Thursday, April 26, 2012

Mastery of Design: The Schindler Chatelaine, 1760

Enameled Gold Chatelaine
Part of a set by Philipp Ernst Schindler
1760
The Victoria & Albert Museum





While Eighteenth-Century Viennese goldsmiths were widely heralded for their exceptional gold boxes, they also produced a wide range of other luxury items which would have been found in Europe's most affluent households.

The lady of a fine house would always have had a superb chatelaine--a pin from which she could suspend a watch and other necessary household items.  Even cherished housekeepers would sometimes be gifted such extravagant items.  Take this glorious chatelaine, for example, which represents the best of the Viennese tradition of  enameled gold objects.

The Schindler Chatelaine, made by Philipp Ernst Schindler II, forms part of an exceptional set designed to neatly cater to the necessities of elegant life.  The set comprises an étui (or small case) with a knife, snuff spoon, toothpick and ear pick, watch and châtelaine (from which the watch hung) and a matching snuffbox. The chatelaine was worn at the waist either on a belt or apron.




Print of the Day: Mlle.Noblet in La Paysanne Supposee, 1822

Mlle. Noblet in La Paysanne Supposee
1822
The Victoria & Albert Museum





This full-length  etching from 1822 depicts the dancer "Mlle. Noblet in La Paysanne Supposee," a celebrated ballet of the 1820s.  Noblet ("You can't un-fry things, Jerri.  You can't be something you're not.") wears a pale yellow calf-length lightweight gown with a crimson front-lacing bodice.  She holds the edge of a delicate white apron in her left hand.

A similar hand-colored version of this image is held in the collection of the New York Public Library though the gown in that print was left white.

The print is dated "14th March 1822" and is the work of the engraver Robert Cooper.  The piece is based on an original painting by F. Waldeck.  It was published by H. Berthoud, Jr. 


History's Runway: The Mourilyan Gown, 1740-60



English Style Gown
1740-1760
The Victoria & Albert Museum



In the Eighteenth Century, the sack-back gown, or robe à la française, was the most fashionable sort of woman's casual dress.  The sack-back gown got its name from the fabric at the back which was arranged in box pleats which fell loose from the shoulder to the floor with a slight train. In front, the gown was open, showing off a decorative embroidered stomacher and petticoat.

An alternative to the sack-back gown was the so-called "English style,"  a gown with a tightly fitting back, as seen in the example pictured above.  This lovely garment is made of silk damask in a pattern of large curling leaves typical of the 1740s.

We can see that the gown was altered in the 1750s to reshape the bodice and update the style of the sleeve cuffs. The silk gauze apron is decorative rather than practical. It is woven in a fashionable diaper (sort of a lozenge-shape) pattern with floral motifs.


Mr. Punch of Belgrave Square, Chapter 21


Chapter 21:
A Fine Day of Rest

“Charles!”  Mr. Punch exclaimed, bounding immodestly across his bedroom toward his valet—his dressing gown flapping around his legs.  “Look!  I took me bath already!”  He ran his fingers through his wet hair and then shook his head—sending water droplets flying around his shoulders.  He whooped excitedly.

“On your own, Your Grace?”

“Yes, on me own.”  Mr. Punch boasted.  “And, I didn’t throw no soap neither—well, hardly none.  Only three pieces.  But, I picked ‘em up me-self so you wouldn’t have to do it.”

“That was very thoughtful of you, Your Grace.”  
Charles smiled.  “Let’s get you dressed, then, shall we?”

“Yes!”  Mr. Punch chirped.

“First, I think,” Charles said quickly, gently putting his hand on Punch’s shoulder, “we should just take care of this.”  With a large stiff brush, Charles deftly combed back the Duke’s wet hair.  With one swift motion, he released Mr. Punch.

“I hate that!” Punch grunted.

“I know,” Charled grinned.  “That’s why we’re always quick about it.”

“Well done.”  Punch smirked, “but I’ll see ya comin’ next time.”

