Object of the Day, Caption Contest: An Odd Double-Sided Chromolithograph

Click image to enlarge.

Hmmmm…this is weird. It’s not a trade card. Its paper is thin and glossy and printed with an illustration on both sides. It’s not a scrap, certainly. It was not cut from a magazine since the odds of the image being centered in the same spot on two sides of a page are quite slim. So, what is it?

This chromolithograph depicts two scenes. One shows a well-dressed, if not wild-eyed, gent holding a package of the unfortunately named Sapolio—a brand of soap which was quite popular between 1883 and 1908. Sapolio is notable for its aggressive advertising campaigns. By 1908, they’d run out of steam with their advertising. When their interesting ads stopped, people stopped buying the product and it died (it was recently resurrected with modest success in Peru and Chile). The man in the scene has swept back a dramatic drapery to remove a life-sized statue. Is he going to clean her with his bar of soap? Has he cleaned her? Is he going to clean himself in front of her? Was she a polychrome sculpture which has been stripped of any and all pigment by being scrubbed with what I can only assume was a fairly harsh cleanser?

Let’s see what’s on the reverse. 

Click image to enlarge.

The other side shows a lad in a kilt with his mum. He’s drinking precariously from a large bottle. He’s upset a bowl and is mother is concerned by it. Or maybe she’s concerned because there’s a fox carved into her over-mantle. Maybe the kid’s a drunk and he’s fallen off the wagon. I trust he’s not drinking Sapolio. In fact, I can’t see any relationship between the two images. Yet, they’re created in the same style by, presumably, the same artist.

Could this be an ad for Sapolio? A portion of an ad? Or is it an image for something else which employed the use of the Sapolio brand since, for awhile, the name was synonymous with soap in general.

So, once again, I turn to you. It’s another caption contest. What do you think this was for? What’s going on in these scenes? Are they at all related? What would the tagline be? I always enjoy seeing your clever answers! Let’s see what you’ve got.  Post your answers in the comments.

Mastery of Design: Bonbonnière with a view of Balmoral Castle, 1907

 Bonbonnière of gold, enamel and Diamonds
Henrik Emanuel Wigström, 1907
Showing the "Balmoral Side"
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Fabergé's brilliant workmaster Henrik Emanuel Wigström (1862-1923) created this bonbonnière of gold, enamel and rose-cut diamonds in 1907. With its lovely views of Balmoral and Windsor Castles, the wee candy box was destined to be a part of the Royal Collection, and, naturally, that’s where it ended up.

The bonbonnière was purchased by Sir Ernest Cassel from Fabergé's London branch, on November 4, 1907 for £81 5s. Sir Ernest presented the box to his friend Sir Philip Sassoon who held onto it for quite some time.

Now, it would be very easy to suggest that Queen Mary spied the box in Sassoon’s collection and suggested in her particular way that the object really should, since it does depict Balmoral and Windsor, belong in the Royal Collection. It would be easy to do so because it’s true. Sassoon’s records indicate that as early as 1908, the Princess of Wales (after 1910, Queen Mary) admired the object, noting that it was the first work by Wigström that she’d ever seen depicting one of the Royal residences. She kept at it for decades, I would guess though I have no proof of it. 

Nevertheless, we do know for certain that Sir Philip presented the bonbonnière to Queen Mary for her birthday on May 26, 1934. No doubt, Her Majesty was quite pleased. Queen Mary displayed the bonbonnière with great pride and marveled at its enameled views of Balmoral Castle on one side and Windsor Castle on the other as well as the edge of the box which is set with enameled roses and leaves interspersed with diamond-set crosses.

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

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

Her Majesty's Furniture: The Coburg Sideboard, 1851

Sideboard
Germany, 1850-1851
The Victoria & Albert Museum

Oh, Prince Albert…you can take the boy out of Germany, but you can’t take the Germany out of the boy. Though courtiers suggested to Queen Victoria that her Consort might want to tone down the whole, “I’m a foreign prince” schtick at various points, Prince Albert was unabashedly German in almost every way. Though Prince Albert’s pre-Victoria life was actually kind of terrible and sad, after his marriage he romanticized Germany and his boyhood and developed a rather peculiar tie to all of the things which he ignored when he actually lived in Germany.

