The Home Beautiful: A Cowtan & Sons Wallpaper Frieze, c. 1830

Click image to frieze in place.

Frieze
Cowtan & Sons
London, c. 1830
The Victoria & Albert Museum

Cowtan & Sons, a celebrated early-to-mid Nineteenth-Century producer of wallpaper, created this frieze to augment the crown molding in a room. The border, printed with woodblocks, depicts various fruit and cereal crops. The design is framed by an edge which duplicates beaded trim. It dates to about 1830. This specimen would have served as a showroom example and is one of fifty-five such pieces which remain from the stock of Cowtan & Sons.

Object of the Day, Museum Edition: Masquerading, 1811

Masquerading
English, 1811
After Rowlandson
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Today, I happened upon an item in the Royal Collection which was new to me, and, since it is "Punch" Friday, I thought I would start with this colorful chromolithograph.


Printed after Thomas Rowlandson (1757-1827), the print, published on August 30, 1811, depicts a fancy dress ball. Amongst the revelers, we see a lady magician complete with wand and spell-book, a lass dressed as a lad, and another as Janus, half male and half female. But, center stage, we see Punchinello, and, that always makes for a good party.


And, now, for the amusement of myself and other Phantom-folks...

Why so silent, good messieurs?
Did you think that I had left you for good?
Have you missed me, good messieurs?
I have written you an opera!
Here I bring the finished score -
"Don Juan Triumphant!"
I advise you
to comply -
my instructions
should be clear -
Remember
there are worse things
than a shattered chandelier . . .

Your chains are still mine -
you will sing for me!

Object of the Day, Museum Edition: Masquerading, 1811

Masquerading
English, 1811
After Rowlandson
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Good morning, all.  I'm getting a slow start on this Friday morning, but, Bertie and I have been focussing on the boring business first, so we could spend some quality time with all of you now.

Today, I happened upon an item in the Royal Collection which was new to me, and, since it is "Punch" Friday, I thought I would cut through the heat and humidity with this very cool chromolithograph.

Printed after Thomas Rowlandson (1757-1827), the print, published on August 30, 1811, depicts a fancy dress ball.  Amongst the revelers, we see a lady magician complete with wand and spell-book, a lass dressed as a lad, and another as Janus, half male and half female.  But, center stage, we see Punchinello, and, that always makes for a good party.

And, now, for the amusement of myself and other Phantom-folks...

Painting of the Day: A Portrait of Lady Anne Hamilton By James Lonsdale, 1815

Lady Anne Hamilton
James Lonsdale, 1815
The Victoria & Albert Museum

Since the early Seventeenth Century, portraiture has been one of the most important historical genres of painting in Britain, allowing us a look at people who were lost centuries ago. Even if those looks are idealized, we are able to study the development of human appearance, priorities and fashion throughout history because of the existence of portraits such as this one. 

Painted by James Lonsdale in 1815, here we see Lady Anne Hamilton (1766-1846). Lady Hamilton was the eldest daughter of Archibald, 9th Duke of Hamilton. Anne Hamilton famoulsy became lady-in-waiting to the Princess of Wales (1768-1821), the future Queen Caroline, and remained at the Queen’s side until 1813, staying loyal to Caroline through her many troubles with her husband, the Prince Regent (later King George IV). 

Lady Hamilton continued to be a dedicated friend after the future Queen Caroline left England in 1814 after becoming separated from her husband, the Prince Regent. Just before the coronation of King George IV, Queen Caroline returned to England to claim what she thought was her rightful place as Queen Consort. Of course, the new King was not eager to see his wife—barring her from the coronation in July of 1821. Queen Caroline took up residence with Lady Hamilton in Portman Street, Portman Square.

Eleven days after enduring the humiliation of not only being banned from the coronation, but also taunted and hissed by the assembled crowd, Queen Caroline began to suffer from abdominal cramps while at the Drury Lane Theater. By August, she was dead. Lady Hamilton accompanied the Queen's body to Brunswick for burial after her death in 1821. The only legacy that Lady Hamilton received after her tireless service to the Queen was she received was a portrait of Caroline.

