Mastery of Design: The Liberty Blood Red Fire Opal Ring and Necklace, 1926-1927

Fire Opal Ring and Pendant in Platinum and Diamond Settings
The British Museum

Click Images to Enlarge.

Liberty & Co. of London and Paris produced this platinum-set finger ring and pendant for Christmas of 1926-1927.  The set glitters with the pristine sparkle of diamonds and the unusual glow of blood red fire opals.  

This extraordinary pair of rare fire opals is part of an impressive collection of jewels from the 1920s-1950s which was donated to the British Museum in 1978 by Professor John and Anne Hull Grundy.  

To Serve and Project: The Dresser Vegetable Dish and Lid, 1884

Vegetable Dish and Lid
Christopher Dresser, 1884
The Victoria & Albert Museum

Designed by the famed Christopher Dresser (1834 – 1904) for Old Hall Works in 1884, this vegetable dish is from a dinner service of earthenware is adorned with a transfer-printed pattern. As we know, these were the most affordable methods of creating dinnerware at the time, and, so, materially, the set is not out of the ordinary. However, Dresser didn’t create anything which didn’t have something special about it, and this dinner set does have some interesting features.

Christopher Dresser was as much of a slave to practicality as he was to beauty. With this set, he included some special features which were designed to make life easier. For example, Dresser designed an extra dip in the soup bowls to help in scooping up the last spoonful. The design of the dinner plates incorporated indentations in the rims for condiments and sauces.

The design of the set is perfectly represented by this vegetable dish and lid with their strongly geometric form. This shape was typical of Dresser's design style as was the decoration. He trained as a botanist and, therefore, always had an interest in organic forms. Even during his own lifetime, Dresser was described as a “pioneer of modern design” and one of the most prolific designers of his time. He famously promoted quality, machine production and the use and discovery of new materials. Furthermore, his work was considered quite fashionable—elegant enough for the finest homes, but inexpensive enough for daily use.

Though made in 1884, this particular design was not registered until 1886. Curiously, Dresser called the pattern “Shanghai” even though there is no hint of Chinese or Asian ornament or style. The Victorians enjoyed referring to china patterns by unrelated names. Dresser also introduced two other patterns the same year, both named for places which had nothing to do with their design—“Persian” and “Hampden.”

Treat of the Week: A Magnificent Italian Feast

Today, we begin the first of three "Treats of the Week."  This delightful meal came about this past Sunday.  Tomorrow, we'll go back in time for a look at some other treats which I enjoyed during my recent convalescence.

This past weekend, at my parents' house, Bertie and I relaxed with a casual feast of homemade pizza and a delightful salad. Four Italian cheeses, olives, eggplant, caramelized onions, fresh herbs, artichoke hearts, zesty olives and sundried tomatoes topped my mother’s special pizza sauce and a crust fashioned from homemade dough. My parents actually made five pizzas. One for dinner and then four smaller ones—two of which I brought home.

The perfect complement to the pizza was a cool salad of fresh greens.

The meal concluded with a true summer treat—homemade brown-sugar and cinnamon ice cream from my mother’s Cuisinart Ice Cream maker. Dark chocolate was melted into a wonderful hot fudge sauce which shone like polished mahogany. And, that’s not all! In keeping with the Italian theme, my mother made gorgeous cinnamon biscotti—the perfect texture and packed with pecans—which she carefully dipped in smooth chocolate.

Now, that's a healing meal! 

The Home Beautiful: The Rousseau Dinner Service, C. 1866

Part of a Dinner Service by Milliet LeBeuf et Cie, c. 1866
The Victoria & Albert Museum

This plate of earthenware depicts a lobster, flowers and an insect on a white ground.  It was made in Creil, France between 1866-1867 as part of a superb and impressive dinner service known as “The Rousseau Dinner Service.” 

The pattern was designed by Feliz Braquemond and made by Milliet LeBeuf et Cie for François-Eugène Rousseau (1827-1891).  Braquemond’s motifs were taken from Japanese prints including the Mangwa of the artist known as Hokusai.


The set was shown in the Universal Exhibition of Paris, 1867. 

Mr. Punch of Belgrave Square, Chapter 359

Chapter 359
Hierarchy


"You're not to be in here."  Ruthy snapped as Mrs. Pepper and Violet entered the day nursery.

"We're to be anywhere we damn well please."  Violet scowled.

"The cook shouldn't be in the nursery!"  Ruthy continued.

"I think you've got some wrong idea about your place in this household, dearie."  Mrs. Pepper replied calmly.  "You seem to have the notion that you somehow outrank us.  Should we draw a picture for you, love?  Somethin' what might show ya the order o' things here."

"I know enough of the 'order of things' to know that you're not meant to be in the nursery."

"Listen, dearie, His Grace asked me and Vi to look in on Master Colin whilst he and His Lordship went to the palace."

"The palace?"  Ruthy's eyes widened. 

"Yeah, the palace."  Violet hissed.  "What's it to you?"