So, by 1851, when the Prince’s baby, “The Great Exhibition” had launched, he was keen to make sure that Germany was represented. And, then, came this sideboard and its heavily carved brethren. Ferdinand Rothbart (1823-1899), a German furniture maker, presented a handsome suite of furniture at the Great Exhibition of 1851. Rothbart was assisted by one Th. Kolb whose history is all but lost now. The suite included four chairs among other objects which were all manufactured by Thomas Hoffmeister and Thomas Behrens in Coburg, Germany around 1850.

The entire lot was commissioned by the Duchy of Saxe-Coburg. Just for the record, let’s not forget that Albert was the Prince of Saxe-Coburg and Gotha (which was, by the way, the official name of the Royal Family from Victoria’s 1840 marriage until King George V changed it to “Windsor” on July 17, 1917 during the First World War when there was, understandably, some anti-German sentiment).

After the Exhibition, and after the sideboard—the most admired piece of the lot—was awarded an “Honourable Mention” by the juries there, Prince Albert bought the whole lot, intending to use the pieces in Balmoral Castle. However, during the construction of the new castle at Balmoral, the furnishings were taken to the Palace of Holyroodhouse in Edinburgh where it was used in the Evening Drawing Room. Evidently, Albert changed his mind and the suite never made it to Balmoral. It remained in Holyroodhouse until 1923 when Queen Mary donated the furnishings to the University of Edinburgh. I find this rather queer as it’s the first time I ever heard of Queen Mary donating anything to anyone. She much preferred having people donate things to her. I suspect, however, that these pieces weren’t really Mary’s cup of tea. She, too, at times tried to distance herself from her German roots. After all, aside from being related to Prince Albert as well, she was also the daughter of the uber-German Duke of Teck. Perhaps she just didn’t want these pieces around. The University grew tired of the suite as well, and, in 1967, donated the lot to the V&A which seems quite content to have it. 


This particular sideboard was described in the 1851 Exhibition catalog as being “in the German-Gothic style of the middle ages.” Well, yes, it is. It’s quite Gothic—complete with ogival arches and repeated motifs similar to Gothic window tracery. The door panels are deeply carved with hunting scenes and motifs. The central doors depict a group of deer in a woodland setting. These are flanked by figures of men with spears, knives and bugles. Boars and bears round out the theme. The whole of the reverse is covered in deep, plush, red velvet, which, where exposed, is faded to brown.

History's Runway: The Tartan Dress, 1845

Tartan Dress
Britain, 1845
The Victoria & Albert Museum

This smart dress is indicative of women’s fashions of the mid-to-late-1840s. Why tartan? Well, by this point, not only had Queen Victoria and Prince Albert become enchanted with Scotland, they had, in 1848, purchased a Royal residence in Aberdeenshire. By 1853, work had commenced on a new castle at Balmoral and fashionable London Society had turned their attention to all things Scottish in order to emulate the Queen and Prince Consort. This interest turned to a passion for plaid, and women and men alike draped themselves in colorful tartans. Furthermore, Walter Scott’s popular novels added fuel to the fire of Scotch love, helping to keep the fashion alive well into the 1850s.

This dress, made around 1845, features long, tight sleeves, a high, round neck and the long, pointed waistline which defined the 40s. A bold silk-satin in a tartan pattern dominates the garment which is accentuated with a front lace fastening.

Relying on the textile for color, the only trimmings on the gown are its handsome agate stud buttons mounted on black velvet bows above the wrists. Agate was considered a wholly Scottish stone and, at the time, the majority of Scottish jewels included agate on silver. The dress’ bodice is piped on all the main seams and is entirely lined with cotton. The bodice is boned and the skirt is lined with yellow and white fabric. The lining could be removed for washing. The present lining may actually not be original. Yellow chamois dress preservers, original to the gown, were installed in the armpits to absorb perspiration and to protect the silk-satin from staining.

