Off Schedule

Hello, all.  We're off of our regular schedule today due to some pressing deadlines with my paying job.  But, all of your favorite posts will be up today--just later than usual.

That's the way to do it!

--Joseph and Bertie

Mastery of Design: A Platinum, Emerald and Diamond Necklace, 1930

Necklace
(Bracelets)
Platinum, Emeralds, Diamonds
1930
The Victoria & Albert Museum

This necklace of platinum set with brilliant, baguette and table-cut diamonds, table-cut emeralds and cabochon emeralds can also be worn as two bracelets. A truly perfect example of jewels of the 1930s, it is comprised of geometric links which contrast the diamonds and emeralds.


Though it’s by an unknown maker, it is believed to be French as the work shows characteristics of the style of Cartier.

Reverse

Her Majesty’s Furniture: King Henry VIII’s Writing Box, 1525

Writing Box
English, 1525
Made for Henry VIII
The Victoria & Albert Museum

This impressive writing box was almost certainly created in the court workshops of Henry VIII (reign: 1509 to 1547). Lined with leather it is painted with the heraldic badges of Henry VIII and his first queen, Katherine of Aragon (1485-1536), as well as the royal coat of arms. Curators of the V&A believe that the box was made between 1520 and 1527. The interior adornment includes painted portrait miniatures in the popular style of the 1520’s. Soon after this box was made, Henry began divorce proceedings against Katherine (1527), so it’s good present condition owes much to the fact that he’d be loathe to use a writing box which featured a portrait of his soon-to-be ex-wife.
The exterior of the desk is quite plain when compared to its elaborate red silk velvet and painted interior. It is covered with shagreen (leather, possibly sharkskin), mounted with metal-gilt angle-mounts, loop handles and ball feet. These were added later in the Eighteenth Century. The present red silk velvet lining is most likely a Nineteenth Century replacement for the original lining. Traces of the original crimson silk velvet appear on the bottoms of the largest compartments.

Unusual Artifacts: A Wedding Favor, 1889

Wedding Favor
Wax, Silk, Paper, Wire
1889
The Victoria & Albert Museum

The phenomenon of handing out favors to wedding guests is not a new phenomenon. It’s a tradition that has been in practice for hundreds of years. Some souvenirs of weddings were on a grand scale. For example, at Queen Victoria’s 1840 wedding, “The Times” wrote:

"Every lady exhibited a white favour, some of which were admirable specimens of refined taste. They were of all sizes, many of white satin riband, tied up into bows and mixed with layers of rich silver lace. Others merely of riband intermixed with sprigs of orange flower blossom."

Though considerably later in date, and certainly on a smaller scale, this wedding favor is similar in concept. Here we have a sprig of wax and fabric flowers, paper and wired satin ribbon. Such a favor was handed to the ladies in attendance who would often preserve it under a glass dome or in a reliquary of sorts.

A Gentleman’s Fashion: A Silk Top Hat, 1900-1910

Frequently a silk hat is never seen between Sunday and Sunday. Churchgoers still, to a certain extent, affect it, but in these days of outdoor life, bicycling, and so on, the costume worn by men in church is experiencing the same modifications that characterise it in other department.

--“Manners for Men,” by Mrs Humphry ('Madge of Truth')

Top Hat
Silk
James Locke & Co.
1900-1910
The Victoria & Albert Museum

No Nineteenth or Early Twentieth Century gentleman’s evening attire was complete without the proper headgear—a top hat. Tall, high-crowned hats with a narrow brim (which was most often slightly turned up on the sides), top hats, in the Nineteenth Century, were worn in black for evenings, but sometimes, for sporting and casual events, they could be grey or brown. For a brief period in the early Nineteenth Century, pale colors between off-white and gray were worn with sporting dress from about 1820, and into the 1840s were acceptable for a man’s daily wardrobe.
The top hat reached the apex of its popularity during the 1840s and 1850s as the middle classes had greater access to manufactured attire. After 1850, new styles emerged, such as the straw boater and soft felt hat, but the most popular of the trendy new styles was the bowler. The rise of the bowler challenged the predominance of the top hat in daily use, but they remained the height of evening fashion.

The advent of the collapsible top hat (called a “gibus”) came in the 1840s and was often worn with evening dress. The gibus worked by means of an accordion of corded silk or cloth over a metal framework, allowing it to be opened easily and closed so that it could easily be carried under the arm.

This particular hat is made of silk as opposed to some which were made from felted beaver fur (and consequently called “beavers). This model by the English firm James Locke and Co. dates between 1900 and 1910.

