Object of the Day: Queen Mary's Needlework Guild Medal

As a young Princess, Mary of Teck spent most of her pre-married life playing assistant to her strange, rotund, but wildly popular and involved mother Princess Mary Adelaide of Cambridge (the Duchess of Teck). A teenaged Princess May spent her days organizing her mother’s massive amounts of correspondence and helping out with her mother’s many, many charities. One of these charities was the London Needlework Guild which had been started in 1882 by Lady Wolverton as the London Guild. Originally, the Guild was designed to provide clothing to orphans. By the way, we know Lady Wolverton—sort of. Regular readers of this blog have seen a bunch of her jewelry.


In 1897, when Princess Mary Adelaide passed away, Mary of Teck (by then, married and known as The Duchess of York), took over the patronage of the guild and by 1914, it had been renamed “Queen Mary’s Needlework Guild” since, by that point, Mary and her husband had ascended the throne.

Queen Mary’s Needlework Guild was dedicated to supplying clean linens to the boys fighting in World War I. Queen Mary involved herself with the Guild for the rest of her life. In fact, in 1953, she called a meeting of the Guild’s leaders at her home at Marlborough House. She was feeling rather poor and didn’t attend the meeting. She died the next day.

The Guild was renamed Queen Mary’s Clothing Guild in 1986. After the death of Queen Mary in 1953, Queen Elizabeth, the Queen Mother took over as patron. In 2010, in her honor, the Guild was renamed the Queen Mother’s Clothing Guild.

Now, Queen Mary, until her death, was very proud of her clothing guild. And, she was especially proud of the Society ladies who dedicated their time and effort to the cause. As a reward for their efforts, Queen Mary would award a special medal to those ladies who worked with her. The medals of gilt brass and enamel were designed as a Tudor Rose suspended from a bar-pin adorned with the initials “QMNG.”

Here’s one. I recently acquired this for my collection of Royal Memorabilia. I’m not sure to whom it belonged, but it dates to the First World War and it’s in remarkably good condition. I’m particularly thrilled with it because I like to think that Queen Mary herself touched this when she awarded it to its recipient. I don’t know if she really did or not. But, I’m going to continue to think so. 

At the Music Hall: “I Wonder Who’s Kissing Her Now,” 1909

Billy Murray

I wonder who's kissing her now, 
I wonder who's teaching her how, 
Wonder who's looking into her eyes, 
Breathing sighs, telling lies; 
I wonder who's buying the wine, 
For lips that I used to call mine. 
I wonder if she ever tells him of me, 
I wonder who's kissing her now.

In 1909, in the musical The Prince of Tonight, a new song was introduced which would soon take its place amongst the most popular music of the early Twentieth Century. I Wonder Who’s Kissing Her Now became a music hall favorite and was a poignant reminder to the men who’d gone to fight in World War I that their young ladies might be finding comfort in other arms.

The music was written by Joseph E. Howard and Harold Orlob, and the lyrics were written by Will M. Hough and Frank R. Adams. Enjoy this 1909 recording by the famed Billy Murray as played on a Victor II Gramophone.

At the Music Hall: Oh, It’s a Lovely War, 1917

Oh! Oh! Oh! it's a lovely war, 
Who wouldn't be a soldier eh? 
Oh! It's a shame to take the pay. 
As soon as reveille is gone 
We feel just as heavy as lead, 
But we never get up till the sergeant brings 
Our breakfast up to bed 
Oh! Oh! Oh! it's a lovely war, 
What do we want with eggs and ham 
When we've got plum and apple jam? 
Form fours! Right turn! 
How shall we spend the money we earn? 
Oh! Oh! Oh! it's a lovely war.

Written in 1917 by J.P. Long and Maurice Scott, “Oh, It’s a Lovely War,” was popularized during the First World War by male impersonator and music hall star Ella Shields. The song with it’s rousing and patriotic overtones was a humorous and effective means of raising moral during the grisly war and remained popular well into World War II.

