Wednesday, October 5, 2011

Unfolding Pictures: The Battle of Worcester Fan, 1715-1730

Fan
Paper Leaf, Ivory Sticks
1715-1730
The Victoria & Albert Museum
Folding fans with paper or fabric leaves originated in Japan and weren’t introduced to Europe until the second half of the Sixteenth Century as European makers adopted the technique of the Japanese while introducing their own style of adornment.

This simple folding fan dates beween 1715 and 17230 and was made in England with plain, un-carved ivory sticks, and a paper leaf painted with gouache (opaque watercolor), with accents of gold paint.


The painted leaf symbolizes Jacobite support for the Stuart Royal Family after George I, Elector of Hanover, succeeded to the British throne in 1714. Depicted on the left is Charles II who is shown hiding in a tree after his defeat by Cromwell at the Battle of Worcester in 1651.

He is joined by Queen Anne who is depicted as ascending to heaven after her death in 1714, while beside her a lady mourns the loss of the crown. On the right of the leaf, we see the Stuart arms, with a white rose and two rosebuds below. The rose, a symbol of the House of Stuart, is notable in that it represents the son of James II, James Francis Edward ('James III' or the 'Old Pretender'). The two buds are his sons, Charles Edward and Henry Benedict.

The leaf, overall, is painted in a dark-toned gouache, with a brown and green ground, and is edged with a formal, gilt, scalloped border filled with floral decoration. The reverse of the fan is adorned with a stiffly naturalistic floral spray on a silver ground. The initials “L” and “I” are written in ink on the top left border.

Sculpture of the Day: A Staffordshire Figural Group of Queen Victoria and Prince Albert, 1840-1850

Figural Group
Staffordshire, 1840-1850
The Victoria & Albert Museum
As we’ve seen, the very first Staffordshire figures depicted Queen Victoria and Prince Albert. The two continued to be popular subjects throughout the manufacturing of such figures, and these are the figures which claim the highest prices today.


Here, we see a figural group of a man and woman who are meant to represent Queen Victoria and Prince Albert as they would have been seen taking a stroll in Hyde Park. The figures are lead-glazed earthenware and date to about 1840-1850.

Painting of the Day: A “Company” Portrait of King George V, 1911

Company Painting
King George V, 1911
Indian
The Victoria & Albert Museum
I like this painting. It’s probably because I have a particular affinity for King George V, but nevertheless, it’s a charming, if not rough, portrait. We see King George V sans crown, wearing a red tunic with gold epaulettes, a blue sash and many stars and garter badges, his left hand rests on his sword hilt.

This is a “Company Painting” created around the time of the 1911 Coronation. The painting is based on an illustration in a magazine, probably one issued to commemorate George’s Coronation on 22 June, 1911 or, perhaps, the Delhi durbar, which took place during the official State Visit of George V and Queen Mary, in the following December

“Company Paintings” were produced by Indian artists for Europeans living and working in the Indian subcontinent, and especially for British employees of the East India Company. Such paintings show a fusion of traditional Indian artistic styles with the sensibilities of Western art. Some Company paintings were specially commissioned, while others were made to be sold at bazaars. That accounts for the slightly rough nature of the portrait. It’s more iconographic than it is photographic, owing to the style of Indian painters of the time. But, somehow, that makes it charming as it is truly a representation of the amassed ingenuity of the British Empire of the early Twentieth Century.

Punch’s Cousin, Chapter 359

Agnes Rittenhouse grinned as she lay back on the soft comfortable bed in the hotel room that she’d hired with the money that Edward Cage had given her. Her smile faded as little Fuller began to wail from the floor in the corner of the room where Agnes had left him.


“Can’t I have a minute’s pleasure?” The nanny scowled. She sniffed. “Never mind, he’ll cry himself tired.”

