The Home Beautiful: A Section of the Portières des Dieux, 1740-1760

Tapestry Panel
Gobelins, 1740-1760
The Victoria & Albert Museum

The famed Portières des Dieux series, designed by Claude Audran III (1658-1734) was made by the French royal tapestry manufactory, the Gobelins. The celebrated series of woven silk and wool panels depicts the four seasons and the four elements. So popular was the series that it was rewoven numerous times between 1700 and 1789.

This panel depicts Saturn, the God of agriculture who was often employed as an allegory for winter. Saturn’s feast—Saturnalia—was celebrated during the month of December, and, in fact, many of the traditions associated with Saturnalia have been borrowed for Christmas.

Here, Saturn is shown, seated in profile. He holds his attribute, the scythe of the harvest. From beneath, two putti come forth from clouds, blowing the first snows of winter. The group is framed by foliate, fruit-bearing garlands and arabesques.

Pierre-François Cozette (1714-1801) served as the maker of this original panel for Gobelins between 1740 and 1760. Claude Audran III (1658 -1734) was the designer. The entire series also includes scenes of Diana, Neptune, Jupiter, Bacchus, Venus, Ceres and Juno, each with his or her respective attributes.

Mr. Punch of Belgrave Square, Chapter 191

Chapter 191
A Wardrobe 


“And, here’s your room.” Mr. Punch beamed as he showed Lennie to the chamber to which all referred as “The Gold Bedroom.”

“Oh,” Lennie gasped as she entered the room. “It’s too fine.”

“Certainly not.” Robert interrupted. “We just hope you’ll be comfortable here.”

“I never saw anything like it.” Lennie wiped her eyes.

“If there’s anything what ya don’t like, or what ya want changed, jus’ let me know.” Mr. Punch smiled.

“I never want to see a thing changed in this room.” Lennie replied emotionally.

“’Til we can get ya a proper lady’s maid, Vi will attend ya.” Mr. Punch continued.

“Oh, I don’t wish to put her out.” Lennie shook her head. “I’m perfectly capable of looking after myself.”

“Lennie,” Robert smiled, “it’s best not to fight it. His Grace insists that our household run properly. I wasn’t keen on the idea of a valet at first, but now, well…I find I’m quite lost without one.”

“Still, Violet must have other duties…”

“Yes.” Mr. Punch nodded. “But, only temporarily. Since Gamilla’s gonna be in the nursery full time, she is, we’re gonna have to find someone to act as upper house maid anyway. We’ll add two girls to the staff. One to replace Gamilla and one to be your maid. If Vi proves useful to ya and you want to keep her, she can remain as your maid and we’ll hire on a different parlor maid.”

“That would be quite a rise for her.” Lennie replied thoughtfully. “I do hope she excels at it.” Lennie’s expression changed.

“Is something wrong?” Robert asked.

“No. Well…it’s just that I’ve not had very good luck with maids in the past.”

“No, you haven’t.” Robert sighed.

Punch changed the subject quickly. “We’ll leave you to explore your new home, but I thought that after luncheon we could take you to one of the fine dressmakers and commission a wardrobe for you.”

“Oh, no.” Lennie shook her head. “You’ve already done too much. I’m quite comfortable with what I have.”

“You’ve one dress.” Mr. Punch chirped. “And, you’ve been wearin’ it for how many days? You ain’t even got a proper sleepin’ gown or nothin’. Now, let’s be practical.”

“But, I don’t want you spending your money on me.”

“Money I got plenty of.” Mr. Punch shrugged. “I only got one sister.” He paused. “Well, two.”

“I don’t mean to bring up a sensitive topic, however…”

“You want to know if Lady Barbara is still living?” Robert smiled slightly.

“Well, yes.” Lennie replied.

“She is.” Mr. Punch nodded. “She remained in America. She’s the one what gave birth to Colin. Dr. Halifax and me…well, we thought it best to say she’d died. Hers is a life of ill-repute. She’s no longer Lady Barbara. She calls herself ‘Barbara Allen.’”

“Like the song?” Lennie asked.

“And, just as cruel.” Robert muttered. “Perhaps one day we’ll tell Colin that she’s still alive, but for now, it’s best everyone forgets her.”

“But…” Lennie began.

“The Duchess of Fallbridge is truly deceased.” Mr. Punch interrupted. “She won’t bother us no more.”

Lennie nodded.

