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| Parure The British Museum |
Over time, owners of the suite added similar earrings and brooches which were made around the same time. The entire suite was donated to The British Museum by Prof. John and Anne Hull Grundy in 1978.
Monday, August 5, 2013
Mastery of Design: The Forget-Me-Not Demi-Parure, c. 1840
Her Majesty's Furniture: The Beautiful Sky of Italy Table, 1845
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| The Beautiful Sky of Italy Table Michelangelo Barberi, 1845 The Victoria & Albert Museum |
This masterpiece of micromosaic and furniture-making was made for Francis Needham, Earl Kilmorey, and was exhibited in London at the Great Exhibition of 1851 where it received a Council Medal, the highest honor awarded.
Made in Rome in 1845 by Michelangelo Barberi (1787 -1867), the circular micromosaic tabletop depicts a central group of four genii floating in the open sky—each bears the attributes of painting, music, architecture and sculpture. Around the circumference of the table are eight views of Italian cities: Piazza del Duomo, Milan; St. Mark's Square, Venice; Piazza della Signoria, Florence; St. Peter's Square, Rome; the Coliseum, Rome; the Riviera di Chaia, Naples; St. Rosalia, Palermo and the Harbor at Genoa. The table base is gilt bronze and is made up of four legs surmounted with rams heads.
More than just majestic sites in Italy, the views depicted on this tabletop are those that were visited by Tsar Nicholas I on his Italian tour of 1845. In 1846 the Tsar commissioned a tabletop directly from Michelangelo Barberi who referred to the composition as “Il bel cielo d'Italia” (the beautiful sky of Italy). The original table made for Tsar Nicholas I, showed a central composition of a group of putti holding a portrait of the Tsarina Alexandra. That work is now at the Hermitage Museum in St. Petersburg. Barberi next made this similar table for the Earl.
Michelangelo Barberi was known as “Cavaliere” and was the leading micromosaicist of the Nineteenth Century. One member of a celebrated family, his brothers were painters and his father Camillo was an architect, painter and designer who served as Director of Fortifications and Prisons for Italy following his meeting with the Emperor Napoleon in Milan in 1804. This illustrious family lived in Paris for a spell, but later returned to Rome during the reign of Pius VII (1800-1823).
Figure of the Day: Conquer or Die, 1830
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| Conquer or Die Staffordshire, England C. 1830 The Victoria & Albert Museum |
This Staffordshire figure group of lead-glazed earthenware is adorned with enamel colors. The group of a man and a woman appear to be fighting over a pair of breeches. They stand in front of a fireplace with a large clock above. Plaques on either side of the seen read: “Conquer or Die” and “Who shall ware the breches (sic).”
This novelty piece refers to a familiar theme which was especially common in English and Dutch comic art as well as the theatre of the day…or, even, this day.
The Home Beautiful: The Honourable Society Punch Bowl, 1800
On Thursday, August 8, I'll be sharing this week's "Treat of the Week," a delectable dinner in honor of my father's birthday. Today, let's begin the celebration with a cup of punch.
In the 1700s, the new hot drink known as “punch,” was the height of fashion, and fancy ways to serve the beverage were soon devised on a variety of social levels. Though punch first appeared in England around 1680, the drink steadily rose in popularity over a century, and by the 1800s no party was complete without it.
The first punchbowls were made of delftware (tin-glazed earthenware). Later, white or brown stoneware was the material of choice, replaced in a few decades with creamware and Pearlware (two types of light-colored pottery).
Heavy cut glass bowls were occasionally used, however, since the beverage was initially served hot, these proved to be unsuitable. By 1800, punch aficionados concluded that the ideal material for punch bowls was Chinese porcelain. However, that was a rather expensive proposition for most families. So, creamware remained the most popular choice.
Here, we see an enormous creamware bowl. It is, indeed, one of the largest earthenware examples to survive. Though we can’t be certain, the punch bowl has been attributed to the Herculaneum factory at Liverpool, which made large examples in both crearmware and stoneware.
The bowl’s decoration is something of a mystery. Clearly, the inscription of “THE HONOURABLE SOCIETY, PRO MATRIA,” has some political significance. Still, historians debate the allegiance of the group. Whig? Tory? One of the secret Jacobite clubs who supported the exiled Stuart pretenders to the throne? Men’s drinking clubs often had allegiances to specific groups. They would often keep their alliances private, leaving clues on objects such as this. Perhaps it was used by a group of men who were united by a similar profession.
Let’s look at it more closely. Inside is painted a seated cat. Outside are four detached prints representing Pyramus and Thisbe, lovers under a tree and a man with a cudgel coming up behind them, Narcissus gazing into a pool, and two lovers consisting of a man kneeling to a protesting woman.
We’ll never know, I suppose. Still, you can imagine a group of ruddy-faced early Nineteenth-Century Englishmen dipping their cups into this bowl and talking excitedly about something. I like to think they were just a group of drunk cat fanciers.
