What's Bertie Watching? USA's White Collar

Regular visitors to Stalking the Belle Époque, on any given day, can expect to see something pertaining to Mr. Punch--the lovable, but decidedly criminal character which originated in the pantos of the Italian Commedia dell'Arte. That's what you get reading the daily musings of a puppet-loving art historian and author. Fridays, especially, tend to focus on Punch and his family. But, today, I thought--with Bertie's firm encouragement--we would celebrate the world of the charming rogue by reminding you that another Punch-like figure will be returning with the Tuesday, January 17th premiere of White Collar, Season Four on the USA Television Network at 10/9c.

Two extremes of the adorable rogue.  Mr. Bomer is not saddled
with a Punch-like visage, but his "Neal Caffrey" does share
some of Old Red Nose's characteristics, both charming and
otherwise.
Photo of Matt Bomer from USA Television.

While White Collar's Neal Caffrey is not burdened with Punch's physical attributes--luckily for his portrayer, the impossibly good-looking Matt Bomer--he does rather share some of our Mr. Punch's characteristics. Like Punch, Neal is charming, sly and cunning; an accomplished thief and artist who is, at times, over-confident in his abilities, but nonetheless manages to get the better of those who would pursue him and, "beat the Devil."

Here, however, instead of Jack Ketch, the Hangman, our adorable rogue is pursued by an FBI agent, Peter Burke (Tim DeKay) with whom he shares a complicated affection. Their fraternal (and, at times, filial) friendship is often, no, always, tried by Neal's overwhelming impulse to seek the high of the next con. Neal's frequent Scaramouche is the anti-establishment Mozzie (Willie Garson) who urges Neal to forget about the appeal of the temptingly cozy life of a do-gooder and to keep his eyes on their increased fortunes.

Tim DeKay and Matt Bomer star as
Agent Peter Burke and Neal Caffrey in this
contemporary take on Jack Ketch and Mr. Punch.
Photo from USA Network.

And, there the similarities to the pantomime end. Creator Jeff Eastin and a team of accomplished writers have ensured that White Collar is at once intelligent, exciting, witty, emotionally-charged and engaging. This is not just your typical "handsome boys in suits" show.

Led by the talented and infectious duo of Bomer and DeKay whose interaction is one of the most delightful and interesting of any team on television, the cast also includes Tiffani Thiessen as Burke's wife, Elizabeth; and Marsha Thomason as Agent Diana Beragon.

When Season Three concluded, Elizabeth Burke had been abducted by Neal's greatest enemy, leaving Neal torn between loyal friendship and a life of freedom. I hope you'll take Bertie's recommendation and tune in to see this blue-eyed, modern-day Pulcinella try to triumph over his own particular demons.

White Collar's new season starts Tuesday, January 17 at 10/9c. on the USA Network.

Person of the Week: White Collar’s Willie Garson

Willie Garson
USA Network

With the Season Three of USA’s White Collar beginning tomorrow, June 7, 2011, the perfect opportunity has arisen to revisit this talented ensemble of actors. Though Matt Bomer and Tim DeKay may take center stage as “Neal Caffrey” and “Peter Burke” respectively, they’d be quite lost without their quirky sidekick, “Mozzie,” played by Willie Garson.


USA Network uses the tagline, “Characters welcome.” Garson’s “Moz” is just the kind of character that can elevate a show to something much more than its original concept. Sure, Bomer’s got the looks and the playful charm, and DeKay offers the down-to-earth masculinity and authority needed in a crime drama, but without a character like “Mozzie,” it would really just be a program about two handsome guys running around with guns and stolen artwork.

Garson has been acting since 1986, mostly as a character actor in minor parts in films and television. He became quite a popular name during his longtime stint on Sex and the City, playing Stanford Blatch. With training from both Wesleyan and Yale, Garson brings a believability to roles which in the hands of a lesser actor would come off as cartoonish. “Mozzie,” for example, is a con-man with a photographic memory and a total paranoia regarding the government. Such an extreme character could easily become a buffoon, but Garson balances the role with a boyish naiveté and a fierce loyalty. Since Mozzie is Neal’s closest friend and confidant, he’s constantly in the middle of the action. Garson allows Bomer and DeKay to take center stage, all the while supporting their performances, and letting the audience love “Mozzie” in his own right.

