Friday, July 27, 2012

Objects of the Day: A Set of German "Kasperle" Puppets




Because a thirty-eight year old man needs more puppet heads. That’s why. Oh, you didn’t ask. Nevertheless…

Remember this vintage puppet head which I saved from a warehouse in Britain? Well, because I think things with heads should have bodies, my parents were kind enough to give him a trunk.

So, of course, I needed more. They recently gifted me with this set of 1950s-era puppets from Germany. The set is complete, but in poor shape. The heads are in superb condition, but most of their wee puppet bodies are gone and what little remains stinks to the end of time of cigarette smoke.

Is it Mr. Punch? Is it Judy? Nope. Close, but no. We have here, Punch’s German (and Austrian) cousin Kasperle (also spelled Kasperl or Kasper, depending on the region). Kasperle, like Mr. Punch, developed from the Commedia dell’Arte character of Pulcinella. Kasperle was a slightly later adaptation, coming about in the mid Nineteenth Century. He looks quite a bit like Mr. Punch, but lacks our hero’s chin and exaggerated hump. 



Kasperle, is not married. Where Mr. Punch has Judy (until he whacks her), Kasperle is a single fellow. He does have a lady friend. She’s called Gretel. Gretel differs from Judy in almost every way. Whereas Judy antagonizes Mr. Punch for the most part and, in the end, feels his wrath, Gretel is Kasperle’s good friend and companion. Together, they fight evil (the Devil specifically) and authority—working as a team to outsmart their enemies. Our Mr. Punch is more independent and, with the exception of Dog Toby and occasionally Joey the Clown, is alone in his battle. But, we don’t have a Gretel in this set.

Who do we have?

Well, of course, there’s Kasperle with his crimson cap. He a little less grotesque than Mr. Punch, and, honestly, just a bit goofy looking.

Then, we have “The Grandmother.” Kasperle lives with his grandmother. She’s the one with the lavender bonnet. The grandmother character is the voice of reason and calm. She encourages Kasperle to fight the Devil and the crocodile, and when he wins, he returns home and Grandma gives him sausages. 



We have the Wizard. I wasn’t quite sure who this character was at first since he’s just a head with a scary beard. At first, equating the set to Punch and Judy terms, I concluded he was the Doctor. But, then, after awhile—without knowing for real—that he was a wizard. As it turns out, I was correct. The Wizard is a traditional part of the Kasperle plays. He’s a character of infinite power, but only uses said power for good. He is patient and kind with Kasperle and is given to overdramatic displays. 



On the other hand (ha!), we have the Witch. The Witch is Kasperle’s enemy. She casts spells on the other characters, usually turning them into chickens. Furthermore, she seems motivated by a desire to steal the Grandmother’s cake. That’s terrible! 



And, of course, we have the Devil. He’s exactly what he seems. 



Overall, Kasperle plays seem to be more sedate than Punch and Judy plays. There’s some slapsticking here and there, but it’s not the wild free-for-all that one gets with Punchinello. These days, these puppets are mostly used to retell fairy tales.

You may wonder what will happen to these heads and their remaining bits of body. Well, they’re going to get a new life and new bodies thanks to my mother and father. The heads have been cleaned (they’re in excellent shape) and new bodies and costumes are being constructed as we speak. They’re going to be quite smart looking! I will make sure to share the finished puppets with you.



Thursday, July 26, 2012

Gratuitous Bertie Dog Picture: Bertie Speaks

“I loved you in those Marx Brothers movies.” 













Image: Madame Roubiliac, 1760, François Xavier Vispré (1725-1794), The Victoria & Albert Museum. 









You, too, could have a cup of tea with Bertie. Or, you could wear his picture proudly. Visit our online store to see our range of Gratuitous Bertie Dog products.






Mastery of Design: The Georges Bissinger Brooch, 1878

Cameo Pendant-Brooch
Georges Bissinger
French, c. 1870
The Victoria & Albert Museum



A layered agate cameo, set in gold and accentuated by diamonds, this jewel is signed by Georges Bissinger (died before 1921), a gem engraver of German birth. Bissinger was celebrated for his carving which was inspired by French and English Royal portraits and examples of Italian jewels dating to the Sixteenth Century.

