Stause
ABC Daytime

With several film and television roles to her credit, Chrishell Stause is best known to audiences for her long-time role as Amanda Dillon Martin on All My Children. Miss Stause is among the many celebrated cast members who recently wrapped production on the program which, sadly, ends its historic forty-one year broadcast television run on September 23, 2011.

Miss Stause joined All My Children in April, 2006, taking over the role of “Amanda,” the daughter of Pine Valley mainstays Trevor Dillon (James Kiberd) and his wife, the local lunatic, Janet Green (Kate Collins). While Miss Stause never shared the screen with Mr. Kiberd, she was able to work with the talented Miss Collins who returned for several appearances throughout the last five years. Since joining the show, Chrishell’s “Amanda” has been front-and-center in a variety of storylines which have showcased the young actors talents for both comedy and drama.

Amanda and Janet (Kate Collins)
ABC Daytime

Prior to joining All My Children, Miss Stause, a Kentucky native, attended Murray University, where theatre was her primary focus. Miss Stause takes great pride not only in her acting work, but also her charity work. For three years, she has lent her talents as a performer to Broadway Cares and Equity Fights AIDS, performing on stage for the benefit of AIDS Research.

To learn more about Chrishell Stause, visit her web site. While, the future of All My Children seems uncertain right now as the production looks toward a new life as an Internet-based show, we’re certain to see Miss Stause in a variety of new endeavors as her career continues.

Punch’s Cousin, Chapter 340

“Scaramouche?” Punch mumbled to himself, or, more specifically to Julian. “He ain’t ‘xactly what I’d call a lot of help.”


“Are you certain of that?” Julian responded from within.

“’Sides, didn’t we take away his power?” Punch asked aloud. He realized he didn’t need to actually speak to be heard by Julian.

“We did. But, we can return it as we wish.” Julian responded.

“I don’t see what he can do what I can’t.” Punch muttered.

“Mr. Punch, I wouldn’t suggest this if I didn’t think that the situation was dire,” Julian answered in a voice that only Punch could hear.

Punch turned his head and looked at Barbara who remained slumped over next to him in front of the great fire.

“Here, your sister’s gone barmy, Master.”

“It was inevitable.” Julian sighed. “All the more reason to act quickly.”

“You really think that old pest Scaramouche can get us out of this?” Punch thought.

“I don’t think he could make it any worse.”

“Very well.” Punch grunted. “How we gonna do it?”

“Just relax yourself,” Julian said softly from inside their shared body. “Scaramouche will know what to do.”

Meanwhile, on the other side of the fire, Marjani pressed her hands together.

“I know you don’t trust us,” Iolanthe said.

“And, I don’t blame you, really.” Ulrika added, grinning. “We’re really both quite horrible.”

“But, neither of us can afford to let Marie get too much power.” Iolanthe interrupted, glancing angrily at Ulrika.

“My mama once told me that sometimes the only way to escape Hell is for to give yourself over to the Devil.” Marjani grumbled. “Fine. I’ll join you, but only ‘til this is over.”

“Of course.” Ulrika laughed. “When we’re free of this nightmare, I assure you we’ll return to torturing you.”

“I’m sure you will.” Marjani sighed.

“Brace yourself.” Iolanthe said seriously.

“What for?” Marjani asked, raising her eyebrows.

“This.” Iolanthe replied, raising her hand high above her head and slapping Marjani across the face.

Marjani yelped as Iolanthe’ hand struck her and recoiled as Iolanthe began to scream wildly.

“How delicious,” Ulrika chuckled. “How utterly delicious!”



Did you miss Chapters 1-339? If so, you can read them here.

Card of the Day: The Coronation Chair at Westminster Abbey

The Churchman Cigarette Company’s series of Silver Jubilee cards from 1935 continues with more images of important aspects of the coronation ceremony. Few objects are more important in the coronation that St. Edward’s chair. We’ve previously discussed the role that the Confessor’s chair plays in the coronation, but let’s take a closer look at this venerated objected.

The battered and defaced coronation chair that we see today upon its Sixteenth-Century gold lions is a ghost of its original grandeur. The chair was made on the order of King Edward I between 1296 and 1301. It’s important to note that while the chair is named for Edward the Confessor, St. Edward never really sat on the throne as it was made two centuries after his death for Edward I.

Edward I commissioned Master Walter, a court painter, to decorate the chair. Walter adorned the chair with ornate patterns of birds, foliage and animals on a gilt background while a figure of a king (some believe that it was Edward the Confessor while others contend that it was Edward I himself who was depicted) with his feet resting on a lion, was painted on the reverse.

Close examination of the chair reveals slight traces of the original paint, but few remain. Over the centuries, the chair has been varnished repeatedly, destroying any chance of restoring the original painting. Furthermore, as we’ve already noted, the chair was a favorite target for carved and drawn graffiti—mostly at the hands of Westminster schoolboys who delighted in carving their names into it. Still, this defacement is part of the history of the chair, and now remains just one chapter in its long story.

Object of the Day: A Watercolor of a Member of the Life Guards

I found this small watercolor painting at a Dallas-area antique store. I would date it to the end of the Nineteenth Century or the beginning of the Twentieth. This tiny watercolor is probably a piece of a larger painting. Many years ago, it was cut down and mounted on a creamy card.

The handsome little portrait depicts a member of the British Life Guards in his red uniform and brass helmet adorned with a long, white horse-hair plume. This is the traditional uniform of the Life Guards who are members of the British Household Cavalry, an army corps which consists of two regiments of soldiers who were traditionally mounted on horses until the end of the First World War.

I have no idea who this fellow was, but he’ll forever remain here—shown as proud and steady.