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Showing posts with label regency bijouterie. Show all posts
Showing posts with label regency bijouterie. Show all posts

Friday, 8 November 2019

Sarah's adventures in Brighton

Yup, I know it has been a while since the Brighton trip; life got busy.
Unfortunately  photos inside the pavilion are not permitted; but let me try to describe it.   However opulent you think you can imagine it is more so.
Decoration is on every surface; and golden dragons and wyverns.  I loved the 10' tall golden snaky dragons which were coiled to tuck the curtains into when they were drawn back.  And for dragons I forgive a lot of excess ... vulgar? hell yes, but it is so over the top it almost works.  When we left it was in a haze of bling overload. Though only one room was truly uncomfortable - the red reception room, which was so overwhelmingly scarlet that I fled through it in a hurry. what a way to depress pretensions of visitors you don't want!
Simon was amazed how small the grand piano was.  I was blown away by the iron pillars in the kitchen topped with cast iron palm leaves, in the semblance of trees.  I doubt servants appreciated dust catchers out of reach over where they were preparing food! 





the riding house

and this is the way in to the kitchen complex...

 And some details of the decoration








Saturday, 23 March 2019

The inhabitants of Milsom Street, Bath 1801-1820


 More research which will eventually go into the Young Ladies' Survival Guide in Visiting Bath - sorry about the formatting it did horrible things to my numbered bullets


The Inhabitants of Milsom Street 1801-1820

Built in 1762, by Thomas Lightholder, Milsom Street is mentioned in most novels about Bath, as a centre for shopping for fabrics and jewellery and clothes.  As seen in the list of shops, it was not the exclusive centre of shopping, but certainly it contained many shops.  The other main shopping streets were George Street, New Bond Street, Old Bond Street and Bath Street.
Milsom Street is an amazing street. It contains buildings which are detached, and others which are terraced.  But those which are terraced are grand terraces, like Somerset Buildings, 37-42.  Grand frontages with columns, bowed centres and in-your-face Palladian architechture turns a block of five houses into something which would not be out of place as the residence of an earl, if only placed into a country setting, not on the street.
Numbering of Milsom Street is also not as we are used to; even and odd do not denote the side of the street.  Instead, the numbering starts with no. 1 on the west side of the street at the northern end – where a number of roads like Old Bond Street start – and numbers up the western side to no. 23 on the corner of George Street.  Immediately opposite no. 23, numbering recommences with no. 24 and runs down to no. 47, opposite no. 1.




The buildings are, on the whole, 4 storey, with basement as well, and often double-bayed.  Many of them are broken up into multiple occupancy, typically with shops and the rooms behind them on the ground floor, and residences or boarding houses above.  Most boarding houses offer ‘rooms for gentlemen or families’; single ladies rarely mentioned, only by the Misses Kyan of no. 42   

Those houses whose occupancy I have not been able to trace may be presumed to be private dwellings or boarding houses which advertised by word of mouth rather than through the newspapers.





West Side

1          1 In April 1816 White’s Pianoforte and Music Warehouse (also on 5 George Street)
Speculated: the un-numbered Music Warehouse of Mr. William Loder, band-leader and violin maestro of the Theatre-Royal, who has a music warehouse in Milsom Street from 1818.