“Now, this is a happy homecoming.” Mr. Punch said excitedly. “So, we ain’t gonna dwell on the past.”

“Of course.” Lennie said.

“We’ll be looking in on Gerard to make sure he’s been properly settled-in.” Robert said. “Mrs. Pepper informed us that luncheon will be served at noon.”

“It were good of Mr. Hutchinson to see the larder stocked.” Mr. Punch grinned.

“Yes, he’s done quite a fine job managing the household during our absence.” Robert nodded.

“We told Speaight to take a day of rest, so Charles will serve. We’ll come for ya when it’s time. In the meantime, be thinkin’ ‘bout what kind of fine silks and satins you might want to have.”

“Thank you.” Lennie said sincerely.

“Until later, then.” Robert nodded.

“Wait!” Lennie said quickly as the men were leaving her room.

“Yes?” Robert raised his eyebrows.

“I feel that my expressions of gratitude are insufficient.” Lennie replied shyly.

“Nonsense.” Mr. Punch shook his head. “It’s what kin does.”

“Would you forgive me if I asked for a favor?” Lennie asked.

“Of course.” Robert nodded.

“After luncheon…I’d be very grateful if we could…”

“Go see Roger?” Mr. Punch suggested.

“Yes.” Lennie answered hopefully.

Robert and Mr. Punch exchanged glances.

Robert took a deep breath. “You may find him changed.”

“I expect to.” Lennie sighed. “I…I owe him an apology, too. My own shock and fear and insecurity…I…I left him in the charge of that woman. I was selfish. I was confused and frightened when I learned the truth about myself and, for awhile, I lost myself…I…”

“Remember, this is a happy day,” Mr. Punch warned.

“I know, Mr. Punch…”

“If it pleases you, when can visit Roger on the way to the dressmakers, but…”

“Just know that he’s, well…variable. Ain’t no tellin’ who you’re gonna see.”

“Most importantly, I’d like him to see me. Perhaps it’s also selfish, but I want him to know that I’m here should he need me.”

“We’’ll see that he does.” Robert replied.

“I can’t thank you enough.” Lennie gulped.

“Sure you can. You already did.” Mr. Punch shrugged.



Did you miss Chapters 1-190 of Mr. Punch of Belgrave Square? If so, you can read them here. Come back tomorrow for Chapter 192.

Antique Image of the Day: Judy Garland, 1959

Judy Garland
Harry Hammond, 1959
The Victoria & Albert Museum

Fabulous superstar and famous hot-mess, Judy Garland, spent a lot of time in London. In fact, she lived there for quite a time and was as popular in the U.K. as she was in the States. Here, we see a photo of Garland from 1959 which was taken by Harry Hammond (1920-2009) whose photography collection lives in the V&A. 

Hammond can be seen taking the photo as Garland poses in front of a mirror.

Hammond, a London native, bequeathed his collection of over 9,000 photos to the museum. These images chronicled the British popular music scene in the 1950s and 1960s. Previously, Hammond had served as a reconnaissance photographer during World War II.

By the way, I over-wrote today for some reason.  I guess I'm overly busy and wasn't paying attention.  SO--make sure to click "older posts" to see today's "Object of the Day," which is, of course, another wacky trade card.  Judy wants you to.  Just picture her on stage...all sweaty and disheveled...hands to her face, fingers outspread...gasping in song.  "Don't forget to shheeee the Object of the Day.  It'shhhh a trade card.  It's up to youuuuuuu, traaaaaade carrrrrrrd.  Traaaaaaaaaaaaaaaaaaaaaaaaade...Caaaaaaaaaaaaaaaaard."

Object of the Day: Hoyt’s German Cologne

I’ve several trade cards in my collection for Hoyt’s German Cologne. Each of these cards were scented with the cologne to give customers and potential customers a chance to be reminded of the fragrance’s light aroma.

Often, the Hoyt’s cards were printed with handy calendars. This encouraged a lady to keep the card in her reticule, and, at the same time scent the items she carried with her each day. The other cards, meant to be collected in scrapbooks, boasted handsome and romantic images like those we see on this example.

This one features a whole gaggle (flock? coven? Or is it a murder, like crows?) of putti, flitting around a giant atomizer atop a bottle of the cologne. Well, maybe it’s a normal size bottle and the putti are really small. It’s hard to say—perspective in Victorian advertising imagery was always wonky anyway.  In any event, they're trying to wrap the thing in floral garlands for some reason.  I suppose, perhaps, it is to reinforce the notion that the stuff smells good.