Garson, Bomer, Dekay and Tiffani Thiessen
USA Network

Aside from acting, Mr. Garson is also a proud father to his son, Nathen, whom he adopted in 2009. After over a year of paperwork, screenings and interviews, Garson was allowed to adopt Nathen and the two share a wonderful home and family life.

For his understated brilliance as a performer and for appearing to be a very nice fellow, Willie Garson is our “Person of the Week.” For your viewing pleasure, here are some out-takes from White Collar. Warning: Adult Language. And, don’t forget to tune in to USA tomorrow at 9:00 PM Eastern, 8:00 Central for Season Three of White Collar!

What’s Bertie Watching? USA’s “White Collar”

Created by Jeff Eastin for the USA Network, White Collar stars Matt Bomer as up-market con-man, Neal Caffrey and Tim DeKay as his unlikely ally, FBI Special Angent, Peter Burke. After a too-long hiatus, White Collar begins with new episodes tonight at 10:00 P.M. Eastern on USA.




USA Network



Neal Caffery is not just your average conman. He’s an art forger and thief. After eluding the FBI for four years, Caffrey is caught and sent to prison. Of course, with his superior intellect and charm, he manages to escape so that he might find his erstwhile girlfriend, Kate. Apprehended once again, Neal offers some valuable information to Agent Burke, but not without a price. In exchange for his services in catching other high-profile criminals, Neal wants to be released from prison. Burke reluctantly agrees, arranging lodging for Caffrey at the Manhattan loft of a wealthy widow named June (Diahann Carroll). June takes an immediate liking to Neal and offers him the use of her late husband’s gorgeous vintage wardrobe.

USA Network

Neal and Burke work well, if not awkwardly, together, and soon, the team has managed to successfully capture many elusive criminals. However, Neal’s girlfriend, Kate—who also has had her fair share of questionable pursuits, appears to have been murdered, sending Neal into a period of confusion and a desire to find answers. Do the answers to his questions lie in an unusual antique music box? Will Neal hold true to his promise to Burke?

This is a smart, sophisticated drama which is superbly written and acted. It’s made all the better by elegant locations and the fantastic wardrobe worn by the impossibly handsome Matt Bomer. The cast is excellent, also including Tiffani Thiessen as Agent Burke’s wife, Willie Garson as Neal’s peculiar close friend and confidant “Mozzie,” and Marsha Thomason as Agent Diana Barrigan.

USA Network

If you’ve not seen White Collar, Bertie and I strongly recommend it. It’s mentally, emotionally, and visually stimulating in ways which have been lost as of late on Primetime television.

 
 
 
 
 
 
 
 
 

What's Bertie Watching? USA’s White Collar

The USA Network’s White Collar remains one of the best shows on television due in large part to the excellent cast, brilliant writing and slick production. I’ve always contended that the pairing of the show’s leads Matt Bomer and Tim DeKay is among the finest moments in casting in television history.

Bomer as the charming con-man “Neal Caffrey” brings both danger and sensitivity to the role. Bomer’s “Neal” is more than the typical gorgeous bad boy. He’s a complicated young man who is conflicted. Is he simply greedy? No. The writers and producers of the show have cleverly revealed bits of Neal’s past, giving us a nod that he acts as he does in response to some deep disappointment. Neal is constantly searching for something, trying to fill his emptiness with each new conquest. Still, such back-story would be moot without the right actor. Bomer—with each sly smile, each fleeting pained look, each shrug of his shoulders conveys more in one glance than most actors do with a whole monologue.

Similarly, Tim DeKay as FBI Agent Peter Burke is not the usual one-note fed. Peter is both on the side of the law and loyal to Neal with whom he has developed a reluctant friendship. Peter’s affection for Neal is palpable. He wants Neal to be reformed, to be successful and happy. He wants to believe in Neal, but Neal—at every turn—makes this a difficult task. Again, in the hands of a lesser actor, the relationship could seem flat and forced. But, DeKay brings a heart to Peter which is believable and natural.