Looking up, she snarled at the baby, “Cry all you like, piggy, you’re not going to move me. You’d best get accustomed to figuring things out on your own. Tonight, your life begins anew. You are no longer called whatever it is that that French harlot and her sculptor husband called you. Tonight, you have a new name. I shall call you, ‘Colin’ and you shall have a new mother—a true lady with noble blood in her veins. You shall replace the child that she lost. She’ll never know the difference, and besides, you seem much stronger than the other one anyway. Who knows who that one’s father is? At least we know you come from strong stock.”

The child continued to cry.

“That’s right, Piggy.” Agnes laughed. “Cry your lungs out. Tomorrow begins your new life!”

At that very moment, Edward Cage cradled his adopted son in his arms. “You’ve returned to me, Holt.” She grinned. “You are my future. I already know that Orman is a lost cause. You, my son, will carry on in my name!”

A knock at the door of the stately drawing room made Edward pause. “Come.”

“Sir,” Ty Odo bowed. “I done brought Mrs. Cage like you done asked for.”

“What is it, Edward? I was in bed.” Corliss Cage whispered as she came into the room. Her eyes widened when she saw the baby. Freezing in her steps, she gasped. “Is it?”

“Yes, Corliss. It’s Holt. He’s been returned to us.”

“How?” Corliss gaped.

“Never mind about that.” Edward laughed. “It’s done.”

“Oh…” Corliss coughed.

“Don’t you wish to hold your son?”

“Did that—that woman. That Evangeline woman? That Ogress? Did she return the child as she had promised?”

“As a matter of fact, no.” Edward winked. “Another party all together. But, I told you, don’t worry about that. Now, come and take your son.”

“I don’t dare,” Corliss shook her head.

“Why not?” Edward snapped. “Honestly, Woman! Must you ruin everything? Come and take your son!”

“I can’t.” Corliss said, visibly shaking. “I’m ill.”

“You’re always ill.” Edward growled. “Take the boy.” He charged forward and placed the child in his wife’s arms. As he did, he felt her flesh—warm and moist.

“Dear God!” Edward bellowed as he withdrew the baby and held it to his chest. “You’re on fire.”

“I have a fever.” Corliss whispered.

“What kind of fever?” Edward asked, moving away from his wife.

“It’s not good, Edward.” Corliss coughed. “Not good at all.”

Meanwhile, in a world of their own creation—deep inside of their shared body—Julian and Mr. Punch walked through the warm air near the vision of the folly at Fallbridge Hall.

“Look how we play, you and I. It’s kind of sweet, wouldn’t you say?” Punch smiled pointing to the specter of a young Julian and his very own puppet, Mr. Punch.

“I remember those many hours we spent out here,” Julian nodded. “Just me and you. How I would talk with you.”

“And by doin’ so, Master, you gave me life.”

“I didn’t know it at the time.” Julian laughed. “But, I’m glad that I did—my protector.” Julian studied the scene that played out before him. “What am I doing?”

“Don’t you remember?” Punch pointed as they watched little Julian come in and out of the folly.

“No.” Julian shook his head.

“Come with me,” Punch smiled, taking the adult Julian’s hand. Together, they walked into the folly and watched as the ghost of little Julian stacked up tall piles of stones and small rocks.

“I appear to be building something.”

“Walls, Master,” Punch nodded. “You’re buildin’ walls what you think will keep ‘em out—the nanny, your mum and them what’s always been mean to ya. Them’s the beginnin’ of the walls what I built for ya in your own mind—them walls what keep the memories at bay.”

“I see.” Julian sighed.

“Listen,” Punch pointed.

“Here we are, Mr. Punch.” the vision of little Julian said softly with a slight smile. “Just the two of us. We’re safe in our own castle, and here, nothing can touch us—not Nanny Rittenhouse, not Mother, not the groomsman, no one. Here, we’re the King. We’re good kings. Father doesn’t like King George. So, we won’t be Kings like he is. We’ll be good Kings. King Julian and King Punch. Now,” little Julian continued. “We should have a coronation. We’ll need crowns and scepters and…” He looked around. “Well, this rock can be our orb. And…” He hunted about the dim folly. “This stick can be our sceptre. I know—I’ll make us some crowns. There are some shiny rocks by the brook. I could get some of them and…I know. Yes. I can get some of the teaspoons from the larder and make a crown! Two crowns! One for me and one for you!” He sighed. “I wish you could talk to me, Mr. Punch. I wish I could always hear you—what you’re thinking. But, no one else! I want to hear you alone. That way we could be the best of friends and no one could ever make us stop.”

