Mastery of Design: The Cypher Brooch, 1838

Cypher Brooch, 1838
Crown Copyright
The Royal Collection 
Images Courtesy of Her Majesty Queen Elizabeth II

Made in 1838 for Queen Victoria this brooch takes the form of an eight-pointed star. The star has been set with lovely emeralds surrounded by a border of fine, brilliant-cut diamonds. A cipher in Arabic script has been mounted in diamonds against the emeralds at the center. The backing of the pin is silver, customary in the early Nineteenth Century for diamond pieces, while the pin and catch are crafted of sturdier gold. 

Figure of the Day: The Flower Girl, c. 1760

The Flower Girl
The Bow Porcelain Factory
The Victoria & Albert Museum

This figure from the Bow Porcelain Factory depicts a young woman with a basket of flowers. She symbolizes Springtime with her basket of flowers, her pink bodice and green corsage and diapered skirt of red, yellow and green. Blue circles and stars adorn her outfit and match her blue shoes—topped by pink rosettes.

She’s wholly Rococo on her circular base with applied leaves. This work of soft-paste porcelain painted with enamels and gilding followed the French fashion of porcelain figural groups designed for the dessert table. 

History's Runway: The Lady Glendoven Gown, 1938

Gown of Silk Tulle, 1938
Mainbocher
The Victoria & Albert Museum

The American couturier Mainbocher created this gown of a fine silk tulle of pale green, pink and emerald green stripes.  The dress is decorated with circled and scattered sequins in coordinating colors. The metal zipper at the side of the dress has been colored green and pink to match the stripes.

As was the style of the late 1930s, the bodice is close fitting with cap sleeves and broad shoulders. The shoulders, however are not padded.  The designer was unable to use shoulder padding, as this would be visible through the tulle, so instead three pieces of boning have been employed, arranged in a fan shape to support each of the shoulders. The dress falls from a fitted waist into a very full, floor length skirt which was to be worn over an emerald green satin petticoat because of the transparent nature of the tulle.

Mainbocher established his couture house in Paris in 1929. He was Born Main Rousseau Bocher, running his two names into one to create his label.

The designer is, perhaps, best known for his 1937 design for the wedding dress of the Duchess of Windsor on her marriage to the former King Edward VIII, the Great Kerfuffler ™.  He was a favorite of Wallis Simpson and I could see her wearing this gown as she mercilessly teased anyone who crossed her and drank away the reality that she would never be Queen.

Speaking of Edward VIII/The Duke of Windsor and his wacky abdication, we’ve commemorated the scandal with our exclusive line of Abdication Kerfuffle ™ designs.  Check them out in our online store.  

At the Music Hall: The Limehouse Blues, 1922

And those weird China blues
Never go away
Sad, mad blues
For all the while they seem to say

Oh, Limehouse kid
Oh, oh, Limehouse kid
Goin' the way
That the rest of them did
Poor broken blossom
And nobody's child
Haunting and taunting
You're just kind of wild

Oh, Limehouse blues
I've the real Limehouse blues
Can't seem to shake off
Those real China blues
Rings on your fingers
And tears for your crown
That is the story
Of old Chinatown

Rings on your fingers
And tears for your crown
That is the story
Of old Chinatown 

For me, hearing “Limehouse Blues” brings to mind the brilliant and talented Gertrude Lawrence as well as the 1968 film about her life, "Star!" starring Julie Andrews.  “Limehouse Blues”  is a celebrated jazz standard written in 1922 by Douglas Furber (lyrics) and Philip Braham (music).  The song was made famous by Gertrude Lawrence, but it has been recorded thousands of times. 

This tune of betrayal and sadness was prominently featured in a 1934 film which borrowed its name (also known as “East End Chant”).  The film  was set in London's Chinese district and starred George Raft and Anna May Wong. The song was also performed in “Ziegfeld Follies” (by Fred Astaire and Lucille Bremer in Asian makeup).

Enjoy this clip from the Gertrude Lawrence biopic with Julie Andrews performing the song:

The Great Al Hirschfeld depicted Andrews as Lawrence performing the "Blues," in 1968

Mr. Punch of Belgrave Square, Chapter 375

Chapter 375
The Bridesmaid


The church was full of glances and Lennie followed the path of each one, secretly, peeking through her eyelashes.

Gerard and Gamilla had not once taken their eyes off of one another since they joined hands at the altar.  Lennie imagined the weight of Gerard's broad hands in Gamilla's slender palms. Gamilla had once told Lennie that in just the touch of Gerard's hands she felt, "lightnin'."

Lennie had only once held Matthew's hand.  Lennie recalled how she didn't feel anything in his touch.  That's not to say she found it unpleasant.  No, it had been pleasant.  As pleasant as the man himself was.  Yes, the Earl of Cleaversworth was undoubtedly a pleasant, pleasant man.  Still, Lennie concluded that no lightning bolts arose from the touch of his long, narrow, hand.