Rounding out the cast are Willie Garson, Tiffani Thiessen and Marsha Thomason. The program is elegant, sharp and sumptusouly shot. In many ways, it’s a love-letter to Manhattan with long, luxurious shots of the city.

White Collar returns to USA tomorrow, Tuesday, July 10 at 9/8 Central.

Reminders: White Collar and Christopher Miller’s Art Show

As a follow-up to other recent posts from Stalking the Belle Époque, I wanted to take a moment to offer two reminders about upcoming events.


Tonight—Tuesday, March 1, 2011—is the last episode before next week's season finale of the USA Network’s brilliant White Collar starring the charming duo of Matt Bomer and Tim DeKay. White Collar season finales are always quite exciting and this one promises to be no less exceptional. With only two episodes to go, make sure to tune in to USA at 10/9 Central tonight and for the finale on March 8, 2011.

Also, last week, I cast the spotlight on the artwork of Christopher J. Miller. If you’re in the Dallas area, Mr. Miller’s current exhibition of his paintings—The Silence Between the Sounds—opens tomorrow night at the WaterTower Theatre in Addison. The exhibit runs through May 1. For more information, visit Mr. Miller’s Web site.

Person of the Week: Tim DeKay

Tim DeKay

With appearances on almost forty television programs and in twenty films, you’ve, no doubt, seen the talented Tim DeKay in something. Since 2009, he’s been known as Special Agent Peter Burke on USA’s White Collar in which he stars with Matt Bomer. DeKay’s portrayal of the steady and level-headed Agent Burke is proof of this talented actor’s vast range. Let’s remember that this is the same man who portrayed “Jonesy” on Carnivàle and who--as “Bizarro Jerry” on Seinfeld--flinched when Elaine Benes helped herself to some olives without asking. DeKay is one of those rare actors who slips into a character without leaving traces of himself on the surface. When you’re watching him, you are not constantly reminded, “This is Tim DeKay.” Instead, you believe that he’s truly the character that he’s portraying. That sort of ego-free acting is increasingly rare, the sign of an artist who is truly dedicated to his craft, and evidence of Mr. DeKay’s dedication and training.


Born in Lansing, New York, DeKay was an athletic youth who was a star on both the basketball court and the baseball field. In High School, he found himself attracted to theater and performed in several local productions. LeMoyne College was the next stop for Mr. DeKay who intended to study Business and Philosophy while also playing baseball. However, the lure of the theater was very strong, and, before long, Tim was back on stage. Upon his graduation, DeKay worked at a casket company. Training in direction at Syracuse University led DeKay to Rutgers where he pursued a Masters of Fine Arts in acting. While there, he also met his wife—Elisa Taylor—with whom he now has two children. In 2010, DeKay returned to his alma mater, LeMoyne University, where he was welcomed as a commencement speaker and given an honorary Doctor of Humane Letters degree.

For his contributions to the arts, his dedication to his craft, his winning charm and for continuing to entertain us, Tim DeKay is our “Person of the Week.” To learn more about the versatile Tim DeKay, visit his Web site. And, be sure to tune in to the new season of White Collar on the USA Network, Tuesday nights at 10:00/9:00 Central.

Person of the Week: Marsha Thomason

Marsha Thomason

Fan’s of USA’s White Collar know Marsha Thomason as Agent Diana Barrigan who adds a feminine touch to the ultra masculine team of Peter Burke (Tim DeKay) and Neal Caffrey (Matt Bomer) as well as Neal’s eccentric confidante, “Mozzie” (Willie Garson).

The Manchester, England-born Thomason attended Oldham Sixth Form College to study for her “A Levels” in Media Studies, Theatre Studies and Performing Arts. Later, Thomason attended the Manchester Metropolitan University where she earned a Bachelor of Arts degree in English. But that wasn’t the start of her ambition to become a professional actor. Miss Thomason , from the age of thirteen, knew the path she wanted to take and, at that young age, attended Oldham Theatre Workshop. There, she was able to join in youth theatre productions both on stage and behind the scenes.