The song has been featured in many musicals and films, not the least of which was the 1969 film, Oh, What a Lovely War which was based on the 1963 musical of the same name. “Oh, It’s a Lovely War’ was the centerpiece of Oh, What a Lovely War and served as a show-stopping number.

Here’s a clip of the song from the 1969 film. 

The Home Beautiful: A Quilted Tea Cozy, 1931

Hello, all...I'm in a rather cheerful mood today knowing it's going to get dark early.  the house is chilly.  I finally believe that Summer is retreating and that this HORRID year is coming to a close.  As I sit here in my coral-colored jacket (for a man with auburn hair and black eyebrows would wear a coral-colored jacket) with the Bertie Dog at my side, I've decided to make a proclamation...

Tomorrow, November 5 will be a day of celebration.  Oh, yes.  A celebration of deliciousness.  As part of that, we shall have our "Treat of the Week" and you won't want to miss it.  

Until then, let's be cozy, shall we...

Tea Cosy
Made as part of the Rural Industries Bureau Scheme
Commissioned by Muriel Rose, c. 1931
The Victoria & Albert Museum

This charming quilted tea cozy, meant to cover and keep warm a teapot, is attractive.  But, it’s part of a larger story of considerable importance.  It was made as part of the Rural Industries Bureau Scheme to assist miners' wives in South Wales through the period of economic crisis which followed The Great War.

In 1928, urged by King George V and Queen Mary who, together, visited Welsh mining towns to meet with the impoverished residents, the Scheme's aim was to establish home industries among the women of the such mining communities.  The goal was to open these industries to a wider market, allowing for increased income for families stricken by rough financial times. The Bureau provided £30 for materials and wages and orders were given to the most promising quilters. The women were provided with Durham quilts as samplers which they could copy. 

In the autumn of that year, the first commercial exhibition of their work was held at Miss Muriel Rose's “The Little Gallery,” off Sloane Street, London.  This exhibition proved to be an enormous success, bringing in many orders for the women of these Welsh villages and helping the industry tremendously.

This tea cozy was purchased from Miss Rose's gallery.   Miss Rose was integral in helping impoverished Britons,  promoting the works of leading craftspeople and playing a major role in re-establishing patchwork and quilting in Wales. Miss Rose cleverly undertook a commission to fill an order from Claridge's hotel for quilted bedcovers to use in their new Art Deco wing and passed this order on to the Welsh women—a triumph for all concerned. 

The tea cozy we see here, from the V&A, is quilted yellow silk backed with cream silk. Yellow thread was used for the quilting.   Made in Wales by a now unknown quilter, this was one of many orders placed by Miss Rose in the 1930s. 

And, yes, it does look like the Pope’s mitre.  But, I’m sure that was unintentional.  

At the Music Hall: Till We Meet Again, 1918

When the clouds roll by I'll come to you,
Then the skies will see more blue,
Down in lovers lane my dearie,
Wedding bells will ring so merrily,
Every tear will be a memory,
So wait and pray each night for me,
Till we meet again. 

With music by Richard A. Whiting and lyrics by Raymond B. Egan, “Till We Meet Again,” was a popular American song of the First World War. The sentimental piece chronicles the parting of a young lady with her soldier love.

Whiting had originally written the song so that he could enter it into a Detroit, Michigan song contest in 1918. He hated the finished product so intensely that he threw the draft away. Whiting’s secretary rescued the manuscript and, through Whiting’s publisher, Jerome Remick, had the song entered into the contest after all. There, it received rave reviews and won the highest honors. By 1919, “Till We Meet Again” was the Number 1 song in the U.S.

At the Music Hall: The Rose of No Man's Land, 1918

Her Majesty Queen Mary and Mary,
the Princess Royal during the First World War
The Royal Collection.
Crown Copyright
Image Courtesy of:
Her Majesty Queen Elizabeth II

I've seen some beautiful flowers,
Grow in life's garden fair,
I've spent some wonderful hours,
Lost in their fragrance rare;
But I have found another,
Wondrous beyond compare.

