Painting of the Day: A Portrait of Mary Stuart, 1804

Mary Stuart
Denis Brownell Murphy, 1804
The Victoria & Albert Museum

Mary Stuart (1542-87) succeeded to the Scottish throne in 1542. She was only six days old at the time. Mary’s life wasn’t a whole lot of fun after that. She had some family issues, you could say. She had a rocky relationship with her cousin, Queen Elizabeth I, and, also had some troubles with her husband for the one year that she was Queen Consort of France. Battles for the Scottish throne forced Mary flee to England in 1568. She had asked Elizabeth I for sanctuary and Elizabeth said, “Sure, honey. Come on over.” But, you see, Mary had already claimed Elizabeth’s throne as her own, so by the time she asked to “crash on Elizabeth’s couch,” Elizabeth was thinking that perhaps her cousin was a threat. So, by the time Mary arrived in England, she was effectively a prisoner of the English Queen. This ended with Mary being was executed in 1587, having been found guilty of plotting to overthrow Elizabeth.

Good times. 

This attractive enamel miniature depicts Mary Stuart—centuries after her death. It was made during a time in the Nineteenth Century when artists and jewelers were combining their skills and remembering the Seventeenth Century notion that enamel lasted much longer, and without fading, than oil paint. It’s the work of Denis Brownell Murphy who painted a series of images illustrating the lineage of the House of Stuart, beginning with Mary Queen of Scots. Mary is shown wearing a red embroidered dress with a high ruff, a gold cap and a cross at her neck. The frame is papier-mâché with ormolu mounts formed to resemble shells and a crown.

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.

The Home Beautiful: A Papier Mache Cake Basket, 1850

Papier Mache Cake Basket
England, 1850
The Victoria & Albert Museum

As I've stated at length before, I love Victorian Papier Mache and always marvel at the wide range of sturdy objects which were created with the medium. I’ve managed to collect several pieces of Papier Mache over the years. These are hard to come by. Many exceptional pieces exist in the world’s museums. Here’s one example from the V&A. 

This is what’s known as a “cake basket,” an item commonly seen at tea-time. I’d wager this was part of a set which includes baskets for bread, stands for teapots and bottles, and sets of crumb trays with brushes.

This particular item was made by Jennens & Bettridge, a decoratice design firm run by Theodore Hyla Jennens and John Bettridge between 1816 and 1864. The company was celebrated for the range of Papier Mache goods which it produced in its factory at 99 Constitution Hill, Birmingham, West Midlands and sold through their high-tone location at 6 Halkin Street West, Belgrave Square, London.

The company manufactured a range of luxurious products: writing slopes, trays, fans, and larger furniture such as chairs, tables and sofas. As you can see, the bottom of this cake basket is stamped with the firm's name along with the museum number. 

This basket, like most Papier Mache items, was made by pasting layers of paper into a mold of a specific shape. The finished object was then oiled and baked at very high temperatures, then varnished and dried in a stove. The mother-of-pearl inlay was added prior to the overall piece being painted and given its gilt adornment. Finally, the entire piece was given a final coat of varnish, followed by further stove drying and polishing.

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.

Object of the Day: A Victorian Mr. Punch, c. 1890

This puppet recently came from England to live at my house with the other assortment of Punchinellos who share the place with me.  He's quite old.  I'd say he dates between 1890 and 1900.  Still wearing his original costume of velvet, he retains traces of metallic gold-silk adornment and trimmings, and even has a  bit of his original wig.

His head is constructed of papier mache, rather odd for a professional Mr. Punch puppet, yet, he shows all the characteristic signs of having been used in Punch and Judy shows--wear from slapsticks and such.  I do think, even, this is his original paint job.  His little hands and feeties are of carved wood and the sleeve which conceals the Professor's arm is constructed of striped cotton.

I am quite pleased that he's come to live here and like him quite a lot despite the fact that he's something of a mystery.  By that I mean, I'm not sure who made him.  Usually, the puppet-maker would leave a mark inside the puppet, often around the base of his neck.  This one, however has no sign of such a mark or signature.  

My guess, and it's only a guess based on his physical characteristics, is that he's the work of Victorian Punch and Judy man, Albert Smith.  Compare my little fellow to this example of Smith's work on this Punch and this Joey the Clown and see what you think.

Object of the Day, Museum Edition: A Papier-Mâché Folder from The Crystal Palace, 1851

Click image to enlarge.