Bissinger famously copied one-hundred twelve gems from examples in the Cabinet des Médailles in Paris. These copies, each made in precious materials were identical to the originals in every way. He exhibited the group to great acclaim at the Exposition Universelle in Paris in 1878.

This pendant-brooch is among that lot and is one of the first that Bissinger copied from the set in the Cabinet des Médailles. The cameo portrait depicts a bacchante. It is believed that Bissinger finished the jewel in 1870. Bissinger was known to use only the finest jewels and that passion is evident in this piece with its exquisite rose-colored agate and flawless, brilliant-cut diamonds.



Unfolding Pictures: The Georges Barbier Fan, 1912



Hand Fan
Georges Barbier and Madame Paquin
French, 1911
The Victoria & Albert Museum




Georges Barbier (1882-1932), a celebrated Parisian fashion illustrator of the early Twentieth Century, collaborated with the most avant-garde fashion designers in France at the time. Barbier worked with such famous names as Paul Poiret and Madame Paquin (1869-1936) whose elaborate oriental costumes for the Ballets Russes tremendously influenced fashion in the 1910s.

Madame Paquin and Barbier worked together to design a series of fans on that Eastern theme. This decorated fan of printed and hand-colored paper and hand-painted silk is an example of the collaboration. Looking ahead to the designs which would dominate the Art Deco ideals of the 1920s, the fan features sticks and guards of bone which have been adorned with painted grapes and butterflies. Tassels of mulit-colored silks hanf from the gold rivet. A woman is also depicted. She wears a headdress which is identical to one which was designed by Madame Paquin. When folded, this fan, made in 1911, displays a zig-zag pattern betwe
en the guards.  









Print of the Day: Mrs. Nisbett as Zarah, c. 1842



Mrs. Nisbett as "Zarah"
T.H. Jones
The Harry Beard Collection at:
The Victoria & Albert Museum


This hand-colored engraving, based on a drawing by T.H. Jones, depicts mid-Nineteenth Century actress Mrs. Nisbett in the title role of Zarah, as performed at the Queens Theatre around 1842. The actress is show in her famous costume of an off-the-shoulder white blouse beneath a three-quarter-length green, spiral-patterned gown in the sack-back style which is worn over a scarlet petticoat with a black-edged hem. Her green bloomers are scandalously visible as are her strapped sandals.

Heavy, gold jewelry defines the costume—dangling earrings, an impressive belt, rings and bracelets. A scarf of crimson and black comprises her headdress.

A caption below the image reads:

“(Zarah) Hark to the cry of their days - already have they opened on the scent of blood."



Mr. Punch of Belgrave Square, Chapter 97


Chapter 97: 
Fancy Dress 



“Mornin’, Sir.” Ethel smiled.

“Good morning, Ethel.” Mr. Punch nodded, speaking as Julian. “Good morning, Jenny.”

Jenny blushed and looked at her shoes.

“Do come and sit across from me, please.” Mr. Punch continued.

“In here, Your Grace?” Ethel asked, looking around the palatial parlor with its pine paneling and massive maple gothic furnishing carved with hunt scenes.

“Well, certainly.”

Hesitantly, Ethel and Jenny walked across the parlor toward the two plushly upholstered chairs which stood in front of the Duke’s handsome desk.

“You may sit.” Mr. Punch nodded

They did as instructed.

Smiling, Mr. Punch began, “I’ve had some very nice discussions this morning with some of the others about their ideas for their fancy dress.”

Ethel and Jenny nodded blankly.

“Have you given any thought to what you’d like to wear?”

Ethel started to speak, but, stopped herself.

“Go on, Ethel.” Mr. Punch said with as much friendly encouragement as Julian’s voice would allow.

“Well, Your Grace.” Ethel smiled sheepishly. “I always dreamt of som’thin’.”

“What’s that?”

“It’s foolish.”

“I’m sure it isn’t. Remember, a fancy dress ball is a time to enact your fantasies. It’s a time to be what you normally cannot.”

“I’d like to be a princess, Sir.” Ethel replied softly.

“A princess?”

“Oh, it’s foolish.” Ethel blushed.