There's a rose that grows on "No Man's Land"
And it's wonderful to see,
Tho' its spray'd with tears, it will live for years,
In my garden of memory.

It's the one red rose the soldier knows,
It's the work of the Master's hand;
Mid the War's great curse, Stands the Red Cross Nurse,
She's the rose of "No Man's Land".

Out of the heavenly splendour,
Down to the trail of woe,
God in his mercy has sent her,
Cheering the world below;
We call her "Rose of Heaven",
We've learned to love her so.

There's a rose that grows on "No Man's Land"
And it's wonderful to see,
Tho' its spray'd with tears, it will live for years,
In my garden of memory.

It's the one red rose the soldier knows,
It's the work of the Master's hand;
Mid the War's great curse, Stands the Red Cross Nurse,
She's the rose of "No Man's Land".


“The Rose of No Man's Land” was a popular song from the end of the First World War. The song was written by Jack Caddigan and James Alexander Brennan as a tribute to the nurses of the Red Cross who served at the front lines.

Other versions of the song were published in 1918 as well as in 1945 as a patriotic tribute following the Second World War.

Object of the Day: A Postcard of H.M. George V

This is one of my favorite pictures of King George V. He looks young and handsome and bright-eyed. This photo was taken in 1913 before the Great War. This is the last we’ll see of George looking untroubled. The war changed everything, including His Majesty.

The photo graces a postcard which I recently acquired. The card was published by J. Beagles and Co., Ltd. who always boasted that each card was adorned with a “genuine photograph.” They also went as far as to claim on each card that theirs were, “the best in the world.”

The front of the card reads simply: “H.M. King George V.”

This card, unlike most of the others in my collection was actually used. It’s, frankly, a miracle that it’s in such good shape—having been posted. The postmark states that it was mailed in Britain on November 25, 1914. At that time, the First World War was beginning.

So, who used the card? Let’s see.

It was addressed to:

Miss L. Taylor
42 Airedale Avenue
Chiswick 

And, it reads:

Dear Sis,
Wishing you many Happy Returns of the Day.
Kind Regards, 

Elsie

History's Runway: The Worth Evening Dress and Slip, 1928-9

Evening Gown
House of Worth
1928-1929
The Victoria & Albert Museum

A long evening gown of aquamarine chiffon, this dress has a printed floral pattern in shades of lilac, orange and gold which was inspired by Asian designs.  The pattern is outlined with iridescent sequins.

The sleeveless dress is straight cut with a low round neck at the front and a deep 'V' at the back. Four shield-shaped panels of golden tulle outlined in golden sequins are attached at the hips and a sunburst pattern is embroidered on them in iridescent sequins. Three graduated layers of gathered aquamarine tulle edge and join the panels.

This gown was created by the House of Worth, between 1928 and 1929.

The Home Beautiful: A Quilted Tea Cozy, 1931

Tea Cosy
Made as part of the Rural Industries Bureau Scheme
Commissioned by Muriel Rose, c. 1931
The Victoria & Albert Museum

This charming quilted tea cozy, meant to cover and keep warm a teapot, is attractive.  But, it’s part of a larger story of considerable importance.  It was made as part of the Rural Industries Bureau Scheme to assist miners' wives in South Wales through the period of economic crisis which followed The Great War.

In 1928, urged by King George V and Queen Mary who, together, visited Welsh mining towns to meet with the impoverished residents, the Scheme's aim was to establish home industries among the women of the such mining communities.  The goal was to open these industries to a wider market, allowing for increased income for families stricken by rough financial times.  The Bureau provided £30 for materials and wages and orders were given to the most promising quilters. The women were provided with Durham quilts as samplers which they could copy. 

In the autumn of that year, the first commercial exhibition of their work was held at Miss Muriel Rose's “The Little Gallery,” off Sloane Street, London.  This exhibition proved to be an enormous success, bringing in many orders for the women of these Welsh villages and helping the industry tremendously.