Numbers 2-22 are a terrace named Portland Place

2         2 Unknown
3         3 Unknown
4          4 In 1807 was called Civet-Cat, occupied by a Mr. Gould, a perfumer and hair cutter, who also provided wigs and hair pieces.
5         5 Unknown
6         6 Unknown
7          7 1794-1804, owner-occupier J. James, fine muslins and table linen. He moved and let the premises.
Until March 1817 Thos. Sheppherd and Jas. Trinder, woollen drapers, hatters and undertakers; in March 1817, they dissolve the partnership and Thomas Sheppherd continues alone.
8            8 Leased for 99 years in summer 1765; the occupant dies age 79 in 1813,  the lease being for sale for £300, plus yearly ground rent £4/6/-.  There was a tenant-at-will Mr. John Howell who paid the ground rent and £130 a year rent.
9          9 1803 E. Sandys, child-bed and ready-made linen warehouse.  In Feb 1817 the leasehold dwelling house and shop were for sale.
1         10 Jan 1801 sold by auction. The centre house of Portland Place.
By 1811 Bally and Bartrum, auctioneers, also letting-agents, ie doing the job we should now call estate agents.  Mr. Bally also kept a public library with reading rooms. Still there in 1820.
November 1820, the house was being let, furnished, by the year or less; Bally & Bartrum  were still operating out of their ‘Great Rooms’ there which is now numbered ‘number 5, Central House, Portland Place’.
111    Unknown
112    Mr. Henry Bowen until 1806 when the premises was sold to cover his bankruptcy.
1807 Lockwood and Porter linen draper, leave May 1812
1815-1820 Public Library, C. Duffield Bookseller and publisher
ALSO  from Nov. 1816 Mr. Kay, cutler, jeweller and plated goods.
113  Unknown until the 1820s when it became Jolly’s Bazaar, and is still Jolly’s department store to this day, under the House of Fraser.
114   In 1812 it was a lodging house, to be let; the shop frontage and shop separate.
115   In 1820 Mr. Cuff, Chemist
116    Up to 1809 P. Nonnet, Jewellery, perfumery, wigs etc Tunbridge-ware, selling up stock May 1809 to move to London
117    Unknown
118    Mr. William Evill, auctioneer, upholsterer, appraiser, undertaker and letting office. 
ALSO 1816-1818 at least William Bell, Upholsterer.
119  1801 Charles Smith Bookseller
1804 Mrs. Mary Smith, relict of Chas. Smith, with her brother Henry Godwin Bookseller and stationer.
1808 H. Godwin moves out with his business to Public Library to No. 43.  Did Mary die?
1816 Mrs. Vesey moves from Bath St.; Haberdashery.  Gives up business 1820
From Feb 1820 Abraham and Levy, jewellery
220  From January1816 new auction rooms  Mr. Stafford, auctioneer, upholsterer, paper hanging. Still there in 1820
221  Sold in April 1807.  Probably lodging houses in upper floors; given as address of Mr. Elliston, actor, first staying temporarily in 1811 and then permanently.
1811 [probably the ground floor] Mr. Webb auctioneer [possibly later in partnership with Mr. English]. Upholstery, carpets, paper hangings.
1818 Messrs English, English and Becks, Auctioneers,  same 1820
222    Unknown



223   Russel and Brookman, silks, velvets, gloves etc; dissolve partnership July 1811
After alterations, Oct 1819 shop bought S&J Martin, jeweller, silversmith and watchmaker



East Side

1      24    Oct 1811 Peter Ardenond moves in from Abbey Churchyard.  Woollen Draper, Tailor, Habit Maker. Apartment to be let at will. Moves out to the Colonnade House, 9, Bath St., October 1817, to set up a bazaar.  
Unknown time, Mr. Denie – presumably 1817-1820
1820 Thomas Flaherty, successor to Mr. Denie,Woollen Draper, Habit maker, Tailor, second premises; also uses no. 27.
Possesses baroque details not seen on other buildings.
2         25 Owned by ‘a lady’ who died early 1812
3          26 Unknown
4          27From Dec 1812 Mrs. R. Spornberg, Milliner, mantua-maker until June 1819.
1819 Thos. Flaherty, see no. 24
5          28 Dec 1811 Mr. Basnett first advertises, is certainly there 1813; goldsmith and jeweller, continuing from his father.
ALSO July 1818 Mr. Holbrook selling large furniture removing to Catherine place – probably in second occupancy with Mr. Basnett?

6          29 1805-1811 S.N. Riviere [moved in from no. 32] Jeweller
7          30 Jan 1818 The Rocking Horse and Golden Fleece, J Spreat, perfumier, toy and fancy goods.
8           31 From Nov. 1808 Mme Simeon, French Laces, bankrupt Jan 1811
Later 1811 C. Simeon, French Laces [her son?]
9           32 1801 S. N. Riviere Jeweller[of 63 Bond Street London] until 1805 when moves to no. 29 q.v.
1820 the whole house with exception of two parlours to be let.
133    1801 Frederick Albrecht, stay, habit and gaiter-maker to Her Highness Duchess of York. Moved from 7 George St.
Mrs. Albrecht to help the ladies.
134    Jan 1805 -1810 [at least] E & A Laing, Millinery, Haberdashery, dresses and pelisses
ALSO Mr. Andras, booking pleasure and packet boats on the Kennet and Avon Canal
135    Prior to 1893 Mrs. Prynn, private occupier; sold June 1803
136    1811-1815 at least, Mr. Fasana, repository of arts, silver, plated goods, oil paintings etc.  As part of his repository of arts, Mr. Mackie, teaching ladies shoe making.

Numbers 37 - 42 are a terrace called Somerset Buildings. An elegant central bow.