Thomason’s career began on British television in the series Playing the Field and Where The Heart Is. She also starred in the first series of the BBC Three drama Burn It. Miss Thomason’s U.S. career took off with her starring role in Disney's The Haunted Mansion. She also appeared in the films My Baby's Daddy, Black Knight and Pure. Her US television work included Las Vegas and Lost.

Miss Thomason with Matt Bomer

Miss Thomason first appeared in the pilot episode of White Collar, returning for the first season finale and joining the cast as a fulltime regular with the second season. Thomas married in 2009 and is an staunch supporter of the Machester City Football Club.

Coming this Week at "Stalking the Belle Époque"

As we roll into Valentine’s Day, we’ll be taking a look at some of the romantic gifts that have been traded by members of the Royal Family over the centuries. We’ll also continue our inventory of the magnificent items which my favorite Royal, Mary of Teck, managed to spirit into the Royal Collection. A visit to Blenheim Palace will give us a look at one of England’s most majestic stately homes and the birthplace of Winston Churchill.


We’ll have a look at the influence of past elegance on the modern world when we visit the work of a talented Twenty-First century painter. We’ve already saluted the influence of White Collar’s Matt Bomer. This week, it’s time to look at the other half of the White Collar team, the talented Tim DeKay. We’ll also learn more about a longtime television personality who has made outstanding contributions to the world of mental health.

Two classic films, a continuation of Bertie’s journey into art history, our continued exploration of Mr. Punch in the Arts, some truly unusual artifacts, splendid artwork and amazing jewelry all await you this week at Stalking the Belle Epoque.

History's Runway: A Boy's Suit, 1825-30

Boy's Suit
Scotland
1825-1830
This and all related images from:
The Victoria & Albert Museum

The V&A describes this boys’ suit having a jacket made of “bottle green” cloth. I think that’s a lovely color name—“bottle green.” The suit is comprised of a jacket over a white waistcoat and trousers.

The single-breasted jacket is made in the close-fitting style which was fashionable for children in the 1820s. With a shawl collar, the jacket is quite smart, featuring wrist-length sleeves gathered at the shoulder. The cuffs and edges of the garment are trimmed with black silk braid. Gilt metal buttons grace the front.

The ankle-length trousers are made of white cotton and feature a hip pocket on the left. They’re lined in white muslin. Self-covered buttons attach the front to the waistcoat with white metal buttons at the back.

Meanwhile, the single-breasted waistcoat is also made of white cotton and lined with white linen. Like the jacket, the waistcoat also boasts a shawl collar. The set was made in Scotland between 1825 and 1830.

And, with no head.

What's Bertie Watching: White Collar!

Finally, White Collar, is back tonight on the USA Network at 9:oo Eastern/8:00 Central.  Led by the brilliant Matt Bomer, and the stellar Tim Dekay, the cast of this entertaining look at the pairing of a master forger and an FBI agent, includes Tiffani Thiessen, Willie Garson, and Marsha Thomason.  

We at Stalking the Belle Époque have at special respect and affection for Mr. Bomer, so we encourage you to tune-in to USA tonight.  And, even though Bertie and I have invested what seems like endless months watching the fashion histrionics of Project Runway and even though the Project Runway season finale--the payoff for many weeks of viewing meltdowns, violent outbursts, some hideous and some lovely dresses, and, even, Tim Gunn falling up a flight of subway stairs, we're just going to have to watch the repeat of the finale at 1:00 Eastern/12:00 AM Central on Lifetime because NOTHING beats Bomer.

  

History's Runway: The "Elvis" Dress, 1989

"The Elvis Dress"
Catherine Walker, 1989
This and all related images from:
The Victoria & Albert Museum

When I picture Diana, Prince of Wales, it is this gown which she’s wearing. Just one of the many iconic gowns worn by the late Princess, for some reason, this one always sticks in my memory. Known as “The Elvis Dress” (a nickname given to the ensemble by the princess herself because of the similarity of the high white collar of the jacket to those on the jumpsuits worn by Mr. Presley at his most rotund), this dress and matching bolero speak volumes of the stream-lined style favored by the Princess of Wales in the late 1980s.