In the 1700s, the new hot drink known as “punch,” was the height of fashion, and fancy ways to serve the beverage were soon devised on a variety of social levels. Though punch first appeared in England around 1680, the drink steadily rose in popularity over a century, and by the 1800s no party was complete without it.
The first punchbowls were made of delftware (tin-glazed earthenware). Later, white or brown stoneware was the material of choice, replaced in a few decades with creamware and Pearlware (two types of light-colored pottery).
Heavy cut glass bowls were occasionally used, however, since the beverage was initially served hot, these proved to be unsuitable. By 1800, punch aficionados concluded that the ideal material for punch bowls was Chinese porcelain. However, that was a rather expensive proposition for most families. So, creamware remained the most popular choice.
Here, we see an enormous creamware bowl. It is, indeed, one of the largest earthenware examples to survive. Though we can’t be certain, the punch bowl has been attributed to the Herculaneum factory at Liverpool, which made large examples in both crearmware and stoneware.
The bowl’s decoration is something of a mystery. Clearly, the inscription of “THE HONOURABLE SOCIETY, PRO MATRIA,” has some political significance. Still, historians debate the allegiance of the group. Whig? Tory? One of the secret Jacobite clubs who supported the exiled Stuart pretenders to the throne? Men’s drinking clubs often had allegiances to specific groups. They would often keep their alliances private, leaving clues on objects such as this. Perhaps it was used by a group of men who were united by a similar profession.
Let’s look at it more closely. Inside is painted a seated cat. Outside are four detached prints representing Pyramus and Thisbe, lovers under a tree and a man with a cudgel coming up behind them, Narcissus gazing into a pool, and two lovers consisting of a man kneeling to a protesting woman.
We’ll never know, I suppose. Still, you can imagine a group of ruddy-faced early Nineteenth-Century Englishmen dipping their cups into this bowl and talking excitedly about something. I like to think they were just a group of drunk cat fanciers.
Mr. Punch of Belgrave Square, Chapter 361
Chapter 361
Floor Plans
"Ma," Georgie squinted, "What's takin' Maudie so long?"
"Dunno, dearie." Mrs. Pepper shook her head.
"All she were to do was to go downstairs and grab some fresh nappies." George shook his head.
"Poor thing don't know where to look, I s'pect." Mrs. Pepper said. "We ain't exactly used to the world of the nursery."
"Everyone knows where Gamilla keeps the linens." George frowned. "Maybe I'd best go down."
"You're to stay right here, George." Mrs. Pepper said firmly. "Leave Ruthy to Charles and Vi."
"That's just it, Ma." Georgie shook his head. "I don't want nothin' to do with Ruthy. I'm scared maybe Maudie somehow got caught up in what's goin' on down there."
"She knows better." Ethel spoke up from her spot in the rocking chair where she held Colin. "Besides, she didn't even have to go through the servants' hall to get to the laundry. Mrs. P were very clear 'bout what she were to do. Our Maudie's no fool. She's got a head for gettin' places. Why, she told me that when she worked at Hamish House, she knew all the cleverest ways in and out. She'll be right back."
"So don't worry, Georgie." Mrs. Pepper added.
"Ain't no trick to gettin' 'round a house," Georgie muttered. "'Specially here where all these big houses is just alike."
"On, that ain't true." Ethel protested. "Maybe they look the same on the outside, but they ain't at all alike on the inside. No, not at all."
"Like you know." George frowned. "Like you been in any o' these other houses."
"Maybe she ain't, love," Mrs. Pepper smiled, "but our Ethel is right. They're all different. Hamish House ain't near as big as ours. In fact, ours is the biggest on this side of the square. And, they're laid out all different."
"Is that so?" George asked his mother.
"It is. I've been in the servants' halls of others, and even the downstairs is all different. Many've been done over. Some were built a certain way for a certain family. Take this house, dearie, ya know that bit behind my range? Ever gone back there?"
"No."
"You ain't?" Ethel scoffed.
"Why would I?" George frowned.
"Curiosity, maybe." Ethel grinned.
"Well, son, if you ever do, you'll see there's a whole fireplace back there and a neat little row o' shelves from before His Grace bought the lease."
"Maudie says she found places in Hamish House that she didn't think no one else knew 'bout." Ethel nodded.
"Well, clearly she don't know here way 'round this house near as well." George stood up. "She's been gone far too long. I'm goin' to fetch 'er."
Mrs. Pepper squinted and sighed. "She 'as been gone a bit too long. Maybe you'd best go look. But, be smart. And, stay clear of Charles and Vi--let them take care of the traitorous Ruthy."
"I'll be back in a tick, Ma."
"Georgie!" Ethel said quickly. "Be safe, right?"
"I will, Ethel," George smiled.
George opened the nursery door, looked up and down the hallway and hurried toward the service stairs.