This tea cozy was purchased from Miss Rose's gallery.   Miss Rose was integral in helping impoverished Britons,  promoting the works of leading craftspeople and playing a major role in re-establishing patchwork and quilting in Wales.  Miss Rose cleverly undertook a commission to fill an order from Claridge's hotel for quilted bedcovers to use in their new Art Deco wing and passed this order on to the Welsh women—a triumph for all concerned. 

The tea cozy we see here, from the V&A, is quilted yellow silk backed with cream silk. Yellow thread was used for the quilting.   Made in Wales by a now unknown quilter, this was one of many orders placed by Miss Rose in the 1930s. 

And, yes, it does look like the Pope’s mitre.  But, I’m sure that was unintentional.  

Sculpture of the Day: A Relief of King George V, 1924

The Victoria & Albert Museum

Made in London in 1924, this medal features relief sculptures by Percy Metcalfe on the reverse and Sir Bertram Mackennal on the obverse and was produced by the Royal Mint in bronze. The medal was made for the British Empire Exhibition which opened on St George’s Day, 1924 at Wembley Park in north-west London.


The British Empire Exhibition was to promote trade within the countries of the Empire and to pay homage to those who had fallen during the Great War. This medal, with its handsome bust of King George V, was the winning entry of the competition which was sponsored by the Goldsmith's Company for a medal commemorating the exhibition. Subsequently, it was used as the official award medal for all exhibitors.


It is inscribed:

'GEORGIVS V BRITT: OMN: REX ET IND: IMP:'
'BRITISH EMPIRE / EXHIBITION / 1924'

Friday Fun: King George V and Queen Mary Visit Wounded Soldiers

Queen Mary with her daughter,
Princess Mary, during the First
World War

In this silent newsreel footage from about 1916, we see King George V and Queen Mary visiting with wounded soldiers during the Great War. King George wears his military uniform as he and his consort walk amongst the wounded, pausing to smile and chat with them. Such visits by a Monarch were unusual at the time. King George V and Queen Mary were champions of interacting with their subjects both at times of grief and times of joy.


As we can see from the crowd’s reaction—though silent—they were cheered by the Sovereign’s visit and comforted by this show of support. Both George and Mary were keen for the public to understand that as the Empire endured the war, all were equal—King and commoner. They wanted to show all of Britain that they would triumph as a great family.

Object of the Day: Queen Mary's Needlework Guild Medal

As a young Princess, Mary of Teck spent most of her pre-married life playing assistant to her strange, rotund, but wildly popular and involved mother Princess Mary Adelaide of Cambridge (the Duchess of Teck). A teenaged Princess May spent her days organizing her mother’s massive amounts of correspondence and helping out with her mother’s many, many charities. One of these charities was the London Needlework Guild which had been started in 1882 by Lady Wolverton as the London Guild. Originally, the Guild was designed to provide clothing to orphans. By the way, we know Lady Wolverton—sort of. Regular readers of this blog have seen a bunch of her jewelry.


In 1897, when Princess Mary Adelaide passed away, Mary of Teck (by then, married and known as The Duchess of York), took over the patronage of the guild and by 1914, it had been renamed “Queen Mary’s Needlework Guild” since, by that point, Mary and her husband had ascended the throne.

Queen Mary’s Needlework Guild was dedicated to supplying clean linens to the boys fighting in World War I. Queen Mary involved herself with the Guild for the rest of her life. In fact, in 1953, she called a meeting of the Guild’s leaders at her home at Marlborough House. She was feeling rather poor and didn’t attend the meeting. She died the next day.

The Guild was renamed Queen Mary’s Clothing Guild in 1986. After the death of Queen Mary in 1953, Queen Elizabeth, the Queen Mother took over as patron. In 2010, in her honor, the Guild was renamed the Queen Mother’s Clothing Guild.

Now, Queen Mary, until her death, was very proud of her clothing guild. And, she was especially proud of the Society ladies who dedicated their time and effort to the cause. As a reward for their efforts, Queen Mary would award a special medal to those ladies who worked with her. The medals of gilt brass and enamel were designed as a Tudor Rose suspended from a bar-pin adorned with the initials “QMNG.”

