Monday, September 26, 2011

Mastery of Design: A Silver and Gemstone Buckle and Belt Tag, 1905

Silver and Gemstone Buckle
and Belt Tag, 1905
This and all images courtesy of:
The Victoria & Albert Museum
This silver buckle and belt tag are decorated with enamel and set with moonstones, amethysts and chalcedony. The silver is adorned with cast roundels of stags and birds.


Henry Wilson, an architect, sculptor, metalworker and jeweler, is the artistic genius behind this magnificent, yet practical, work of art. Wilson was considered one of the most accomplished of all Arts and Crafts jewelers. He was so well-respected, a fellow artist-jeweler once wrote to him: “I simply can't understand how you can do such wonderful work. Apart altogether from the beauty of the designs and colour, the making of the things beats everything.”

Wilson’s great influence in the Arts and Crafts movement was his championing of the showcasing of the simple polished stone. This, he felt preserved the stone’s, as he put it, “mysterious magical quality.”





Treat of the Week: A Marvelous Golden Trifle

This week’s treat is a real show-stopper. My mother has created gorgeous individual trifles of magnificent flavor, color and texture. A base of lemon pound cake supports this rich, creamy, but light, confection. The flavor of the lemon pound cake is accentuated by lime curd and heightened by a cognac-infused Crème Anglaise and fresh whipped cream mixed with Limoncello.


Raspberries, blueberries, golden kiwi, pineapple and banana add a plethora of different flavors and textures which compliment the flavors of the creamier elements and the cake. The whole of the dessert is made all the more delectable by a berry sauce of strawberries, blueberries, raspberries and black raspberry brandy.

Words don’t do it justice. And, frankly, the photos don’t either. But, look and enjoy!

 




Person of the Week: Michael E. Knight

For the first time in forty-one years, our friends in Pine Valley will not be coming into our homes since All My Children aired its final broadcast television episode last Friday. But, we can still appreciate the many talented people who tirelessly brought the show to us through the best and worst of circumstances.

Of the exceptional cast, one of the first outstanding names which comes to mind is Michael E. Knight who is best known for playing “Tad Martin” from 1982–1986 and then from 1988–1990, and again from 1992 to 2011. Devoted fans of the show also know that Knight also played the role of Tad’s look-a-like, Ted Orsini from 1993–1994. That was rather odd, but somehow, Knight managed to pull it off with charm and cleverness.

During Knight’s brief absences from All My Children, he pursued other projects which would give him an opportunity to expand his experience and showcase his talent. He starred in the 1987 feature film Date with an Angel, and made numerous primetime television appearances which allowed him to spotlight both his dramatic and tremendous comedic abilities. In that spirit, Knight starred in the off-Broadway productions of Wrong Turn at Lungfish and Cakewalk with Linda Lavin.

Still, Pine Valley was always in Mr. Knight’s blood and he returned to his daytime home to the relief of his many fans who long appreciated his portrayal of “Tad.” The character developed from the rogue-ish “Tad the Cad” to being, in many ways, the show’s father figure. It was only fitting, then, that Knight was given the honor of delivering the final toast of the show as his character addressed a gathering of Pine Valley’s elite, reminding them of the importance of family and friends and reminding the audience of Agnes Nixon’s vision for the show.

This talented actor was honored with three Daytime Emmy Awards and, even more impressive, the unceasing loyalty of his fans.

Michael Fairman recently published an interesting interview with the intelligent Mr. Knight who addresses the show’s past and future and adds his thoughts about the cancellation of All My Children.

Painting of the Day: “Comical Dogs” by Edwin Landseer, 1836

Comical Dogs
Sir Edwin Landseer, 1836
The Victoria & Albert Museum
Known for his depictions of animals, especially dogs, Sir Edwin Landseer was Queen Victoria’s first choice to paint official portraits of her many beloved pets. Landseer also enjoyed painting dogs in allegorical and even humorous circumstances. Take this painting entitled “Comical Dogs” for example. Painted in oil on a wooden panel, the painting shows a scene of two dogs, one wearing a white bonnet who appears to be smoking a pipe as he sits back on his hind legs with both front paws extended, while the other dog wears a woman’s Scottish tam on his head. The wire-haired terrier in the Scottish bonnet has in his possession a ram's horn snuff container.

Terriers were a favorite subject of Landseer’s. One critic observed that Landseer, “gives them all the intelligence of the canine nature but never plays with the falsehood of a fanciful or humanised expression.”

Punch’s Cousin, Chapter 351

Charles quivered. His back was drenched with sweat from the fire which roared behind him, yet his face and neck stung with the chill of the damp winter wind which swept across the Place Congo from the river. He wasn’t sure exactly where he was nor how he had gotten there. His wrists ached and itched and, soon, he became aware that someone had wrapped them in coarse cloth. He struggled to move, but found he could not. Straining his eyes, he tried to examine his situation. Aware that he was lying on his side, he peered down and saw that his hands had been bound in front of him. There, indeed, were the rough restraints that he’d felt. They were red. Or were they? No. That was his blood, he was sure of it.


Rolling his eyes upward, he saw, at an angle, the silhouette of Barbara Allen slumped at his head by what he quickly realized was a bright bonfire.

“Barbara,” Charles rasped.

“No. No talking now, Arthur.” Barbara hissed.

“I’m not Arthur.” Charles whispered. “It is I, Charles.”

“No, Arthur. I’ll have none of your trickery now. My mother will be down thusly and if she catches me with you, she’ll be quite livid. You know how she favors you. Now, be a good boy and go back to your duties.”