Well aware of her status as a fashion icon and style-setter, the Princess of Wales was always careful to don only the most flattering and fashionable garments when out for an elegant and formal evening. By the late 1980s, Princess Diana had pushed aside the fuller-cuts, crinolines and flowing chiffons of her earlier days in favor of bolder textures and sleek, tailored gowns. I think this gown is the epitome of that trend. 

The strapless gown of white silk is encrusted with pearls and sequins. It’s given a sense of drama by the tall collar of the matching bolero. It’s the work of Catherine Walker, a favorite
couturière of the Princess of Wales. Diana’s association with Walker began during her pregnancy with Prince William of Wales in 1981. Walker continued to design for the Princess until Diana’s death in 1997.

The princess wore the ensemble to the British Fashion Awards in October 1989, on an official visit to Hong Kong, and, later for an official portrait. The gown had actually been commissioned for the official visit to Hong Kong. Walker envisioned a sheath of pearls for the occasion. Tens of thousands of pearls—long a symbol of the “orient”--were embroidered onto the dress and jacket.

Walker would recall in 2012: “Whenever I saw the Princess in this dress, I could not help but feel that it would not be possible for anyone else ever to wear this dress and bolero. She shone in the dress and the dress shone around her in a shimmering column of glistening pearls.”

It was one of the 79 dresses which the Princess of Wales sold in a charity auction in 1997. The auction, held by Christie’s, raised over three million pounds for AIDS and cancer research. A commemorative doll of the princess shows her in this dress.

History's Runway: The "Elvis" Dress, 1989

"The Elvis Dress"
Catherine Walker, 1989
This and all related images from:
The Victoria & Albert Museum

When I picture Diana, Prince of Wales, it is this gown which she’s wearing. Just one of the many iconic gowns worn by the late Princess, for some reason, this one always sticks in my memory. Known as “The Elvis Dress” (a nickname given to the ensemble by the princess herself because of the similarity of the high white collar of the jacket to those on the jumpsuits worn by Mr. Presley at his most rotund), this dress and matching bolero speak volumes of the stream-lined style favored by the Princess of Wales in the late 1980s.

Well aware of her status as a fashion icon and style-setter, the Princess of Wales was always careful to don only the most flattering and fashionable garments when out for an elegant and formal evening. By the late 1980s, Princess Diana had pushed aside the fuller-cuts, crinolines and flowing chiffons of her earlier days in favor of bolder textures and sleek, tailored gowns. I think this gown is the epitome of that trend. 

The strapless gown of white silk is encrusted with pearls and sequins. It’s given a sense of drama by the tall collar of the matching bolero. It’s the work of Catherine Walker, a favorite
couturière of the Princess of Wales. Diana’s association with Walker began during her pregnancy with Prince William of Wales in 1981. Walker continued to design for the Princess until Diana’s death in 1997.

The princess wore the ensemble to the British Fashion Awards in October 1989, on an official visit to Hong Kong, and, later for an official portrait. The gown had actually been commissioned for the official visit to Hong Kong. Walker envisioned a sheath of pearls for the occasion. Tens of thousands of pearls—long a symbol of the “orient”--were embroidered onto the dress and jacket.

Walker would recall in 2012: “Whenever I saw the Princess in this dress, I could not help but feel that it would not be possible for anyone else ever to wear this dress and bolero. She shone in the dress and the dress shone around her in a shimmering column of glistening pearls.”

It was one of the 79 dresses which the Princess of Wales sold in a charity auction in 1997. The auction, held by Christie’s, raised over three million pounds for AIDS and cancer research. A commemorative doll of the princess shows her in this dress.