"I hope Maudie's all right." Ethel frowned.
"I'm sure she is, Ethel." Mrs. Pepper nodded. "She's probably just listenin' to them scream at Ruthy. Or, maybe Mr. Speaight has returned and he's put her to work. Who knows? Could be His Grace and His Lordship are back and are tellin' what the Queen said."
"Or Gerard and Her Ladyship. Or even...well, dare I think it? Gamilla."
Mrs. Pepper nodded again. "If only."
"I feel bad, Mrs. P." Ethel said softly.
"We all do. We love Gamilla, each of us."
"But, also...sittin' in 'ere in 'er chair, holdin' this baby. I feel content, and I know it's wrong." Ethel admitted.
"Why wouldn't ya, dearie? You're good with the child. And, it's not often you get to be anywhere this comfortable. If I didn't hate the thought of you not bein' downstairs with me, I'd recommend to His Grace that you'd be a good nursery maid. Heaven knows they'll not be keepin' Ruthy after what she done."
"Me? A nursery maid?"
"And why not?" Mrs. Pepper replied. "But, now ain't the time to speak of it."
"No, of course." Ethel answered. She glanced up at the mantle clock. "Seems Georgie's been gone for awhile, too."
"I was just thinkin' the same thing." Mrs. Pepper rose. As she did, the door opened and George rushed in.
"What is it, son?" Mrs. Pepper asked.
"Maudie's gone!" George barked. "Charles and Vi said she didn't even come into the servants' hall. They been down there the hall time, right by the stairs. They got Ruthy locked in the cupboard by the area, waitin' to see what the Duke says to do with 'er. Maudie ain't been down there."
"Where could she 'ave gone?" Mrs. Pepper gasped.
"Hamish House," Ethel shook her head. "The fool! I'd bet anything on it. I wager she's gone to try to get Gamilla!"
Did you miss Chapters 1-360 of Mr. Punch of Belgrave Square? If so, you can read them here. Come back tomorrow for Chapter 362.
Sculpture of the Day: Two Chinese Figures, 1752-1754
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| Two Chinese Figures French, 1752-1754 Acquired by King George IV while Prince Regent Crown Copyright The Royal Collection Image Courtesy of Her Majesty Queen Elizabeth II |
The scene depicts a young boy standing on a coral-strewn beach who approaches a regal young woman, reclining on a tasseled pillow. Minor imperfections can be seen in the sculpture, upon close inspection, showing the difficulty the artists faces in creating the complex central basket and the intricate folds and patterns of the figure’s costumes.
King George IV was drawn to chinoiserie and works with an Asian influence and purchased this piece while still Prince Regent. At some point in the Nineteenth century, the group was incorporated into an elaborate French clock case. At the time, the group was painted with gold details to match the clock case. While the clock is no longer in existence, the gold details remain, making the group appear to have even more depth.
Object of the Day, Museum Edition: Le Pardon de Plourin, Brittany, 1877
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| Le Pardon de Plourin, Brittany Leon Lhermitte, 1877 The Victoria & Albert Museum |
Painter Léon Lhermitte (1844-1925) was born in Mont-Saint-Père, but he didn’t remain in the little French town. Lhermitte soon became a student at the Petite Ecole in Paris, under the supervision of Horace Lecoq de Boisbaudran (1802-1897), who was responsible for instructing such famous names as Henri Fantin-Latour (1836-1904) and Alphonse Legros (1837-1911) among others.
Lhermitte exhibited at the Paris Salon between 1866 and the first decade of the 20th century. He was, notably, a founding member of the Société Nationale des Beaux-Arts in 1890 and was made officer of the Légion d'honneur in 1894.
Lhermitte's is best known for his bucolic peasant scenes depicting scenes of everyday life. Here, we see such a scene set outside of a church on the occasion of a religious feast called a “Pardon” which was celebrated during Easter.
Lhermitte's is best known for his bucolic peasant scenes depicting scenes of everyday life. Here, we see such a scene set outside of a church on the occasion of a religious feast called a “Pardon” which was celebrated during Easter.
Lhermitte presents a charming scene of men and women in traditional dress. They are chatting and buying fruits and cakes while leaving the church in a village which looks a lot like Mont-Saint-Père—the artist’s birthplace. In fact, Lhermitte painted this work while visiting his home town in 1877.
This work was commissioned from the artist (as a pair) by Constantine Alexander Ionides around April 1877. A letter in a private collection from Lhermitte in Paris to the famed collector Ionides is dated April 19 1877. The letter mentions that one of his two pictures is finished and that the other would be ready in time for his next trip to London.
This work was commissioned from the artist (as a pair) by Constantine Alexander Ionides around April 1877. A letter in a private collection from Lhermitte in Paris to the famed collector Ionides is dated April 19 1877. The letter mentions that one of his two pictures is finished and that the other would be ready in time for his next trip to London.
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