Mastery of Design: The Nichols Paste Necklace, 1810

Paste Necklace set in Gold-Backed Silver
England, 1810
The Victoria & Albert Museum

With a design of leaves and stylized flower heads, this shimmering necklace is the height of 1810 style. As far as anyone can tell, this is one of those magnificent naturalistic jewels composed of densely-set diamonds.

But, it’s not exactly what it seems. It’s a clever early Nineteenth Century costume piece. While it’s possible that this was made as a copy of a necklace of real diamonds, chances are, this work of paste stones set in silver (backed in gold) was made for and worn by a lady whose situation didn’t allow for the expense of real diamonds, but whose tastes and social obligations required the look. 

Sculpture of the Day: The Kändler Lion, 1740-44

Lion
Meissen, 1740-44
The Victoria & Albert Museum

Here’s another Meissen Porcelain piece by Johann Joachim Kändler. While we tend to think of human representations when we think of Meissen figures, the concern did produce a fair amount of animal figures which were faithfully copied from engravings and painted as naturalistically as possible. These expensive figures were presented on elaborate swirling mounts in the Rococo style.

This handsome figure--one of a pair--depicts a lion. Made of hard-paste porcelain, it features Rococo French ormolu mounts and is painted in enamels. It was made between 1740 and 1744 and mounted between 1755 and 1750. 

Sunday Morning Special: The Jewels of Queen Elizabeth II

This cute video assembles photographs and footage of the jewels--both state and personal--of Queen Elizabeth II.  The majority of these pieces have been in the Royal Family for decades and many of them were made either for Queen Victoria, Queen Alexandra or Queen Mary.  Enjoy!

History's Runway: Dior-Vivier Evening Slippers, 1952-4

Evening Shoes
Designed for Dior by Roger Vivier
1952-53
The Victoria & Albert Museum

Christian Dior often commissioned the famed Roger Vivier to design shoes to go with his fantastic romantic evening gowns. These slingback, low-heeled evening shoes of hot pink satin are adorned with gold braid, and encrusted with paste stones, and sequins. They surely are the epitome of luxury footwear as well as a perfect example of the brilliant union of two genius designers.

These shoes, like Dior’s gowns, could have only been afforded by the most wealthy ladies. These shoes once belonged to Mrs. Loel Guinness. Mrs. Guinness married into one of Europe's richest families and was a constant patron of designers such as Dior, Balenciaga and Givenchy. Mrs. Guinness was voted “Best Dressed Woman” in the world by Time magazine in 1962 behind Jackie Kennedy in first place. This charming socialite owned seven homes and kept a full wardrobe in each so that she would never have to pack for a trip. 

Mr. Punch of Belgrave Square will Continue on Monday

When we began the week, Mr. Punch was really quite ill, and no one knew exactly what was wrong with him. Even Robert couldn’t figure out what was causing Punch’s dizziness, queasiness and overall weakness. Thankfully for Mr. Punch, the staff gathered around to support him. Charles and Gerard spent the evenings playing games with Punch and Robert spent as much time with his companion as he could. Mrs. Pepper made special meals, hoping that the Duke would be able to keep something down. Gamilla prayed in her own way. Even the younger staff members made drawings for their master. Miss Barrett visited when she could and everyone tried to keep Punch’s spirits up.

One evening, exhausted, Mr. Punch passed out—much to the terror of Charles and Gerard. While unconscious, Punch had a vision of Julian who warned him that it was possible that he’s been poisoned. When Robert returned from helping deliver Queen Victoria’s next child, he was told about Punch’s theory and he reacted quite violently, insisting that Charles fetch Miss Barrett. Robert concluded that the Duke’s sugar cubes had been poisoned. Robert asked Miss Barrett what she knew about it. She responded that she knew nothing of it and Robert accused Miss Barrett’s brother of being the culprit. A very upset Mr. Punch put an end to the discussion and declared that they would soon leave for Scotland.

Robert urged Punch to call for the beadle and report the poisoning, but Punch insisted they had no evidence, and, given what had just happened with William Stover’s murder, they didn’t need to involve the police. Punch also suggested that it was Tom, not Roger, who had poisoned him. Punch tried to calm Robert with talk of their impending trip.

