Object of the Day: A Trade Card for Pianos and Organs

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In my growing collection of antique ephemera, I have several trade cards which are printed in monochromatic ink on a metallic ink background. The metallic backgrounds create a sense of motion in these scenes which usually involve children involved in sporting pursuits. For example, this American card printed in blue and silver shows a young man attempting the high vault. Sadly, his pole has snapped in half. I’m sure death is nigh.

So, this must be an advertisement for medicine or some sort of invigorating sarsaparilla. Yes? No. It’s an advertisement for pianos. Once again, this was a stock card which was selected by the business owner because he or she knew it would be the sort of thing which would be collectible and would end up bringing news of their concern into people’s homes.

Let’s take a look at the reverse.

It’s printed upside down. I don’t think that was intentional. It’s also oddly aggressive for a piano ad.

It reads: 

We are selling PIANOS and ORGANS 

At just Ten Dollars advance on the Whole- 

sale Prices. 

-<<<<<---->---->.-.<----<---->>>>>-

WE WISH IT POSITIVELY UNDER- 

STOOD THAT WE KEEP NO AGENTS. 

-------------------------

We sell an ORGAN for 50 Dollars as good 

as any other Dealer that employs Agents 

can Sell at 75 Dollars. 

-------------------------------

WE SELL A BETTER PIANO FOR $250 THAN 

AGENTS AND DEALERS WHO EMPLOY THEM, 

CAN SELL FOR $350. 

WE HAVE CONTRACTED TO SELL 3,000 PIANOS 

AND ORGANS IN ONE YEAR. AND WILL SELL 

To ALL at Wholesale Prices. 

-------------------------- 

Look to your interest and send for our 

WHOLESALE PRICE LIST before pur- 

chasing. 

NEW YORK MUSIC COMPANY 

524 GENESEE AVENUE 

          EAST SAGINAW , MICH. 

                                DEPEW. Manager.

Mastery of Design: The Fabergé Shire Horse, 1907

Shire Horse of Agate and Diamonds
1907
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Made in 1907 by Fabergé as part of the great Sandringham Commission, this horse of carved brown agate is set with rose-cut diamonds for eyes. The shire horse was one of King Edward VII’s prized horses, so he made sure that the artists Fabergé had access to the animal to sketch it.

The Sandringham Commission was tremendous. King Edward VII, in an effort to offer the long-suffering Queen Alexandra something to cheer her up after one of his many infidelities, asked Fabergé to create a virtual barnyard of precious, miniature animals.

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

History's Runway: The Henry a la Pensée Belts, 1938

One of a Set of Belts Given to Princess Elizabeth from the Children of France
French, 1938
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

This leather belt forms one of a pair which was a State Gifts to Princess Elizabeth (now, Queen Elizabeth II). A matching set was given to Princess Margaret Rose. The belts were from the Children of France and were presented to the princesses during a State Visit to France by their parents King George VI and Queen Elizabeth, the Queen Mother in 1938.

Of the pair, one belt is red and one blue. Both feature a scalloped edge and stitched buckle with attached metal emblems of a pig, a horseshoe, a mouse, a four leaf clover, a key and an elephant. They were designed by Henry a la Pensée.

Painting of the Day: Druidic Spring in Cornwall, 1887

Druidic Spring in Cornwall
Edward Henry Corbould, 1887
Crown Copyright
The Royal Collection
Image courtesy of Her Majesty Queen Elizabeth II

Painted in 1887, the year of Queen Victoria’s Golden Jubilee, by Edward Henry Corbould (1815-1905), this piece is entitled “Druidic Spring in Cornwall.”

Te centerpiece of this signed watercolor is a red-haired girl who has been posed holding a horseshoe. She is seated beside a bridge made from a large stone laid over a spring. A ruined chapel rises in the distance. Since its creation, this piece has been a part of the Royal Collection.

Antique Image of the Day: Alexandra, Princess of Wales and Her Sister, 1873

Queen Alexandra when Princess of Wales with
Trarevna Marie Feodorovna of Russia
James Russell & Sons, 1873
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Photographed in 1873 by James Russell & Sons, this image shows Alexandra, Princess of Wales (1844-1925, later Queen Alexandra, Consort of King Edward VII) with her sister Tsarevna Marie Feodorovna of Russia (1847-1928). Both girls were born princesses of Denmark and made very smart marriages to other Royal families.

The photo, presented to Queen Alexandra, was placed in a gilt metal frame in the form of a horseshoe. The nail heads are coated in blue enamel.

This photo is one of the earliest records of this frame and image in the Royal Collection
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Mr. Punch of Belgrave Square, Chapter 73

Chapter 73: 

I Am Here 

Mr. Punch climbed the narrow, winding stone staircase which led the top of one of Grange Molliner’s five thin turrets.

“We can see the whole estate from up here,” Punch smiled over his shoulder at Robert who was a few steps behind.

“I can’t imagine that Miss Barrett could have gotten far.” Robert frowned.

“How unlike her to wander off without tellin’ no one—‘specially with Gamilla watchin’ Colin.” Mr. Punch shook his head. “If she wanted a walk or some air, she should know well ‘nough to ask Speaight first. I can’t think what’s gotten into her.”