“Barbara,” Charles growled. “Listen to me.”

“You’re impertinent.” Barbara babbled. “But, you know I like it. Still, Father will be back from London soon and will require you.”

“Barbara, your father is dead. Your mother is dead.” Charles coughed, trying not to be overheard or conspicuous as he became aware of the many pairs of eyes and ears—mean, curious and greedy--which were nearby.

“Silly,” Barbara rambled. “You shouldn’t say such things. You know quite well that Father went to London to see Lord Fallbridge’s town house. Wasn’t Mother furious? She never approved of Julian—oh, pardon me, of Lord Fallbridge moving to the city. Still, he and Father have always gotten on so well. Why he’d want to go all the way to London I’ll never understand. Why would he wish to work—and as a jeweler? Now, see what you’ve done? You’ve gotten me to chatter. You always do that. I think you like to make me talk, Arthur.”

“Dear God, she’s lost.” Charles moaned.

“Keep your tongue still,” A man’s voice—thickly accented—whispered near Charles’ feet. “The englishwoman’s mad. You’ll not save her now, Carlo.”

“Giovanni?” Charles wondered.

“Yes, yes.” Giovanni growled at his brother. “Now, hold your talk. We must do this properly.”

“What this about?” Charles whispered nervously. “How have I come to be here?”

“You must be quiet.” A woman cooed. Charles recognized the voice as that of Ulrika Rittenhouse. “You’ll only make matters worse for all of us.”

“Miss Rittenhouse? What of Barbara?” Charles gasped.

“You lie here in the mud, your wrists cut, in front of a roaring blaze and surrounded by writhing lunatics and you wonder about that worthless girl?” Ulrika asked, leaning forward so that Charles could see her. It was then that he realized that she, too, was bound. “When it was Barbara who brought us to this point?”

“We are all complicit in this.” Charles groaned.

“Some of us more than others.” Ulrika scowled. “My only mistake was that Marie deduced that I helped that African woman escape with the Duke. Still, Iolanthe will get the worst of it. As for your Barbara, she’s as good as dead. And, that, after all, is all I wanted in the first place. So, there’s that comfort. And, besides, this is all too delicious. My only regret is that the mad Duke can’t watch his sister’s suffering.” Her eyes glinted brighter than the flames of the fire. “Or, better still, her infant son!”

“You are evil.” Charles croaked.

“And, you, servant, are a fool.” Ulrika laughed.

Meanwhile, at the cream-colored mansion on Royal Street, Adrienne, Cecil, Marjani and Robert all stood watch over Julian who remained unconscious, but, at least, had ceased his gasping and sputtering.

So enrapt were they that they didn’t notice that Agnes Rittenhouse had walked past the parlor door and crept up the elegant staircase to the floor above.

Agnes, accustomed to the scents of children, found the nursery with no problem.

“Hideous,” Agnes sniffed as she peered into the room. “To let that girl sleep in here with this two fine, plump little boys.”

For a moment, she considered kicking Columbia, Marjani’s granddaughter, who slept peacefully on her little bed by the fire. However, she knew she had no time for such delights and, instead, hurried toward the two babies who slumbered so sweetly at the other end of the room.

“They’re both quite charming,” Agnes grinned as she reached forward. “How I do love babies.”



Did you miss Chapters 1-350? If so, you can read them here.

Card of the Day: St. George’s Spurs and the Bracelets

The thirtieth card of the 1935 Silver Jubilee series by the Churchman Cigarette Company depicts two important parts of the coronation regalia—St. George’s Spurs and the Armills (or bracelets).


The Spurs of St. George serve as emblems of knighthood and chivalry. These golden spurs were made for the 1661 coronation of King Charles II as ordered by Sir Robert Dyner. It is believed that they were modeled after a pair of pre-Thirteenth century spurs. The fabric straps are fashioned of crimson velvet which has been embroidered in gold.

Initially, the spurs were buckled to the feet of the Sovereign during the coronation ceremony, but this proved to be cumbersome. Most recently, they’ve only been touched to the Sovereign's heels.

As for the bracelets, there are actually two sets of armills in the Jewel House at the Tower of London. One enameled set was made for King Charles II but was never used until later coronations. These were also made by Sir Robert Dyner, from an ancient pattern. This set of armills bears enameled emblems and are lined with crimson velvet, fastening with a clasp in the shape of a Tudor Rose.

A second set of engraved gold was made in 1953 for Queen Elizabeth II. These were a gift from the nations of the Commonwealth. Regardless of which set is used, they are meant to symbolize sincerity and wisdom.

Object of the Day: A Late Victorian Charity Donation Card

A few months ago, we took a look at a painting of the Royal pets by Sir Edwin Landseer—the painter who remains widely celebrated for his portrayals of animals. Entitled “Islay, Tilco, the Great Macaw and Two Lovebirds,” the painting is part of the Royal Collection and was a favorite of Queen Victoria. My Bertie even recreated this famous painting!

Landseer’s canvas has been reproduced often since 1839. The terrier, Islay, is not only showing interest in the Great Macaw, but also eyeing the bird’s dinner. This makes the scene the perfect image for a donation card. Here, we see such a card which was printed in the late Nineteenth Century, which reads, “Contributions Thankfully Received.” Just as Islay would have been pleased with a donation, so would the volunteers working for whatever charity this card was printed.

I happened upon this card in a Dallas antique shop and, being a fan of the painting, I couldn’t resist it. I only wish I knew for what charity this card was distributed.