Gifts of Grandeur: The Balmoral Brooch, 1895

Commemorative Brooch
Collingwood & Co., 1895
The Victoria & Albert Museum

Still in its original presentation box, this commemorative brooch was given to the actress Winifred Dolan (1867-1958) by Queen Victoria following Dolan’s special command performance of R. C. Carton's play “Liberty Hall.” The play was performed at Balmoral Castle on September 16, 1895. In the play, Miss Dolan played the role of “Miss Hickson.” The brooch was made by Collingwood & Co. especially for the Queen. Collingwood created several such commemorative pieces which Queen Victoria gifted to visitors or special guests.

As was the style of the time, the jewel is designed as bar brooch featuring the arms of the Royal Victorian Order, enameled in red on a gold base with six imitation pearls. The presentation box of green leather is trimmed with gold and lined in beige satin and velvet. 

Mr. Punch of Belgrave Square, Chapter 96

Chapter 96: 

Locking the Door 



Mr. Punch rolled over, being careful not to upset Dog Toby who lay in between his masters, and whispered to Robert, “Chum? Are ya sleepin’?”

“No,” Robert responded softly.

“Why not?” Punch asked.

Robert chuckled. “I don’t know, dear Punch. I’ve just not fallen asleep yet.”

“Are ya worried, Chum?” Punch asked quietly.

“Not so much worried as I am perplexed.”

Punch sighed.

“We searched this whole house.” Robert sat up, arranging his pillows behind his back.

“Want me to light a candle?” Punch asked.

“No need. Unless you want to.”

“No.” Punch muttered.

“We looked all over,” Robert continued. “Yet, we found nothing out of the ordinary.”

“It’s real dark in here, it is, Chum.” Punch muttered. “Maybe Dog Toby wants a candle lit.”

“Maybe he does.” Robert smiled in the darkness. “I’ll get one.” He began to get out of the bed.

“Where ya goin’?” Punch asked quickly.

“To the fire to get a spill.” Robert paused.

“Oh.” Punch mumbled. “You don’t gotta do that.”

“I thought Dog Toby…”

“What’s he know?” Punch interrupted. “He’s asleep. He don’t know if he wants a candle lit or not.”

Robert settled back onto the bed.

“We both heard that cry, we did.” Punch grumbled.

“I know. And, Gamilla did as well. So did Toby.”

“So somethin’ had to make the noise.” Punch frowned.

“Yes.” Robert replied, reaching over the terrier to take Punch’s hand. “But, it could have been anything. Parts of this castle are over eight-hundred years old. It’s entirely conceivable that we heard some bird, an owl…or some kind of animal which has gotten into the house.”

“Animals don’t hold knives.” Mr. Punch grunted.

“Not typically.” Robert sighed. “However, Dear Punch, the passage was quite dark and Gamilla must be exhausted. Haven’t your eyes ever played tricks on you in the dark?”

“Everythin’ I got plays tricks on me all the time.” Punch replied. “But, Chum, what Gamilla saw was just the way Nanny Rittenhouse described the haint what wanders the Grange. It ain’t like Gamilla’s thoughts was influenced by the story since she ain’t never heard no such story ‘fore. She described it without knowin’, Chum.”

“I know.” Robert replied gently.

“Now, I know you ain’t one to believe in such things as haints and shades, but you gotta admit that you seen some things in the last year what don’t got no answer what you can ‘xplain with your science.”

“This is true.” Robert answered.

“See? I do. I do believe in spirits and such since I seen ‘em before. And, I mean me—Mr. Punch-not Julian who sees all sorts of things what ain’t there. I mean me! When I was usin’ the body. When I was in control of the thoughts and what we saw. I seen Naasir after he died—several times. And, I seen the ghost of Nanny Rittenhouse and Julian’s ma and all.”