Souvenir of the Great Exhibition
Jennens and Bettridge, 1851
The Victoria & Albert Museum

A folder like this one, made of papier-mâché, would have been made as a decorative way to contain note or blotting paper. Items such as these folder perfectly lent themselves to being made as souvenirs or commemorative objects which would have been both affordable and useful.

This one dates to 1851 and was made as a souvenir of the Great Exhibition. The front of the notebook is set with a view of the Crystal Palace which has been reverse-painted under glass. The reverse of the painting has been silvered which serves to turn the painting into a mirror and affords a certain sparkle to the Crystal Palace—replicating how the massive glass structure must have really looked when reflected in the sunlight.

The folder itself is crafted of japanned papier-mâché which has been decorated with mother-of-pearl roses—a technique popularized around 1772 when Henry Clay of Birmingham invented a new method of manufacturing japanned items in the Chinoiserie style. Clay’s method involved the pressing of sheets of heat-resisting paper into wooden moulds. The resulting object was smoothed, providing a warp-free surface ideal for japanning—a decorating technique wherein pigment is suspended in a varnish medium in an imitation of oriental lacquer. Inlay of mother-of-pearl had long been the favored adornment for these pieces. By 1825, the firm had patented this inlay technique. And, soon, the Asian-inspired scenes gave way to decidedly Western themes of flowers, castles, landscapes, animals and naturalistic patterns.

This is just one of the many different papier-mâché articles which were offered as souvenirs of the Crystal Palace. It was made by Jennens and Bettridge, who had bought Clay's factory in 1816. The duo also had one of the main displays at the Great Exhibition—showcasing their wares and directing people to their souvenirs. 

The Home Beautiful: A Papier-mache Hand Mirror, 1875

Click on image to see the fairest of them all.

Hand Mirror
England, 1850-1875
The Victoria & Albert Museum

I’ve written many times before how much I love Victorian papier-mache items, especially those which have been inlaid with mother-of-pearl and painted with scenes and designs. This hand mirror from 1850-1875 is an excellent example of that unique art. The mirror was acquired by the V&A in 1875 to add to its “Animal Products” Collection as a means of demonstrating the use of mother-of-pearl as adornment. 

Prince Albert founded this collection in 1853 as part of the South Kensington Museum (now the V&A). His Majesty’s idea was to exhibit a collection of manufactured items which were made from native raw materials. He suggested that these be divided into the categories of animal, vegetable and mineral. The “Animal Products” collection was the only one, however, that was ultimately formed per Prince Albert’s specifications.

Painting of the Day: A Portrait of Mary Stuart, 1804

Mary Stuart
Denis Brownell Murphy, 1804
The Victoria & Albert Museum

Mary Stuart (1542-87) succeeded to the Scottish throne in 1542. She was only six days old at the time. Mary’s life wasn’t a whole lot of fun after that. She had some family issues, you could say. She had a rocky relationship with her cousin, Queen Elizabeth I, and, also had some troubles with her husband for the one year that she was Queen Consort of France. Battles for the Scottish throne forced Mary flee to England in 1568. She had asked Elizabeth I for sanctuary and Elizabeth said, “Sure, honey. Come on over.” But, you see, Mary had already claimed Elizabeth’s throne as her own, so by the time she asked to “crash on Elizabeth’s couch,” Elizabeth was thinking that perhaps her cousin was a threat. So, by the time Mary arrived in England, she was effectively a prisoner of the English Queen. This ended with Mary being was executed in 1587, having been found guilty of plotting to overthrow Elizabeth.

Good times. 

This attractive enamel miniature depicts Mary Stuart—centuries after her death. It was made during a time in the Nineteenth Century when artists and jewelers were combining their skills and remembering the Seventeenth Century notion that enamel lasted much longer, and without fading, than oil paint. It’s the work of Denis Brownell Murphy who painted a series of images illustrating the lineage of the House of Stuart, beginning with Mary Queen of Scots. Mary is shown wearing a red embroidered dress with a high ruff, a gold cap and a cross at her neck. The frame is papier-mâché with ormolu mounts formed to resemble shells and a crown.

The Home Beautiful: A Papier-Mâché Folder from The Crystal Palace, 1851

Click image to enlarge.

Souvenir of the Great Exhibition
Jennens and Bettridge, 1851
The Victoria & Albert Museum

A folder like this one, made of papier-mâché, would have been made as a decorative way to contain note or blotting paper. Items such as these folder perfectly lent themselves to being made as souvenirs or commemorative objects which would have been both affordable and useful.

This one dates to 1851 and was made as a souvenir of the Great Exhibition. The front of the notebook is set with a view of the Crystal Palace which has been reverse-painted under glass. The reverse of the painting has been silvered which serves to turn the painting into a mirror and affords a certain sparkle to the Crystal Palace—replicating how the massive glass structure must have really looked when reflected in the sunlight.

