Wednesday, June 25, 2014

Object of the Day, Museum Edition: Blowing up the Pic Nic's, or, Harlequin Quixote attacking the Puppets, 1802




Blowing up the Pic Nic's, or, Harlequin Quixote attacking the Puppets
April, 1802
James Gillray
This version is in the Victoria & Albert Museum.




James Gillray (1757-1815), a popular British printmaker and satirist, was, perhaps, one of the most prolific in his field during the late Eighteenth and early Nineteenth Centuries. Here, we see one of his cartoons from 1802. The image depicts English theater manager Richard Brinsley as Harlequin. He is shown leading a group of professional actors including the famed performer David Garrick (who was, at the time dead), rising from the grave. Also pictured are the actors Mrs. Billington, P. Kemble and, of course the renowned Sarah Siddons. The troupe is protesting members of the Pic Nic Society—an amateur acting group which had been performing at London’s Tottenham Street Concert Rooms. Apparently, they were in the midst of performing the then-popular show, “Tom Thumb.”

Professional actors and theatre managers at the time considered this amateur gang to be a nuisance—taking away revenue from the professionals with their extravagant and decadent displays. Sheridan was among those who launched an aggressive campaign against them. Here, his mask and pen indicate that he has been writing anonymous complaints about the group.

Gillray has cleverly composed this scene to resemble a page from Migel de Cervantes’ “Don Quixote” wherein the famed title character attacks “Master Peter’s” puppet show because he is convinced that the performance is real. In doing so, he has cast his judgment on the futile actions of Sheridan and his band of protestors. The print was published in April of 1802. The version above is in the collection at the Victoria and Albert Museum. Another is in the British Museum
.




Version in the British Museum.

Tuesday, June 24, 2014

Mastery of Design: Diamond Ring with Cameos of George II and Caroline of Ansbach



Diamond Ring with Cameos of George II
and Caroline of Ansbach
Onyx Cameos: c. 1730
Mouting: Early Nineteenth Century
Gold, Silver, enamel, twenty-two European Cut
diamonds
The Royal Collection

Two large European Cut diamonds anchor frames of twenty smaller diamonds which surround onyx cameos of the profiles of King George II and Caroline of Ansbach. On the reverse, inscribed on a field of blue enamel is the garter motto: HONI SOIT QUI MAL Y PENSE (Evil to him who evil thinks).


The delicate onyx cameos were created in England around 1730 before the death of Caroline. In the early Nineteenth Century, they were mounted in this ring which was presented to the Prince of Wales (who would later become King Edward VII). Upon the death of Edward VII, his wife, Queen Alexandra, presented this magnificent ring to King George V and Mary of Teck.

Antique Image of the Day: A Dutch Toy, 1814



Image from The British Museum





A Dutch Toy!!!-Or, a pretty Play-thing for a Young Princess!!! Huzza



Titled as the above line reads, this satirical print depicts Princess Charlotte of Wales (1796-1817), only child of the Prince Regent (later King George IV) and Caroline of Brunswick.  


In this scene, Princess Charlotte is seated enthroned under a canopy.  She wears the "Prince of Wales' Feathers."  In her hands, she's holding a pantin (a jointed puppet), pulling the string so that the figure's legs and arms are extended.  The pantin is holding a flag inscribed surmounted by an orange.  The flag reads, "Orange Boven."  Meanwhile, the puppet looks at the princess pleadingly.

What's behind this hand-painted engraving?

Princess Charlotte, like many a princess before her (especially one who was thought to be Queen one day) was essentially being told who she should marry.  She preferred Prince Leopold of Saxe-Coburg-Gotha (Uncle of Queen Victoria as well as Prince Albert, Victoria's consort).  Meanwhile, George preferred his daughter to marry the Prince of Orange, and, soon, Orange and Charlotte were engaged.

Charlotte wrote:

No arguments, no threats, shall ever bend me to marry this detested Dutchman.