“Perhaps,”  Charles replied playfully, raising one eyebrow.  “How is Dr. Halifax this morning?”  he asked, looking around the room.

“Still sleepin’—in his own room.”  Mr. Punch answered.  “Poor bloke had such a long day yesterday, he did—what with Lord Glencaron dyin’ and all.”

“That reminds me, Sir.”  Charles nodded, removing a folded and ironed newspaper from beneath his arm.  “Dr. Halifax and Your Grace are mentioned in the news this morning.”

Punch’s smile quickly faded.  “Here, what for?”

Charles handed the paper to Mr. Punch who opened it frantically.

“There’s a mention, Sir, that you and Dr. Halifax visited with Prince Albert.  And, then, there’s a sentence that states that the doctor was among those at the bedside of Lord Glencaron when he passed.  It mentions that Dr. Halifax was the attending physician.”

“Is that all?”  Mr. Punch lowered the paper nervously.

“Yes, Your Grace,” Charles nodded—unaware of the reason for his master’s alarm.  He walked over to the wardrobe and began looking through the Duke’s suits. 

“Why’d anyone care ‘bout any o’ that?”  Mr. Punch mumbled.

“Well, Sir, people of your station are always of interest to the public, especially when you do something as exciting as visit the palace.  Now that Dr. Halifax is associated with you, you’ll find his name in the news more frequently as well.”

“Hope not…” Punch grumbled.

“What was that, Sir?”  Charles asked, turning around with a handsome deep green suit in his hands.

“Nothin’.”  Mr. Punch wrinkled his nose.

“As you wish,” Charles smiled pleasantly.  “I thought, perhaps, you’d like to wear your green today.”

“Nah,” Mr. Punch shook his head, tossing the newspaper onto the unmade bed.  “Don’t feel like a green kinda day.”  His spirits began to improve as he hurried over to Charles.

“Perhaps not,” Charles nodded.  “What would you like to wear?”

“This!”  Mr. Punch pointed gaily to his embroidered dressing gown.  “Ain’t got trousers.  It’s them breeches what’s the problem.”

“I don’t disagree.”  Charles chuckled.  “However, I think you’d best suffer through the breeches, Sir.  There are ladies in the house.”

“True.”  Mr. Punch sighed.  “Very well—how ‘bout that brown one?”

“Brown, Sir.  Or tan?  Or cream?”

“What’s the difference?”

“Tone, Sir.”

“Well, I know that,” Mr. Punch sputtered.  “But, I’m askin’, is there any difference if I wear one versus another.”

“Oh, no, Sir.”  Charles grinned.

“What do you think?”

“Will you be sketching today?”

“Yes.”  Mr. Punch nodded.  “Least after breakfast ‘til the doctor wakes up.”

“Well, then, I think the brown.  That way, if you happen to get any of your pastels on your clothing, they won’t stain as badly.”

“I do spill a lot, don’t I?” Mr. Punch grinned sheepishly.

“You’re a genius, Sir.  You’re entitled to spill.”  Charles nodded.

“Am I?” Mr. Punch asked, somewhat wild-eyed.

“Certainly you are.”  Charles nodded.  “If you’ll pardon my saying so, Your Grace, I happened to look at the drawings you left on the library table.  They’re really quite wonderful.”

“You think?”

“Yes, Sir.”  Charles continued.  “Are they for the commission you just received from Prince Albert?”

“Yes.” Mr. Punch smiled, letting Charles help him on with his pants and vest.  “So, you really liked ‘em, did ya?”

“Very much.”  Charles answered. “Both lovely pieces.  A Necklace and brooch, Sir?”

“That’s it.”

“For Her Majesty?”

“Yes.”  Punch nodded, squirming a bit as he pulled up his trousers.

“Is it a gift for Her Majesty’s birth date or did His Majesty wish to make a present to the Queen when she bears the child she’s carrying presently?  If you don’t mind my asking…”

“It’s for her birthday.”  Punch nodded.