Robert clucked his tongue as they arrived at the top of the staircase. “I have no idea what she’s like anymore. She’s not quite the steady lass I thought she was.”

“Lass?” Punch chuckled as he opened the trapdoor to the deck of the turret. “Been in Scotland less than a day and you’re already callin’ girls ‘lass.’”

“I’m a quick study,” Robert teased.

“Least I got ya to smile.” Punch winked, giving Robert a hand onto the deck. As the wind hit Robert’s dark hair, Punch gasped slightly.

“Yes?” Robert smiled.

“Oh, nothin’.” Punch shook his head. “I don’t know why I done that.”

“Carried away by my good looks.” Robert grinned broadly and overdramatically.

“Probably so.” Mr. Punch laughed. “Wouldn’t be the first time.”

“The view is astounding from here.” Robert nodded, sighing.

“Sure.” Punch agreed, joining Robert at the crenellated edge of the tower. “Julian used to come up here all the time when we visited here. Kept him ‘way from…”

“Away from whom?” Robert asked, placing his hand over Mr. Punch’s.

“Dunno.” Punch shrugged. “Guess away from Nanny Rittenhouse. The duchess didn’t come back after that long autumn she spent here with our pa, so when Sir Colin took us here, he’d have to bring the nanny. But…”

“Is something on your mind, dear Punch?” Robert asked, still holding Punch’s hand.

“I dunno.” Punch repeated. “Ain’t it queer? It’s my lot to remember, yet I feel like maybe I forgot somethin’.”

“Something about Nanny Rittenhouse?”

“Who could say?” Punch shrugged.

“Nannies, it seems, are an awful lot of trouble.” Robert joked.

“I don’t see no sign of Miss Barrett.” Punch frowned, peering over the side. “What were she wearin’, Chum?”

“I don’t recall.” Robert shook his head.

“Somethin’ drab, I’d guess.” Punch shrugged. “Poor girl, could be pretty if she wasn’t always in gray. It’s like she’s in mournin’.”

“Maybe she is.” Robert sighed. “Nevertheless, it wouldn’t really be fitting for our governess to be flitting about in a scarlet gown. So, I suppose her choices of color are limited.”

“True.” Punch nodded. “Still, it’s a shame. Makes her look dull.”

“I don’t think she’s at all pretty,” Robert grumbled.

“I think Charles does.” Punch grinned.

“Do you?” Robert squinted. “I rather got the impression that they detested one another.”

“Eh…” Punch shook his head. “Sometimes the folks what like each other the best seem to hate each other the most.”

“Sometimes.” Robert nodded. “Well, my dear. I don’t see her.”

“She ain’t in the house, Chum. The boys, Speaight and Mrs. Pepper looked all over for her. Even Mrs. North did. I think Finlay’s out at the stables lookin’ for her now.”

“Where could she have gone?” Robert wrinkled his nose in annoyance.

“Oh, Robert, there’s all sorts of places where a body can hide here. Even without tryin’.” Punch sighed. “Believe me, I been in most of ‘em.”

“I suppose we’ll have to go search the grounds, then.” Robert grumbled.

“Yep.” Punch replied. “Here, did ya ever notice that we don’t never get to eat?”

“I’ve noticed.” Robert scowled.

“Well, come on, then, let’s get it over with.” Punch snorted. “You go first, Chum. I’m more used to the trap than you.” Punch pointed to the trapdoor. “I’ll hold your hand.”

“Hold on,” Robert smiled, pausing near the low wall which surrounded the turret. “What’s this, then?”

“What?” Punch asked, looking at the spot which Robert studied.

“There’s a carving here. Something has been chipped out of the stone. A little…picture…”

Punch’s eyes widened. “Oh…dear, dear, dear. I forgot all ‘bout it.”

Robert knelt down and looked at the markings in the stone. He looked up at Punch with affection.

“I done it.” Punch smiled sheepishly. “Long, long ‘go. Probably thirty years…”

“It’s quite sweet.” Robert sniffed, running his fingers over the craving. There, on the stone a crude outline of Mr. Punch had been carved—Punch, the puppet with his humped back and hooked nose (not Punch as he looked as the Duke, of course). Beneath the carved sketch, the words “I am here” had been incised.

“You wanted someone to know that you existed,” Robert stood up, putting his arm around Punch’s shoulders.

Mr. Punch nodded. “Wondered if anyone would ever know. S’pose I got you to thank for letting me free.”

“I could say the same about you, Dear Punch.” Robert smiled. “Now, let’s find that damned woman so we can have our tea.”



Did you Miss Chapters 1-72? If so, you can read them here. Come back tomorrow for Chapter 74 of Mr. Punch of Belgrave Square.

Her Majesty's Furniture: The Marsh and Tatham Reading Chairs

One of a Pair of Chairs Made for Carlton House, 1805
Commissioned by King George IV
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

These handsome chairs from the Royal Collection have been attributed to the furniture makers Marsh & Tatham. The pair was made in 1805 for the library at Carlton House during King George IV’s long redecoration project. The pair can be seen in watercolor depictions of the room.

The pair of reading chairs are constructed of ebonized wood and ivory and are upholstered in deep red leather. The back of the chair has been created in a horseshoe design which is formed by the horizontal arms.