Print of the Day: Harlequin and Mother Goose, 1811

Click image to see original size.
"Harlequin and Mother Goose"
William West, 1811
The Victoria & Albert Museum

This print from 1811 was produced by William West (?-1854) and was meant to honor the popular play “Harlequin and Mother Goose” or “The Golden Egg” which debuted at Covent Garden Theatre on Christmas of 1806. The play marked the first major appearance of Joseph Grimaldi (Joey the Clown) who premiered his famed “Bang-Up” song.

William West became known as a publisher of prints and sheets depicting theatrical characters. He worked from the “Circulating Library” which was located on Exeter Street near the Strand. By the end of his career, West published over 140 play sheets at an unheard of rate of one every month. His works served to record the most successful plays and theatrical productions of the London stage for a period of 20 years. 

This print from “Mother Goose” was his first offering. Aside from Grimaldi, we also see “Mr Simmons” as “Mother Goose,” a Harlequin representing John Bologna,, and a figure of Mr. Punch with a saltbox and rolling pin. Mr. Punch and his wife, Judy, are also show on the lower left.

History's Runway: The Mappin & Webb Vanity Case, 1935

Gold Vanity Case
Mappin and Webb, 1935
This and all related images from:
The Victoria & Albert Museum

By the 1930, the use of snuff had long been out of favor and producers of luxury goods looked for something to replace the elegant gold boxes which had long been a mainstay of their concerns. Though not good for world health, the cigarette case was a natural successor to the snuffbox as smoking was quite the thing. Similarly, vanity cases of gold and other precious metals began to take center stage in the world of opulent accessories. Here we see such a vanity case. These were made for Society ladies as a container for their personal items. This one holds an eyebrow pencil, lipstick and compartments for powder with puffs.

The gold case was made by Mappin and Webb in Sheffield, England in 1935 and is set with cabochon sapphires. 

Unusual Artifacts: A Silk Program Commemorating the New Empire Theatre, 1896

Birmingham, England (printed)
1896 (printed)
James Upton (printer)
The Victoria and Albert Museum

Click image to enlarge.

In previous years, we've looked at other printed silk programs which were made for important events.  Silk and satin programs were made from the eighteenth century well into the twentieth century to commemorate special theatrical productions such as first nights, gala, commemorative and benefit performances.  By the 1920s, this attractive custom had mostly ceased, and by the 1970s, printed fabric programs were mostly produced for gala opera or ballet performances.  These were typically not printed on silk or satin, but, instead on nylon.

Here, we see, a silk program designed to commemorate the "Grand Opening Night" of the New Empire Theatre on Lime Street, Liverpool, on the 19th December 1896, starring Florrie Harmon as Cinderella; Victor Stevens and Fred Emney as Thisbe and Clorinda, Kate Chard as Prince Felix, and Marie Campbell as Dandini.

The rectangular landscape format program, is printed on both sides and folded into three.  It boasts images from Cinderella in blue ink with the title of production and images of Oscar Barrett and H E Moss printed in sepia ink in roundels.  On the reverse, the cast list and performance details are featured. As was often the case, a decorative fringe graces the top and bottom.

The Victoria & Albert Museum

Print of the Day: The Spelling Bee, A Comic Vocal Medley, 19th C.

The Spelling Bee
England, Nineteenth Century
The Victoria & Albert Museum

A pretty piece of Nineteenth-Century lithography, this page is the cover for sheet music for "The Spelling Bee" which was written by Frank W. Green with  music by Alfred Lee, and published by C. Sheard, Musical Bouquet Office, London.

A fitting cover for this "comic vocal medley," the illustration by a now-unknown artist depicts a studious, bespectacled bee who is learning how to spell what it is.

Precious Time: The Goujon Watch and Pair Case, c. 1730

Click Image to Enlarge
Watch and Pair Case
Made in London, c. 1730
This and all related images from:
The Victoria & Albert Museum

Made around 1730, this embossed and chased gold watch and pair case is signed (on the movement’s dust cap) “Gerret Bramer, Amsterdam.” The case is embossed with a scene which was modeled after Gérard de Lairesse’s image of Cleopatra just as she is about to dissolve the pearl before Anthony.

The chasing is signed “H Manly fecit” and both cases are marked “SG” for Stephen Goujon of London who served as the maker of the case.

The watch with its ¼ repeating movement was made in London by Goujon and decorated by Manly for export to Amsterdam where it was sold by the retailed Geret Bramer.  This gorgeous timepiece features a stem set with a diamond and diamonds mounted on the face and hands.  

Gifts of Grandeur: The Union of England and Scotland Box, 1707

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

Click image to enlarge.

