The Home Beautiful: The False Principles of Decoration Papier Mache Tray, 1850

The Home Beautiful: The False Principles of Decoration Papier Mache Tray, 1850

Papier Mache Tray with Mother-of-Pearl Inlay and Painted Center, c. 1850
The Victoria & Albert Museum

By now, you know how much I adore Victorian Papier Mache objects.  Along with inlays of mother-of-pearl, these items were often adorned with copies of oil paintings of old buildings or genre scenes.

Here's a great example with a scene of huntsman returning home with fish to cook.  This Papier Mache tray decorated with a painting based on an original which once belonged to the Duke of Devonshire.  The tray was famously part of the exhibition entitled, "False Principles of Decoration" which was held at Marlborough House, London, in 1852.

The catalogue for the exhibition explained that the tray had been selected because of the incongruous combination of the copy of the painting with the gilt border and mother-of-pearl decoration. It described the tray as  "An example of popular taste, presenting numerous features which the student should carefully avoid. These include a copy of the painting 'Bolton Abbey in the Olden Times' by Sir Edwin Landseer, that would be hidden when the tray was in use, and the glittering mother-of-pearl scattered around the edge."

According to the V&A, "Charles Dickens also described 'that tray with a bit of one of Landseer's pictures on it' in his satirical description of the display, 'A House Full of Horrors', which appeared in his magazine Household Words in December 1852."

Well, I like it anyway.

The tray was made by Jennens  & Bettridge, a firm run by Theodore Hyla Jennens and John Bettridge between 1816 and 1864.  They were famous for their exquisite range of papier-mache goods (writing boxes, trays, fans and larger pieces of furniture such as chairs, tables and sofas) which they manufactured in their factory at 99 Constitution Hill, Birmingham. The firm also had premises at 6 Halkin Street West, Belgrave Square, London. This tray is signed indistinctly with the firm's name.

Royal Pets: Boz, Favourite Skye Terrier of the Duchess of Kent and afterwards the Queen, 1861

Boz, the Favourite Skye Terrier of the Duchess of Kent and Thereafter Queen Victoria
Study by Friedrich Wilhelm Keyl, 1861
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Though Queen Victoria and her mum didn’t get on so well all the time, they did share an appreciation for dogs. So, when the Duchess of Kent finally died, Queen Victoria adopted the Duchess’ Skye Terrier, Boz.

This sketch of colored chalks on gray paper is the work of Friedrich Wilhelm Keyl (1823-71) and is dated June 1861. The drawing was made as a study for an oil painting which was commissioned by Queen Victoria in 1861.

Keyl was Sir Edwin Landseer’s only pupil and mastered his teacher’s ability to create sensitive and accurate animal portraits.

Boz lived with Queen Victoria for another three years after the Duchess of Kent’s passing, and the Queen doted on him. In honor of the friendship between Boz and Queen Victoria, this sketch is proudly displayed in the Charles Dickens Reception Room at Buckingham Palace. Only fitting since the terrier was named for Mr. Dickens.

Holiday Viewing: “Scrooge,” 1951

Of all the many film versions of Charles Dickens’ A Christmas Carol, this one, in my opinion, is the best. Produced and directed in 1951 in Britain by Brian Desmond Hurst, the film was originally released under the title, Scrooge. When it was distributed in the United States, United Artists preferred to use the name, A Christmas Carol.

Alastair Sim plays the title character—perfectly. His Scrooge is crusty, but charmingly so, slightly mad and shows us just a little vulnerability beneath his initially hard exterior. Joining Mr. Sim is Kathleen Harrison as Scrooge’s charwoman, Hermione Baddeley and Mervyn Johns as Mrs. And Mr. Cratchit, Michael Hordern as Marley’s ghost, Patrick MacNee as young Marley and Ernest Thesiger as the undertaker. The rest of the cast is also exceptional—each giving performances which seem to have been directed by Dickens himself.

The film differs from the original text a bit. The name of Ebenezer’s fiancée is changed from Belle to Alice and we learn more about her than we do in the book. We get more of a back story into the business relationship of Scrooge and Marley. Scrooge’s charwoman adopts the name Mrs. Dilber when she’s nameless in the book and Mrs. Dilber is actually the laundress. The most notable difference is the inclusion of an explanation for Scrooge’s sour disposition—having apparently been the cause of his mother’s death during his birth. This addition is meant to balance Scrooge’s distaste for his nephew since his beloved sister died during childbirth as well.

These minor changes notwithstanding, the film follows the book relatively well and includes much dialogue straight from the pages of Dickens. What I like most about this film is that it’s so very English. It’s an English film about an English book made in England and actually shot in and around London. This is something that just can’t be replicated. No special effects, no amount of dialogue coaching, nor any scenic trickery will ever be able to match that.

