Wednesday, September 4, 2013

Mastery of Design: The Bettine Diamond and Pearl Buckle, c. 1910

Buckle
The Victoria and Albert Museum



From the collection of "The Bettine," Lady Abingdon, we have this handsome buckle of ebonite, gold, silver, pearls and diamonds.

Made circa 1900-1910, this buckle pin probably heralds from the United States.  It's the sort of pin which would have adorned a lady's jacket, or even her shoes, worn in pairs.



Unusual Artifacts: An Eighteenth Century Brass Shoe Horn



Shoe Horn
Brass, Eighteenth Century
Birmingham?
The Victoria & Albert Museum
I’d have been quite thrilled to find this shoe horn in a box of shoes or with the sewing kit in a hotel room instead of the faux-shell brown things that one gets today. Do people even use shoe horns anymore? Do young people know what shoe horns are or do they just fasten the Velcro on their light-up/rollerblade sneakers and roll away?

This is a sturdy shoe horn! For those who don’t know, a shoe horn is used to ease a person’s feet into shoes. They are named as such because shoe horns were originally made from animal horn. Not this one. This one is brass. Sturdy brass.

We can’t be certain who made this since there’s no manufacturer's mark, but an educated guess leads us to believe that it is likely from Birmingham since we know that locksmiths, button and buckle makers there were using brass before the end of the 17th century. In fact, the first brass foundry was established in Birmingham around 1690 and the town was on its way to being the center of brass manufacturing in England—a position it maintained for quite a long time.

Antique Image of the Day: "Shoes," for 'Harpers Bazaar,' 1935



The Victoria & Albert Museum



Hauntingly beautiful, this black and white photograph depicts a pair of feet wearing silver lame shoes under am ethereal pleated skirt. The image is from the genius Ilse Bing (1899–1998) who was one of several leading female photographers in the inter-war period.


Bing was born into a Jewish family in Frankfurt, and initially pursued a career in academics. She took up photography to illustrate her academic writings on the German Neo-classical architect Friedrich Gilly.

By 1929, Bing had become increasingly intrigued with photography and purchased a new Leica camera so that she might photograph the new architecture being built around Frankfurt. Her unique sense of balance and light caught the attention of Dutch Modernist architect Mart Stam who commissioned her to record several of his new contemporary building projects.

Within a year, Bing moved to Paris with the ambition of making photography her sole career. She quickly found the patronage of American writer Willem Hendrik van Loon, who introduced her work to the editors of Harpers Bazaar. By the mid 1930s, Bing’s work was applauded for its originality and beauty—giving her a permanent place amongst the world’s greatest photographers.

History's Runway: A Pair of Leather and Velvet Pattens, 1730-1740



Pair of pattens
c. 1720
The Victoria & Albert Museum


Pattens—overshoes of wood or iron—were cumbersome at best. Leather overshoes and clogs served as a more comfortable alternative, protecting the shoes without being dangerous. This pair from the early Eighteenth Century, for example is crafted of leather and partly covered in green velvet. It was made for a matching pair of brocaded, patterned silk shoes. The pattens were worn over the shoes, attached by latchet fastenings with ribbon ties. These overshoes were fitted to the arch of the shoes so that the foot would be supported, even with higher heeled shoes. 





Mr. Punch of Belgrave Square, Chapter 376




Chapter 376
In His Place


"Must be grand bein' married."  Ethel sighed, watching Gamilla and Gerard at the center of the long banquet table which had been erected in the drawing room of No. 65.  

"I'll wager."  Maudie nodded.

"What's so grand about it?"  George Pepper smiled.

"Look about ya, Georgie."  Ethel gestured with her hand.  "Look at all these flowers.  I'd say His Grace hired to florist to bring...well thousands of 'em."

"And all that food from the chefs His Grace hired so Mrs. P. and me'd not have to work today.  So, we could come to the party with everyone."  Maude added.