A circular box of tortoiseshell, this object boasts a cover with concave sides inset with a silver medal of Queen Anne in profile to the left.  Her Majesty wears regalia and a crown.  The medallion is inscribed, "Anna Dei Gratia Mag. Britan Fra. et Hib. Regina."  

The box and medal were made to commemorate the union of England and Scotland in May of 1707.  The reverse of the medal depicts a figure of Britannia engraved "Novae Palladium Troiae."

King Edward VII (1841-1910) was presented with this treasure by a now unknown party in 1907.

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

Click image to enlarge.

Gifts of Grandeur: The Blue Foil Necklace, 1650-75

Necklace of Painted Blue Foil, Silver, Glass and Waxed Thread
England, 1650-1675

While not very valuable in terms of materials, this necklace which dates to about 1650-1675 is priceless for the skill and brilliance with which it was made.

Each of the individual square panels of this necklace is set with a blue foil which has been painted in exquisite miniature with a symbol representing love or mortality; including a skull and crossbones, the initials “EJ” beneath a coronet’ a putto holding leaves, a cornucopia, two cherubs with a flaming heart, a skeleton on a tomb inscribed “At Rest,” a dolphin, an angel with two crosses, a crowned lion, a winged skull, a bull, the sun, moon and stars, a lyre and butterfly, flowers, clasped hands with a heart, a skull above a crown with inscriptions “GLORIA” and “VANITAS,” a putto with a lance, an elephant's head and trident, and a sea animal in a shell.

Small panels of glass are set above each painted foil.  Mounted on silver backings, these individual panels are strung together with waxed thread.  

Building of the Week: The Tower of London

Founded in 1066, The Tower of London has changed
over the past nine and a half centuries.

Technically, the Tower of London isn’t a “building,” it’s several buildings. While commonly called “The Tower of London,” its proper name is “Her Majesty’s Royal Palace and Fortress.” A series of fortified buildings, the Tower has grown and changed since its founding in 1066. The nickname, “The Tower” comes from a specific tower within the castle’s fortified grounds—the “White Tower” which was built in 1078 by William the Conquerer. For centuries, the “White Tower” was considered a symbol of oppression and torture.

The White Tower as seen behind the curtain wall in an
early photograph.

To recount the entire fascinating history of this intimidating structure on the North bank of the Thames would, we would well exceed the limits of a comfortable blog post. So, we’ll focus on the highlights. When the castle was initially built, the White Tower was the dominant building—in fact it dominated Central London and stood as a symbol of the power of the monarchy. Within the castle’s walls (and behind a moat which has been moved many times), a complicated complex of buildings was erected which served multiple purposes. Though the Tower always acted as a prison, for centuries, it wasn’t a prison for common people, it was a prison for nobility wherein they were contained, but could have parties and some relative freedom. What most people don’t realize is that The Tower of London—in its earliest form—was actually a palace and served as a Royal residence for centuries until the Tudor Period in the Sixteenth Century. The Tudors found the location to be uncomfortable and although it had been renovated and expanded countless times at exorbitant costs, it was thereafter used primarily as a prison, an armory and treasury.

 

The White Tower

 



Prisoners were held at the Tower well into World War II. By the Tudor period, it wasn’t just nobility that were kept at the Tower. Though accounts of murder and torture within the walls of the Tower complex have been greatly exaggerated over the years, it has been the scene of some gruesome deaths as well as the temporary prison of some very famous names, including Queen Elizabeth I before she ascended to the throne.

One of the key uses of the Tower has been to house the Crown Jewels of Britain. They remain there today though in a different location than their original home. The original Jewel House was pulled down in 1669 and the jewels were moved to Martin Tower where they could be viewes—from a distance—by the public.

The Crown Jewels

The Norman Chapel

After eight centuries, the Tower really began to fall apart despite its numerous restorations. Prince Albert ordered that the complex be restored to its original medieval design. The orders were taken a little too seriously. Most of the palatial buildings were demolished and many of the additional structures from centuries past were destroyed. What remains is as close an approximation of the original structure and design as possible.

The Middle Tower

Now a popular tourist attraction, the Tower is known for its history, its grandeur, its jewels and its ghosts (including Anne Boleyn who lost her head there and is said to walk the courtyards, carrying her head under her arm). It’s also known as the home of some lovely animals. While the Tower was once the Royal Menagerie, it is now the home to the Royal ravens and an adorable herd of Cavalier King Charles Spaniels. To learn more about this fascinating series of structures, visit the official Web site of The Tower of London.

Painting of the Day: Kittens Playing Diabolo, 1900-1910

Click image to enlarge.
Design for a Picture Postcard
Louis William Wain
1900-1910
The Victoria & Albert Museum

The work of Louis William Wain (1860-1939), this Edwardian weirdness in Indian ink, watercolor and gouache is a preliminary painting for a picture postcard. Wain designed a series of postcards depicting kittens doing things that kittens don’t actually do. Typically, the kittens were engaged in “holiday” activities in which one would normally participate while at the seaside. Such “adorable” (or, quasi-disturbing images) were just perfect for the “Wish you were here” mentality of seaside postcards.

