Tuesday, March 1, 2011

Reminders: White Collar and Christopher Miller’s Art Show

As a follow-up to other recent posts from Stalking the Belle Époque, I wanted to take a moment to offer two reminders about upcoming events.


Tonight—Tuesday, March 1, 2011—is the last episode before next week's season finale of the USA Network’s brilliant White Collar starring the charming duo of Matt Bomer and Tim DeKay. White Collar season finales are always quite exciting and this one promises to be no less exceptional. With only two episodes to go, make sure to tune in to USA at 10/9 Central tonight and for the finale on March 8, 2011.

Also, last week, I cast the spotlight on the artwork of Christopher J. Miller. If you’re in the Dallas area, Mr. Miller’s current exhibition of his paintings—The Silence Between the Sounds—opens tomorrow night at the WaterTower Theatre in Addison. The exhibit runs through May 1. For more information, visit Mr. Miller’s Web site.










Object of the Day: A Late Edwardian Stickpin

King Edward VII drastically changed men’s fashions during his reign. From the starchy formality of his father, Edward developed a more casual and sporty style of tweed suits and lighter colors. During Edward VII’s time on the throne, jewelry designs also changed. We see that the more florid compositions of the Victorian era give way to more geometric patterns which heralded the start of the Art Deco period.


This late Edwardian stickpin is the perfect example of that change of styles. Here, we see a design which relies on geometric shapes which put us in mind of the emerging Art Deco influence. However, traces of Victorian workmanship are still evident with the delicate filigree and the graceful ionic volutes at the top of the crest. One thing that’s always a constant is the diamond. A sparkling clear diamond embellishes the center of the pin, offering a sparkle which illuminates the perfect symmetry of the gold work.


Monday, February 28, 2011

Sculpture of the Day: “The Family Dog” Centerpiece, 1842

Centerpiece
With Figures of Eos, Cairnach, Islay
and Waldmann
R. & S. Garrard & Co., Manufacturer
Prince Albert, Designer
Edmund Cotterill, Modeler
Silver Gilt, 1842-43
The Royal Collection
Prince Albert and Queen Victoria, as we know, loved their dogs. Here at Stalking the Belle Époque, we’ve examined several of the paintings and sculptures that the Queen and her consort had commissioned of the Royal family’s beloved pets. This silver gilt centerpiece by Garrards takes the cake, or at least holds it.


In 1842, after having a silver figure of his favorite greyhound Eos created for him by the Royal Jewelers at R. & S. Garrard & Co., Prince Albert commissioned the silversmiths to create a massive centerpiece which featured figures of four of his and Victoria’s cherished dogs. Since Prince Albert rather enjoyed artistic pursuits and had already tried his hand at jewelry design, he collaborated with the sculptors and designers at Garrards, helping them come up with the final blueprint for this magnificent work of art. According to the Prince’s specifications, the centerpiece was to be a tazza in the style of the Italian Renaissance. Along the base, figures of four dogs were to be arranged.

The first was to be Eos, Albert’s greyhound. The next would be Islay, Victoria’s terrier whom she described as, “…a darling little fellow, yellow brindled, rough long hair, very short legs and a large, long, intelligent good face.” Third would be Cairnach, another terrier. The Queen said this of Cairnach, “‘he had such dear engaging ways.” Finally, a sculpture of a dachshund named Waldmann. The Queen, throughout her life owned several dachshunds. All of them were called Waldmann.

The finished centerpiece is quite large, standing 78 centimeters (30 inches) tall. It was displayed at the 1849 Exhibition of British Manufactures to mixed reviews. While some thought the influence of Italian Renaissance design introduced by Prince Albert made the whole piece look a bit too, “French” (which doesn’t make much sense, but there you are), overall, people applauded the piece for its artistry if not for the fact that it’s just so darn adorable.

Person of the Week: Dame Maggie Smith

As the winner of five BAFTA Awards, two Academy Awards, two Golden Globes, two Emmy Awards, two Laurence Olivier Awards, two SAG Awards, and a Tony Award, Dame Maggie Smith has shown the world that she’s in possession of limitless talent. She has shown that talent in films such as Othello (1965), The Prime of Miss Jean Brodie (1967), California Suite (1978), A Room with a View (1985), Tea with Mussolini (1999) Gosford Park (2001) and the Harry Potter films. While in recent years, Dame Maggie Smith has made a career out of playing what she calls her “grotesque parts,” those in which she portrays nasty dowagers and snarling widows, she established herself with more sympathetic roles during her very successful theatrical origins.