Drawing of the Day: George Cooke's Vesta Victoria, 1904

Vesta Victoria
November, 1904
George Cooke
The Victoria & Albert Museum

Regular readers of this site are familiar with Music Hall star Vesta Victoria’s work. The singer and performer was born in Leeds in 1874, and joined her famous father on stage at an early age. Vesta’s father was known as “The Upside-Down Comedian” because he sang songs while standing on his head.

Vesta’s first independent success was in 1893 with her hit song, “Daddy Wouldn’t Buy Me a Bow Wow.” She soon became a star both in the U.K. and the U.S. and had a repertoire of popular songs which included “Waiting at the Church.”

Regular readers also know the caricature work of George Cooke whose albums of drawings of famous Edwardian Music Hall stars are preserved in the V&A. This one depicts Vesta Victoria as she looked while performing at Collins’ Hippodrome, Stoke-on-Trent, during the week of November 7, 1904. During this period she was was billed as “England’s Brightest and Best Comedienne.”

The work of pen, ink and wash on pink paper depicts Vesta Victoria wearing a white hat with blue and red striped band, a blue jacket with white collar and gloves. She holds a parasol in her right hand.

Drawing of the Day: George Cooke's Vesta Victoria, 1904

Vesta Victoria
November, 1904
George Cooke
The Victoria & Albert Museum

Regular readers of this site are familiar with Music Hall star Vesta Victoria’s work. The singer and performer was born in Leeds in 1874, and joined her famous father on stage at an early age. Vesta’s father was known as “The Upside-Down Comedian” because he sang songs while standing on his head.

Vesta’s first independent success was in 1893 with her hit song, “Daddy Wouldn’t Buy Me a Bow Wow.” She soon became a star both in the U.K. and the U.S. and had a repertoire of popular songs which included “Waiting at the Church.”

Regular readers also know the caricature work of George Cooke whose albums of drawings of famous Edwardian Music Hall stars are preserved in the V&A. This one depicts Vesta Victoria as she looked while performing at Collins’ Hippodrome, Stoke-on-Trent, during the week of November 7, 1904. During this period she was was billed as “England’s Brightest and Best Comedienne.”

The work of pen, ink and wash on pink paper depicts Vesta Victoria wearing a white hat with blue and red striped band, a blue jacket with white collar and gloves. She holds a parasol in her right hand.

Figure of the Day: The Höchst Pierrot, 1750

Figure of Pierrot
Germany, 1750
The Victoria & Albert Museum

Made in Höchst, Germany, in 1750, this hard-paste porcelain figure depicts Pierrot on a gilt-edged plinth near a tree stump. Bent-kneed Pierrot is leaning backwards a bit. He wears the brim of his black hat upturned, patches adorning his face. A turquoise jacket with gilt detail contrasts his white collar. Unlike most pierrots, he’s not in the traditional white pajamas with black buttons, but, instead wears a costume more akin to that of Harlequin with a lozenge-pattern. He’s playing cards—as pierrots do.

The underside of the piece is marked with “I E” and “G.” The whole is painted in brilliant enamels.

Figure of the Day: The Höchst Pierrot, 1750

Figure of Pierrot
Germany, 1750
The Victoria & Albert Museum

Made in Höchst, Germany, in 1750, this hard-paste porcelain figure depicts Pierrot on a gilt-edged plinth near a tree stump. Bent-kneed Pierrot is leaning backwards a bit. He wears the brim of his black hat upturned, patches adorning his face. A turquoise jacket with gilt detail contrasts his white collar. Unlike most pierrots, he’s not in the traditional white pajamas with black buttons, but, instead wears a costume more akin to that of Harlequin with a lozenge-pattern. He’s playing cards—as pierrots do.

The underside of the piece is marked with “I E” and “G.” The whole is painted in brilliant enamels.

Figure of the Day: The Höchst Pierrot, 1750

Figure of Pierrot
Germany, 1750
The Victoria & Albert Museum

Made in Höchst, Germany, in 1750, this hard-paste porcelain figure depicts Pierrot on a gilt-edged plinth near a tree stump. Bent-kneed Pierrot is leaning backwards a bit. He wears the brim of his black hat upturned, patches adorning his face. A turquoise jacket with gilt detail contrasts his white collar. Unlike most pierrots, he’s not in the traditional white pajamas with black buttons, but, instead wears a costume more akin to that of Harlequin with a lozenge-pattern. He’s playing cards—as pierrots do.