In this case, a group of kittens (even the one in a pram) are participating in a spirited game of diabolo. I confess, I didn’t know what the game of diabolo entailed . It seems that it the game originated in China and was brought to Europe by returning missionaries. The goal of the game is to manipulate a double-sided cup (by spinning, catching, twirling, etc.) with a cord attached to two sticks. Whoohoo! Sign me up for the North Texas diabolo team.

Nevertheless, the kittens seem quite happy at it.

The painting was created sometime between 1900 and 1910, and the final version was, indeed, produced as a postcard.

Figure of the Day: Joseph Grimaldi (Joey the Clown), 1840

Staffordshire Flatback, 1840
Joseph Grimaldi (Joey the Clown)
The Victoria & Albert Museum

1837 saw a new trend in production for the porcelain makers of Staffordshire when they introduced lead-glazed earthenware flat-back figures of Queen Victoria. These figures were painted in enamels on the front while the back, (which was, you can guess, flat) was left white. In tended to be displayed on a mantelpiece, sideboard or any location where the reverse of the piece was against a wall, these figures quickly became popular.

Flatbacks were soon produced depicting a variety of subject from Royalty and historic figures to actors and celebrities. The modelers often referred to popular prints of the day in order to find subjects and depict them somewhat accurately.

This one is modeled after a print of the famed Regency Panto clown Joseph Grimaldi (Joey the Clown, 1779-1837) who found much success with “Mother Goose” in 1806 at Covent Garden. Grimaldi was revered as a comic singer, a daring acrobat and as a performer who could make dozens of unexpected costume changes during his routine. He was so renowned that, to this day, the name “Joey” is often used as a nickname for a clown. This Staffordshire figure is dated to about 1840, but, sadly, we have no way of knowing the name of the modeler.

Object of the Day, Museum Edition: A Pair of Skirt Grips, 1902

Skirt Grips
Brass, 1902
This and all related images from:
The Victoria and Albert Museum

Skirt grips developed as a means of helping women keep the hems of their full skirts from trailing on the ground. Similarly, these devices served to keep long trains from becoming soiled when not in the ballroom. Fashions of the late Nineteenth and early Twentieth Centuries dictated very long skirts and trains for a fashionable woman. While very dramatic and beautiful when a woman was posing, standing or at rest, these lengths of fabric (often very delicate and expensive) would quickly become dirty on streets and sidewalks. Skirt grips fastened to the end of a hem or train or sometimes just below the waistband in order to raise the skirt from the top. The clip was attached to a chain or length of ribbon or sting which could be held by a woman, fastened to a ring or clipped to a belt, allowing the skirt to be raised to any (still modest) length and prevent the fabric from being ruined.

By the time this set was made in 1902, women were using them not only in the ballroom, but to keep skirts from trailing the ground when playing sports or riding bicycles. Skirt holders were marketed under names such as “Bicycle,” “Eureka,” “The Grappler,” “Invincible.” “'The Automatic,” etc. and were sold with drawings to help a woman know how to use the clips in different situations. 


London inventor B.O. Brendel took out the patent for these skirt grips on April 12 1902, marketing them as “dress suspenders.” These were made to be used with sporting clothes. You see the serrated edges of the clips? These could only have been used on heavy woolen fabrics (those used for sporting clothes) since the teeth would have torn more delicate materials. The dagger-shaped piece of metal at the top would have been inserted into the belt or waistband to keep the skirt grips in place.

The Home Beautiful: The Henry Holiday 'Aspasia in the Pnyx' Window, 1886-1890

Aspasia In Pynx
Henry Holiday, 1886-1890
The Victoria & Albert Museum

Henry Holiday (1839-1927) was a renowned designer of stained glass, and painter, who, between 1863 and 1891, worked as a freelance designer for the glass makers Powells at Whitefriars in London. In 1891. Holiday set up his own stained glass studio through which he took on some of his most impressive commissions.

This piece was one of the last Holiday created for Powells. It was completed between 1886 and 1890. The image on this panel was probably taken from the painting “Aspasia in the Pnyx,” which Holiday painted between 1886-8. Aspasia was the mistress of Pericles, the great and controversial Athenian leader of Greek antiquity. “The Pnyx” refers to an area of land where the Greek popular assembly met.

The original painting was included in Holiday’s book “Reminiscences of My Life” which was published about 1914. Miss Kathleen Douglas-Pennant (later Lady Falmouth), daughter of Lord Penrhyn, was employed as the model for Aspasia.