The folder itself is crafted of japanned papier-mâché which has been decorated with mother-of-pearl roses—a technique popularized around 1772 when Henry Clay of Birmingham invented a new method of manufacturing japanned items in the Chinoiserie style. Clay’s method involved the pressing of sheets of heat-resisting paper into wooden moulds. The resulting object was smoothed, providing a warp-free surface ideal for japanning—a decorating technique wherein pigment is suspended in a varnish medium in an imitation of oriental lacquer. Inlay of mother-of-pearl had long been the favored adornment for these pieces. By 1825, the firm had patented this inlay technique. And, soon, the Asian-inspired scenes gave way to decidedly Western themes of flowers, castles, landscapes, animals and naturalistic patterns.

This is just one of the many different papier-mâché articles which were offered as souvenirs of the Crystal Palace. It was made by Jennens and Bettridge, who had bought Clay's factory in 1816. The duo also had one of the main displays at the Great Exhibition—showcasing their wares and directing people to their souvenirs. 

Object of the Day: An Antique Mr. Punch

I don’t know too much about the provenance of this puppet. I purchased it recently. He’s quite handsome, yes? With his humpback and big red nose, he’s all Mr. Punch. I’ll let you figure out how and why he’s sitting in a large crystal punch bowl in my dining room.

His head is made of papier mache and the eye sockets are set with a glossy varnish which makes his eyes look like they’re glass. In fact, at first, I thought they were glass. Since his head is made of papier mache and since he is smaller than “regulation” Punch size, clearly, this puppet was not meant to be used in a professional show. There’s no way his head would have endured the requisite smacking that it would have taken. So, I’d say this was made for a child. He’s in very good shape, indicating that he was either very well loved and respected or not at all liked and, therefore ignored. There are no chips in his fragile head, and, the paint is still as bright as the day it was created.

His wee hands are made of leather and, around them, at the wrists, are the remains of buff-colored silk ruffs. Similar remains hang around his neck. His cap and body are constructed of blue silk adorned with red polka dots. This is the original silk. It is very fragile and is falling apart in places, but, oddly enough, it’s still brilliantly-colored. His hat is decorated with a row of milky-blue glass beads. All of them are in excellent condition. 

Now, this is just a guess, but I suspect he was made at home. This is not a professionally manufactured puppet. He seems to have been lovingly assembled and he’s so unusual looking that I’m fairly certain he was a one-off. If he wasn’t created in someone’s home, he was made by an independent toy-maker. I’d wager that he was quite expensive to create. His costume of silk and glass beads is not the typical corduroy, calico or felt of a normal puppet. Furthermore, there’s just something special about him. He’s not a typical toy. He was made in the same spirit as my professional Mr. Punch, and, I think that’s why I like him so much. Yes, he’s a little strange looking, but that make shim wonderful. I’d say he dates to the late Nineteenth Century.

And, so, he’s come all the way from England to Texas to join all the other old stuff I’ve had shipped from England to Texas. Wherever he’s from, he’s very welcome here and I can assure him that, for as long as I’m around, he’ll have a very cozy life—looking beautifully strange, and, not falling apart any further.

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.

Object of the Day, Museum Edition: The Landi Mirror Frame, 1475-1500

The Victoria & Albert Museum

This is truly exceptional. After over five hundred years, her face is still as dewy and lovely as the day it was painted. I rather like the way the V&A has described this item, so I will quote directly, “This idealized face once presided over a small, round mirror.” Isn’t that a charming thought?

You see, in the Fifteenth and Sixteenth Centuries especially in Italy and France, beauty was thought to be a virtue, and it was believed that gazing upon a beautiful face would inspire virtue in the viewer. So, having an attractive face above your mirror might just—by way of your eyes—make you equally attractive.

I suppose now I should paste some pictures from White Collar or Downton Abbey above my bathroom mirror. Maybe it’ll work.

This mirror frame was made in Siena, Italy circa 1475-1500. The relief of the woman’s face is painted papier mache (cartapesta in Italian)! How has it managed to survive?! The frame was supported by two putti with outstretched arms. The woman depicted wears a jewel in her elaborately dressed hair, a gold dress flows from her bodice and she is adorned with a coral necklace and pendant.