“Her Majesty will love them, I’m sure.  Pearls are always so smart on a regal lady.  I particularly liked the use of Baroque pearls as indicated in your drawings.”

“They ain’t pearls, valet chum.”  Mr. Punch grinned.

“No?”

“No—they’re teeth!”  Punch laughed.

“Sir?”

“Ain’t me idea, Charles.” Mr. Punch giggled.  “That’s what Prince Albert wanted.”

“Ah, well, he’s German, Sir.”  Charles sighed.

“Don’t I know it?”

“Which scarf today, Sir?”  Charles asked, walking back to the wardrobe after fastening the collar to Punch’s neck.

“Errrr…” Punch moaned.  “Dunno.  The rust-colored one!”

“That’ll be quite smart with your hair, Sir.”  Charles nodded, unfolding the cravat of the Duke’s choice. 

“I’d like the pin what Dr. Halifax gave me for Christmas.”  Punch continued.  “The gold one shaped like a leaf…with the diamond.”

“Excellent choice.”

After a few minutes more of fussing, Charles inspected the Duke/Mr. Punch and declared that he was quite handsome and ready for the world.

“Coo!”  Mr. Punch teased.  “Don’t know if the world is ready for me.  But, no, we ain’t goin’ nowhere today.  So, you can tell Mrs. Pepper we’ll both be in for all of our meals and that we’d like luncheon in the drawing room.”

“Yes, Sir.”  Charles nodded.  “Dr. Halifax isn’t seeing any patients today?”

“Not ‘less somethin’ terrible awful happens.”  Mr. Punch shrugged.  “But, he’s plannin’ on a day of rest.  That’s why he should sleep as much as he can, I say.  He deserves a day of rest.  I reckon we both do—a fine day of rest.  We’ll play, we will, with Colin and Dog Toby and the puppet.”  Punch thought of inviting Charles, Gerard and Gamilla to play, too, but he figured they’d have to say no.  Besides, he figured Speaight wouldn’t approve.

“I think that sounds quite fine,” Charles nodded.

“Yes,” Mr. Punch grinned.  “Here, Charles, when’s your afternoon out?  You got one comin’, yes?”

“I do.” Charles answered.  “Thank you for remembering, Sir.  Mine is on Saturday.”

“Not today?”

“No, Sir.”  Charles responded.  “Today is Miss Barrett’s afternoon.  Gamilla will watch Master Colin while Miss Barrett is out.”

“That’s nice.”  Punch chirped.  “I’ll bet he’s sleepin’ now, too.  Huh?”

“Yes, Sir.”

“Both me boys—sleepin’.”  Punch mumbled.  “Even Dog Toby’s still asleep.  All three boys.  But, let ‘em sleep, I say.  They need it.”

“So, I shouldn’t send Gerard up for Dr. Halifax?”

“No.”  Mr. Punch shook his head.  “Let me chum ring for Gerard when he wants ‘em.  He were up late—thinkin’ o’ things, he was.  We both was only I don’t need as much sleep as he does.”

“I shall inform Mrs. Pepper to keep some breakfast warm for Dr. Halifax, then.”

“Make sure he gets lots of them kidneys what he likes.  He can have me own share if he likes.”

Charles chuckled.

“If there’s nothing more, Sir, I’ll take my leave.”

“Sure,”  Mr. Punch nodded.  “Here—you ate, didn’t ya?”

“We have downstairs breakfast very early, Sir.  So, we’ve all eaten.  Thank you, Your Grace.”

“Good.” Mr. Punch smiled.  “I like that.”

“Well, then, Sir, good morning.”

“Mornin’,” Punch nodded.

As Charles opened the door to exit, both men were surprised to see Speaight on the other side—his hand raised to knock.  Speaight, too, looked a bit startled.

“Your Grace,” Speaight bowed his head.