137   1802 Mr. Daniel, Miniature painter
1811 Mrs. M. Langdon moves from Argylle St.;  Hosiery, millinery, dresses, haberdashery and Imperial corsets.  Still there 1815 at least

138    From June 1819 J&R Spornberg, milliner, mantua-maker; moved from no. 27 which was sold out from under them when the owner went bankrupt.
1  
Numbers 39 and 40 were owned by a Mr. W.Glover, sold 1801

139   AKA ‘The Centre House’. By 1805  Messers Slack Haberdashery who sold  to Mr. W. Crocker in 1816, who was still there in 1820. In 1817, when the whole upper house was let as ‘having been and suitable for a boarding house’. [The upper rooms were a boarding house.]
1820 Mesdames Urry and Huffown were keeping a boarding house, successors to Mrs. Bless
140    AKA Wellington House. May have been sold by Mr. Glover to someone initialled A.B.
1802 Sheffield plate warehouse, mirrors, Japanned goods etc, said to be ‘at Glover’s’.
Up to Oct. 1817 Mr. Charles Foreman, haberdashery and fine French laces. Stock sold, shop let separately to house, the house is very elegant with patent water-closets. See also no. 42
1817 part to let; taken on by Mr. Crocker, drapery, silks, shawls, still there 1820 [shop?]
1818 Mr. Hodgson  Auctioneer Wellington House.[House?]Formerly of Kay and Hodgson, 7 Union Street.
141    1801 Miss Wilson, quits premises in May
42  By 1804 C. Foreman; Hosiery and Gloves also see no. 41
From October 1807 the Misses Kyan’s Boarding House, having moved to a larger house from Henrietta Street.  Would take ladies or gentlemen with proper references. Purchases boarding house in Cheltenham as well, 1808 and at 19 Circus, Bath 1811 Weymouth 1816, when she is still living at 19 Circus, Bath
1810 Mr. and Mrs. Bloss take on boarding house buying 11 ¾ years of lease left @ £136/10/- p.a.; it has been newly papered.
2   43 Circulating Library and Reading Room; H. Godwin, bookseller, printer, publisher, moved in1808 after leaving mo. 19. [he printed the original of the map of Bath in the front of this book]
444    Unknown
245    Unknown
446    Before 1813 Mr. Bretton; jewellery. Quits business June 1813. There is an arched entranceway to no. 46 which also gives access to the Octagon Chapel.
Octagon Chapel
247    Detached building, massive 4-bay frontage with pillars.  Currently a bank and looks as though it was built either to be a bank or some civic building.


A Mrs. Mirvan lived in Milsom Street in 1818 but I have not tracked down which number.

The residents of Milsom Street petitioned to be provided with gas lighting in 1818
 


Wednesday, 12 October 2011

Snuffboxes and the materials that made them


Many thanks to Daniel Bexfield of Daniel Bexfield Antiques who has given me permission to use his photographs of snuff boxes; do go look at his wonderful antiques.  Apart from the Japanning picture all the photos are his.


Gold and enamelled snuff box, 18th century

Much has been written about snuffboxes and their history on other sites; what I wanted to share was the wide variety of shapes and more particularly the variety of materials from which they were made.
My researches at the Old Bailey Online prompted this when I found myself marvelling over the wide gulf between those of tin or paper [papier-mâché one assumes] valued at a penny and the gold snuffbox set with two rows of diamonds valued at £400.  Or in real terms, five times the yearly salary of a clerk.  This was in 1800 and 1801.  The very great variation does however bring home that snuff taking was a universal pleasure/vice and was enjoyed by the poor man too.  Such ephemera rarely survive the rough and tumble of time, unlike the works of art that were used by the wealthy, so alas I have no pictures to offer of them; however here’s a rather fancy gold piece. 


Four colour gold , French, 18th century c 1780

Though paper snuff boxes may have come as cheap penny or tuppence boxes is not to say that papier-mâché snuffboxes might not also be moderately costly if skilfully made and painted; I found a ‘paper machee’ snuffbox of 1790 valued at £10.  I wonder what decoration it had that made it so valuable.  A painting by a well known portrait painter of the owner’s wife perhaps?  Or maybe, the time being what it was, a saucy and salacious scene.  Another papier-mâché snuffbox was mounted with gold so was plainly an object of vertu to be so mounted.
Paintings could be added to other materials


George II tortoiseshell and silver with handpainted miniature


These are the materials I found; I was truly astounded by the variety.  

China   a wide variety painted with scenes and portraits; the one described at the Old Bailey in 1775 was an ‘oval Saxon China snuffbox set in gold, with the figure of a dog in the top, with two brilliant diamonds for the eyes, value £20’. The one valued at 6d in 1784 was likely plain however….


China enamelled  I am not entirely sure what was meant by this; but I doubt there was anything like cloisonné enamelling as the one thus described was valued in 1775 at four bob, not worthy of any serious craftsmanship.