Here’s one. I recently acquired this for my collection of Royal Memorabilia. I’m not sure to whom it belonged, but it dates to the First World War and it’s in remarkably good condition. I’m particularly thrilled with it because I like to think that Queen Mary herself touched this when she awarded it to its recipient. I don’t know if she really did or not. But, I’m going to continue to think so.

Sculpture of the Day: A Bust of King George V in Naval Uniform, 1914

Bust of King George V
in Naval Uniform
James Stevenson, 1914
The Royal Collection

This bust from 1914 is the work of the celebrated sculptor James Stevenson and depicts King George V looking quite sturdy in his Naval uniform as Britain was gripped by the chaos and tragedy of the Great War.

James Stevenson, who was known for his portrait busts, was trained in sculpture at the Royal College of Art and the Royal Academy Schools. This particular bust of the King was exhibited at the Royal Academy in 1915. Stevenson often signed his works in a peculiar way. This is evidenced on this bust which shows the sculptor’s usual signature MYRANDER. The word is a conflation of his wife’s Christian name and his own second Christian name.

Card of the Day: The Funeral of Earl Haig

Though he’s now considered a rather controversial figure from the First World War, Douglas Haig, the First Earl Haig, was a popular postwar figure whose death elicited an enormous response in Britain and a national day of mourning. He’s remembered now as “The Butcher Haig” for leading troops into the Battle of the Somme the battle with the highest casualties in British military history. He did, however, also command the Hundred Days Offensive which led to the 1918 Armistice.

Upon his death in 1928, the “Times” reported, “Great crowds lined the streets ... come to do honour to the chief who had sent thousands to the last sacrifice when duty called for it, but whom his war-worn soldiers loved as their truest advocate and friend.”

This event is depicted in the thirtieth in the series of Silver Jubilee Cards by Wills’s Cigarette Company which were produced in honor of King George V and Queen Mary.

The reverse of the card reads:

THE FUNERAL OF EARL HAIG


Several Princes of the House of Windsor—the Royal house he served so well—followed Field Marshall Earl Haig on his last journey through London on February 2, 1928. After lying in state at St. Columba’s, The Presbyterian Church in Punt Street, the body of the dead Field Marshall was escorted to Bemersyde where, at his wish, in preference to interment at St. Paul’s, he rests in his native cemetery. Marshall Foch and Marshall Pétain were two of the pall bearers, and the crowds stood ten deep as the procession moved on to the beat of muffled drums. A solemn memorial service for the dead Field Marshall was held at Westminster Abbey.

After the Great War, Haig was created an Earl. He maintained close ties to the military. To get a glimpse of some silent film footage of the funeral, visit the Web site of British Pathé. I didn’t feel like paying £50 for the rights to the video, so I’ll just let you have a look at their site.

Card of the Day: The Opening of the Scottish National War Memorial

King George V and Queen Mary mourned along with the rest of the Commonwealth after the Great War. Their desire was to honor those who had lost their lives to the war as well as create an atmosphere of strength and understanding for the people of Britain. As part of this, they and their children, supported the building of War Memorials across the land.


The twenty-ninth in the series of Silver Jubilee Cards produced by Wills’s Cigarette Company in 1935 shows the opening of the Scottish National War Memorial.

The reverse of the card reads:

THE OPENING OF THE SCOTTISH NATIONAL WAR MEMORIAL


Scotland’s War Memorial stands at the summit of the Castle Rock in Edinburgh, one of the most majestic and historic sites in the world. The noble Hall of Honour, in which are preserved the names of those who fell, was inaugurated by the Prince of Wales (who is Commander-in-Chief of the Royal Scots Fusiliers) on Jule 14th, 1927. The old colours of the Scottish Regiments were deposited each in a separate bay, and the Rolls of Honour were placed by the Prince in a steel Casket on an altar of marble. The King, the Queen and Princess Mary [only daughter of the King and Queen], then in residence at Holyrood, attended the ceremony.

The Scottish National War Memorial still stands proudly in Edinburgh and can be visited to this day.