Another enjoyable aspect of the film is the soundtrack. The music was composed by Richard Addinsell who added traditional English music to his dramatic score. Included in this assortment is “The Ballad of Barbara Allen”—a song which I’ve always loved (as you already know).

If you’ve not seen it, you must watch this film sometime this Christmas season. If you have seen it, watch it again. It’s available on DVD and, surprisingly, on Blu Ray. Many of the DVD copies come with the 1989 colorized version of the film. To that, I say, “Humbug!”

Here's the whole film...

Print of the Day: The Ghost of Christmas Present, 1843



The Victoria & Albert Museum



This hand-colo(u)red etching was created for an early edition of Charles Dickens' “A Christmas Carol,” published in 1843, and depicts the scene in which Scrooge's third visitor—The Ghost of Christmas Present—appears.

It was drawn by John Leech (of "Punch Magazine" fame) and published in an edition by Chapman & Hall. The title and artist’s signature are still clearly seen.

The Home Beautiful: The False Principles of Decoration Papier Mache Tray, 1850

Papier Mache Tray with Mother-of-Pearl Inlay and Painted Center, c. 1850
The Victoria & Albert Museum

By now, you know how much I adore Victorian Papier Mache objects.  Along with inlays of mother-of-pearl, these items were often adorned with copies of oil paintings of old buildings or genre scenes.

Here's a great example with a scene of huntsman returning home with fish to cook.  This Papier Mache tray decorated with a painting based on an original which once belonged to the Duke of Devonshire.  The tray was famously part of the exhibition entitled, "False Principles of Decoration" which was held at Marlborough House, London, in 1852.

The catalogue for the exhibition explained that the tray had been selected because of the incongruous combination of the copy of the painting with the gilt border and mother-of-pearl decoration. It described the tray as  "An example of popular taste, presenting numerous features which the student should carefully avoid. These include a copy of the painting 'Bolton Abbey in the Olden Times' by Sir Edwin Landseer, that would be hidden when the tray was in use, and the glittering mother-of-pearl scattered around the edge."

According to the V&A, "Charles Dickens also described 'that tray with a bit of one of Landseer's pictures on it' in his satirical description of the display, 'A House Full of Horrors', which appeared in his magazine Household Words in December 1852."

Well, I like it anyway.

The tray was made by Jennens  & Bettridge, a firm run by Theodore Hyla Jennens and John Bettridge between 1816 and 1864.  They were famous for their exquisite range of papier-mache goods (writing boxes, trays, fans and larger pieces of furniture such as chairs, tables and sofas) which they manufactured in their factory at 99 Constitution Hill, Birmingham. The firm also had premises at 6 Halkin Street West, Belgrave Square, London. This tray is signed indistinctly with the firm's name.

Mr. Punch in the Arts: Mr. Punch Meets Mr. Dickens

Charles Dickens is the first name many people think of when recalling Victorian England. Of course, that makes sense. Dickens was one of the most prolific writers of the era. As Punch & Judy shows were one of the major forms of entertainment available to everyone, Dickens would have encountered the fabulous Mr. Punch many a time. It only stands to reason that among Dickens’ colorful cast of characters would be some Punch & Judy men. In The Old Curiosity shop, Little Nell and her grandfather stumble across a couple of Punch & Judy men during their journey. Here, in this lovely illustration from the original printing of The Old Curiosity Shop, we see this encounter as rendered by Dickens’ long-time friend and illustrator, Daniel Maclise. Maclise also provided the illustrations for Nicholas Nickleby and several of Dickens’ Christmas-themed stories.


I love this image. It truly captures a moment in time. I think it’s grand that Mr. Punch is draped over a tombstone as the men inventory their tools. You can see Judy still in the suitcase. Mr. Punch has had a significant influence on all forms of art. Here’s hoping that he continues to do so for centuries to come.

Royal Pets: Boz, Favourite Skye Terrier of the Duchess of Kent and afterwards the Queen, 1861

Boz, the Favourite Skye Terrier of the Duchess of Kent and Thereafter Queen Victoria
Study by Friedrich Wilhelm Keyl, 1861
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Though Queen Victoria and her mum didn’t get on so well all the time, they did share an appreciation for dogs. So, when the Duchess of Kent finally died, Queen Victoria adopted the Duchess’ Skye Terrier, Boz.

This sketch of colored chalks on gray paper is the work of Friedrich Wilhelm Keyl (1823-71) and is dated June 1861. The drawing was made as a study for an oil painting which was commissioned by Queen Victoria in 1861.

Keyl was Sir Edwin Landseer’s only pupil and mastered his teacher’s ability to create sensitive and accurate animal portraits.