Punch’s Cousin, Chapter 292

Barbara Allen began to despair the closer she got to Marie Laveau’s strange house. By that point, Louis Glapion had grown weary of carrying her and allowed her to walk at his side. He did, however, keep his arm firmly around her waist so that she would not flee.

She did not try to flee, in fact, knowing that Charles was following them, but as they approached Marie’s door, she secretly bemoaned the fact that Charles had not yet intervened.

Charles, too, worried about his lack of action, silently cursing himself for what he perceived as a lack of bravery. Was it cowardice or good sense that had prevented him from jumping upon Louis and freeing Barbara? He followed close behind with leaden feet as if his deficiency of action was controlled by another, stronger force just out of his sight.

“This is where my brother’s widow lives.” Louis grunted as he knocked on the door.

Marie didn’t take long to open her door. Upon seeing Louis with Barbara she laughed heartily.

“This is how you great your kin?” Louis smirked.

“No, no, Louis. How glad I am to see you, you Devil! I didn’t expect ya so soon. Come in, and bring Miss Allen with you.”

“You know this girl?” Louis asked.

“Of course!” Marie chuckled. “She lives here. Or, at least, she did.” She grabbed Barbara’s hand and pulled her into the house.

“Look around your home, Barbara, and see who has paid us a call!”

Barbara flinched as she saw Iolanthe and Ulrika.

“Now, ain’t it a fine thing?” Marie said with glee. “All three of your former mistresses in one place. We shall have to decide who gets you.”

Louis looked confused.

“Don’t you worry nothin’ ‘bout it, Louis, my brother.” Marie winked. “You’ll get to play with your prize, too.”

Meanwhile, Charles crept around the back of the long, mean house and found an open window backing into a dark and vicious alley. Carefully and silently, he moved some crates so that he could climb into the window. He did this as quietly and unobtrusively as he could, and was, in fact, quite pleased with his stealth—that is until he realized into what he climbed.

There, lying in a cruel, narrow bed lay Charles’ brother Giovanni next to the scarred figure of Nellie.

“Look at that, Nell,” Giovanni croaked—still weak from his wounds. “My brother has returned to me.”

Meanwhile, within their shared body, Mr. Punch rushed forward and put his imaginary arms around the image of Julian who stiffened as Punch embraced him.

“Here, I know you don’t like to be touched, Master chum,” Punch chirped. “But, these ain’t our real bodies. These are just thoughts, they are. And, if thoughts can’t show love, what can?”

“True,” Julian nodded, returning Punch’s embrace.

“Where’d you go, Master?” Punch asked.

“I retreated further.” Julian said. “I…I…was upset and frightened, filled with self-loathing. Had it not been for me, Colin would be in a safe, warm home.”

“Wanted to punish yourself, did ya?” Punch wondered.

“I did.” Julian nodded. “Hence the arrival of Jack Ketch. I’m afraid you received the brunt of his fierceness.”

“Ain’t nothin’.” Punch shrugged.

“My, dear, brave Punch.”

“Maybe not brave, Master. Maybe just too stupid to know better.” Punch smiled.

“You mustn’t say such things.” Julian shook his head.

“I feared I’d not see you again.” Punch whispered.

“Never fear that,” Julian replied.

“We’d best get the body goin’ ‘gain, then.” Punch nodded.

“Not yet.” Julian sighed. “We’ve much to decide, but first we have much to examine.”



Did you miss Chapters 1-291? If so, you can read them here.

Card of the Day: The Opening of the Indian Round Table Conference

Since the day of their wedding, King George V and Queen Mary disliked being apart. On the rare occasions that they were separated, they would write to one another—at length—several times a day, and expressed their deep feelings for one another—something that they could rarely do in person since they were hardly ever left alone together.
After the Great War, The King’s health began to decline steadily. Then, even more than ever, they insisted that they not be apart, and the King would often send his sons in his place when world travel was required, especially if bringing the Queen along was impossible.

When possible, they would insist that events that should have taken place abroad should be held in London. Here’s one such occasion with the opening of the Indian Round Table Conference as seen in the thirty-fifth card in the Silver Jubilee Series by Wills’s Cigarette Company.

The reverse of the card reads:

THE OPENING OF THE INDIAN ROUND TABLE CONFERENCE


The historic Round Table Conference on India was opened by the King-Emperor in the House of Lords on November 12, 1930. Ruling Princes in coloured turbans and tunics, Burmese delegates in national dress, the representatives of the Mohammedan and Hindu communities of British India, and the High Officers of the realm, British Statesmen and Dominion Premiers, formed a diverse and imposing scene such as the Imperial Parliament seldom sees. His Majesty addressed to this Conference, charged with the destiny of a vast Continent, and impressive exhortation to seek a prosperous conclusion.