In the 1950’s, her acting career began at the Oxford playhouse. By the 1960’s, Maggie Smith was a fixture of the Royal National Theater where she received rave notices for her portrayal of Desdemona in Othello opposite Sir Laurence Olivier. In 1965, Smith recreated the role on film, earning her first Academy Award nomination. Her first Oscar win came in 1969 for her turn in the title role in The Prime of Miss Jean Brodie in which she portrayed a headstrong Scottish schoolteacher. In 1978, she would win another Oscar for her a comedic role in California Suite. From that point on, Smith was regarded as one of Britain’s finest actresses and one of the cinema’s most sought-after performers. For her influence on the British theater, Smith was awarded the Order of the British Empire in 1970, promoted to Dame of the British Empire in 1990.

A breast cancer survivor, Smith continues to be active in television, theater and film. She’s signed on for a second season of ITV’s successful Downton Abbey and has a variety of other projects on the horizon. For her contributions to entertainment and the wit and grace with which she carries herself, Dame Maggie Smith is our “Person of the Week.”

Enjoy this clip of Dame Maggie with Bette Davis in 1978's Death on the Nile.



Treat of the Week: A Pear and Dried Cherry Crisp

A delightful variation on the classic apple crisp, my mother has created her own version of the perennial favorite with this flavorful and juicy pear crisp. Fresh pears have been sliced and sweetened and mixed with dried cherries, sugar, cinnamon and cardamom beneath a fantastic, buttery crumb topping which absorbs the natural juices of the fruit as it cooks.


The magic of this dish is the addition of cardamom which offers its signature spice and delicious aroma to each bite. It’s a wonderfully fresh, subtly sweet, exceptionally smooth and visually stunning dessert which is excellent served warm from the oven or even chilled. Topped with fresh, stiffly-whipped cream, this hearty dessert is the perfect end to a late-Winter meal.

You might consider your own version of a crisp by introducing the fruits and flavors that you favor. This pear and cherry with cardamom combination is amazing, but you might also consider peaches and blueberries. Your imagination and a quick online search will come up with many possibilities.

Painting of the Day: The King and Queen of Bohemia Dining in Public, 1634

The King and Queen of Bohemia Dining in Public
Bartholomeus van Bassen, 1634
Acquired in 1729 by George II and his wife, Queen Caroline
The Royal Collection
This fanciful painting is purely from the imagination of Belgian-born painter Bartholomeus van Bassen. Van Bassen moved to the Netherlands as a young man and formed close associations with Dutch painters who helped him master the art of perspective. Van Bassen excelled at painting opulent interiors. These scenes were often based on real places, but more of then than not, depicted scenes of imaginary grandeur. He also delighted in showing notable contemporary figures in domestic situations, such as eating.


Here, we see the King and Queen of Bohemia dining with their young son in an extravagant, palatial dining hall. The room never existed. For that matter, this scene is pure fabrication. It was painted two years after the death of the King of Bohemia. Frederick V became King of Bohemia upon his mariage to Elizabeth, the daughter of Britain’s King James I. He was, however, only the king for a short period of time—the winter of 1619, to be exact (giving him the title of “The Winter King”). Frederick was quckly and hostily overthrown by Emperor Ferdinand II and he and his queen were sent into exile in the Netherlands. There, they met van Bassen. The king died in 1632, devastating King Charles I who had been very fond of Frederick.

Why van Bassen chose to paint the late King of Bohemia in this domestic, yet dramatic, scene is unknown. It’s one of two such paintings in existence. The other shows Charles I in a similar composition.

Punch's Cousin, Chapter 182

Iolanthe Evangeline grinned at Ulrika Rittenhouse as she sat down across the flame-haired beauty.


“How good of you to return.” Iolanthe chuckled. “It seems you’ve come to your senses.”

“I wouldn’t say that, really.” Ulrika sighed. “However, you’ve given me little choice.”

“Did you bring what you stole from me?” Iolanthe asked curtly.

“I’ve brought what you deserve.” Ulrika answered plainly, producing a blue velvet pouch from her handbag. She handed it to Iolanthe.

Iolanthe unraveled the cobalt-blue twine which fasted the pouch shut and turned the pouch over into her hand. Into her palm, a sparkling blue stone rolled out. She held the stone between her fingers and studied it in the light.

Ulrika took a deep breath and tried to look nonchalant. She felt beads of sweat rise under her arms and along her hairline.

“I asked you for the diamond,” Iolanthe said calmly.

“And, now you have it. Now, please tell me where Arthur is.”

“I asked you for the diamond,” Iolanthe repeated, her voice still devoid of emotion.

