Tuesday, January 11, 2011

Humanitarian of the Week: Diahann Carroll

Diahann Carroll
Diahann Carroll’s life has been a series of “firsts.” She was the first African American woman to win a Tony Award, she was the first African American woman to star as a career woman in her own television series. Her career has spanned stage, screen and television. Not only is she a talented actress, but she’s also an accomplished singer who has appeared in several Broadway shows—most recently as “Norma Desmond” in Andrew Lloyd-Webber’s Sunset Boulevard.


Miss Carroll’s bravery extends past her career, however. She is also a breast cancer survivor, and in that capacity is motivated to help others who are struggling with breast cancer. Carroll made her fight against cancer quite public when she allowed herself to be filmed during treatments. In doing so, she was able to demonstrate the realities of the treatment to people who might be about to undergo the same. As an activist and a survivor, Carroll will be featured in Uniglobe Entertainment’s, 1 a minute, a docudrama about breast cancer. Her efforts to educate people about the disease have aided hundreds of people who are battling breast cancer.

You can see Diahann Carroll in USA’s exceptional drama White Collar as the series begins airing new episodes on January 18, 2011. For more information, visit Diahann Carroll’s Web site.


The Belle Époque Today: Stephen Shankland, R.P.

Scottish painter Stephen Shankland has made a name for himself with his crisp, sharp portraits. Becoming a member of the Royal Society of Portrait Painters in 2008, Shankland’s work is defined by bright colors and highly detailed figures. Shankland doesn’t shy away from showing the reality of his sitters. Instead, he shows us how each line, each mark and each plane fit together to create a wholly unique and exceptional individual.


Shankland is a master of atmosphere, cleverly depicting reflective surfaces and natural lighting. Most recently, the artist has embarked on a series of paintings which depict the U.K.’s most celebrated golf courses. His work has been applauded as the only paintings which truly capture the spirit of golf. For more about Stephen Shankland, visit his Web site.

Her Majesty’s Furniture: An Italian Baroque Armchair, 1690

Armchair
Italian
Gilded softwood, silk velvet,
Silver Embroidery
1690
The Royal Collection
In furnishing Windsor Castle, King George IV’s taste for continental designs became even more apparent. His selections included ornate French and Italian furnishings with elaborate scroll-work and heavy ornamentation.


This armchair in one of a set of ten purchased by King George IV for Windsor Castle. The epitome of Italian Baroque style, these chairs feature scroll legs adorned with up-turned faces. The rich crimson upholstery is masterfully embroidered with a pattern which mirrors the carved legs and finials. King George paid £18 each for these chairs. They are, certainly, worth much more than that today.

Punch's Cousin, Chapter 141

“My God, Ulrika,” Fane Rittenhouse belched at his daughter as they entered the grand ballroom at Le Merveilleux Musée de Cire—Edward Cage’s opulent French Quarter waxworks. “The least you could do, after detaining our entire party, is step aside so that the rest of us may view the exhibits.


“You, Father dear, don’t have to act like a brute just because you’re dressed as Henry VIII. You know, you could have thought of a more clever costume, really. The room is likely to be lousy with Henry VIII’s.”

“Don’t be so tiresome, girl.” Ulrika’s father sighed. “Besides, I don’t see anything particularly clever about your attire. Do you think you’ll be the only Marie-Antoinette here?”

“I’ll be the only one with her throat sliced.” Ulrika grinned, removing the scarf from her neck to expose the red slash she’d painted across her throat.

“Obscene!” Carling Rittenhouse moaned, fluttering her fan in front of her face. “Wash that atrocity off immediately.”

“Oh, please, Mother.” Ulrika smiled. “It’s not as if you wouldn’t see much worse right here in the museum’s exhibits.” Ulrika’s grin broadened as she thought of how she’d come to paint the wound on her neck.

“Wherever did you find such a dreadful-looking makeup? It looks as if it could be real blood.” Fane Rittenhouse frowned.

“Doesn’t it?” Ulrika winked as she recalled swiping her fingers through Nellie’s blood and using that clotting crimson mass for her costume.

“Well, then, who’s with me?” Fane Rittenhouse grumbled, realizing that Ulrika wasn’t about to do as her mother asked.

“With you?” Ulrika spat.

“I want to look at the exhibits—as I said.” Her father frowned. “Will you come?”

“No.” Ulrika laughed. “I haven’t come here tonight to see wax figures. I want to enjoy myself.”

“Ulrika,” Her mother said sternly, “Your time away from home has made you even more disagreeable. I didn’t think it possible.”

“Anything is possible, my dear mother.” Ulrika chuckled. “Anything.” She searched the crowd for a familiar face and was relieved to spot Arthur—cleverly sporting the mask she’d given him—slipping into the ballroom via the servants’ door. “Oh, yes, tonight will be full of possibilities.”

Meanwhile, Mr. Punch, Adrienne, Cecil and Robert rode in silence in their hired carriage.

