Mastery of Design: Pendant in the Form of a Non-Working Watch, 18th Century

Pendant
Eighteenth Century
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

This circular pendant is designed to look like a watch. Made by a now unknown Eighteenth-Century jeweler, the bezel is bordered by rubies spaced with white enamel spheres which simulate pearls. The obverse shows a false clock face set of gold and enamel behind glass. The reverse is adorned with a foliate pattern of green and gilt enamel. From the Collection of Lady Carnarvon, the pendant was given to the Royal Collection, I’d say, sometime in the 1930s.

Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Painting of the Day: A Portrait of Charles Dickens, 1859

Portrait of Charles Dickens
William Powell Frith, 1859
The Victoria & Albert Museum

Long before you could search for images within seconds and save them to your hard drive, long before everyone had a camera in their pockets, the only way to display an image of yourself, a member of your family or even a favorite celebrity was to purchase or commission a portrait of said person.


Wealthy people frequently purchased paintings of other wealthy and famous people. One of the most popular celebrities of his time, Charles Dickens, was the frequent subject of portraits which found their way into the homes of his well-heeled friends.

This handsome (and much idealized) portrait of Dickens in the work of William Powell Frith and was painted at the apex of Dickens’ fame during his lifetime. John Forster, Dickens’ longtime friend and biographer, commissioned Frith to create the portrait. Forster was thrilled with the work depicting Dickens in his study with the manuscript for A Tale of Two Cities arranged on the desk. Dickens, however, hated the painting and complained bitterly about the way Frith had rendered his expression. Dickens had a history of disliking images of himself, even photographs. Truly, he should have been pleased with the finished painting since it is, most definitely, a flattering depiction of the author.

Antique Image of the Day: A Small Chapel in Tintern Abbey, Roger Fenton, 1854

 

A Small Chapel in Tintern Abbey, 1854
Roger Fenton
The Royal Collection



This photo by Roger Fenton(1819-1869) was taken at the ruins of Tintern Abbey in Monmouthshire, South Wales in 1854.  The image was acquired by Prince Albert after it was exhibited at the Photographic Society.  Prince Albert and Queen Victoria were loyal patrons of the art of photography and, during their marriage, amassed an impressive collection of images.  Prince Albert was especially fond of Fenton’s work and the painterly way he approached his compositions.  Fenton’s flare for dramatic staging can be seen in this image which is at once both bucolic and slightly startling.  The juxtaposition of the young woman and her decaying surroundings makes an interesting statement. Prince Albert was known to commission Roger Fenton for special photographs which still remain in the Royal Collection.  Victoria continued collecting after her husband’s death.  By the time of her passing, she had collecting over 20,000 original photographs. 

Sunday Morning Special: Bunny Mooning

Another Max Fleischer cartoon to remind us that, in the 1930s, people had odd ideas about how animals functioned.

Mr. Punch of Belgrave Square will be back on Monday

Now that the holidays have passed, we’ll have no upcoming hiatuses for Mr. Punch of Belgrave Square. If you missed any Chapters over the holidays, or, just want to catch up, each chapter has a brief summary and a link to the full text in the Chapter Archive.

This week, we’ll see just how Punch and Robert intend to help Constance and Gertrude her their children back. Furthermore, we’ll see what Constance is really all about. Orpha’s insane confidence is beginning to crack, and, an unlikely person will help to bring her down. Meanwhile, Charles finds himself in some trouble. And, the Crown makes Punch a very interesting offer.

Thanks for reading!

Precious Time: An English Bracket Clock, 1710

Bracket Clock
Paulet, 1710
The Victoria & Albert Museum

Here’s a nice looking clock. This type of bracket clock (too large for use in a carriage, but too small for a reception room) would have been used when travelling. They were designed to be carried from place to place and worked nicely on board a ship where they were fitted into a case fixed to the wall of a cabin.

This clock is signed by the maker—known only as “Paulet.” Little is known about Paulet except that his signature appears on several clocks found in wealthy English estates. Despite his French-appearing name, he is believed to have worked in London. One example of his work resides in the Metropolitan Museum, New York. This clock retains its original key which bears the royal monogram of Queen Anne (ruled 1702-1714).

A masterpiece of chased, gilt brass and silver, the clock strikes hours and repeats the hours and quarters. The alarm is set by means of the central dial and the indicator on the top dial is for the calendar.

Object of the Day: A Calendar from 1887

McLaughlin’s XXXX Coffee offered a variety of nifty advertising materials and give-aways ranging from the usual trade cards to paper dolls with detachable heads. You’ve seen examples of each as I’ve shared my collection of ephemera with you. But, perhaps one of the most useful freebies offered by the coffee concern was the annual calendar card which featured a charming image on one side and a handy pocket calendar on the other. They were even printed on extra-thick card stock so they could stand up to wear and tear in someone’s pocket or reticule. 

Here’s a fine example from 1887. 

And, the image on the obverse isn’t nearly as peculiar as other examples! Well done!