Showing posts sorted by relevance for query clapham. Sort by date Show all posts
Showing posts sorted by relevance for query clapham. Sort by date Show all posts

Tuesday, March 6, 2012

The Art of Play: The Lord Clapham Doll's Coat, 1690-1700

The "Lord and Lady Clapham" Dolls, 1690-1700
This and all related images from The Victoria & Albert Museum



This coat is part of a whole suite of items which were made for one of a pair of famous dolls.  The doll, known as Lord Clapham, is thought to have belonged to the Cockerell family, descendants of the diarist Samuel Pepys (1633-1703)—the first man in Britain to record the presence of our Mr. Punch.   The daughter of Mr. Pepys's nephew John Jackson (the son of his sister Pauline) married a Cockerell, who had a family home in Clapham, in south London.

The doll known as “Lord Clapham” shows us a range of examples of both formal and informal dress for a gentleman of the 1690s. His formal outfit includes a coat, waistcoat and breeches, while his informal dress is made up of a nightgown and accessories such as the stockings.  Other accessories include a stock (a form of stiff, close-fitting neckcloth) and gloves.  Miraculously, these all still survive!  They now live at the V&A along with Lord and Lady Clapham—the dolls, not the actual aristocrats.  Clearly, the dolls were never really played with by children, and were, no doubt, made to be collectible objects. 

Let’s take a look at the little Lord’s little coat.  The coat is made of red wool with a full skirt, lined with pale blue spotted silk. The cuffs are created of silver tissue trimmed and fastened with silver thread spangled buttons--seven buttons down the front, three under each pocket, three on each sleeve cuff and one over each skirt gather on the hip. Two horizontal pockets on the front are lined with the same pale blue spotted silk.

Because of their perfect condition, the Lord Clapham doll and its partner, Lady Clapham, are now considered perfect costume documents--their clothes being, “in style, cut and material, perfect miniatures of the fashions of the late 17th century.”

Both dolls are crafted of wood and wool, with faces that are gessoed and painted.  They both wear wigs of human hair.





Tuesday, May 29, 2012

Mastery of Design: A Doll's Earrings, 1690-1700



Earrings made for the Lady Clapham Doll
England, 1690-1700
The Victoria & Albert Museum




This set of mismatched earrings belonged to a doll.  The Lady Clapham doll--the be exact.  The Lord and Lady Clapham Dolls were made in the Seventeenth Century for the Cockerell Family--descendants of the famed diarist Samuel Pepys (1633-1703) who first recorded Mr. Punch's presence in Covent Garden.


The dolls were outfitted with complete wardrobes and furnishings befitting full-size nobility.  Among Lady Clapham's accessories were these earrings.  The stud is made of brass and backed in silver while the more formal drop is a paste set in a silver mount.

Friday, September 27, 2013

Mastery of Design: A Doll's Earrings, 1690-1700




Earrings made for the Lady Clapham Doll
England, 1690-1700
The Victoria & Albert Museum



This set of mismatched earrings belonged to a doll.  The 
Lady Clapham doll--the be exact.  The Lord and Lady Clapham Dolls were made in the Seventeenth Century for the Cockerell Family--descendants of the famed diarist Samuel Pepys (1633-1703) who first recorded Mr. Punch's presence in Covent Garden.


The dolls were outfitted with complete wardrobes and furnishings befitting full-size nobility.  Among Lady Clapham's accessories were these earrings.  The stud is made of brass and backed in silver while the more formal drop is a paste set in a silver mount.




Friday, February 27, 2015

Mastery of Design: A Doll's Earrings, 1690-1700




Earrings made for the Lady Clapham Doll
England, 1690-1700
The Victoria & Albert Museum



This set of mismatched earrings belonged to a doll.  The 
Lady Clapham doll--the be exact.  The Lord and Lady Clapham Dolls were made in the Seventeenth Century for the Cockerell Family--descendants of the famed diarist Samuel Pepys (1633-1703) who first recorded Mr. Punch's presence in Covent Garden.


The dolls were outfitted with complete wardrobes and furnishings befitting full-size nobility.  Among Lady Clapham's accessories were these earrings.  The stud is made of brass and backed in silver while the more formal drop is a paste set in a silver mount.

Joy in Miniature: The Lord Clapham Doll Chair, 1690-1700





Dolls Chair, 1690-1700
This and all images courtesy of:
The Victoria & Albert Museum
Museum of Childhood
At first glance at the photo, you’d think this was a full-size Seventeenth Century chair, but on closer inspection you can see that the scale isn’t quite right for a human. This miniature chair was made for the “Lord Clapham Doll,” which is part of the Victoria and Albert Museum’s collection in the Museum of Childhood.

This tiny chair of wood and cane is in the popular style of the period 1690-1700. The caning in the seats and the pattern of crosses which has been incised in the upper surface of the seat frame are identical to full-size chairs made in the same period—showing that this was made by a professional chair-maker using conventional construction methods.

In order to provide fairness to both genders, the “Lady Clapham” doll sits on a similarly-styled chair. For a doll’s chair or any miniature to survive this long is quite exceptional. As I pointed out, the scale is slightly different from the real thingf. The curators of the V&A explain, “The proportions of the chair are slightly different from full-sized chairs, and not quite to scale with the dolls, because the dolls' feet do not touch the ground.” I don’t know if that’s because dolls don’t like their feet touching the ground or if it’s just the way it worked out.




Saturday, August 6, 2011

The Art of Play: The Lord Clapham Doll Chair, 1690-1700

Dolls Chair, 1690-1700
This and all images courtesy of:
The Victoria & Albert Museum
Museum of Childhood
At first glance at the photo, you’d think this was a full-size Seventeenth Century chair, but on closer inspection you can see that the scale isn’t quite right for a human. This miniature chair was made for the “Lord Clapham Doll,” which is part of the Victoria and Albert Museum’s collection in the Museum of Childhood.

This tiny chair of wood and cane is in the popular style of the period 1690-1700. The caning in the seats and the pattern of crosses which has been incised in the upper surface of the seat frame are identical to full-size chairs made in the same period—showing that this was made by a professional chair-maker using conventional construction methods.

In order to provide fairness to both genders, the “Lady Clapham” doll sits on a similarly-styled chair. For a doll’s chair or any miniature to survive this long is quite exceptional. As I pointed out, the scale is slightly different from the real thingf. The curators of the V&A explain, “The proportions of the chair are slightly different from full-sized chairs, and not quite to scale with the dolls, because the dolls' feet do not touch the ground.” I don’t know if that’s because dolls don’t like their feet touching the ground or if it’s just the way it worked out.