It is thought that this came from the workshop of sculptor Neroccio de' Landi (born 1447 - died 1500) since the figure very closely resembles the Mary Magdalene in Neroccio's painting of a Madonna and Child from the Metropolitan Museum of Art in Washington. Furthermore she resembles the “Portrait of a Lady” by Neroccio in the National Gallery of Art in Washington. Similarities in facial structure, coloring and even pose suggest that the same model was used for all three.

Object of the Day: A Papier Mache Desk Folder, 1851

Souvenir Desk Folder
Papier Mache, Mother-of-Pearl, Glass, Paint, Silvering
Souvenir of the Great Exhibition of 1851
The Victoria & Albert Museum

Well, here we are. We’ve gotten a slow start today. This morning, Bertie went to see Dr. Mapes to get his cast off. Now, we’ve got to keep him still and from chewing on his stitches. He’s bored and wants to scoot around. It’s rather like having a baby, I suppose.

But, while he’s sleeping, let’s look at some stuff. Here’s some papier mache stuff fomr the V&A. As you all know, I love Victorian Papier Mache objects—the painted decoration, the mother-of-pearl inlay, the deep colors. This one is especially lovely. From the Victoria & Albert Museum, we have here a souvenir desk folder from the 1851 Great Exhibition which was largely organized by Prince Albert.

Decorative folders such as this was were designed to hold note or blotting paper. This was one of many elegant souvenir items for sale at the Great Exhibition. Not many of these commemorative items remain, so I’m thrilled to see this one. Reverse painted under glass, wee see a front view of the Crystal Palace reversewhich has been coated from behind with a silvered layer in order to simulate the sparkle of the home of the Great Exhibition.

Such articles of japanned papier-maché decorated with mother-of-pearl roses were quite fashionable during this era. The technique was developed in 1772 by Henry Clay of Birmingham who devised this method of manufacture which involved the pressing of sheets of heat-resisting paper into wooden moulds. The rough objects were removed, baked and smoothed. The result was a warp-free surface iwhich was perfect for varnishing, painting and inlay.

Object of the Day, Museum Edition: A Papier Mache Cake Basket, 1850

Papier Mache Cake Basket
England, 1850
The Victoria & Albert Museum

I love Victorian Papier Mache and always marvel at the wide range of sturdy objects which were created with the medium. I’ve managed to collect several pieces of Papier Mache over the years. These are hard to come by. Many exceptional pieces exist in the world’s museums. Here’s one example from the V&A.
This is what’s known as a “cake basket,” an item commonly seen at tea-time. I’d wager this was part of a set which includes baskets for bread, stands for teapots and bottles, and sets of crumb trays with brushes.

This particular item was made by Jennens & Bettridge, a decoratice design firm run by Theodore Hyla Jennens and John Bettridge between 1816 and 1864. The company was celebrated for the range of Papier Mache goods which it produced in its factory at 99 Constitution Hill, Birmingham, West Midlands and sold through their high-tone location at 6 Halkin Street West, Belgrave Square, London.

The company manufactured a range of luxurious products: writing slopes, trays, fans, and larger furniture such as chairs, tables and sofas. As you can see, the bottom of this cake basket is stamped with the firm's name along with the museum number. My only complaint about the V&A is that they don’t seem to mind writing their number on every item. I find this strange. There’s got to be a better way to catalog items than writing on them. But, oh well, at least they’re protected and forever preserved.

This basket, like most Papier Mache items, was made by pasting layers of paper into a mold of a specific shape. The finished object was then oiled and baked at very high temperatures, then varnished and dried in a stove. The mother-of-pearl inlay was added prior to the overall piece being painted and given its gilt adornment. Finally, the entire piece was given a final coat of varnish, followed by further stove drying and polishing.

Object of the Day: Museum Edition: An Antique Papier Mache Spectacle Case, 1850

Spectacle Case
Papier Mache and Mother-of-Pearl
1850-1875
The Victoria & Albert Museum

Last September when I posted an article about the Victorian Papier Mache spectacle case that is part of my collection of antique Papier Mache items, I was amused to learn that one of Stalking the Belle Epoque’s friends has an identical specimen in his collection. With its mother-of-pearl inlay set against ebonized Papier Mache, it’s one of several kinds of similar cases which were produced from 1850-1875.


I’ve recently learned that there’s an almost identical spectacle case in the collection of the Victoria & Albert Museum. The V&A acquired their case in 1875 as part of the “Animal Products” collection which was started at the suggestion of Prince Albert who enjoyed making things out of animals.

As I pointed out yesterday, it’s always fun to see examples of items from your own collections in museums. It doesn’t change the way you feel about your own objects, but makes you realize that there are other people who also enjoy them.