The underside of the piece is marked with “I E” and “G.” The whole is painted in brilliant enamels.

History's Runway: A Little Girl's Dress, 1930

The Victoria & Albert Museum

Made in 1930, this little girl's dress of unlined cotton is printed with a design of stylized flowers and foliage in pale green and blue on a white ground. This sort of dress would have been suitable for everyday wear and play. 


Designed in a simple style, the dress has a round neck with a delicate turn-down collar of white lawn.  It’s puffed sleeves are gathered into a frill beneath fabric band above the hem. The dress s given fullness by the pleating of the neck and a shoulder panel at each side.  It fastens at the back of the bodice with five pairs of bound buttons and stitched loops.


Embellishment and style come from the hand embroidery in powder blue and olive green which adorns the bodice.  Each of the four points of the collar is worked with a design of scrolling lines and geometric shapes which is repeated on the two shoulder panels .

Crafted in the U.K. by Liberty & Co. Ltd., the gown still bears a label stating, “LIBERTY & CO/ REGENT ST, LONDON.”  

History's Runway: A Little Girl's Dress, 1930

The Victoria & Albert Museum

Made in 1930, this little girl's dress of unlined cotton is printed with a design of stylized flowers and foliage in pale green and blue on a white ground. This sort of dress would have been suitable for everyday wear and play.  


Designed in a simple style, the dress has a round neck with a delicate turn-down collar of white lawn.  It’s puffed sleeves are gathered into a frill beneath fabric band above the hem. The dress s given fullness by the pleating of the neck and a shoulder panel at each side.  It fastens at the back of the bodice with five pairs of bound buttons and stitched loops. 


Embellishment and style come from the hand embroidery in powder blue and olive green which adorns the bodice.  Each of the four points of the collar is worked with a design of scrolling lines and geometric shapes which is repeated on the two shoulder panels .

Crafted in the U.K. by Liberty & Co. Ltd., the gown still bears a label stating, “LIBERTY & CO/ REGENT ST, LONDON.”  

Object of the Day, Museum Edition: An Unusual Throne

Armchair
French, 1870
This and all related images from:
The Victoria & Albert Museum

If you thought that the British Monarchy had a lot of crowns, their number is nothing compared to the amount of thrones rattling around in various palaces. Just as I’ve had to pause to figure out which crown I’m talking about, I’ve had to spend some time this morning acquainting myself with the different thrones so I don’t lead you down the wrong path.  They all look enough alike as to be confusing. 


So, let’s start with a throne of sorts—not English and not, technically a throne. Nevertheless, it’s an attractive chair and fits with the day’s theme.

Here, we see an armchair of mahogany with gilt-bronze mounts. The arm supports are designed as winged sphinxes. This chair is the work of the French furniture makers at Jacob Fréres and is stamped as such. It is stenciled underneath with the inventory marks of the Palais de Tuileries and the number 27463. The number refers to its removal to the Garde-Meuble in 1826 from the Chateau de St. Cloud.

What’s curious is that though the inventory marks are genuine, the chair itself is a fake. It is not the chair that was removed from the Chateau de St. Cloud. It is, in fact, a newer chair from 1870 which was built on the frame of a much simpler chair. The original chair was the one which was supplied by Jacob Fréres between 1802 and 1803. Let’s look at the front legs. Aren’t they a bit out of proportion? The legs are, in reality, additions which were stripped from a table which had been built by Jacob Fréres.

In effect, we have a chair built in 1870 which someone has tried to give importance to by using the inventory numbers of an earlier chair built for Napoleon I. So, this is a con job along the lines of something Matt Bomer’s Neal Caffrey would have executed had White Collar been set in Nineteenth Century France. The forgery is quite clever and whoever did it took a great deal of time and effort to make it look convincing. Why? At this point, no one knows. It remains an attractive, if not poorly proportioned, mystery.