Eventually, George gave in for the sake of his only (legitimate) child and his only hope of having one of his own continue on the throne after he died.  Princess Charlotte broke off her engagement in a letter of June 16th, giving as reasons, that 'from recent circumstances:

I am perfectly convinced my interest is materially concerned with that of my Mother, and that my residence out of this Kingdom would be equally prejudicial to her interest as to my own.

That Charlotte did this only increased her popularity more.  Though this print suggests that Princess Charlotte had a thing for the Marquis of of Lansdowne (not to be confused with the Baron Lensdown), she really only liked Leopold.  

George IV consented to this and Charlotte and Leopold were married May 2, 1816.

But, she died.  

Charlotte passed away after giving birth to a stillborn son.  She complained, "They've made me tipsy," and was found dead after bleeding terribly.

Had she lived, she would have been Queen after the death of her father and Leopold would have been Prince Consort.  After the death of George IV, the throne went to his brother, William IV, and, then, to his niece, Queen Victoria who married Prince Albert as her consort.  Leopold really pushed for the marriage of the two cousins (Victoria didn't mind, she fancied Albert) so that at least ONE Prince of Saxe-Coburg-Gotha at the side of the British Queen--a role which escaped him in his own life.  Still, he did okay, becoming King of the Belgians.  So, don't cry for him.


Print of the Day: The Coronation of King Punch, 1821



The Coronation of King Punch
Satirical Print, hand-colored
1821
The British Museum


This hand-colored satirical print was featured in a July, 1821 pamphlet. It’s entitled “The Coronation of King Punch!!” and it was made by J. Lewis Marks.

Made for the coronation of King George IV, the image shows the former Prince Regent sitting before a huge bowl of punch which rests on a three-legged stool. King George IV has one famously gouty leg resting on a cushion and he jovially holds up goblet and ladle while an Archbishop places a chamber-pot on his head. Another archbishop pours dark liquid on to George’s face, saying, “With oil and Treacle—I anoint thee,—and King of jolly dogs—appoint thee.”

As we can guess, George IV, Queen Victoria’s uncle, was not well-liked. Considered debauched and, frankly, corrupt, he inspired many unflattering drawings like this when he ascended the throne.

This image has been nicknamed, “The history of the coronation of Punch, and the humours of his wife Judy.” This refers to George IV’s wife, Queen Caroline, from whom the adulterous king was famously separated. They enjoyed a rather Punch & Judy-like relationship. He refused to recognize her as Queen, and, in fact, barred her from his coronation. And, she, was rightfully bitter about it. That day, she fell ill, and died shortly after, declaring all the while that she believed she had been poisoned by her husband’s goons. 





This week's schedule







I am still playing catch-up after another morning spent with technical problems.  I will try to get the next chapter up tomorrow, along with a "Treat of the Week."


Gifts of Grandeur: The ‘Queen Anne’ and ‘Queen Caroline’ Pearl Necklaces




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


These two necklaces are part of the private collection of Her Majesty, Queen Elizabeth II. The first, a string of forty-six pearls once belonged to Queen Anne and, the next, a necklace of fifty pearls was owned by Queen Caroline.

They are always worn together and were given by King George VI and Queen Elizabeth (the Queen Mother) to Princess Elizabeth as a wedding present in 1947. Prior to the wedding, they were cleaned and serviced by Garrards who has looked after the pearls since 1896.




Painting of the Day: A Miniature of Caroline Lamb, 1815-1820



Miniature on Ivory
of Lady Caroline Lamb
Emma Eleanora Kendrick, 1815-1820
The Victoria & Albert Museum




Painted between 1815 and 1820, this miniature of watercolor on ivory is the work of Emma Eleanora Kendrick (1787-1871) and depicts Lady Caroline Lamb.
 


Lady Caroline Lamb (1785-1828) was a well-known British aristocrat and novelist.  She often found herself at the center of scandals.  Perhaps, she is best known for her tumultuous affair with Lord Byron in 1812. Lady Caroline also had a famous husband--the 2nd Viscount Melbourne, who later became Prime Minister (and controversial buddy) to Queen Victoria. Lady Caroline, however, was never  created the Viscountess Melbourne because she died before Melbourne succeeded to the peerage.  She is, therefore, known to history as Lady Caroline Lamb.