Before they knew it, Punch, Robert, Colin, Dog Toby, Ellen, Mr. Speaight, Mrs. Pepper, Gamilla, Charles and Gerard were on their way to Scotland to Grange Molliner. As they traveled, Ellen—who had been acting suspiciously since Robert accused her brother of poisoning the Duke—chatted with Gamilla who found Ellen to be reluctant to talk about her past in Scotland and her family. Ellen seemed confident that everything would improve when they arrived at Grange Molliner.

One thing certainly did improve—Punch’s health. Upon arriving at the Grange, Punch was filled with eager energy. He talked about the history of the land and recalled his father and mother and a time when his parents had left him at Fallbridge Hall to come to the Grange for months without him. Punch presented Robert with a kilt and the appropriate accessories—much to Robert’s embarrassment. However, Robert couldn’t resist Punch’s charm and agreed to wear the costume.

Meanwhile, the staff of No. 65 Belgrave Square and the staff of the Grange became acquainted. The Grange’s housekeeper, Mrs. North, was quite interested in Colin and noted that he looked a lot like a Molliner. Eventually, Mrs. North concluded that Colin must be the Duke’s nephew. Did Gamilla answer the old woman’s questions?

And, just what, exactly, is going on with Ellen? She has been acting oddly. Has she more knowledge of Punch’s poisoning than she lets on. And, why is she so excited about being at Grange Molliner. A shocking truth will be revealed this week that you won’t want to miss. Meanwhile, Robert and Punch stumble upon a new mystery that has long been hidden at the Molliner’s ancestral home. And, Gerard finds himself in an awkward position when he encounters some competition from the Grange’s footman, Finlay. Don’t forget, if you miss a chapter of Mr. Punch of Belgrave Square, there are links to each chapter and summaries of each in the Chapter Archive. Thanks for reading!

Figure of the Day: The Kändler Shepherd, 1750-55

Meissen Figure
Germany, 1750-55
The Victoria & Albert Museum

I have a special fondness for the work of the Meissen Porcelain Factory’s modeler Johann Joachim Kändler (1706-1775) who was responsible for several figures of Commedia dell’Arte characters including Pulcinella. Kändler was the genius behind many a set of figures which were designed to be brought out with the dessert course of a lavish meal.

Here’s one of his figures. This shepherd was meant to be part of a pair with a shepherdess. Idealized figures of shepherds were quite fashionable in Germany, France, Italy and Britain when this was made about 1750. The figures were never realistic, but rather showed the shepherd or shepherdess in elegant costumes.

This shepherd of hard-paste porcelain is shown playing bagpipes for his lounging sheep dog and grazing sheep. The high rococo-scrolled base is typical of Kändler’s work. Like it’s brothers, the figure is painted with enamel colors and gilt. 

Object of the Day: A Trade Card for Le Page's Liquid Glue

Click Above Image to Enlarge

Ironically, this Victorian trade card for Le Page’s Liquid Glue has been torn in half and taped back together. This product came about in the 1880s and was marketed not only as a glue, but also as a cover for cuts and burns. Hmmm…

I recently acquired this card with a large job lot of antique trade cards and was amused to find it torn. The front of the card shows a scene of a vagrant lounging in the first class lounge of a train station. A sign above the plush bench upon which he is seated says, “No Loafers Allowed Here.” Clearly, he doesn’t belong there. A host of policemen are charging toward the scene through an open door which reveals a concerned father and child and a departing train. Already in the lounge, five beadles try to remove the hobo from the bench, but they’re not having good luck.

The caption beneath the image reads:

“HOLD ON! IT’S NO USE PULLIN’, -- I’M STUCK WITH LE PAGE’S GLUE. 

This is evidenced by an open package of the glue on the floor to the man’s right. “Awarded London Gold Medal, 1883. Le Page’s Liquid Glue One Box” is printed on the case.

The border of the card reads:

THIS MAN USED LE PAGE’S LIQUID GLUE IN THE WRONG PLACE.

SOLD IN BOTTLES AND IN CANS.

UNEQUALED FOR REPAIRING

WOOD, LEATHER, GLASS, IVORY, CHINA, JEWELRY, METALS &C. 

Curiously, unlike most English cards, this one isn’t printed on the reverse.