"Well, sure, I ain't sayin' the day ain't pretty.  It was a grand ceremony and Gamilla looked like a princess and all.  And, this party sure is fine.  But, that's just one day.  When it's over, what's left but havin' to clean it all up.  I'm just glad we don't have to do it."

"It ain't about the party.  It's about spendin' the rest o' your life with the person ya love."  Ethel frowned.

"Right."  Maudie nodded.  "And, that starts for 'em today.  It's just the start, it is.  They got their weddin' trip what they're leavin' for tonight after that bloke with that machine makes photographs o' em.  And, then, they'll come home and be together.  Forever."

"You girls."  Georgie laughed.

"I don't care what you say,"  Ethel snorted, turning dramatically and snatching a coral-colored rose from one of the many massive arrangements which lined the drawing room.  "We're at this fine party like we was proper ladies and gentlemen.  That's twice what His Grace and His Lordship let us attend a party with the ladies and lords, and I'm gonna enjoy me-self."

"As am I."  Maudie grinned.  "Here, Ethel, is this the kind of weddin' ya think you'll have."

"Dunno."  Ethel giggled.  "I don't gotta wealthy Duke in me family to pay for it.  So, I don't think it'd be quite as fine."

"His Grace ain't kin to Gerard and Gamilla, yet he paid for this."  Maude suggested.  "Maybe he'll give us weddin's...if...if the time comes.  Ethel, do you think you'll ever get yourself married."

"Got a better chance now I'm outta the scullery."  Ethel shrugged.  "You...you as a cook's assistant.  There's lots of men would marry you.  But, nobody'd want a scullery."

"Ethel, don't say that, you're so pretty."  Maudie shook her head.  "And sweet."

"Well, I thank you.  But, it's true.  A scullery maid ain't the first girl a man looks at.  Now I'm a nursery maid and maybe some man will have me."  She looked quickly at Georgie and, thinking he might look back, she turned away quickly.

"Do ya think you''ll one day be a governess like Gamilla?"  Maude asked.

"Who knows?  Could be now.  Thanks to the masters."  Ethel blushed.  She turned the attention from herself.  "What 'bout you, Our George Pepper.  What sort of girl will you marry?"

"I ain't."  George shook his head.

"Sure you are."  Maude laughed.  "You gotta."

"Why?"  George teased.  "Lots of men don't.  They're called 'bachelors.'  Look at the masters."

"Uhhh..."  Ethel squeaked with amusement.  "Georgie, are you suggestin' that the Duke and His Lordship are bachelors."

Maude laughed.

"They ain't married."  George replied.

"They're married."  Ethel laughed.  "Maybe not in a church or by law.  But, they're married to one another.  Are you sayin'  you're like the masters?  Are you a bloke what fancies other blokes."

"No!"  George scowled.  "You know I ain't like that.  Fine.  The masters was a bad example.  But, I mean there's lots of blokes what fancy ladies what don't marry.  Look at Charlie."

"Oh...Charlie what's sittin' so close to Vi he might as well be in her lap?"  Maude teased.

"Maybe so.  But, I don't see no ring on 'er finger."  George pouted.

"What ya got 'gainst marriage, George?"  Ethel asked.

"Nothin'.  It's just..."  He sighed.  "Me pa died so young and I remember mum bein' so sad for so long.  I'd...well..."

"I know you and your ma miss your pa."  Ethel said softly.  "You know, she talks 'bout 'im to us, all the time."

"She does?"  George asked.  "She never says a thing to me 'bout 'im."

"Maybe she don't wanna make ya sad for missin' 'im."  Maude suggested.

"But, ya know what she told me?"  Ethel asked.  "She said it were the best thing she ever done--marryin' your pa."

"Is that so?"  George asked.

"Sure it is."  Ethel nodded.

"Well, maybe one day, I'll think of it--marryin' I mean."  George nodded.

