Mastery of Design: The Muriel Goodman Necklace, 1913

The Victoria & Albert Museum

A masterpiece of gold openwork, this necklace features an elaborate central pendant of a swirling, foliate design which has been set with four opals and hung with a long irregular pearl drop. The linear panels of gold openwork which form the necklace’s chain are set with a disc of mother of pearl. The box clasp is set with a blister pearl.

The original box from 1913 remains. This curving triangular box is covered in beige fabric, and, inside, a cream velvet base. The satin on the lid is stamped 'DRYAD METAL WORK LEICESTER' in gold.

The necklace was a gift from Basil Gimson (nephew of the Arts and Crafts architect and furniture designer) to his bride Alice Muriel Goodman as a gift on her wedding day, 8 April 1913 (which was also her twenty-fourth birthday).

A letter to Basil from his mother dated 18 January 1913 reads:

“This morning Sydney and I were at the Dryad talking to Mr Peach. He spoke of the gold necklace Mr Pick is making for Muriel. He said they had picked out some first rate opals for it. From his description it sounded like a very costly affair, so I said: ‘Oh, but there is a limit of price.’ ‘Yes, I know, but I have told Pick we are going to do this thing just tip top, the very best possible. It shall defy competition! Gimsons have been the very best customers we have ever had, and we are going to turn out something worth having!’”

Unusual Artifacts: A Pair of Mittens from 1600

The Victoria & Albert Museum

Mittens! Old mittens! Old, very uncomfortable-looking mittens! But, they’re pretty. Here, we see a pair of mittens of crimson velvet and white satin. They are embroidered with silver and silver-gilt thread, colored silks, beads and sequins.

To be fair, these mittens were made in 1600 for decorative rather than a practical function. Sure, someone wore them, but not because they were useful. Items like mittens and gloves in opulent embroidery and beadwork were meant to show off the wearer's wealth and status. Here, the embroidery features silver and silver-gilt thread with colored silks in a series of very complicated stitches depicting flowers such as borage, pinks and lilies, as well as insects and fruits. Present amidst the embroidered foliage, is a pillar entwined with a sprouting vine.

The designs here are clearly inspired by themes from Geffrey Whitney's book, “A Choice of Emblemes” (1586). This volume of emblems was the first such English book and it greatly influences the decorative arts during the Elizabethan and Jacobean periods.

History's Runway: A Silk and Velvet Sack-Back Gown and Petticoat, 1774-1890

Sack-Back Gown
Made in Scotland, 1774-1775
Altered between 1880 and 1890
The Victoria & Albert Museum

As we know, a sack-back gown, the predominant style of women’s fashions of the Eighteenth Century, is created from a single piece of fabric pleated and stitched at the back of the neck, creating an open front. The style evolved from a sort of loose negligee which was worn privately. By the 1770s, the fashion had become a more formal type of dress meant to be worn in public at important events, the opera, the theatre and at stylish dinner parties.

What sets this sack-back apart is the use of velvet. At the time, these gowns were made of woven fabrics which were printed after the weaving process. Here, the textile of silk has been combined with velvet—a technique unique to France--which created a fabric with vertical bands of ivory and pink silk alternating with stripes of floral chiné velvet. Records with the dress report that the textile cost a shocking 36 shillings a yard. The gown and petticoat are constructed of about 17 yards. Today, the fabric alone would have cost approximately £2,200—over $3400 U.S. 

While the fabric was imported from France, the gown itself was constructed in Scotland. The original garment was made between 1774 and 1775. Alterations were made to the gown between 1880 and 1890 when it was used as a costume for fancy dress parties. The ensemble was, for many years, part of the Castle Howard Costume Collection before being sold by Sotheby’s to the V&A. 

