Sunday, May 13, 2012

Mastery of Design: The Carrie Copson Brooch



Brooch of Silver, Gold, Paste/Glass and Mother-of-Pearl
Carrie Copson, 1905
The Victoria & Albert Museum



Carrie Copson was a pupil of the jewelry designers Arthur and Georgie Gaskin while he was head of the Birmingham School for Silversmiths and Jewellers in Vittoria Street. This broochby Copson was inspired by the jewelry of the Gaskins.

A brooch of silver and gold openwork, it is set with glass and mother-of-pearl.  Made around 1905, this was one of Copson’s first works.  








Sunday Morning Special: Little Lambkins, 1940




In this 1940 Max Fleischer animated short, a precocious toddler, wanting to return to his farm and a pair of animal friends in the country, tampers with the electronic gadgets in his new city home—chaos ensues.  Chaos and much knee-bending.


Figure of the Day: Mother Goose, 1890



"Mother Goose"
Staffordshire
1890
The Victoria & Albert Museum


From Staffordshire, this figurine represents Mother Goose--the subject of the fairy tale which appeared in a French collection published by Charles Perrault and was  translated into English in 1729.

Made in 1890, the figure may have been produced because the fairy tale was a generally popular subject, or, most likely because of a theatrical production which was opening at the time.  We should note that much earlier in the Nineteenth Century the clown Grimaldi (who was the model for Mr. Punch’s friend, Joey the Clown) had made his name in the Covent Garden production of Dibdin's pantomime “Mother Goose,” or, “the Golden Egg.”

The figure of Mother Goose  is shown on goose-back, on a circular colored base, holding a broom in her right hand.  She is wearing a white striped hat, a mauve shawl, a green bodice and an apron over a white shirt.



Sculpture of the Day: Mother and Child, 1895


Christabel and Meredith
George James Frampton, 1895
The Victoria & Albert Museum




This is the model by George James Frampton (1860-1928 ) was made for the bronze group depicting Frampton's wife, Christabel, and son Meredith ( who would later donate the piece to the V&A along with the finished bronze).

This group was made at the height of Frampton's early career and is filled with many subtle layers of meaning beyond simply being a portrait. To begin with the costuming and composition suggest a former era.  The idealized group was also meant to suggest the lasting nature of maternal love.


Mr. Punch of Belgrave Square Will Continue Monday




When Mr. Punch awoke on the morning of March 23, 1859, he expected to enjoy a typical day at No. 65 Belgrave Square.  However, Robert quickly made his companion realize that the day would be quite extraordinary.  Robert reminded Punch that it was the anniversary of Julian’s birth, and, therefore Punch’s birthday as well.  Punch was moved to learn that Robert had planned a special party for his companion and he was further touched when Robert presented him with a handsome DEAREST ring.

Downstairs, the staff was in a tizzy since Charles had taken a tumble down the stairs and broken his wrist.  Ellen Barrett had, inadvertently already thrown off the schedule when she was required to tend to her ill brother, Roger, and Gamilla was feeling the pressure of picking up everyone’s slack.  Charles was thankful to be patched up by the doctor.  Robert wanted to make sure that the Duke’s loyal footman felt no pain and offered the man medicine which he grudgingly took.  Robert and Charles had spoken of the fact that William Stover—an old “friend” of Robert’s had been spotted lurking on the Square.  Charles saw Robert tell the man to leave them alone and swore he would also keep William away from the Duke.  So, Robert was feeling extra protective.  The medicine didn’t sit right with Charles, so he asked Gerard to return it to the doctor.  Gerard, who had a long relationship with alcohol, was curious about the medicine and took a few swigs in secret.

As the part for the Duke began, Punch was presented with a host of lovely gifts.  The staff gave him a music box adorned with an image of a Punch  & Judy show.  Charles and Gerry presented Punch with a pair if gold and ruby cufflinks in the form of the famed puppet.  From America, Cecil and Adrienne sent a puppet they had made to resemble Dog Toby.  Ellen and Gamilla offered the Duke a porcelain “nodder.”  Even the Queen and Prince Albert sent a lovely gold, diamond and enamel snuffbox for the anniversary of the Duke’s birth.  The entire staff gathered in the mansion’s drawing room to celebrate.  However, the party was cut short when Tom—the page, and also , unbeknownst to the residents of the house, the son of William’s sister (who had urged her brother to get revenge against Punch and Robert)—interrupted to say that two women had arrived.

The women turned out to be Lady Constance and her mother, the Countess Hamish.  The countess, an old friend of Julian’s mother, was put out that she had to wait, and, in her ire, blasted Punch, Robert and Speaight.  Angry, Robert lashed out at the rude women and threw them out of the house, an act which he quickly regretted—worrying that the gossip-prone countess would cause trouble.  Robert was right to worry.

This week’s chapters will show the extent of the countess’ potential for harm.  And, we’ll also learn more about Tom and his seedy mother.  William will start a chain of events with far reaching consequences and a visit to the palace will prove difficult for Robert and Punch.
It’s going to be an exciting week, so don’t miss a chapter.  If you have missed a chapter, remember that you can read a brief summary and find a link to each chapter in the Chapter Archive.

Painting of the Day: The Lesson, or 'Just as the twig is bent, the tree's inclined



The Lesson
William Mulready, 1859
The Victoria & Albert Museum



The quotation which was exhibited with this painting by William Mulready (RA, 1786-1862) comes from Alexander Pope's Moral Essays, which was published in the period 1731-1735:

'Tis education forms the common mind,
Just as the twig is bent, the tree's inclined.


With this work, Mulready emphasizes the nurturing role of a mother in a composition that owes a lot to the traditional theme of the Madonna and Child.  It was painted in 1859. 


Happy Mothers' Day!