Gerard's hands were thick and calloused, but still attractive.  Years upon years of work in shipyards and upon ships had made them strong and...Lennie thought for the right word.  "Masculine," she concluded.  Even the hands of her brother, though soft from nobility, were strong.  Punch's fingers were long and nimble, his grasp firm and sure from the tools of the jewelers' trade.  Robert's hands, too, perhaps even more steady,  held the strength of a doctor.

Matthew's held nothing, except maybe a little moisture.

Smiles and glances.  Lennie returned her attention to the marriage ceremony.  All present looked so overjoyed.  

Robert looked past the bride and groom as often as possible, ensnaring in his gaze his companion and their child.  Punch, too, looked often at Robert, smiling a slight smile which seemed unique to them, a smile which communicated more than any infinite words.

Glances.

Charles shyly looked, too.  He looked across at Violet who stood to Lennie's right.  Vi made a show of not looking at Charles, but Charles knew she was.

Punch and Robert...Charles and Vi...Georgie and Ethel...and Matthew.

Lennie could feel Matthew looking at her though she dared not look at him.  As she listened to the exchange of vows, of promises to cherish, to love--Lennie could not look at the man to whom she's one day soon be married.

It wasn't that she wasn't fond of Matthew.  Lennie was quite fond of him.  She would never have claimed that she felt the deeply intense, unyielding, passionate devotion which Punch and Robert felt for one another, nor the electric attraction shared by Gamilla and Gerard.  However, she felt...loyal, and grateful and...fond.

Still, as "I will," arose again and again throughout the service, Lennie couldn't help but think, "I will...one day" about her own fiance.  She did, indeed, wish to marry Matthew.  Being Lady Cleaversworth was any appealing idea.  Being the lady of the house was a comforting thought.  

Yet...she was already Lady Fallbridge and though Punch was unquestionable head of their household, as it should have been, she was still the "lady of the house."  The simple fact remained that the former Ellen Barrett rather liked the life she had.  She was enjoying it.  

Gamilla and Gerard had been eager to marry, eager to join as one.  Lennie didn't feel that urgency.  In fact, she somewhat dreaded leaving her brother(s).  After all, she'd only just found them.  Life with Punch was fun even with the dangers they had faced.  There was comfort with Punch and Robert.  She relished being a real sister to someone.  She doted over her nephew, enjoying each moment as an Aunt to Collin.  She had friends.  Certainly, they were servants, but still, they were friends.  And, for once, she had a life of her own, but one she could share with people she loved.  Why, she wondered, would she wish for that to change?  To marry?  Why?  Because she was Lady Fallbridge, sister to the Queen's favorite Duke, and expected to make a good marriage?

Suddenly, the organ began to play again.  Gamilla and Gerard were kissing and everyone had risen to their feet.

Gamilla and Gerard, still holding hands, began their way down the altar steps, followed by Charles and Violet and, finally, Lennie and Robert.

"Wasn't it lovely?"  Robert whispered as they exited.

"It was."  Lennie nodded.

"Yours will be just as fine."  Robert smiled.

"One day, Robert."  Lennie returned the smile.  "One day."


Did you miss the earliest chapters of Mr. Punch of Belgrave Square?  If so, you can catch up here.  Come back tomorrow for Chapter 376.

Unfolding Pictures: A Stuart Dynasty Fan, c. 1600

Fan from the Stuart Collection
Circa 1600
Leather, Bone
Purchased by George V, 1910
Crown Copyright
The Royal Collection
Images Courtesy of
Her Majesty Queen Elizabeth II

In 1910, as instructed by Queen Mary (of Teck), King George V purchased a set of twenty-four relics reputedly belonging to the Royal Stuart Family of the late Sixteenth and early Seventeenth Centuries. Among these items is this leather-leaf fan with bone sticks and guards which is said to have belonged to King Charles I.


The leather leaf of this fan shows an open-work pattern which was typical of the era, most likely copied from a book. The pattern was transferred to the leather by pricking the leaf with pin holes which traced the design’s outline. The area within the pinholes was then meticulously cut with a knife.

Traces of red and green pigment are still visible on the bone sticks and guards which also show signs of having been adorned with some kind of metal sheeting—copper or possibly tin—which was affixed with copper wire via small holes in the bone.

In 1916, Queen Mary proudly displayed this fan and the other twenty-three items in the newly arranged, “Stuart Room” in Windsor Castle. 

Object of the Day, Museum Edition: Mrs. Nisbett as Zarah, c. 1842

Mrs. Nisbett as "Zarah"
T.H. Jones
The Harry Beard Collection at:
The Victoria & Albert Museum

This hand-colored engraving, based on a drawing by T.H. Jones, depicts mid-Nineteenth Century actress Mrs. Nisbett in the title role of Zarah, as performed at the Queens Theatre around 1842. The actress is show in her famous costume of an off-the-shoulder white blouse beneath a three-quarter-length green, spiral-patterned gown in the sack-back style which is worn over a scarlet petticoat with a black-edged hem. Her green bloomers are scandalously visible as are her strapped sandals.

Heavy, gold jewelry defines the costume—dangling earrings, an impressive belt, rings and bracelets. A scarf of crimson and black comprises her headdress.

A caption below the image reads:

“(Zarah) Hark to the cry of their days - already have they opened on the scent of blood."