"And, when ya do?"  Maudie asked.  "What sort o' girl will ya pick?"

George looked quickly at Ethel and glanced away.  "Dunno.  One that'll keep me in place."



Did you miss Chapters 1-375 of Mr. Punch of Belgrave Square?  If so, you can read them here.  Come back tomorrow for Chapter 377.




At the Music Hall: Spread a Little Happiness



Even when the darkest clouds are in the sky
You mustn't sigh and you mustn't cry
Spread a little happiness as you go by
Please try


What's the use of worrying and feeling blue
When days are long keep on smiling through
Spread a little happiness till dreams come true


Surely you'll be wise to make the best of every blues day
Don't you realize you'll find next Monday or next Tuesday
Your golden shoes day


Even when the darkest clouds are in the sky
You mustn't sigh and you mustn't cry
Spread a little happiness as you go by


I've got a creed for every need
So easy that it must succeed
I'll set it down for you to read
So please, take heed
Keep out the gloom
Let in the sun
That's my advice for everyone
It's only once we pass this way
So day by day


Even when the darkest clouds are in the sky
You mustn't sigh and you mustn't cry
Spread a little happiness as you go by
Please try


What's the use of worrying and feeling blue
When days are long keep on smiling through
Spread a little happiness till dreams come true


Surely you'll be wise to make the best of every blues day
Don't you realize you'll find next Monday or next Tuesday
Your golden shoes day


Even when the darkest clouds are in the sky
You mustn't sigh and you mustn't cry
Spread a little happiness as you go by


Surely you'll be wise to make the best of every blues day
Don't you realize you'll find next Monday or next Tuesday
Your golden shoes day


Even when the darkest clouds are in the sky
You mustn't sigh and you mustn't cry
Spread a little happiness as you go by 



Spread a Little Happiness was written by English composer Vivian Ellis for his 1929 musical Mr. Cinders—based on the story of Cinderella. Ellis, known for his musical comedy, is said to have been suffering from a fever of 103 degrees (Fahrenheit) when he wrote this song.

In the original production of
 Mr. Cinders, the song was sung by Bobby Howes as Jim, but Binnie Hale—pictured here—was celebrated for her recording of the piece. Sting famously covered the song in the 1980s. 


Object of the Day, Museum Edition: A Pair of Silk Brocade Shoes, 1720-1730



One of a Pair of Shoes
Silk Brocade, Leather
1720-1730
Great Britain
The Victoria & Albert Museum
These shoes obviously weren’t made for comfort. But, they certainly were made for style. So, obviously, not a lot has changed in almost three hundred years. At least for women. Made in England between 1720 and 1730, the shoes are a creation of green, cream and red silk brocade with short “latchets” for a lace of ribbons over a long tongue. Green silk ribbon seals all the edges and seams. They sport red “Louis heels” and leather soles.


I can’t quite decide if these are men’s or women’s shoes and the supporting literature from the V&A doesn’t specify for which gender these were made. I think to quickly deem them women’s shoes would be to do them a disservice. First of all, men’s shoes (in the aristocracy) in Britain in the Eighteenth Century weren’t the boxy loafers of brown and black which have become the stuff of men’s footwear in the last century. Men’s fashions allowed for color, rich materials, gems and ribbons and I could see a gent wearing such shoes with his legs sheathed in hose. That’s not necessarily a pretty picture. It depends on the man you picture, I suppose. Monty Clift would look better in them than say, Burl Ives. But, that goes for just about anything. I digress.

I’m going to state that I think they’re men’s shoes. Any shoe historians out there, feel free to correct me.

They are quite nice looking. Here is one thing, however, that I’m glad has changed. While women suffer through terrible ordeals for foot fashion, men don’t have to. I don’t think I’d last long in shoes like this. I can barely keep my balance in Doc Martens. So, while I appreciate the look of them, I’ll say that boxy loafers are a practical improvement. That and hot running water. I like that, too.