The painter, James Lonsdale (1777-1839) exhibited two portraits of Lady Anne Hamilton at the Royal Academy. One in 1805 and a second in 1815. Based on her dress, this one is thought to be the one exhibited in 1815.

Lonsdale shows Lady Hamilton seated on a plush settee, wearing a dress of black velvet with a high empire waist and a gold belt, possibly of silk, which matches the gold edging on the square neck and puffed sleeves. She also wears a large plumed black hat, adorned under the brim with a band of jewels.

Unusual Artifacts: A Deceptive Glass, 1820-1830

Deceptive Glass or "Lick"
Britain, 1820-1830
The Victoria & Albert Museum

Long before people expected outrageously large servings, consumers were content with, in some cases, just a satisfying taste of a favorite treat. Take, for example, ice cream. In the early Nineteenth Century, ice cream and ices—especially those served at the seaside as a cooling treat—were not offered up in giant scoops, but were sold as a “lick.”

With the advent of new “ice cream making machines,” these frozen novelties were quite en vogue. But, people didn’t really want a whole bowlful. Instead, they wanted just enough to cool them off and give them a nice taste in their mouths. And, so, glasses such as this one—called “licks” or “deceptive glasses”—were commonly used by vendors at the beach and at fairgrounds.

While the glass looks as if it’s a normal drinking vessel, it’s not. It is, in fact, almost entirely solid glass. There’s only a modest indentation in the bowl which allows for a smear of ice cream to be applied by the vendor. This smear would be licked off and the glass returned to the vendor who would, in most cases not washing it first, apply another smear and sell it to the next customer.

The lick is constructed of solid leaded glass and makes for a rather attractive, sparklingly clear artifact. The vessel was made by hand and probably took two people at once to construct. 

The Home Beautiful: A Cowtan & Sons Wallpaper Frieze, c. 1830

Click image to frieze in place.

Frieze
Cowtan & Sons
London, c. 1830
The Victoria & Albert Museum

Cowtan & Sons, a celebrated early-to-mid Nineteenth-Century producer of wallpaper, created this frieze to augment the crown molding in a room. The border, printed with woodblocks, depicts various fruit and cereal crops. The design is framed by an edge which duplicates beaded trim. It dates to about 1830. This specimen would have served as a showroom example and is one of fifty-five such pieces which remain from the stock of Cowtan & Sons.

History's Runway: A Ball Gown from 1820

Ball Gown
England, 1820
This and all related images from:
The Victoria & Albert Museum

Can you picture a lovely woman wearing this gown as she made her entrance to a lavish ball in 1820? During the Regency Era, women’s fashions were meant to create an illusion of the ethereal. Lavish gowns such as this one were adorned with gold thread, shimmering beads and spangles atop gauzy materials. The overall effect, in the candlelight of a ballroom must have been effectively dreamy.


This gown is an excellent representation of the fashions of London in 1820. The short-sleeved ball gown features an under-dress of silk satin and an over-dress of silk net which has been embroidered with metallic thread and trimmed with blonde bobbin lace.

Typical of the period, the gown boasts a low oval neckline and slightly puffed sleeve-caps. The waist is higher than earlier examples and wedge-shaped panels gather at the waist. 

Mastery of Design: The Dame Joan Evans Pearl and Diamond Drop Earrings, 1795-1810

The Dame Joan Evans Diamond and Pearl Drop Earrings
French, 1795-1810
The Victoria & Albert Museum

This pair of drop earrings of gold cut an elegant silhouette.  They are set with pearls and rose-cut diamonds and take the form of two long loops, one pearl, the other diamond.   These “bands” are “tied” near the top with a bow.

When these earrings were made, between 1795 and 1810 (in France), women’s dress had simplified with the influence of costumes found in archeological discoveries and artifacts from classical Greece and Rome.

During this period, fine muslin fabrics draped the body, revealing, low-cut bodices were the fashion.  This new display of skin allowed a fleshy backdrop for the presentation of  elaborate stone and filigree necklaces.  Meanwhile, the hair was  often worn in a delicate chignon (bun), with curls arranged around the forehead and face—allowing women to wear jeweled combs or tiaras and elongated earrings with refined silhouettes.