“I suspect we’ll be a bit early.” Cecil grumbled after awhile. “We’d best wait before we go in. We want to be able to make an entrance. We’ve got to take everyone by surprise.”

“The real surprise is Adrienne.” Robert said seriously.

“Perhaps you and Mr. Punch can go in ahead of us.” Cecil suggested.

“You promised we’d all stay together,” Adrienne said quickly.

“I’ll stay with you,” Robert answered. “But, there’s no point in having you enter until we’re sure that Iolanthe Evangeline is there.”

“I suspect she’ll want to make an entrance of her own.” Adrienne frowned.

“Will she?” Robert asked. “Wouldn’t she be wiser to slip in without detection? She is, after all, not an invited guest.”

“When has anything as simple as an invitation either stopped or encouraged Iolanthe to do anything?” Cecil grunted. “She does what she pleases.”

“She’s more likely to make a show of arriving.” Adrienne continued. “She always does. She likes to flaunt her presence in the faces of ‘respectable’ people. Frankly, most don’t even realize she’s there. With everyone in fancy dress, it’s hard to tell who is who.”

“How will we even know she’s there?” Robert asked.

“She always wears her purple feathers. No matter what her costume is, she’ll have a purple feather somewhere quite visible.” Adrienne answered.

“Surely there will be dozens of ladies with purple feathers.” Robert sighed.

“No.” Adrienne answered. “No one of any station in New Orleans would wear Iolanthe’s color.” She shook her head, “Except me, of course.”

“You’re not nervous, are you?” Cecil asked.

“Of course, I am.” Adrienne exclaimed. She looked at Mr. Punch and reached across the carriage to pat Julian’s leg. “I think we’re all a little nervous, and rightfully so. Mr. Punch, you’ve suffered a terrible shock, so it’s understandable that you’d be so quiet. Is there anything we can do for you?”

Mr. Punch shook Julian’s head. “No, thanks, Lady Chum. Ain’t nothin’ no one can do. But, don’t you worry, I’ll carry out everything you told me to do in just the way you told me to do it.”

“We have no doubt of that.” Robert smiled.

“I only hope you fellas know what you’re doin’.” Mr. Punch sighed. “No use puttin’ innocent people in harm’s way.”

“We know what we’re about,” Cecil said confidently. “Don’t suppose I’d put my own, darling wife in danger.”

“True.” Mr. Punch whispered. “But, sometimes, things happen what we don’t account for.”

At that very moment, Iolanthe laughed as Barbara Allen helped her on with her dress.

“Stop your pouting,” Iolanthe cackled. “How can anyone look so sad when I look so beautiful?”

“I’m not pouting,” Barbara spat, “I’m mourning.”

“For what?” Iolanthe narrowed her eyes, “The mother that you fled from? The woman you hated so much that you traveled across the ocean? I did you a favor. You should thank me.”

Barbara simply stared at Iolanthe.

“You do realize that I own you?” Iolanthe growled.

“I know.” Barbara nodded.

“So, you’ll do as I instructed?” Iolanthe smiled.

“If it kills me.” Barbara sighed.



Did you miss Chapters 1-140? If so, you can read them here.

Goal for the Day: Let Someone Take Care of You

Many of us spend our days looking after other people. So, sometimes, it’s difficult to let someone take care of you. Every so often—especially when we’re in-need, we need to step back and let other people offer us support and kindness.


There’s no harm in letting others help you out from time to time. The people who are the recipient’s of your kindness only want to return the same to you. The best way to help them is to let them help you.

Object of the Day: An Unusual Stickpin

This Victorian stickpin from England dates between 1850 and 1870. Crafted of 15 karat gold, a shell has been sculpted in intricate detail. The ridges of the shell are adorned with small, cushion-cut diamonds as is the top arc of the shell. What’s fascinating about this stickpin is that it features a hanging diamond from the crest of the shell.


This dangling gem moves with the wearer and allows the diamond to playfully catch the light. This was a time period where a gentleman’s business and evening attire were somewhat sober, if not, elegant, so he could express his outgoing nature with a stickpin that was considerably more fun.


Monday, January 10, 2011

Painting of the Day: Queen Caroline and Princess Charlotte, 1801

Caroline, Princess of Wales,
and Princess Charlotte
Sir Thomas Lawrence, 1801
Later purchased by Queen Victoria
The Royal Collection
Despite the luxuries of her station, Queen Caroline, reportedly, was an unhappy woman, owing largely to her turbulent marriage to King George IV. It was said that her one great joy—aside from time spent with her daughter, Princess Charlotte, was the time she spent playing her harp. The Queen was painted with both her instrument and her daughter in 1801 by Sir Thomas Lawrence.


Half a century later, Queen Victoria purchased this painting of Queen Caroline and was so fond of it that she commissioned two miniatures of Caroline’s face as seen in this painting.



Miniature of Queen Caroline
Circa 1850
Watercolor on Ivory
Gugliemo Faija
The Royal Collection