Object of the Day: A Double-sided Stereograph

Click on image to be novel.

Made to be viewed in a stereoscope, a popular novelty of the Nineteenth Century, these cards feature side-by-side, off-set pictures which, when seen through the viewer, would appear as a 3-D image. A number of companies produced such cards and viewers. Every so often, as in this case, the stereographs were hand-colored.

I’m not sure who published this stereograph. There’s no mark whatsoever. What’s unusual about it is that it’s two sided. Prior to seeing these few which were recently added to my collection, I’d not come across other two-sided stereographs. Usually, this would have been prohibitive because of the intention curve given to most cards in order to produce the 3-D effect. Images on the back would have curved the wrong way and made a distorted image. However, this card is flat, allowing for a double-sided image. Since I don’t actually have a stereoscope, I can’t see how the flatness alters the dimension of the final image. 

The card boasts off-set images of Paris’ Notre Dame Cathedral on one side and Spain’s Court of the Fishes at The Alhambra on the other. Such architectural images were popular themes for stereographs as they provided opportunities for visual depth.

You can click on this one, too.

Mastery of Design: The Gaillard Parasol Handle, c. 1900

Parasol Fittings
Gaillard, 1900
The Victoria & Albert Museum

The work of Parisian maker Lucien Gaillard, we see here fittings from a parasol. Made around 1900, the parasol’s handle is made of carved and bleached horn which has been set with pearls and small rubies in gold settings. The other fittings, tips for the spokes, are made of carved tortoiseshell.

Drawing of the Day: Comelli's 'Blacksmith, Grocer, Boatman and Yokel,' 1907

Blacksmith, Grover, Boatman and Yokel
from "Babes in the Wood."
Attilio Comelli, 1907
The Victoria & Albert Museum

The famed costume designer Attilio Comelli, (1858 -1925) was the designer in residence at the Royal Opera House in London from the 1880s until his death. He was also called upon to create costumes for the Theatre Royal, Drury Lane, from time to time during this period. This original drawing by Comelli dates to 1907 and was created during one of his visits to the Theatre Royal.

The design, titled “Blacksmith, Grocer, Boatman and Yokel,” was created for the 1907 production of “Babes in the Wood.” Four watercolor sketches show designs for costumes for different characters. Comelli’s attention to detail is apparent as he indicates not only the details of each costume but also the footwear and accessories for each. He even makes suggestions for the wigs and makeup.

Unusual Artifacts: Return from Market, 1928

Click on image to get snowed.
"Return from Market"
Pietre Dure
Italy, 1928
The Victoria & Albert Museum

This pietre dure (or pietra dura, if you prefer) scene of hardstone and marbles depicts a monk with two elderly men and a young woman. They’re accompanied by a group of animals as they journey home from market in a snowstorm.

Made in 1928 in Florence Italy—long known for its elegant works of pietre dure—the piece shows the enduring beauty of this technique. Each stone has been carefully chosen to create movement and texture in the scene. The veins of the marbles and the crystals of the other hardstones have been set in such a way as to emulate the look of a painter’s brushstrokes.

The work is attributed to Mario Montelatici, a well-known master of pietre dure in his own right and the son of the famed Giovanni Montelatici whose workshop in the Via Amolfo in Florence produced many an award-winning work. The piece is composed of white and bardiglio marble, onyx, gabbro and albarese. It is set in a gilt wood frame.

Figure of the Day: The Pink Umbrella, c. 1773

Figure Group
Frankenthal, Germany
c. 1773
The Victoria & Albert Museum

Made by the Frankenthal Porcelain Factory of Germany around 1773, this hard-paste porcelain figure group is the work of modeler Konrad Linck. 

The group, painted in enamel colors, depicts a Chinese man and woman. The man lies beside a tall vessel composed of overlapping palm leaves. His companion leans against this vase, shielding her face with a pink umbrella. The base shows Rococo influence with its relief mound of plants and cabbages.

Mr. Punch of Belgrave Square, Chapter 160

Chapter 160: 

For What You Are


“Someone’s been in here.” Robert whispered as he and Mr. Punch scanned the interior of the hunting cottage. “I can still smell the candles.”

“That stable boy—what were his name?” Punch asked.

“Pete.” Robert replied.

“Pete. Had a nose like a pig, that one did. Pig-nosed Pete. Nice bloke. Very interestin’, ain’t it? We’re all kind of the same thing. Wonder if he had a tail…” Punch trailed off for a moment. “You know, horses look like big dogs.”

“I know.” Robert nodded.

“What were we sayin’? Oh…Pete. He said he saw Johnny Donnan leavin’ here how long ago?”

“Less than an hour.”

“We could have caught him if not for Lady Constance stoppin’ us.”

“You handled that situation brilliantly, my dear.”

“Dunno.” Punch shrugged. “I tried to, at least, make ‘er feel that she were safe. Odd her thinkin’ the baron killed her ma.”

“It’s possible.” Robert continued. “We still don’t know how involved the baron is with Ellen.”

“And, we won’t know ‘til we can talk to Finlay.”

“Providing he’ll say anything.”