My Spectacle Case

Object of the Day: An Antique Papier Mache Crumb Catcher

Often called “Silent Butlers,” these papier mache objects were usually accompanied by a decorative brush which was used to sweep crumbs from a tablecloth and into this shallow receptacle. This crumb catcher dates to the middle of the Nineteenth Century and is most likely English in origin. What’s unusual about this particular “Silent Butler” is its shape. Often, these items took a shell-shape with a scalloped bottom. This one features a stylized asian shape which fits nicely with the scene that was painted on the front.

The painted scene depicts Asian villagers gathering food. Their clothes have been rendered in gold paint. Their faces are inset Mother-of-Pearl. Large rusty-red flowers surround the entire scene and offer a distinctly Chinoiserie touch to the piece.

For an object whose main purpose was strictly utilitarian, the fact that this item remains at all is something of a triumph. Not only has this delicate papier mache crumb catcher survived, it has done so in remarkably good condition.

Object of the Day: A Victorian Papier Mache Occasional Table

In case it hasn’t been evident over the last ten weeks, I have a particular fondness for Victorian papier mache objects. I think it’s the combination of durability and fragility inherent to the medium which makes me feel so warmly toward it. I’m also quite fond of the coloring and decoration of these objects—so typically Victorian.


One of my favorite little objects is this dear little papier mache table. The top is an ebonized papier mache tray, inlaid with mother of pearl within a hand-painted crest of roses and wildflowers. The whole of the top is painted with a decorative gold border. The base of the table is a gently-turned pedestal supported by three fluted and gilt curved legs.

In much the fashion of the papier mache tilt-top tea tables, small tables such as this were used in drawing rooms and parlors and offered a convenient place to rest of cup of tea and a nice dish of little sandwiches. Come to think of it, perhaps it’s my deep love of tea and little sandwiches that guides me toward these objects. Nevertheless, no cup and saucer will touch this table now. After over a century of existence, it’s earned the right to just stand there and look pretty.

Object of the Day: A Victorian Papier Mache Spectacle Case

Spectacles were expensive and not-so-easy to come by before the days when they could be purchased and crafted in an hour. When something means the difference between being able to see and not being able to see, you tend to want to treat it with care and respect. Spectacle cases such as this papier mache case would have been used in many a Victorian home.


As I’ve mentioned before, The Victorians liked to make the things they used everyday look as pleasing as possible. Just because an object was utilitarian didn’t mean it couldn’t be attractive. This case has been inlaid with mother-of-pearl in a star and diamond pattern. The pearl on this piece is particularly shiny. The inside of the case is lined in black velvet and it clasps shut with a little silver button.

I’m always glad to see these types of objects. The idea that something was special because it was useful just makes sense to me. I find it refreshing to be reminded that everything has value.

Object of the Day: Papier Mache and Crystal Desk Set

As we’ve already discovered, English Victorian craftsmen were able to use papier mache for a variety of applications. This durable, attractive material was well-suited for use in every room in the home. This elegant desk set is further evidence of that.

Formed from thick layers of papier mache, this scalloped desk set holds an exquisite heavy crystal inkwell which nestles into a perfectly fitted slot. An indentation has been included to hold the pen. The piece is decorated with inlaid mother-of-pearl which flanks the inkwell and forms a border around the entire piece.

Most likely this was one part of an entire suite of desk furnishings which would have included a slotted letter holder, blotter, and paper knife. The surviving piece is in excellent condition, and, in fact, shows no sign of being used despite its one hundred and fifty years of existence. Now, it’s earned the right to be purely ornamental. However, seeing it does make me long for the days when writing a letter was an event and not simply a click of the mouse.

Object of the Day: Antique Papier Mache Writing Slope

This was the laptop of its day. Most likely, if you’re reading this blog, you remember the days before email and text messages. I think today’s teens can’t fathom the idea of having to sit down and write a letter. Most of the them can’t even read cursive--from what I understand. Letter writing is a lost art, and one that people took very seriously.

Writing slopes such as this one were an important part of life. Easily portable, the writing slope opened to reveal a surface on which you could write a letter. Below that surface is a compartment in which you can store paper, envelopes and other correspondence. A series of compartments above the sloped writing surface housed the pen, nibs and ink wells. The writing slope could be taken on a journey or used in the home.

This particular writing slope which dates to about 1850 is constructed from papier mache and inlaid with mother-of-pearl. The top, sides and inside are further decorated with hand-painted geometric designs and flowers in bold colors and gold. To me, this writing slope seems almost like an altar to the art of communication. I often wonder about the words and emotions it once housed. What a pity it can’t tell its story.