Gifts of Grandeur: The Balmoral Brooch, 1895

Commemorative Brooch
Collingwood & Co., 1895
The Victoria & Albert Museum

Still in its original presentation box, this commemorative brooch was given to the actress Winifred Dolan (1867-1958) by Queen Victoria following Dolan’s special command performance of R. C. Carton's play “Liberty Hall.” The play was performed at Balmoral Castle on September 16, 1895. In the play, Miss Dolan played the role of “Miss Hickson.” The brooch was made by Collingwood & Co. especially for the Queen. Collingwood created several such commemorative pieces which Queen Victoria gifted to visitors or special guests.

As was the style of the time, the jewel is designed as bar brooch featuring the arms of the Royal Victorian Order, enameled in red on a gold base with six imitation pearls. The presentation box of green leather is trimmed with gold and lined in beige satin and velvet. 

Mr. Punch of Belgrave Square will Continue on Monday

It's going to be a big week for Lennie as she, along with Punch and Robert, visit Queen Victoria.  Her Majesty has quite a few thoughts and opinions about the situation with Orpha Polk--some of which will definitely surprise Punch and Robert.  Of course, that's not all that's in store for Lennie.  She's going to be having tea, chaperoned, of course, with Matthew, the Earl of Cleaversworth.  Will this budding romance blossom, or wilt on the vine?

In our last Chapter, Fern burst into the servants' hall of No. 65.  What exactly will Georgie, Ethel and Maudie do with the girl?  Will they insist that she go back to Hamish House, or, will Ethel take pity on the troubled child?

All that, and many other surprises are in store for you this week.  You won't want to miss a chapter, but if you do, you can catch up here.

Thanks for reading!  

Her Majesty's Furniture: The Sir Robert Walpole State Bed, 1732

Sir Robert Walpole's State Bed
Designed by William Kent
Located at Houghton Hall, Norfolk
1731-1732

This theatrically-monumental bed was designed by William Kent, the man who was responsible for the complete decoration of the interior of Sir Robert Walpole's new house at Houghton Hall, Norfolk, between about 1725 and 1732. Sir Robert Walpole was the leader of the British government from 1721 to 1742, and is known as Britain's first prime minister.

Though the bed was bequeathed to the V&A long ago, it remains on loan at its original location at Houghton, where visitors may see it in the “Green Velvet Bedchamber”—the room for which it was designed.  Kent delivered the bed between 1731–1732 at an exceptional expense.  The bill for the trimmings, or passementerie, shows us that the London partnership of Walter Turner, Richard Hill and Robert Pitter were paid over £1200 for the braids, rosettes and fringes of silver-gilt thread – an astronomical amount of money in 1732.

The bed takes an architectural form with its four posters.  It is upholstered in green silk velvet which is trimmed with braid, fringe, and embroidery in gilt-metal thread.  The dramatic headboard is defined by an architectural plinth surmounted by a large shell.

Overall, the bed is hung with six curtains of velvet and has a fitted counterpane in velvet, all identically trimmed with passementerie.

Object of the Day, Museum Edition: King Henry VIII’s Writing Box, 1525

Writing Box
English, 1525
Made for Henry VIII
The Victoria & Albert Museum

This impressive writing box was almost certainly created in the court workshops of Henry VIII (reign: 1509 to 1547). Lined with leather it is painted with the heraldic badges of Henry VIII and his first queen, Katherine of Aragon (1485-1536), as well as the royal coat of arms. Curators of the V&A believe that the box was made between 1520 and 1527. The interior adornment includes painted portrait miniatures in the popular style of the 1520’s. Soon after this box was made, Henry began divorce proceedings against Katherine (1527), so it’s good present condition owes much to the fact that he’d be loathe to use a writing box which featured a portrait of his soon-to-be ex-wife.

The exterior of the desk is quite plain when compared to its elaborate red silk velvet and painted interior. It is covered with shagreen (leather, possibly sharkskin), mounted with metal-gilt angle-mounts, loop handles and ball feet. These were added later in the Eighteenth Century. The present red silk velvet lining is most likely a Nineteenth Century replacement for the original lining. Traces of the original crimson silk velvet appear on the bottoms of the largest compartments.