“I s’pect he will. I think, in the end, Finlay’s main concern is Finlay. If he thinks he can get our faith by betrayin’ his sister’s memory, he will. Not as if Ellen’s gonna say nothin’ to refute ‘im.”

“Hopefully.” Robert said softly.

“Chum—I killed her. I ain’t proud of it—‘specially knowin’ she were me kin. Well, Julian’s kin. But, it had to be done. I don’t ever want to hurt a soul, I don’t. But, I don’t think that one had no soul. She…she were a threat to you and Colin and the staff. She were bad. I hate that she were, I do. I truly do. But, I couldn’t let her keep harmin’ us. I didn’t have no choice. Nothin’ was gonna stop her. I had to do somethin’, and I did. It hurts me, it does. Truly. That ain’t the way I want to live me life. But, it’s my place to protect our family so that’s what I done.”

“Perhaps you didn’t kill her, dear Punch.”

“Gamilla saw her. I saw her. If there’s somethin’ both Gamilla and I both know –it’s death.”

“You could have simply stunned her and she dragged herself away.”

“Or, more likely,” Punch insisted, “her pa or, even, the baron came and carried her body off. Hittin’ folk ‘cross the skull is somethin’ I do well. Ain’t the thing I do best no more, but it’s somethin’ you don’t forget. Maybe I didn’t hit Finlay hard ‘nough, but I gave Ellen all I got.”

“I never thought I’d say this,” Robert sighed, “but I hope you did kill the woman.”

“As do I, Chum.”

Punch looked around the cottage.

“It’s empty.”

“Hold on,” Punch replied. “There’s a kitchen ‘neath here.”

“Where?” Robert looked for a staircase.

“Hidden behind that trophy case.” Punch pointed. He paused to light a nearby candle.

“How…interesting.”

“One o’ the other Dukes of Fallbridge had a penchant for architectural novelty. Were in about the late 1780s what this place were built, so it were him, I s’pect what wanted it. Think his name were Thomas or Cuthbert or…somethin’ with a “th” sound in it. Julian’d know. Can’t think of it now, I can’t.”

“How does it work?”

“Just tug on that scroll there…”

Robert reached out and pulled the cupboard forward, revealing a passage.

Together, they descended the narrow stairs and were shocked to see a lit candle, and, then the faces of Charles and Violet with a strange woman.

“Coo!” Punch chirped. “Here they are!”

“Your Grace!” Violet cheered. “Oh, thank God!”

“Poor Vi—your hair.” Punch said sympathetically. Realizing that, with a stranger in the room as well as Violet, he’d best speak in his Julian voice, Punch added more formally, “Still, hair will grow, and, you’’ll soon have your golden tresses back.”

“I know, Your Grace.” Violet sniffed.

“Are you hurt?” Punch asked.

“No, Sir.” Charles shook his head.

“Who is this with you?” Robert asked.

“I’m called Orpha Polk.” Lennie responded quickly.

“No you aint!” Violet snapped. “She ain’t, Your Grace. That’s not her name at all. She’s Ellen Barrett. The real Ellen Barrett—your sister, Sir.”

“Come again?” Mr. Punch squinted, forgetting to speak as Julian.

“It’s true, Your Grace.” Charles answered. “She’s a victim of the woman who has masqueraded as Ellen Barrett. We believe her.”

“How is this possible?” Robert asked.

“I’m sure that this woman will explain everything.” Charles replied.

Mr. Punch turned to Lennie and studied her. “You look like you could be.” He grunted. “Coo! How many sisters have I got? Don’t tell me that you’re a wicked wench, too.”

“Your Grace.” Robert whispered, trying to remind him to affect Julian’s mannerisms for the benefit of Violet and this newcomer.

“Oh…” Punch sighed. “Well, it’s too late for that, it is. This is the way I talk. You can accept it or not.”

Lennie began to whimper.

“Look—if you ‘xpect me to believe what you’re ‘bout to tell me, then, you gotta ‘ccept me as I am.”

“You are a determined man.” Lennie responded quietly. “Many often mistake determination for madness.”

“And, you?” Punch asked.

“I see it for what it is.” Lennie replied.

“Well, then, let me see you for what you are.” Punch smiled.



Did you miss Chapters 1-159? If so, you can read them here. Come back tomorrow for Chapter 161 of Mr. Punch of Belgrave Square.
 

Print of the Day: Blue Cross Tea, 1900

Hoarding Poster for Blue Cross Tea
England, 1900
The Victoria & Albert Museum

This British chromolithograph was designed as a hoarding poster. In essence, posters on hoardings were tiled repeatedly so that the image was recurring many times over and seen in full. This design which focuses on the trademark and brand on an uncluttered and brightly-colored ground would have been quickly identifiable and easily read.

The poster was designed in 1900 for Blue Cross Tea. The design features a grocer’s shop which also advertises for Blue Cross Tea, a clever way of reinforcing the brand. A well-dressed man leaves the shop with a package of biscuits on the end of his umbrella. He appears to be saying:

“The Best for Me, It’s Blue Cross Tea.” This is the work of Stewart Browne for The British & Beningtons Tea Trading Association Ltd.