“I know that you have, my dear.”

“So, it’s quite possible what Gamilla saw were really the ghost of Lucas Molliner.”

“I suppose it is possible.” Robert squeezed Punch’s hand.

“Listen, I ain’t scared me-self, I ain’t. Only it worries me for Colin. I don’t want nothin’ to upset him, Chum. Not our little boy. And, what of the girls? Now, I ‘spect that the maids what live and work here is used to it—to seein’ such things. But, Ethel and Jenny and Vi—they just came. And, Mrs. Pepper! Ain’t no good scarin’ them. Even Gerry and Charles and such. Bugger, even ol’ Speaight is a jumpy creature. We brought ‘em out here for a holiday, not to be haunted by some ol’ dead ancestor o’ mine…er…Julian’s.”

“My love,” Robert smiled. Punch could see his eyes and teeth even in the darkened room and felt comforted by the grin. “You say it’s possible that it’s the ghost of Lucas Molliner, but it’s also possible that it’s a living human being who is trying to fool us.”

“Who’d want to do that?”

“Who’d want to kill William Stover and leave him in our property so that we’d be blamed for his death?” Robert shrugged. “Why has anyone ever tried to torture us?”

“Dunno.” Punch grumbled. “Greed? Jealousy? Madness?”

“Or both.” Robert nodded.

“But, the folks what’s here is our friends.”

“All of them?” Robert asked. “We know our own people, of course. But, what of the Grange’s staff?”

“Well…” Punch answered thoughtfully. “Most of ‘em have been ‘round since our pa were alive. Mrs. North and Johnny and Finlay.”

“But, there are others whom we don’t know.”

“Yes.”

“Similarly, by now, I’m sure most of London knows we’ve left for Scotland. It’s not impossible to think that one or more of the very people we wished to escape have come to torment us further.”

“But, they’d have to be someone who knew the story of Lucas Molliner’s haint!”

“Who else knew the story?”

“Just me and Barbara.” Punch replied. “We’re all that’s left. Everyone else what I can think of that knew ‘bout that is dead. It were a story what Nanny Rittenhouse told us. Don’t think she ever saw anyone else.”

“She’d had to have learned it from someone. My dear, didn’t Nanny Rittenhouse accompany the family on their visits here? Especially when your mother stopped coming. She must have heard the tale from one of the staff here. Possibly even Mrs. North or that bearded groundsman, Johnny Donnan.”

“Hadn’t thought of that.”

“I’m sure that the story is legend in these parts.” Robert continued. “Furthermore, anyone from any of the nearby estates could have heard the tale from someone here and passed it on.”

“I s’pect so.” Punch nodded. “Still, ghost or not ghost, I’m still worried that someone or somethin’ is walkin’ ‘round the house where our son is—with a knife.”

“I’m concerned, too.” Robert sighed. “However, we needed worry about Colin. The door to the nursery has been locked and the only other entrance to that room is through ours. No one will get to him.”

“But, shades can go through walls and such.” Punch frowned.

“Would you like for me to bring his bassinette in here?”

“Yes, please.” Punch nodded.

“Very well.” Robert replied, getting out of bed.

“I’ll come, too.” Punch scurried out of the bed.

“You can carry Colin.” Robert nodded. He paused. “You do understand that as long as there’s breath in my body no one will ever harm you? Not ever again. When you were poisoned, I vowed that I would be more vigilant.”

“You don’t gotta tell me that, Chum.” Punch embraced Robert. “I know. You always looked out for me—even before we was chums. Ever since the day you doctored up Julian’s body after that terrible day in Covent Garden—I knew you’d protect us. And, then, there you was on the ship and…”

“I failed you.” Robert gulped. “I let harm come to you while we lived in the same house. I’m supposed to be caring for you.”