Here, Holiday has incorporated his painting into a quatrefoil panel of clear and colored glass, which has been painted and stained.

Print of the Day: Harlequin and Mother Goose, 1811

Click image to see original size.
"Harlequin and Mother Goose"
William West, 1811
The Victoria & Albert Museum

This print from 1811 was produced by William West (?-1854) and was meant to honor the popular play “Harlequin and Mother Goose” or “The Golden Egg” which debuted at Covent Garden Theatre on Christmas of 1806. The play marked the first major appearance of Joseph Grimaldi (Joey the Clown) who premiered his famed “Bang-Up” song.

William West became known as a publisher of prints and sheets depicting theatrical characters. He worked from the “Circulating Library” which was located on Exeter Street near the Strand. By the end of his career, West published over 140 play sheets at an unheard of rate of one every month. His works served to record the most successful plays and theatrical productions of the London stage for a period of 20 years. 

This print from “Mother Goose” was his first offering. Aside from Grimaldi, we also see “Mr Simmons” as “Mother Goose,” a Harlequin representing John Bologna,, and a figure of Mr. Punch with a saltbox and rolling pin. Mr. Punch and his wife, Judy, are also show on the lower left.

Mastery of Design: The Union of England and Scotland Box, 1707

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

Click image to enlarge.

A circular box of tortoiseshell, this object boasts a cover with concave sides inset with a silver medal of Queen Anne in profile to the left.  Her Majesty wears regalia and a crown.  The medallion is inscribed, "Anna Dei Gratia Mag. Britan Fra. et Hib. Regina."  

The box and medal were made to commemorate the union of England and Scotland in May of 1707.  The reverse of the medal depicts a figure of Britannia engraved "Novae Palladium Troiae."

King Edward VII (1841-1910) was presented with this treasure by a now unknown party in 1907.

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

Click image to enlarge.

Building of the Week: The Tower of London

Founded in 1066, The Tower of London has changed
over the past nine and a half centuries.

Technically, the Tower of London isn’t a “building,” it’s several buildings. While commonly called “The Tower of London,” its proper name is “Her Majesty’s Royal Palace and Fortress.” A series of fortified buildings, the Tower has grown and changed since its founding in 1066. The nickname, “The Tower” comes from a specific tower within the castle’s fortified grounds—the “White Tower” which was built in 1078 by William the Conquerer. For centuries, the “White Tower” was considered a symbol of oppression and torture.

The White Tower as seen behind the curtain wall in an
early photograph.

To recount the entire fascinating history of this intimidating structure on the North bank of the Thames would, we would well exceed the limits of a comfortable blog post. So, we’ll focus on the highlights. When the castle was initially built, the White Tower was the dominant building—in fact it dominated Central London and stood as a symbol of the power of the monarchy. Within the castle’s walls (and behind a moat which has been moved many times), a complicated complex of buildings was erected which served multiple purposes. Though the Tower always acted as a prison, for centuries, it wasn’t a prison for common people, it was a prison for nobility wherein they were contained, but could have parties and some relative freedom. What most people don’t realize is that The Tower of London—in its earliest form—was actually a palace and served as a Royal residence for centuries until the Tudor Period in the Sixteenth Century. The Tudors found the location to be uncomfortable and although it had been renovated and expanded countless times at exorbitant costs, it was thereafter used primarily as a prison, an armory and treasury.

 

The White Tower

 



Prisoners were held at the Tower well into World War II. By the Tudor period, it wasn’t just nobility that were kept at the Tower. Though accounts of murder and torture within the walls of the Tower complex have been greatly exaggerated over the years, it has been the scene of some gruesome deaths as well as the temporary prison of some very famous names, including Queen Elizabeth I before she ascended to the throne.

One of the key uses of the Tower has been to house the Crown Jewels of Britain. They remain there today though in a different location than their original home. The original Jewel House was pulled down in 1669 and the jewels were moved to Martin Tower where they could be viewes—from a distance—by the public.

The Crown Jewels

The Norman Chapel

After eight centuries, the Tower really began to fall apart despite its numerous restorations. Prince Albert ordered that the complex be restored to its original medieval design. The orders were taken a little too seriously. Most of the palatial buildings were demolished and many of the additional structures from centuries past were destroyed. What remains is as close an approximation of the original structure and design as possible.

The Middle Tower

Now a popular tourist attraction, the Tower is known for its history, its grandeur, its jewels and its ghosts (including Anne Boleyn who lost her head there and is said to walk the courtyards, carrying her head under her arm). It’s also known as the home of some lovely animals. While the Tower was once the Royal Menagerie, it is now the home to the Royal ravens and an adorable herd of Cavalier King Charles Spaniels. To learn more about this fascinating series of structures, visit the official Web site of The Tower of London.