Punch quickly changed his expression to look more aristocratic.  He and Robert had decided that, for the sake of the other staff, he would only act Punch-like in front of those who already knew of his personal idiosyncrasies.  Punch didn’t much like having to act the Duke in his own home, however, he knew it was necessary, so he agreed.

Speaking as he thought Julian might, Mr. Punch began, “Good morning, Speaight.  As you can see, Charles has already attended to me.”

 “Yes, Your Grace.” Speaight nodded.  “I’m terribly sorry to intrude on you so early, however, there’s a man here to see you.”

“Here?”  Punch asked—more Punch-like than he intended.

“Yes, Sir.  He’s waiting in the vestibule.”

“Are you sure he’s come to see me?”  Punch asked, regaining his composure. “Perhaps he’s come for the doctor?”

“No, Your Grace.” Speaight sighed.  “He asked specifically for you.  He’s quite insistent.” 

“Did he give a name?”

“Yes, Sir,” Speaight nodded.  “He had no calling card--which I found quite queer, however, he called himself Victor Geddes.”

“Geddes?”  Mr. Punch asked, still trying to sound like Julian.  “Scotch?”

“Yes, Your Grace.”

“No title?”

“No, Your Grace.  He’s well-dressed, but clearly not a peer.  My first thought was to send him away, however, his plea was so impassioned.  He insisted that it was a dire matter and that only you could assist him.”

“I don’t know the man.”  Mr. Punch responded.

“Nor I, Your Grace.”  Speaight shook his head.  “I like to think that I know all of the families in Belgravia and Mayfair.  There was once a Geddes family on this street.  They moved to Grosvenor Square when the man of the house was created Fourth Baron of Lensdown.  If you’ll recall, that was the family for whom Miss Barrett once worked.”

“Yes, certainly,” Mr. Punch nodded though he did not remember.  He figured that that was the sort of thing which Julian might have recorded, so he pretended to know.

Charles squinted—an expression which did not escape Punch’s attention.  Punch wondered why his man was looking so puzzled.  Little did he know that Charles was remembering the flowers which had been left for Miss Barrett by a man named “Victor.”  Charles wondered if Mr. Speaight—inscrutable as he was—had thought of the same thing.

“Speaight, you’re certain this man is not the Baron of Lensdown?”  Mr. Punch asked, still using his best Julian voice.

“Most certain, Your Grace.  This man is fair whereas the Baron is dark.  Furthermore, the Baron of Lensdown would have presented a card and announced his title.”

“Yes.”  Punch nodded.  He turned around and pretended to study something out the window so that Speaight would not see the nervousness on his face.  “I had not intended to receive anyone today, Speaight.”

“I shall send him away, then, Sir.” Speaight nodded.

“Yes, thank you.”

Punch turned around and smiled, but his smile turned to a frown as he saw Gerard trot into the room.

“Oh, no, Gerard, let’s let Dr. Halifax sleep,” Punch said quickly, finding it more difficult to maintain Julian’s manner of speech.  He wasn’t accustomed to speaking to so many people at once—especially when some of them knew he was both Mr. Punch and the Duke and others did not.

“Pardon me, Sir,” Gerard replied.  “I’ve come to tell you someone is here to see you.”

“I’ve already taken care of that, Gerard,” Speaight growled.

“No, Sir—not the man.  There’s a Lady here to see His Grace as well.”

“A lady?” Speaight asked.  “This is highly irregular.”

“Here’s her card, Sir.”  Gerard offered a calling card on a small silver salver to Mr. Punch who took it.

“The Lady Constance Hamish.” Punch read aloud.

“Daughter of the Countess Hamish, Sir.  They reside at Number Seven Two.”  Speaight explained.

“That explains why they call it Hamish House, then,” Mr. Punch tried making a joke.

No one laughed and he could feel the sweat rising on his forehead.

“I brought her into the morning room, Sir.”  Gerard explained.  “I figured a lady shouldn’t wait in the vestibule, especially with a strange man.”

“Perhaps you should awaken Dr. Halifax,” Charles suggested softly.