“Not at all.” Mr. Punch shook his head. He quickly began to sketch on the wide piece of paper in front of him. “What’s your favorite color?”

“I do like rose, Sir.” Ethel said, trying to look over the impressive bronze desk set—adorned with figures of stags—which sat between them.

Mr. Punch reached for a stick of pink pastel.

After a few moments, He raised the page from the desk and offered it to Ethel. The drawing showed a young woman with a face much like Ethel’s in a lovely Eighteenth Century sack-back gown of rose silk—trimmed with lace, ruffles and a fringe of cream and black passementerie.

“Oh!” Ethel squealed.

“Something like this?” Mr. Punch smiled.

“Sir!” Ethel chirped. “I…”

“Do you approve?”

“Very much.” Ethel nodded. “But, how…”

“After we’re finished, I will send Finlay to the tailor with all of our sketches and they will produce the costumes for us.”

“I don’t know what to say, Your Grace.” Ethel tittered.

“I hope it pleases you.” Mr. Punch nodded. “Now, as for your hair, Gamilla will help you dress your hair. She used to dress my sister-in-law’s hair and does a very nice job of it.”

“Your sister-in-law, Sir?” Ethel asked.

“Oh.” Mr. Punch paused. “I suppose she’s not actually that. Adrienne Halifax…Dr. Halifax’s brother’s wife. Gamilla was her maid.”

“I understand, Sir.” Ethel nodded.

“Furthermore,” Punch continued. “I’d like to loan you something to complete your ensemble.”

“Sir?”

“I’m not sure if you’re aware, but I had a sister, Lady Barbara, who is now…gone. However, I noticed the other day, in her former bed chamber, that the last time she was here she left behind some of her jewels. There’s a fine necklace of aquamarines and paste in silver. And, there’s a lovely chalcedony and chrysoprase hair ornament which, I think, would look quite smart on you. You’re welcome to borrow them for the evening provided that you’ll take good care of them.”

“I couldn’t, Sir. I’d be scared.” Ethel shook her head. “What if I were to lose them?”

“Nonsense.” Mr. Punch waved his hand. “I trust you. Mrs. Pepper will be dressed as Queen Charlotte and I’ve also decided to loan her some of the jewels which once belonged to one of the late Duchesses of Fallbridge. I’m sure these items will be quite safe with you.”

“I never…” Ethel began, her voice catching in her throat. “I never knew anyone so kind before, Your Grace.”

“If I am kind,” Punch smiled. “It is because all of you show me, my companion and my son such kindness.”

Ethel wiped away a tear. “Thank you, Your Grace.”

“As for you, Jenny…” Mr. Punch grinned. “Have you thought of what you’d like to wear?”

“Oh, Sir. I couldn’t think of nothin’.” Jenny whispered.

“No matter.” Mr. Punch nodded. “Tell me. Are you enjoying your visit to Grange Molliner?”

“Oh, yes, Your Grace.” Jenny replied, becoming more animated. “I slept like a tot. The room what Mrs. North give us is so comfortable and fine.”

“Have you had a chance to see any of the estate this mornin’?” Mr. Punch asked, slipping a little and letting his natural speaking voice intrude upon the end of the sentence. He winced for a moment and mentally chided himself to be more careful. Still, Jenny didn’t seem to notice.

“Yes, Sir.” Jenny nodded. “Mrs. Pepper said that we could go for a walk as long as we were back to see you in time. So, Ethel and me—we walked out around a bit.”

“And, what did you see?”

“All them flowers, Sir.” Jenny smiled. “I liked them special. I wanted to pick some.”

“You may, if you like. You can ask Mrs. North for a vase so you may keep some in your room.”

“Thank you, Sir.” Jenny grinned. “See, I was lookin’ at ‘em up close cuz I thought maybe we could decorate the cake with sugar flowers. Mrs. Pepper, she says we’re gonna start on the grand cake this afternoon so it’ll be ready for the ball. She never let me help her with a cake before and I’m terrible thrilled. It’s gonna be butterscotch.”

“I know.” Mr. Punch smiled. “What else did you see that you liked?”

“The horses, Sir.” Jenny replied thoughtfully. “So big and beautiful, they are. Sweet, too. They let me pet them.”