"What took them there?"

"Have ya forgotten?  Gamilla's missin'.  That's why we all ain't gettin' ready for the weddin'."

"What does the Queen care if some African girl is gone missing?"  Ruthy asked.

"Some...some African girl."  Mrs. Pepper's face turned beet red.  "Now, listen, you.  That African girl happens to be your better and, I might add, the only person in this house save Mr. Speaight who reports to no one but the masters themselves.  Furthermore, she's dear to His Grace and he's dear to Her Majesty.  So, it only stands to reason Her Majesty'd be quick to 'elp.  You got some nerve, you do, dearie.  Gettin' too big for your boots, I'd say.  Don't think I won't mention it to His Grace when he and Lord Colinshire return."

"Seems to me I'm the only one doin' my job, Mrs. Pepper.  All the rest of you are moaning about Gamilla while I'm here watchin' the baby."  Ruthy replied.

"Not for long, you're not."  Violet snapped.  She walked over to the bassinet and picked up the baby.  

"What do you think you're doing?"  Ruthy roared.

"I'm taking the child to his aunty, my mistress."  Vi replied.  

"You've no authority here!"  Ruthy said.

"I've seniority!  I'm Upper House Maid as well as the Lady's Maid for Lady Fallbridge.  Maybe we do need Mrs. Pepper to draw a picture for ya!  You're just a low nursery maid.  Even Ethel and Maude got more rights here than you."

"That's enough, Vi."  Mrs. Pepper urged.  "Let's not make it worse.  Just take the baby to Her Ladyship."

"That'll be rather difficult."  Ruthy smirked.

"Oh?"  Vi chuckled.

"Lady Fallbridge left the house with Mr. Gurney not twenty minutes ago."

"How do you know?"  Vi raised an eyebrow.

"I saw them from the window."

"Oh, dear."  Mrs. Pepper shook her head.  "His Grace won't like that at all."

"Why?"  Ruthy narrowed her eyes.

"Because, they've probably gone to Hamish House.  That was precisely what His Grace was tryin' to avoid.  Ain't no place for either o' them.  That's why they went to Their Majesties for help."

"Why?"  Ruthy asked nervously.  "What's anything to do with Hamish House?"

"Well, who else do ya think took Gamilla, though how they got in this house, I'll never understand."

"What...what makes you think..."  Ruthy stuttered.  "I mean...how could....  I'm sure it's nothing to do with those women at Hamish House...  As you say, how could they..."

"You're actin' funny."  Violet interrupted.

"She is."  Mrs. Pepper said.  "Here, Ruthy, what do you know?"

"Nothing."  Ruthy shook her head.

"You're lyin'!"  Vi shouted.  "She's lyin!"  Violet turned to Mrs. Pepper.  "Mrs. P., will you stay in here with Master Colin?"

"I will, dearie."  Mrs. Pepper nodded.  "Only what do you aim to do?"

"I just want to remind Ruthy of the order of things."  Violet smiled.


Did you miss Chapters 1-358 of Mr. Punch of Belgrave Square?  If so, you can read them here.  Come back tomorrow for Chapter 360.

Drawing of the Day: Dinner Dress Ensemble; Field Rhoades Haute Couture, 1948-49

Design for a dinner ensemble.
Marjorie Field for Field Rhoades Couture
London, 1948-1949
The Victoria & Albert Museum 

Dating to 1948-49, this drawing is a fashion design for a black dinner dress ensemble consisting of a black sheath under a cerulean and peach bolero jacket, trimmed with black bobble passementerie.

The gown was designed by Marjorie Field for the haute couture firm Field Rhoades of London.  A type-written description of the ensemble is included with the drawing in order to specify the materials required.  Field intended that the gown should be made of crepe while the jacket would be constructed of slipper satin. 

This drawing is one of twelve in an album which Field assembled between 1948 and 1949 to present to her partners at Field Rhoades—allowing the firm to select the designs, colors and materials which they desired for the couture collection. 

Object of the Day, Museum Edition: The Pomona Serving Dish

The Victoria and Albert Museum

Here's a serving dish which would make any host or hostess proud. It is decorated with images that are influenced by typically asymmetrical Japanese designs. Such dishes were manufactured in large numbers and were meant to appeal to the late Nineteenth-Century customer with little money to spare.

The composition of the design of this transfer-printed pattern includes asymmetrically placed, unrelated scenes unified by an apple tree which is set in a marshy landscape. Two of the scenes appear to be of the British countryside, while the third is, rather curiously of a pelican. The pattern is named "Pomona" after the goddess of fruit, especially apple, trees.

This is probably the work of Worthington & Harrop of the Dresden Works, Hanley, Staffordshire, which is known to have been in operation from 1856 to 1873. However, it might also have been made by Wood & Hulme (Henry Hulme) of Garfield Pottery, Burslem, Staffordshire, operating from about 1882 to 1932. Oddly enough, both of these potteries used "W&H" as their mark.