Boz lived with Queen Victoria for another three years after the Duchess of Kent’s passing, and the Queen doted on him. In honor of the friendship between Boz and Queen Victoria, this sketch is proudly displayed in the Charles Dickens Reception Room at Buckingham Palace. Only fitting since the terrier was named for Mr. Dickens.

Painting of the Day: A Portrait of Charles Dickens, 1859

Portrait of Charles Dickens
William Powell Frith, 1859
The Victoria & Albert Museum

Long before you could search for images within seconds and save them to your hard drive, long before everyone had a camera in their pockets, the only way to display an image of yourself, a member of your family or even a favorite celebrity was to purchase or commission a portrait of said person.


Wealthy people frequently purchased paintings of other wealthy and famous people. One of the most popular celebrities of his time, Charles Dickens, was the frequent subject of portraits which found their way into the homes of his well-heeled friends.

This handsome (and much idealized) portrait of Dickens in the work of William Powell Frith and was painted at the apex of Dickens’ fame during his lifetime. John Forster, Dickens’ longtime friend and biographer, commissioned Frith to create the portrait. Forster was thrilled with the work depicting Dickens in his study with the manuscript for A Tale of Two Cities arranged on the desk. Dickens, however, hated the painting and complained bitterly about the way Frith had rendered his expression. Dickens had a history of disliking images of himself, even photographs. Truly, he should have been pleased with the finished painting since it is, most definitely, a flattering depiction of the author.

The Home Beautiful: The False Principles of Decoration Papier Mache Tray, 1850

Papier Mache Tray with Mother-of-Pearl Inlay and Painted Center, c. 1850
The Victoria & Albert Museum

By now, you know how much I adore Victorian Papier Mache objects.  Along with inlays of mother-of-pearl, these items were often adorned with copies of oil paintings of old buildings or genre scenes.

Here's a great example with a scene of huntsman returning home with fish to cook.  This Papier Mache tray decorated with a painting based on an original which once belonged to the Duke of Devonshire.  The tray was famously part of the exhibition entitled, "False Principles of Decoration" which was held at Marlborough House, London, in 1852.

The catalogue for the exhibition explained that the tray had been selected because of the incongruous combination of the copy of the painting with the gilt border and mother-of-pearl decoration. It described the tray as  "An example of popular taste, presenting numerous features which the student should carefully avoid. These include a copy of the painting 'Bolton Abbey in the Olden Times' by Sir Edwin Landseer, that would be hidden when the tray was in use, and the glittering mother-of-pearl scattered around the edge."

According to the V&A, "Charles Dickens also described 'that tray with a bit of one of Landseer's pictures on it' in his satirical description of the display, 'A House Full of Horrors', which appeared in his magazine Household Words in December 1852."

Well, I like it anyway.

The tray was made by Jennens  & Bettridge, a firm run by Theodore Hyla Jennens and John Bettridge between 1816 and 1864.  They were famous for their exquisite range of papier-mache goods (writing boxes, trays, fans and larger pieces of furniture such as chairs, tables and sofas) which they manufactured in their factory at 99 Constitution Hill, Birmingham. The firm also had premises at 6 Halkin Street West, Belgrave Square, London. This tray is signed indistinctly with the firm's name.

Print of the Day: The Ghost of Christmas Present, 1843



The Victoria & Albert Museum



This hand-colo(u)red etching was created for an early edition of Charles Dickens' “A Christmas Carol,” published in 1843, and depicts the scene in which Scrooge's third visitor—The Ghost of Christmas Present—appears.

It was drawn by John Leech (of "Punch Magazine" fame) and published in an edition by Chapman & Hall. The title and artist’s signature are still clearly seen.

Painting of the Day: A Portrait of Charles Dickens, 1859

Portrait of Charles Dickens
William Powell Frith, 1859
The Victoria & Albert Museum

Long before you could search for images within seconds and save them to your hard drive, long before everyone had a camera in their pockets, the only way to display an image of yourself, a member of your family or even a favorite celebrity was to purchase or commission a portrait of said person.


Wealthy people frequently purchased paintings of other wealthy and famous people. One of the most popular celebrities of his time, Charles Dickens, was the frequent subject of portraits which found their way into the homes of his well-heeled friends.

This handsome (and much idealized) portrait of Dickens in the work of William Powell Frith and was painted at the apex of Dickens’ fame during his lifetime. John Forster, Dickens’ longtime friend and biographer, commissioned Frith to create the portrait. Forster was thrilled with the work depicting Dickens in his study with the manuscript for A Tale of Two Cities arranged on the desk. Dickens, however, hated the painting and complained bitterly about the way Frith had rendered his expression. Dickens had a history of disliking images of himself, even photographs. Truly, he should have been pleased with the finished painting since it is, most definitely, a flattering depiction of the author.