“That’s right,” Mr. Punch nodded. “Even at home, you like the horses. I’ve seen you go with Vi to the mews to see the horses when Mr. Hutchinson is grooming them.”

“I love the horses, Sir.” Jenny nodded.

“I like them, too. They look like very tall dogs to me.”

Jenny and Ethel giggled, thinking that the Duke was joking.

Punch, again, silently reminded himself to be more careful.

“What is it that you like about the horses?” He asked.

“They’re sweet and smart and soft, but strong.” Jenny replied. “When I was a girl, my uncle had a horse and he’d let me ride.”

“You enjoyed that?”

“Yes. I liked to pretend that I was a lady or even Joan of Arc.”

“Ah.” Mr. Punch nodded. “Perhaps you’d like to dress as Joan of Arc for the ball.” He began to sketch.

“Really?”

“I don’t see why not.” Punch nodded, not looking up from his drawing. “I’m sure we could make something like this…” He held up the drawing for Jenny to see. “We can supplement it with bits and pieces from the armory.”

Jenny gasped happily. “Do you think I could?”

“I think, most assuredly, that you must.” Mr. Punch said firmly.

“Oh, thank you, Your Grace.”

“Very well, then.” Punch said finally. “I think we’ve gotten that settled.”

“What will you be, Your Grace?” Ethel asked.

“Dr. Halifax and I won’t be wearing fancy dress.” Punch shook his head.

“Why not, Sir?” Ethel asked.

Punch paused. “I think, really, because we want all of you to be the focus of the ball. The night is yours, not ours. The celebration is for you, our guests of honor.”

Both Ethel and Jenny grinned.

Punch was about to speak again when Finlay entered the parlor.

Mr. Punch looked up. “Yes, Finlay?”

“The Baron Lensdown is here to see you, Sir.” Finlay answered formally.

“He’s not expected.”

“No, Sir.” Finlay bowed.

“Have you told him that I’m otherwise occupied?”

“I have, Your Grace.”

“Well, then, he should be on his way.”

“He insists upon seeing you, Your Grace.” Finlay answered.

Mr. Punch took a deep breath. Forcing himself to smile he looked to the girls. “Ethel, Jenny, thank you so much for taking this time with me this morning.”

“No, Your Grace. We should thank you.” Ethel replied.

“And, so, you just have. I hope you enjoy the rest of our morning and, Jenny, you must tell me later how the preparations for the Grange Molliner cake are progressing.”

Jenny nodded. “I will, Your Grace.”

“Now, then, if you’ll excuse me.” He rose. The girls followed his lead.

Punch looked toward Finlay. “Please lead the baron to the Hunt Room. I shall receive him there.”



Did you miss Chapters 1-96? If so, you can read them here. Come back tomorrow for Chapter 98 of Mr. Punch of Belgrave Square.


History's Runway: A Silk and Velvet Sack-Back Gown and Petticoat, 1774-1890



Sack-Back Gown
Made in Scotland, 1774-1775
Altered between 1880 and 1890
The Victoria & Albert Museum


As we know, a sack-back gown, the predominant style of women’s fashions of the Eighteenth Century, is created from a single piece of fabric pleated and stitched at the back of the neck, creating an open front. The style evolved from a sort of loose negligee which was worn privately. By the 1770s, the fashion had become a more formal type of dress meant to be worn in public at important events, the opera, the theatre and at stylish dinner parties.

What sets this sack-back apart is the use of velvet. At the time, these gowns were made of woven fabrics which were printed after the weaving process. Here, the textile of silk has been combined with velvet—a technique unique to France--which created a fabric with vertical bands of ivory and pink silk alternating with stripes of floral chiné velvet. Records with the dress report that the textile cost a shocking 36 shillings a yard. The gown and petticoat are constructed of about 17 yards. Today, the fabric alone would have cost approximately £2,200—over $3400 U.S. 



While the fabric was imported from France, the gown itself was constructed in Scotland. The original garment was made between 1774 and 1775. Alterations were made to the gown between 1880 and 1890 when it was used as a costume for fancy dress parties. The ensemble was, for many years, part of the Castle Howard Costume Collection before being sold by Sotheby’s to the V&A.