Speaight glowered at the man for speaking out of turn.

“No, Charles,” Punch shook his head.  He sighed quickly.  “Gerard, the man is still in the vestibule?”

“Yes, Sir.”  Gerard nodded.

Punch cleared his throat to stall for time.  How would Julian handle such a situation?  He wondered.  Punch concluded that Julian wouldn’t be able to handle the situation at all—after all, wasn’t that why he’d retreated to the safety and quiet of the interior of their shared body and allowed Mr. Punch to take over.

“Gerard,” Punch began, “Please show the gentleman to the library, but keep an eye on him.  Make work for yourself in there until I arrive.  I shall see Lady Hamish in the morning room first.”

“Are you sure, Sir?” Charles whispered.  “Mr. Speaight certainly can send him away.  That’s not a bad idea.”

Again, Speaight stared daggers at Charles.

“I am sure, Charles.”  Punch replied softly.  “I think.”



Did you miss Chapters 1-20 of Mr. Punch of Belgrave Square?  If so, you can read them here.  Come back tomorrow for Chapter 22.  

Her Majesty's Furniture: A Chippendale Armchair, 1740-60

Drawing Room Chair of Mahogany
Thomas Chippendale
1740-60
This and all related images from:
The Victoria & Albert Museum





Myriad variations of this upholstered drawing-room armchair could have been found in almost any wealthy, mid-18th century household.  This particular mahogany chair is exceptional because it came from the workshop of Thomas Chippendale (1718-1779).  The carver has used stylized dolphin heads as terminals for the chair's feet and the arms.

Chippendale's original design incorporated the whole body of the dolphin - its tail visible at the top of the leg, but the carver has adapted the design, possibly because this chair was likely part of a set which was a special commission.  The scale of the chair and quality of the carving are further  indicators that this chair was part of a commission for a set of seating furniture for a large drawing room. According to the V&A, "At least four other chairs and a footstool of the same carved design are known today."

Thomas Chippendale recommended that tapestry or needlework should be used for drawing-room chairs almost exclusively over other materials. The embroidery on this chair probably dates from the 1740s and may have been cut down from a set of larger wall hangings.

This chair is numbered "IV" of a set of six.  Another from the set lives at the Lady Lever Art Gallery in Liverpool and four others were shown by Messrs. Partridge in their summer exhibition in 1939.





Object of the Day: Soap Trade Card for Lautz Bros. & Co.'s Soaps






New York-based Lautz Brothers & Co., at the turn of the Twentieth Century, was one of the best known soap concerns in the United States.  Their Acme Soap brand could be found in almost any household.

This Victorian trade card advertises for Acme Soap.  A young girl dressed in a smart blue skirt and white blouse with a striped red and white over-dress/apron with ribbons of red holds a card urging us to "Use Lautz Bros. & Co. Soap."

The reverse of the card has been damaged from having first been glued into an album (as most of these cards were when they were made), and then, a century later, being ripped from said album.

The best I can tell is that it once said:

---USE--- Acme Soap

CUT FULL P.......
(missing)

BEST BAR SOAP MADE





The very best materials are used in the manufacture of these Soaps.





The space in the center would have allowed a retailed to stamp their information.








Wednesday, April 25, 2012

Mastery of Design: The Dame Joan Evans Sautoir, 1795-1810


Sautoir
Enameled Gold, Diamonds and Pearls
1790-1800
The Victoria & Albert Museum




This long necklace, known as a sautoir, was worn in the 1790s and early 1800s.  Style dictated that such necklaces should be worn over one shoulder and under the other--inspired by military dress.

As the V&A states, “Once the prohibition against wearing jewels had passed in post revolutionary France, light and delicate gold jewellery became fashionable.”

A masterpiece of enameled gold, the sautoir is set with rose-cut diamonds and pearls.  Either made in Switzerland or France between 1705 and 1810, it is the work of an unknown jeweler and was once part of the collection of Dame Joan Evans.