As he watched the image of his young self replay itself, the adult Julian wiped tears from his eyes.

“Here, Master, it’s nothin’ to be sad ‘bout. This is a happy memory. Look at ya. Coo! Couldn’t be no more than seven years of age. That was the very moment what made me come to life inside ya.”

“I remember.” Julian replied.

“See, all memories ain’t so bad.”

“If I recall correctly, Nanny beat me for taking those spoons.”

“But, it didn’t matter none. I felt the pain, not you. And, bein’ that I’m a puppet, it didn’t bother me none. I’m used to gettin’ hit, I am.”

Julian nodded and he and Punch continued to watch the image that unfolded in front of them.

“Let’s stay here.” Julian said after awhile. “It’s safe here.”

“Can’t stay safe always, Master.” Punch shook his head. “There’s other things what you gotta see. I only brought you here first so you’d know that you weren’t alone.”

“Just a moment more.” Julian pleaded.

“No, Sir.” Punch sighed. “We ain’t got much time.”



Did you miss Chapters 1-358? If so, you can read them here.

Card of the Day: The Royal Scepters

The thirty-ninth card of the 1935 Silver Jubilee Series by the Churchman Cigarette Compaby continues the examination of the Coronation Regalia by reinforcing the importance of the Sovereign’s Sceptres. Again, we see the Sceptre with the Cross and the Sceptre with the Dove.


The Sovereign’s Royal Sceptre with the Cross, as I pointed out yesterday, is placed in his or her right hand at the Coronation, while the Sceptre with the Dove is placed in his or her left.

Let’s take a closer look at the Sceptre with the Cross (St. Edward’s Sceptre). Six enameled curves spring up around the top. The four larger ones clasp the great drop-shaped Star of Africa (Cullinan I) diamond. The great amethyst orb at the top is surrounded by a jeweled band with an arch of gold, rubies, and diamonds and is surmounted by the cross patée which is thickly set with diamonds, and a large emerald at the center. Collars of gems and enamel flank a smooth portion meant to serve as a grip, and the end is encrusted with gold, enamels and jewels.

Object of the Day, Museum Edition: A Set of Commemorative Brass Teaspoons, 1851

Souvenir Teaspoons
Brass, 1851
The Victoria & Albert Museum
Just like china, tins and handkerchiefs, spoons are a traditional British souvenir which have been made to commemorate everything from coronations to the Frost Fairs, held on the ice when the River Thames froze, and memorials of wars and plagues.


This set of brass spoons is an example of the wide array of souvenirs which were produced for the Great Exhibition of 1851. The spoons are decorated with a view of the Crystal Palace—the home of the Great Exhibition which was designed by Sir Joseph Paxton (1801-1865), a horticulturalist, garden designer and architect. The Crystal Palace was erected in Hyde Park, London, over a space of 18 acres. It was built from sheet glass, wood and metal and received much praise when it was opened to the public on May 1, 1851.

Souvenirs such as this would have been priced reasonably and would have been the perfect memento for middleclass visitors to the Exhibition. Though many were produced, few examples of these spoons survive.


Tuesday, October 4, 2011

Mastery of Design: A Pearl, Moonstone and Peridot Pendant, 1815

Pendant
English, 1815
The Victoria & Albert Museum
This delicate pendant of seed pearls mounted on mother-of-pearl is decorated with moonstones and peridots set in gold. The work of an unknown British jeweler, the piece dates to about 1815 and shows the sensibilities of designs of the time.


There’s a distinct reliance on the natural beauty of the stones that allows them to speak for themselves. It’s an interesting piece in that it demonstrates the ideals of the Rococo with a definite nod toward what was then modern design.