Mastery of Design: The Nelson Dawson Lilies of the Valley Necklace, 1900

Necklace and Pendant, c. 1900
Nelson and Edith Dawson
The Victoria & Albert Museum

Nelson Dawson was celebrated for his fine enameling—a skill which he learned from the distinguished teacher and enameller Alexander Fisher. Dawson shared his knowledge with his wife Edith, who was a skilled watercolorist.  Edith went on to do most of the enameling in their workshop. The couple showed their first joint designs in 1899—works depicting the subtle botanical studies that were to become so typical of their work.

This gem-set enameled pendant is a perfect example of the Dawsons' jewelry.  The piece centers on a enamel depiction of lilies of the valley which is very reminiscent of Edith’s earlier watercolor painting.

The pendant hangs from a gold chain necklace and is surmounted by a cast cherub. The enamel plaque of lilies-of-the-valley is  surrounded by pearls in openwork and hung with a drop set with a sapphire.  Sapphires and pearls adorn the chain. 

History's Runway: The Mary, Viscountess Harcourt Stole, 1900

Lace Stole, 1891-1900
Venice
The Victoria & Albert Museum

This stole was made in Burano, Italy, and belonged to Mary, Viscountess Harcourt. The Burano Lace School, on the island of Burano outside Venice was famed for its delicate work. The school was founded as a charitable institution and enjoyed royal patronage after the severe winter of 1872 when the Venetian lagoon froze and the communities dependent on fishing were badly affected.

The school revived the art of needle worked lace which was a main export of Venice in the 16th and 17th centuries.  There, the lace makers created works of every imaginable size, shape and use as well as faithfully copied high-quality historical pieces. By the 1890s the school was celebrated for its contemporary styles, like this stole.

Mary, Viscountess Harcourt may have bought, or been given, this stole new, perhaps while on a European tour of Venice following her wedding. It is known that the Viscountess’ favorite flower was the iris, which, here alternates with lily of the valley.

Painting of the Day: Branche de Lys, 1877

Branche de Lys
Henri Fantin-Latoure, 1877
The Victoria & Albert Museum

A delicate floral still-life, this painting is the work of Henri Fantin-Latour (1836-1904) son of the famed Jean-Théodore Fantin-Latour (1805-75).  In 1861 Henri worked in Gustave Courbet's studio for several months as a pupil, working on a period of portraiture before embarking on the primary concentration of flowers paintings and still-lifes for which he is now best known.

This painting is a brilliant example of Fantin-Latour's paintings of flowers—a subject he painted over 500 times.  This example depicts a stem of white lilies whose pure white contrasts against the unyielding dark background. This effect of light and color are characteristic of the new naturalism which arose in French art in the second half of the Nineteenth Century--anticipating the Impressionists' experiments.  

Sunday Morning Special: Popeye The Sailor Man - Aladdin and His Wonderful Lamp, 1939

Today, let’s take a look at Popeye in one of his most dramatic roles as he stars in "Aladdin and His Wonderful Lamp”--a two-reel animated cartoon short subject in the “Popeye Color Specials” series.  The picture was produced by Max Fleischer in Technicolor and released to theatres on April 7, 1939 by Paramount Pictures.  It was directed by Dave Fleischer for Fleischer Studios, Inc.  The voice of Popeye is performed by Jack Mercer, with Margie Hines as Olive Oyl and Carl Meyer as the evil vizier.

This short features Olive as a screenwriter for Surprise Pictures ("if it's a good picture, it's a Surprise"), working on a treatment of the story of Aladdin  which she intends to star herself and her beloved Popeye.  As she writes, we are treated to her vision coming to life.   

This picture was the last of the three “Popeye Color Specials,” which were, at over sixteen minutes each, three times longer than a regular Popeye cartoon.

Coming this Week at Stalking the Belle Époque

It’s Valentine’s Week and Bertie, Mr. Punch and I have a lot of surprises in store as our personal Valentine to all of you.  I’m not going to ruin the fun, but just prepare know that it’ll be a celebration Stalking the Belle Époque-style. 

In the meantime, I’d like to remind you about our new forums.  Registration is quick and easy.  Just click on the image of the parrot on the right sidebar.  You can either sign in through your favorite social networking site or create a new account.  Once inside, you’ll find a myriad of different forums wherein you can communicate with other fans of Stalking the Belle Époque.

While you’re at it, take a few minutes to check out our online store and browse our new designs.  Everything from the Diamond Jubilee of Queen Elizabeth II to special Bertie Dog products is available to you.

We’ll see you on Monday!

Valentine of the Day: Pure as the Lily

Pure as the lily or the modest rose,

Sweet as the stream that gently flows,

Bright as the stars that shone above.

My constant love to thee, dear,

My constant love to thee.

Sadly, the second verse is somewhat unreadable.  However, the top of this beautiful Valentine card reads with the verse above.  This lithograph has been hand-painted in watercolor and depicts  a bird delivering a letter to a woman in a red and yellow gown. She holds a card with a heart on it in her left hand.

This greeting was made in England in the mid-Nineteenth Century.  

Valentine Card
The Victoria & Albert Museum

Object of the Day, Museum Edition: Relief: A Piece of Flowers, c. 1750

"A Piece of Flowers," c. 1750
E.M. Diemar, Germnay
The Victoria & Albert Museum

Relief tableaus in wax, in the Eighteenth Century, were a novel way of introducing a dramatic decorative touch into a room. This oval relief in colored wax, depicts a variety of flowers (in somewhat natural colors) including roses, lilies, tulips, convolvulus, a foxglove and a hyacinth.

The piece is signed at the bottom, “E.M. Diemar.”  Diemar (1720-c. 1790) was one of a family of artists and craftsmen in Germany. Unlike his relatives, he concentrated on the production of small works of art, principally in wax.