Card of the Day: The King at the Cup Final, Wembley

I understand history. I understand Royalty. I even understand the words “cup” and “Wembley.” But, I don’t know a thing about sports, and, frankly, my mind wanders if I try to think about it. So, with that said, here’s King George V doing something with sports at Wembley. Now, I DO know that King George and Queen Mary wanted to give the people the impression that Britain would be able to return to normal after the Great War and that everything was all right in the Empire, so they went to all manner of events to make sure they were seen having a good time doing regular things. This, it seems, was one of them.


The reverse of the card reads (though it’s mostly gibberish to me):

THE KING AT THE CUP FINAL, WEMBLEY


On St. George’s Day, 1927, the King—keenly interested in football under either code—watched the F.A. Cup at Wembley between the Arsenal and Cardiff City. Among the welcoming crowd of 90,000 were 10,000 Welshmen, largely miners, some of whom had walked to London. The teams having been presented: The Arsenal—playing their first Cup Final, and favourites –did most of the attacking: but the one goal of the match was scored by Ferguson for Cardiff, and the youngest among leading clubs secured the trophy from the King’s hands. His Majesty, with Lord Derby on his left, and Mr. Churchill behind, is in the Royal Box, joining in the community singing.

Things I know here: St. George’s Day, King George V, Wembley, Cardiff, Welshmen, miners, London, trophy, Lord Derby, Churchill, Royal. I also know Queen Mary wasn’t there because I’m sure she wouldn’t have known what the hell was going on either. Lest you think me too thick, I am aware that this was some sort of championship match for what we yanks would call soccer, and I’m almost positive that the Arsenal is still doing whatever it does to this day. The rest is up to you.

Now, let’s look at some art and jewelry.

Wembley Stadium, Cup Finals, 1927
Whatever happened that day, happened here, and this is what it looked like from the sky.
The stadium still looks like this--only without all the little gray people.

Card of the Day: The King at the Tate Gallery

I can imagine that Queen Mary was particularly excited about the opening of two new galleries at the Tate Gallery in London. An avid patron of the arts, Mary of Teck showed an interest in a variety of media and time periods. The opening of these new galleries was particularly important after the Great War when evidence that British culture was flourishing was more important than ever.


The twenty-fifth card in the series of Wills’s Cigarette Cards commemorating the Silver Jubilee of King George V and Queen Mary shows the King visiting the newly opened portions of the Tate Gallery.

The reverse of the card reads:

THE KING AT THE TATE GALLERY


The two splendid new galleries—The Sargent and Modern Foreign Art Galleries—which the munificence of Sir Joseph Duveen added to the Tate Gallery, were opened by His Majesty on June 26th, 1926. He is seen walking with the Queen through the extensions, Lord D’Abernon, Chairman of the Board and Trustees, on his left, and Lord Peel, then First Commissioner of Works, immediately behind. The pictures of modern foreign artists were inadequately represented in this country until room was thus found for them, and a gift of £50,000 by Mr. Samuel Courtauld enabled discriminating purchase. The Tate is now the largest gallery in Europe.

Here’s a glimpse at the Tate Gallery as it is today. The original building now houses Tate Britain while the Tate Modern is a different facility. Plans to expand the complex are in the works.

Tate Britain

Card of the Day: The Railway Centenary Exhibition

You are a member of the British Royal Family. We are never tired, and we all love hospitals.

--Queen Mary to her son, the Prince of Wales (King Edward VIII) following the Great War.

Post-World War I, King George V and Queen Mary set about on a decided campaign of trying to bring the empire back to a sense of normalcy. As much as they could, they encouraged the nation to both grieve and repair, and attempted to remind the British people of the myriad accomplishments that wanted celebration.

