Sculpture of the Day: A French Plaque Depicting Polichinelle, c. 1850

Polichinelle Plaque
The Victoria & Albert Museum

This late Nineteenth Century, French, cast-iron plaque is molded in relief with a depiction of a Polichinelle or Punch show taking place in a traditional "fit-up."

Polichinelle is seen in the proscenium opening going about his typical business of smacking an adversary with a stick.  An unusual portrayal, Polichinelle is shown as a rod puppet hanging in front of the booth suspended by a rod from his head.  By this point in puppet history, Punch, Polichinelle and Guignol were usually glove puppets, not marionettes or rod puppets.  

His hump is hollowed out, likely as a receptacle for wax tapers or spills.

Sculpture of the Day: A French Plaque Depicting Polichinelle, c. 1850

Polichinelle Plaque
The Victoria & Albert Museum

This late Nineteenth Century, French, cast-iron plaque is molded in relief with a depiction of a Polichinelle or Punch show taking place in a traditional "fit-up."

Polichinelle is seen in the proscenium opening going about his typical business of smacking an adversary with a stick.  An unusual portrayal, Polichinelle is shown as a rod puppet hanging in front of the booth suspended by a rod from his head.  By this point in puppet history, Punch, Polichinelle and Guignol were usually glove puppets, not marionettes or rod puppets.  

His hump is hollowed out, likely as a receptacle for wax tapers or spills.

Painting of the Day: Baby's First Outing, c. 1853

Baby's First Outing
c. 1853
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

The new little prince, along with two loving parents, and, eventually the throne of England, will have access to one of the most important collections of art and jewelry in the world.  Among the items in the Royal Collection is this adorable enamel and porcelain plaque entitled "Baby's First Outing."  I thought that this would be an appropriate object for today and is the first of several "Royal Baby" items I've found today to share with you throughout the rest of the week.

The only good thing about my recent absence (well, aside from being kept at my parents' house where I was provided with three hot meals a day--a rare treat indeed) was that I could lie about and anticipate the arrival of the new Prince.   As a historian whose main focus is the lives of the British monarchs from George III onward, I found this quite fascinating.

I'd like to take this moment to thank everyone for their wishes for a speedy recovery and understanding my sudden disappearance.  No one expects a careless driver to decide that she's going to turn into oncoming traffic.  On Friday, we're going to belatedly celebrate the fourth anniversary of Stalking the Belle Époque with dignified fanfare, some totally undignified goofiness, a tasty "Tale of Two Sundays" treat of the Week, and some Punchinello antics.

However, for now, let's get back to this dear enamel piece.

Created by Carl Meinelt (active 1852-86) between 1853-73, the enamel on porcelain plaque was first recorded at Queen Victoria's summer residence, Osborne House, in 1876.  This was just the sort of object which would have appealed to Victoria who liked babies (but loathed being pregnant).  

The plaque depicts a young woman in full-length standing on a grassy hillside with her new baby cradled in her arms.  Said baby is shielded from the sun by a gauze veil and protected by a striped green shawl.

The Home Beautiful: A Jasperware Plaque of Queen Charlotte, 1780

Queen Charlotte
Jasperware Plaque, 1780-1800
The Victoria & Albert Museum

The simplicity and beauty of jasperware has been beloved for centuries. The composition of white figures on the famed Wedgewood blue background makes for the perfect setting for a portrait in silhouette. Here, we see such perfection.


This plaque of blue jasper-dip shows a white bust relief of Queen Charlotte, consort of George III. She is seen in profile to the left and wears a low-necked dress and ermine cloak. The oval portrait is set in a gilt metal frame and inscribed below with “Q. CHARLOTTE.” Of course, it is the work of Josiah Wedgwood & Sons and dates between 1780 and 1800.

Mastery of Design: A Jasperware Plaque of Queen Charlotte, 1780

Queen Charlotte
Jasperware Plaque, 1780-1800
The Victoria & Albert Museum

The simplicity and beauty of jasperware has been beloved for centuries. The composition of white figures on the famed Wedgewood blue background makes for the perfect setting for a portrait in silhouette. Here, we see such perfection.


This plaque of blue jasper-dip shows a white bust relief of Queen Charlotte, consort of George III. She is seen in profile to the left and wears a low-necked dress and ermine cloak. The oval portrait is set in a gilt metal frame and inscribed below with “Q. CHARLOTTE.” Of course, it is the work of Josiah Wedgwood & Sons and dates between 1780 and 1800.

Object of the Day: Art Nouveau Bas Relief Plaque

She appears to be emerging from a mist, the drapery of her robes clinging to her—almost holding her back. This cast spelter bas relief Art Nouveau plaque represents its time period well. Borrowing heavily from the Rococo, with its arced edges and volutes, the plaque depicts a favorite subject of the Art Nouveau—the female form in its most voluptuous. This style defined itself by reimagining the female body in a series of curves and tendrils, playing with tension and weight to depict the body as a fluid, natural entity. The figure appears to be alive, gently writhing to escape the background.

I suspect that this plaque was initially part of a larger piece or grouping of similar objects. However, she is the only one that remains. Mysterious and energetic, this sculpture seems to have a life of its own.