Mastery of Design: The Grundy Bodice Ornament, c. 1650

Click image to see larger picture.
Hull Grundy Bodice Ornament
Spain, Seventeenth Century
The British Museum

This bodice ornament of gold is set with table-cut emeralds and diamonds. The upper section of the piece features an openwork design in a bow form incorporating foliate tendrils and volutes. This is hinged to a section which works the initial “S” in pierced openwork.

The reverse of the jewel is enameled in pink and black on a ground of white in a floral pattern.

At one point, this piece was in the collection of Dame Joan Evans, but ended up in the catalogue of Hull Grundy who presented this as part of a large gift to the British Museum. It’s believed that the ornament has significance to a Spanish religious confraternity.

Painting of the Day: Anne of Denmark, 1614

Anne of Denmark
Attributed to Marcus Gheeradts the Younger, 1614
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

This lovely portrait is attributed to Marcus Gheeradts the Younger (c.1561-1635). The work of oil on panel dates to 1614 and depicts Anne of Denmark in an interior. She’s adorned in her regal jewels and a beautifully embroidered dress. 

The painting was first recorded in the Royal Collection during the reign of King James II. 

Sunday Morning Special: A Haul in One, 1956

The 1950s made everything a little stranger, a little more stylized, a little more angular. Cartoons of the era retained some of the monumental weirdness of those of the 20s through 40s, but were a little more reserved. Let’s see what 1956 does to our Sunday friend Popeye.

The Home Beautiful: Vase cannelé or vase à corset, 1755-1757

Pair of Vases
French, c. 1755
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

The Sèvres Porcelain Factory created these playful vases between 1755 and 1757. The vessels are made of soft-paste porcelain, blue lapis enamel on a white ground and gilded adornment with ormolu.

These fanciful corset-shaped designs are typical of production at Vincennes in the early years and stylistically match the work Jean-Claude Duplessis--one of the most influential artistic directors at Vincennes and Sèvres between 1745 and 1774. Vases in this style quickly went out of fashion, however, as the more staid and severe neoclassical style became the dominant look. 

Mr. Punch of Belgrave Square will Continue Monday

Despite Gamilla’s best intentions, Finlay’s education in guilt ended not in enlightenment, but in his suicide as the man broke away from her and threw himself into a deep well. As one might expect, Gamilla blamed herself for this—mourning more for the fact that Finlay would never pay for what he’d done than for his death. However, Mr. Punch, Robert and Charles tried to convince Gamilla that she did her very best and that she was not to blame for Finlay’s decision.

Meanwhile, Johnny Donnan had spied the whole thing and was quite upset at his son’s death—a rather curious set of emotions on his part since he spent the young man’s whole life torturing his son. Still, Johnny decided to sanctify Finlay in death and went to the stables to share the news with “Ellen,” and, by association, Lennie.

Johnny, Ellen and Lennie crept into the castle and waited in the passage for Gamilla and Charles, jumping them after they left the company of the Duke and the Doctor. Johnny and Ellen wanted to make Charles and Gamilla suffer for what Ellen called their hypocrisy. Things got out of hand, however, when Gamilla let slip the fact that Ellen is an imposter. Ellen tried to cover, but the scene grew violent and Lennie ended up blurting out the truth.

How will Johnny react? What does this mean for Lennie? Surely Ellen won’t take kindly to the revelation. Meanwhile, Gamilla and Charles are still in trouble and, upstairs, Gerard is about to take a turn for the worse as Ethel, Jenny and Georgie become more involved in the salvation of their friends.

Furthermore, Mr. Punch and Robert have a houseful of people who will be demanding answers and the Baron Lensdown isn’t finished just yet. His battle with Lady Constance will become explosive and Punch and Robert will be caught in the crossfire.

You won’t want to miss a chapter, but if you do, you can always catch up in the Chapter Archive. Thanks for reading!

Print of the Day: A Little Tighter, 1791

A Little Tighter
Rowlandson, 1791
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

This wacky Eighteenth Century print by Thomas Rowlandson (1756-1827) was published in May of 1791. The scene is quite clear. A petite dressmaker is trying desperately to fasten the corset of his customer—with little luck.

The print was added to the Royal Collection, likely by King George IV.

Object of the Day: A Model Form

This is certainly one of the most clever trade cards in my collection. It’s a testimonial to the ingenuity of Victorian advertisers. The card for corsets boasts a lovely chromolithograph of a smartly dressed lady of the 1880s. After all, she has a “model form.” But, there’s more to it than that. You’ll notice that the card asks us to “Hold to light and see how she acquired it.”

And, when you do, you see the poor lass’ undergarments. She opens her eyes in shock as you gaze at her foundation.

It’s a simple trick really. On the reverse, printed, in reverse, is the image that we’re seeing when we hold it up to the light. Simple though it may be, it’s really quite ingenious and a sneaky way of showing off the product. I’d also like to point out that this card was overprinted by a retailer of the corsets—our friends at the Bee Hive Store.