By this point, of course, the King was exhausted. Physically, he never really recovered from the war, but he carried on—fervently supported by his wife who ensured, as best should could, his continued enthusiasm, if not strength--until 1937. Queen Mary had a strong and understandable dislike for sick people (owing to her unpleasant paralyzed grandmother, The Duchess of Cambridge, as well as her own fears during the illness of her father, the Duke of Teck, while the family lived in exile in Florence when Mary was a teenager). So, I can’t imagine what Mary was feeling as she traveled with her increasingly infirm husband. Queen Mary loved one thing above all else, however—Great Britain. And, so, I’m sure she was willing to make any necessary sacrifice to ensure the comfort of her people.

As part of this campaign, the King and Queen helped to celebrate the one hundredth anniversary of the British railway system. Since their time was limited, they enlisted the Duke and Duchess of York (the future King George VI and Queen Mother) to attend as the ambassadors of the Royal Family. This event is captured in the twenty-fourth in the series of Silver Jubilee cards produced in 1935 by Wills’s Cigarette Company, shortly before the King’s death.

The reverse of the card reads:

THE RAILWAY CENTENARY EXHIBITION


Over the route between Stockton and Darlington on which a century before, the first passenger train its fitful run, there passed on July 2nd, 1925, a procession of engines and rolling stock which summarized a hundred years of railway progress. The Duke and Duchess of York were the chief guests at the centenary, and from a point between the two towns, watched some of the earliest locomotives labour slowly past, drawing wagon-loads of passengers, wearing the dresses of 1825. These old warriors of the day of Stephenson, Hackworth, Trevithick and Watt had a “guard of honor” of some of the finest modern locomotives on the railroads.

The Belle Époque Today: The Finishing Touch, Women’s Accessories, 1830-1940 at The Lady Lever art Gallery, Liverpool

"Nothing is so vulgar as an incongruous glaring coloured glove."

- Etiquette for Ladies, 1843

The Lady Lever Art Gallery

The Lady Lever Art Gallery in Liverpool has just opened an impressive new exhibition which runs through December of 2011. An exciting assortment of women’s accessories from 1830 to 1940, the exhibition demonstrates those items which allowed a lady to elevate her outfit from the pattern book to the ballroom. Hats, gloves, shoes, and fans and other specialty items were some of the few ways in which a woman could confidently express herself. As the roles and lives of women began to change, so did their attire. This unusual exhibition allows us to see the transition of women as told by their wardrobes.

The Lady Lever Art Gallery

The Lady Lever Art Gallery has assembled a gorgeous assortment of accessories ranging from before Victoria was Queen to the first rumblings of the Second World War. Sixty items in all have been assembled, many of which have never been displayed before. Of special note are: a pair of shoes worn by Queen Victoria, jewel-heeled “flapper” shoes from the 1920s, a swan’s feather hat from the Nineteenth Century, and an exquisite painted hand fan with mother of pearl guards and sticks. To learn more about “The Finishing Touch,” visit the Lady Lever Art Gallery Web site, and for a special video about the exhibition, click here.

Card of the Day: A Royal Visit to H.M.S. “Victory”

After the First World War, the damage to Britain was considerable, and over the course of the following several years, King George V and Queen Mary made a point of surveying the state of the Empire. Some of the damage was directly related to the War, some of it was due to neglect of historical properties which had been ignored during more turbulent times.


The twentieth card in the series of commemorative cards produced by Wills’s Cigarette Company in 1935 for the Silver Jubilee of King George V and Queen Mary depicts a visit from the King to Lord Nelson’s famous ship, H.M.S. VICTORY.

The reverse of the card reads:

A ROYAL VISIT TO THE H.M.S. VICTORY


A year or two after the War, it was discovered that Nelson’s famous flagship, the “Victory,” was sinking at her moorings in Portsmouth Harbor, and that the timbers of the hull were in perilous condition. She was accordingly moved permanently into dry dock, and thorough measures were taken to restore her. A careful study of naval records has enabled the “Victory’s” appearance at the time of the Battle of Trafalgar, and the Admiral’s quarters, to be reproduced. On July 26th, 1924, before holding the Naval review at Spithead, the King and the Prince of Wales went over the famous old man-of-war, and inspected the work of reconstruction.

The Victory Today
BBC News