Painting of the Day: A Portrait of Lady Anne Hamilton By James Lonsdale, 1815

Lady Anne Hamilton
James Lonsdale, 1815
The Victoria & Albert Museum

Since the early Seventeenth Century, portraiture has been one of the most important historical genres of painting in Britain, allowing us a look at people who were lost centuries ago. Even if those looks are idealized, we are able to study the development of human appearance, priorities and fashion throughout history because of the existence of portraits such as this one.
Painted by James Lonsdale in 1815, here we see Lady Anne Hamilton (1766-1846). Lady Hamilton was the eldest daughter of Archibald, 9th Duke of Hamilton. Anne Hamilton famoulsy became lady-in-waiting to the Princess of Wales (1768-1821), the future Queen Caroline, and remained at the Queen’s side until 1813, staying loyal to Caroline through her many troubles with her husband, the Prince Regent (later King George IV).

Lady Hamilton continued to be a dedicated friend after the future Queen Caroline left England in 1814 after becoming separated from her husband, the Prince Regent. Just before the coronation of King George IV, Queen Caroline returned to England to claim what she thought was her rightful place as Queen Consort. Of course, the new King was not eager to see his wife—barring her from the coronation in July of 1821. Queen Caroline took up residence with Lady Hamilton in Portman Street, Portman Square.

Eleven days after enduring the humiliation of not only being banned from the coronation, but also taunted and hissed by the assembled crowd, Queen Caroline began to suffer from abdominal cramps while at the Drury Lane Theater. By August, she was dead. Lady Hamilton accompanied the Queen's body to Brunswick for burial after her death in 1821. The only legacy that Lady Hamilton received after her tireless service to the Queen was she received was a portrait of Caroline.

The painter, James Lonsdale (1777-1839) exhibited two portraits of Lady Anne Hamilton at the Royal Academy. One in 1805 and a second in 1815. Based on her dress, this one is thought to be the one exhibited in 1815.

Lonsdale shows Lady Hamilton seated on a plush settee, wearing a dress of black velvet with a high empire waist and a gold belt, possibly of silk, which matches the gold edging on the square neck and puffed sleeves. She also wears a large plumed black hat, adorned under the brim with a band of jewels.

Object of the Day: A Silver Comb, 1809-1810

Comb
Silver
Henry Adcock, Birmingham, 1809-1810
The Victoria & Albert Museum

Several months ago, I shared with you some of the antique combs in my collection. Not for grooming, these combs were designed to be worn as hair ornaments which served to contain a lady’s complicated, upswept hairstyle.

This silver comb from the V&A dates between 1809 and 1810. Made in Birmingham by Henry Adcock, this comb is an exceptional example of the artistry with which these combs were made.

Cleverly crafted, the comb imitates faceted gemstones with its brightly polished cut silver. This style was extremely fashionable at the time. Such a comb would have been worn in a high upon the head, tucked into the hair of a tight bun. The design emulates the look of feather which were a popular adornment of the time, and nods to the symbol of the Prince of Wales—three silver feathers.

Objects of the Day: A Pair of Regency Style Balloon Back Chairs

The first recorded mention of the Balloon Back Chair—so named for the shape of the back of the chair which resembles a hot air balloon—came in the 1830’s. This style reached the height of its popularity in the 1850’s in England and began to incorporate French Rococo details into the design which was dominated by a pinched “waist” and arched “shoulders.”


This pair of chairs, based on other examples, most likely heralds from the 1830’s. It exhibits the turned legs characteristic of early Balloon Back designs as opposed to the later incorporation of cabriole legs which became the standard in the 1850’s. What sets this pair of English chairs apart is the lack of a cross rail. Here, the backs are entirely open, reinforcing the balloon shape. The absence of the cross rail indicates that these are early Balloon back designs.

Constructed of walnut, and stuffed with horsehair, these chairs were reupholstered in a tea-stained toile before I purchased them. Judging by the style and era, I would guess that the original upholstery would have featured four to six buttons to create a tufted effect.

Chairs such as these would have graced the corners of drawing rooms and hallways to serve as occasional chairs. While not remotely comfortable to sit in, their purpose was meant to be attractive. That’s a job for which they are well suited.