Oh, and did I mention that they’re in a swamp? An acid green swamp of cologne.

The obverse reminds us that the card is:

PERFUMED
WITH

HOYT’S GERMAN COLOGNE 

TRIAL SIZE
25 CTS
MEDIUM SIZE
50 CTS
LARGE BOTTLES
$1.00

FRAGRANT
& LASTING 

E.W. HOYT & CO., 
PROPRIETORS, LOWELL, MASS.



The reverse tells us:

THIS CARD IS PERFUMED WITH 
Hoyt’s German Cologne. 
FRAGRANT AND LASTING.
This is the most delightful perfume known. 

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

HOYT’S GERMAN COLOGNE is the best Handkerchief odor
     made. It possesses qualities that place it beyond compe-
     tition, and is reliable.
HOYT’S GERMAN COLOGNE is indispensible when attend-
     ing the Theatre, Ball-room or Opera. It is delicious.
HOYT’S GERMAN COLOGNE overcomes any disagreeable
     odor about the clothes. It is so pure.
HOYT’S GERMAN COLOGNE imparts to the toilet and bath
     a fragrance and freshness that render it a true cosmetic.
     It beautifies the skin.
HOYT’S GERMAN COLOGNE used in the sick-room is very
     refreshing. Invalids find it an invigorating and restor-
     ing influence.
   To avoid imitations when buying, observe that the name is
blown in the bottle that our signature is printed in red ink
across the label and that our monogram cap over the cork is
not broken. All others are worthless. 
Trial Size, Price 25 Cents; Medium Size, 50 Cents; 
Large Bottles, $1.00. 
The genuine is never sold in bulk or by the ounce. Sold by Druggists and Dealers everywhere. 
E.W. HOYT & CO., PROPRIETORS, 
LOWELL, MASS., U.S.A. 
FOR SALE BY 
E.S. HERNDON, -- Herndon, Mo.,
DEALER IN
Groceries, Patent Medicines, &c.

Mastery of Design: A Victorian Turquoise Brooch, c. 1850

Brooch
England, 1850
The Victoria & Albert Museum

This gold brooch set with turquoise and diamonds was made as a wedding gift in England, around 1850. It's the epitome of Victorian sentimental jewelry.   Much like the Coburg Eagle brooches which Queen Victoria presented to her bridesmaids in 1849, this brooch is set with diamonds and turquoise to dignify an everlasting love.  This theme is reinforced by the interlacing gold work "knots."

History’s Runway: A Stiebel Gown, c. 1955

Ball Gown
Victor Steibel,, 1955
This and all related images from:
The VIctoria & Albert Museum

The London Social calendar dictated fashions for each year, and, new collections from the best designers were released in fashion magazines in conjunction with important events. A gown like this one would have been debuted in the Springtime. It’s the work of Victor Steibel (1907-1976) who was known for his designs which looked to reinvent styles of historical dress.

This strapless evening gown of striped turquoise and white silk taffeta is overlaid with a drape of lovely matching wild silk organza over the bones bodice and skirt. The organza is gathered at the back of the gown in an imitation of a bustle.

Lady Diana Herbert wore this gown for a ball at Wilton House in 1955.

The Art of Play: A Tiller Family Marionette, 1870-1890

Marionette
Tiller-Clowes Troupe
1870-1890
The Victoria & Albert Museum

Made in Lincolnshire, England, between 1870 and 1890, here’s another marionette from the Tiller-Clowes Troupe. This one is lightly stuffed in the torso to allow her a flexible waist. Depicting a stock character young lady, she features a carved wooden head with a painted face and glass eyes. Her wig is made of real human hair.

The figure’s ivory silk dress is edged with turquoise blue wool with silk embroidery. This is her original dress and, sadly, it’s rotting and frayed in places. Similarly, while one of her original control bars, the one which would have operated her legs is long gone.

This is one of 35 original marionettes from the famous Victorian puppeteers, the Tiller-Clowes Troupe. The group was purchased in 1945 by puppeteer and puppetry historian George Speaight who oversaw the restoration of the majority of the figures. The puppets were lent to a German troupe in the 1980s, and, then Speaight sold them to John Philips, an expert puppeteer who bequeathed them to the V&A.