“It’s in your hand.” Ulrika whispered.

“Surely you don’t think I’m an idiot.” Iolanthe answered firmly, putting the sparkling stone on the table.

“Of course not.” Ulrika replied.

“Then, what is this?” Iolanthe growled flicking the stone toward Iolanthe.

“It’s what you asked for.” Ulrika responded, her eyes widening.

“This? This faceted hunk of glass?” Iolanthe barked. “Oh, it’s a clever copy. I’ll give you that. But, did you really think that you could trick me with this cheap imitation? You think you’re smarter than ol’ Iolanthe. But, I don’t want you thinkin’’ that you are. Listen to me, you ginger cow, you’ll never fool me.”

“I don’t know what you mean,” Ulrika croaked.

“Don’t you?” Iolanthe rose, slamming her hands on the table which separated them.

“Iolanthe…” Ulrika began.

“No!” Iolanthe spat. “No more discussion! Clearly you don’t want your man back!”

“I’m sorry, Iolanthe.” Ulrika stammered.

“No, no, Girl, ‘sorry’ isn’t good enough.” Iolanthe shouted. “How stupid are you?”

“I’m not…” Ulrika argued.

“I think you are.” Iolanthe bellowed. “You’re a stupid, stupid girl! You’ve made a huge error here.”

Ulrika stood up and backed toward the door.

“But, I’ve made an error, too.” Iolanthe said softly—an eerie kind of quiet which frightened Ulrika more than all of Iolanthe’s shouting.

“You?” Ulrika rasped.

“Oh, yes, I have mistakenly thought that I needed you to return the diamond to me. That was my error. I don’t need you. I can get it without you. You…you are useless to me.” Iolanthe grinned. “But, you’re not entirely without use. Perhaps you’d be better utilized in other ways. Perhaps, my dear girl, perhaps you’ll be reunited with your man sooner than you thought…”

Meanwhile, at their house on Royal Street, Mr. Punch sat on the floor of Julian’s room playing with his dog and his puppet. As he did, he chattered to himself.

Robert opened the door and paused in the door frame for a moment. Punch hadn’t heard Robert enter and continued with his chatter.

“See, chums, I got a key inside me,” Punch said. “Wish I could play like you do. You—Puppet—with your empty head, and you, Toby, with your innocent dog soul. You got freedom. Me master and me, we ain’t got that freedom. Keys are ‘sposed to open doors and set things free, but this one will only weigh us down more. What do I do?”

“First thing you do is get back in bed, Mr. Punch.” Robert said gently from the door.

Mr. Punch grunted. “Here, when’d you come in?”

“Not long ago.” Robert smiled.

Toby trotted up to Robert, wagging his tail and muttering ins a series of barks and happy growls. The dog had picked up Mr. Punch’s habit of chattering.

Robert swiftly bent over and picked up the gleeful terrier who wriggled with delight in Robert’s arms. “Now, young Master Toby, don’t you think it’s time for you and Mr. Punch to take a wee nap?”

“Been doin’ nothin’ but takin’ naps.” Mr. Punch sighed.

“And, don’t you feel better for it?” Robert smiled.

“Dunno.” Mr. Punch frowned. “Maybe.”

“You do.” Robert grinned.

“Like I said, maybe.” Mr. Punch chuckled.

“My dear Punch,” Robert began. “You may be my ‘chum,’ but you’re also my patient. And, as your doctor, I insist that you get back in bed.”

“Fine.” Punch mumbled. “But, I ain’t gonna sleep.”

“We’ll take it one step at a time.” Robert winked.

Mr. Punch stood up and got back in bed.

Robert placed Toby, and then the puppet, in bed with Mr. Punch.

“I ain’t gonna sleep though.” Punch muttered.

“Why not?

“Too much on me mind—me minds.”

“You’re thinking about the ‘key’ that Naasir left behind?” Robert asked.

“Yes.” Mr. Punch nodded. “But, I’m also thinkin’ ‘bout what you and Adrienne said to me. Maybe it’s time to let me master open that door. But, in order to do it, I gotta go back in there with him.”

“Are you ready for it?” Robert asked.

“No.” Mr. Punch sighed. “But, are we ever really ready for things what we know will be difficult?”

Robert shook his head. “I’ll stay with you.”

“Thanks, Chum.” Mr. Punch said.

“Now, dear Punch, just close your eyes.”

“I will.” Mr. Punch whispered. “And, you’ll stay here the whole time?”

“I’ll never leave, Punch. Never.”



Did you miss Chapters 1-181? If so, you can read them here.