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"Are you aware that there's a deer next to you?"
Click on image to enlarge.
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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.
Thursday, January 3, 2013
Gratuitous Bertie Dog Picture: The Bertreem
Mastery Design: The Uzbeck Clasp, 1800-1900
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| Clasp Uzbekistan, c. 1800-1900 The Victoria & Albert Museum |
Described in the early Twentieth Century accounts of the V&A as being from the Yemen district of Arabia, this handsome clasp was acquired by the V&A in 1910 and is thought to have been made in the early 1800s. Later curators concluded that the clasp was not made in Yemeni, but rather from Bukhara in Uzbekistan. Adorned with floral repoussé on the silver sheet which forms the backing, the clasp is pave set with turquoises—a main featured of Uzbek jewelry. Pendants of coral beads on silver wire contrast the brilliant blue. The center stone is actually yellow glass.
Painting of the Day: Muscat Cove, 1826
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| Click image to enlarge Muscat Cove, Arabia McKenzie, 1826 The Victoria & Albert Museum |
Painted in 1826, this watercolor was finished in Turkey by R. McKenzie who signed the reverse along with the date and title “Muscat Cover, Arabia.”
The history of the painting is something of mystery. In December of 1973, it came to Sotheby’s where it was auctioned and acquired by the V&A.
Nonetheless, the delicate watercolor demonstrates the growing British fascination with exotic locals which steadily grew over the Nineteenth Century.
History's Runway: An Egyptian Tunic, 670-870
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| Tunic Egypt, 670-870 The Victoria & Albert Museum |
The history of fashion is as long as the history of humankind. As long as there’s been nudity, we’ve sought attractive ways to cover ourselves. To this end, textiles have been made for centuries. For example, in the late Roman Empire and in Byzantine Egypt, textiles were made commercially by weavers for sale to households, and, often by commission. These lush fabrics were used to create tunics—garments which were similar for both men and women.
While initially a garment constructed of one piece of fabric, by the Fifth Century, tunics were made in three pieces and adorned with a belt. One of the most popular patterns were stripes, both in Rome and Coptic Egypt.
This tunic of red wool, dating between 670 and 870, heralds from Egypt. It is adorned with white vertical strikes at the sides and, at the neck, features a woven tapestry of colored wools and linen thread.
Like later tunics, this one is made up of several pieces which have been seamed and cuffed. The sleeves are open under the arms. Though stained and slightly decayed, it’s an exceptional example of fashion of the Seventh to Eighth Century Egypt.
Mr. Punch of Belgrave Square, Chapter 223
Chapter 223
“Comin’ to bed so soon?” Gerard asked as Charles came into their room. “’Milla said the masters had ya watchin’ the front door.”
“Nah, I’m just up for a visit.” Charles shook his head.
“Well, ain’t I a lucky bloke?” Gerard grinned. “I had lots o’ company today.”
“You look much better. Even better than you did this morning.” Charles smiled.
“I’m feelin’ better.” Gerard nodded. “Better each day. I’ll be back at me post any day now.”
“We’ll just see what the doctor says about that.” Charles warned.
“Sure, but, you can’t keep doin’ everythin’.”
“I’m all right,” Charles replied.
“Are ya?”
“Sure.” Charles nodded. “Why do you ask?”
“You got that look ‘bout ya.” Gerard squinted.
“What look?” Charles frowned.
“Look, I know ya.” Gerard sighed. “We been sleepin’ in the same room for some time now. Ya get to know a bloke and his moods. I like to think so anyway.”
“I am bothered by something,” Charles whispered.
“Go on, then.” Gerard nodded.
“Well, I…” Charles began. “Listen, Gerry, you’ve got to keep this to yourself.”
“Ain’t I a friend?” Gerard smiled. “Have I ever told somethin’ you said in confidence.”
“No.” Charles answered.
“So, go on…”
Charles looked form side to side as if there could have been someone else they’d not noticed in their cozy room.
“I was downstairs, as the masters instructed.” Charles started. “I heard light footsteps, and, then, Lady Constance came down the stairs. She was looking to leave.”
“Did you stop her?”
“Yes.”
“Well, then.” Gerard smiled. “You done good.”
“I suppose.” Charles answered flatly.
“Did ya tell the masters?”
“No.” Charles shook his head.
“Ain’t ya better?”
“There’s more.” Charles replied.
“Tell.”
“She spoke to me.”
“Lady Constance?”
“Sure.” Charles nodded.
“What’d she tell ya, Charlie?”
“She told me she’s got a child.”
“We knew that. His Grace already told us.” Gerard said.
“I know, but…she said more.”
“What is it, man?” Gerard asked.
“She told me she was the one who killed her mother the Countess.”
“She never did.” Gerard’s eyes widened.
“She did.”
“And, here, all this time the masters thought it were Orpha and Finlay.”