“We’re supposed to be caring for each other…and for Colin and for Dog Toby and for them folks what live in our house. But, Chum, we can’t stop the world from goin’. We can’t make folk stop bein’ evil. We just gotta do what we can.”

Punch chuckled.

“What is it, Dear Punch?”

“I s’pose I jus’ taught me-self a lesson. Here I been worried ‘bout protectin’ Colin from somethin’ what we don’t know ‘bout. But, I only just realized that the best we can do is guard against what we know and, then, take everythin’ else as it comes.”

“Do you want to leave Colin in his room?” Robert asked.

“No. Not at all.” Punch laughed. “Even if we take everythin’ as it comes, don’t mean we gotta open the door for it to enter.”



Did you miss Chapters 1-95? If so, you can read them here. Come back tomorrow for Mr. Punch of Belgrave Square, Chapter 97.

Flashback: Building of the Week: Balmoral Castle, Scotland

This post first appeared on December 1, 2010.  I thought that trotting it out again would be germane to our theme today.

The Old Castle at Balmoral, 1853
The Royal Collection

The private summer residence of the Royal Family, the estate at Balmoral covers an area of over sixty-four thousand acres in the Royal Deeside in Aberdeenshire, Scotland. The estate originally belonged to King Robert II who kept a hunting lodge on the property. In 1390, Sir William Drummond built the original castle on the site. The land would change hands three more times before the Nineteenth Century. In the 1840’s, the estate was owned by the Second Earl of Fife who leased the house and lands to wealthy patrons in search of a peaceful place to hunt and rejuvenate themselves. In 1848, the castle and lands were leased to Queen Victoria and Prince Albert who both fell in love with the beauty of the grounds and the elegant, but comfortable, castle. The queen and her husband petitioned for ownership of the property and achieved their goal in 1852.

The New Castle at Balmoral, 1856
The Royal Collection

In 1853, the corner stone for a new castle at Balmoral was set into the ground. Beneath the stone, Queen Victoria ordered that a letter in her own hand and coins of the realm (encased in glass) be set beneath the stone. While Victoria and Albert loved the original castle, they realized that it was too small and too old to comfortably house their growing family and rapidly enlarging staff. Prince Albert worked closely with the architects and designers of the new castle to ensure that it not only met their immediate needs, but also blended with the design of the original structure as well as the pristine landscape.

Balmoral, 1860
The Royal Collection

Balmoral has since remained in the Royal Family and, like Sandringham House, is privately owned as opposed to being a state residence. The estate has been the favorite spot of many a royal. Queen Elizabeth II and her family are particularly fond of the spot and spend as much time as they can there.

Over time, the size of the estate has grown incredibly. In 1878, Queen Victoria rescued a one thousand acre stretch of forest by purchasing it before it could be destroyed by timber merchants. The forest, known as Ballochbuie, was officially added to the estate at Balmoral. Later, an additional two thousand acres were added as a safe haven for red deer.

Queen Elizabeth II and her Children
at Balmoral, 1952

Balmoral is still a working estate, and while the staff has been considerably reduced lately, the Royal Family employs up to fifty full-time staffers throughout the year. Nearly one hundred thousand people visit Balmoral each year—wishing to tour the land and see its natural beauty first-hand. The tourist trade is quite a boon to the surrounding areas—producing upwards of four thousand jobs for local workers each year.

The site of many a historic occasion, Balmoral has seen its share of Royal triumph and tragedy. There, the coronation activities of King George IV were carried out. Queen Victoria Eugenie of Spain was born there. Most recently, it was at Balmoral where the Royal Family received word that Diana, Princess of Wales, had been killed in an automobile accident.

Princes William, Charles and Harry at Balmoral
1996
The Royal Collection

The Duke of Edinburgh, husband to Queen Elizabeth II, plays a large part in overseeing the workings of Balmoral and has taken a keen interest in preserving the trees and wildlife on the estate. As the land continues to be governed by its royal owners, we can be sure that it will continue to be one small stretch of untouched beauty for centuries to come.