“We all did.” Charles said. “It stands to reason, but Lady Constance told me she done it—like it was nothing.”
“You’ve got to tell the masters.” Gerard said quickly.
“I promised her I’d not.”
“You promised her?”
“I did.”
“Oh, listen, Charlie, it’s Lady Barbara all over again.”
“Don’t say that.” Charles snapped.
“It is. You got a thing for ladies in peril. I know it. You feel like you can take care of ‘em. But, you saw how it worked out with the Duke’s sister, didn’t ya? She broke your heart. She left ya to die. She was mad. Still is—for all we know. Now, this one. She’s a murderer. You can’t get involved with another one like Lady Barbara.”
“You were the henchman of her equally wicked husband.”
Gerard frowned.
Charles quickly realized he’d hurt the man’s feelings.
“I know what I done.” Gerard said softly. “And, I done worse than bein’ associated with Arthur. But, I ain’t like that now. I shown everyone I changed.”
“You have, Gerry. I’m sorry.”
“But, you ain’t changed, my friend.” Gerard continued. “At least Lady Barbara was pretty. This one looks like a horse.”
“She’s not so bad.” Charles shook his head.
“Charles, my kin is all gone. You folk here, you’re my family now, and, Charles, you’re the brother I always wanted. I know your own brother weren’t no treat. I like to think maybe I’m a brother to you, too.”
“Why in hell do you think I’m here telling you all this?” Charles sputtered.
“Well, if that’s the way it is, you oughta listen to me.”
Charles chuckled.
“Tell the masters and don’t let that horsey wench turn your head. She tried, didn’t she?”
“Maybe.” Charles sighed.
“Don’t let her, Charlie. Just don’t.” Gerard pleaded. “I…I love ya. And, I don’t wanna see ya hurt. Why get yourself tangled up with a woman like that when ya got a pretty girl—a nice, innocent girl, right here who you could flirt with.”
“Gamilla’s yours.”
“I don’t mean Gamilla. There’s other girls here.”
“Ethel and Jenny?” Charles laughed.
“You know I mean Vi.” Gerard scowled.
“One thing at a time, Gerry.” Charles shook his head.
“Do this for me. Please. Go to the Duke and Dr. Halifax. Please. When all is said and done, they’re out masters. They give us this home. They made this family for us. Please.”
Charles nodded.
“Will ya?” Gerard asked.
“I’ll think about it.”
“Charlie!”
“I’ll think about the right way to do it,” Charles answered.
“But, you’ll do it?”
“I will.” Charles nodded.
“Fine.” Gerard smiled, finally. “Now, grab that book over there and read to me a bit.”
“Where’s the ‘please’?”
“I used ‘em all up.” Gerard winked.
Did you miss Chapters 1-222? If so, you can read them here. Come back tomorrow for Chapter 224 of Mr. Punch of Belgrave Square.
The Home Beautiful: The Fennia Vase, 1900-1920
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| Vase from the "Fennia" Line Arabia Company, Finland 1900-1920 The Victoria & Albert Museum |
Made at the Arabia Company in Finland, this cast white earthenware vase takes a cylindrical form with a wider circular foot. It’s adorned with wholly early Twentieth-Century patterns of diamond shapes. These are both printed onto the vessel as well as hand-painted with an overglaze of red, black, yellow, buff and green.
This vase was part of a range called “Fennia” which was the result of a 1900 commission from an American importer who wished for designs by a “Famous Finnish artist.” The importer got his wish, but, the name of the “famous” artist was never revealed. Some speculate that the design is the work of Armas, one of three of the most famous Finnish architects of the early Twentieth Century. The range included thirty designs and was discontinued in the early 1920s.
Object of the Day: A Card for Arbuckle Brothers Coffee
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| Click image to join the harem. |
In the second half of the Nineteenth Century, in addition to the growing appreciation for “oriental” arts and motifs came an interest in exotic “Arabian” themes. Such themes conjured thoughts of a freedom and, frankly, sensuousness unknown to your average European or American. Harems, dust-swept landscapes, silks, camels and lush palms all seemed to be unimaginable to most.
“Arabia” also brought ideas of coffee, and, so, it seemed a natural choice to the Arbuckle Bros. Coffee Company of New York City to include a stereotypically “Arab” scene in their series of fifty collectible cards which depicted “a pictorial history of the Sports and Pastimes of all nations.”
After regaling us with tales of coffee greatness, we get a rather one-sided account of life in Arabia, but, it matched the front of the card perfectly.
The card’s obverse shows a painting of an Arab scene commissioned by the Arbuckle Brothers’ coffee concern. Men on camels frame a scene of a “harem” of languid girls braiding their hair behind an unnaturally large bird.
Where I’d usually type out the reverse copy for you, this one’s clear enough that you can read it unassisted. Let’s see what we can learn, in the name of coffee.
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| Click to read. |
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