Gold  Which like silver may be chased, plain, inset with stones, enamelled and otherwise decorated or left to stand on its own merits; or make use of the different colours of gold like the French snuff box further up this post. .


Horn A useful organic material, and freely available when cattle were slaughtered.  Horn can be steamed flat and may be shaped to some extent.  It can be fine enough to let the light through – after all the windows in lanterns were made often of horn.  One horn snuff box was set with gold so not a material to be despised apparently for its availability.

Iron I shouldn’t much like to think of the flavour of snuff kept in iron unless it was lined.  Possibly the product of the local blacksmith: it was valued at a penny in 1779.

Ivory The tusks of the elephant form this much sort after and beautiful material, which carves finely and is beautiful in its own right.  It is more beautiful on the elephant but it is hard not to be impressed by a fine piece of ivory.  Any tusk will make ivory but elephant ivory is most sought after. One of the snuffboxes mentioned in the Old Bailey records was ivory let in with diamonds, valued in 1796 at £50.  Another in 1784 is described ‘ivory mounted with gold set with two pictures on the lid £8 one of a lady in orange’


Elephant Ivory and silver lined with tortoiseshell c 1820


Japanned  Japanning was generally on tin, and involved a heavy resinous varnish, usually black, to imitate Japanese lacquer work.  Wolverhampton and Bilston were the centres of Japanning in the era [at Bilston from 1719]. Typically gold and other coloured designs were laid on the black background.
The picture below gives some idea of Japanning though may not be a snuff box.

More information about the book can be found at:

Leather  Would have to be a fairly heavy leather; and might or might not be tooled, ie patterned by the use of a patterned die into the leather when wet, that would dry with the pattern set. 

Leather covered with skin I’m guessing here that the skin would be the same as the chicken skin that was painted to make fans.

Mocoa  The one instance I found of this was set with gold; I believe it is an exotic wood, but could be moss agate which was known at the time as Mocha stone having been brought, like coffee, from Mocha on the Red Sea.

Papier-mâché/paper Papier-mâché was used for many applications, mostly small in this era, it being the Victorians who took it to the extent of making furniture.  It dried as hard as wood and could be decorated in a wide variety of ways.

Semi-precious stone  The inventories included snuff boxes of amber, agate, lapis lazuli and bloodstone; some were doubtless hollowed out from a whole piece like the modern small soapstone boxes that are popular tourist pieces from places like India; but I’m guessing some would have been made from slices of stone joined. 


Silver and agate, George II



Gold and agate c 1820


Shagreen [for an excellent article on shagreen see Kathryn Kane’s Regency Redingote here: http://regencyredingote.wordpress.com/?s=shagreen  Basically it’s a nubbly leather made of rawhide  of the wild ass or from ray skin.  I’m more familiar with it as a covering for sword hilts and telescopes for a decorative finish with a good grip for Naval officers.

Shell/Cowrie

Though I did not find any cowrie mentioned on the Old Bailey records, from the collection of Daniel Bexfield I found some very novel cowrie shell ones, and one incorporating shell: The two cowrie ones are George III, the shell an earlier one George II and perhaps a little early but I could not resist it…..


Silver and shell George II


George III 1814 made by John Parkes of Birmingham, an ingenious combination.


George III c 1790


Silver  which may be plain, chased, set with stones


1808 made by Matthew Linwood: the inscription is Recordanza or ‘remembrance’



Dutch silver snuffbox


George III silver


Tin base metal, probably stamped by the Regency period.

Tortoiseshell  Tortoiseshell is not actually tortoise shell but from the hawkbilled turtle. It is a beautiful material that can be easily shaped and bent and like Ivory is beautiful enough to endanger the unfortunate creature who has been killed to make objects of beauty.  In the Georgian era they were at least probably eating the turtle as well so at least it was a by product.  As well as the picture below see above for a more mottled tortoiseshell. 


George II Silver and tortoiseshell


Varnished  This intrigues me; is this varnished treen or laquer work? Wooden snuff boxes may not be mentioned but one may speculate that if lined or even varnished within treen would be an acceptable small box.



 Other ingenious additions might be made to the snuffbox; one of those mentioned at the Old Bailey was musical, valued at £50 in 1813.  The workings must have been meticulously small. 
From the collection of Daniel Bexfield I have also come across some other most ingenious designs: below is a four-hinged snuff box which opens towards you whichever way you are holding it:


Georgian 4-hinge snuff box

And then the William IV squeeze action one, which opens by squeezing it between forefinger and thumb as shown in the photo.  Out of the Georgian/Regency era but I could not resist this.  A handy piece of kit for those gents who could not manage the insouciant flip with one hand to open their snuff box. This too is perhaps a safer way for a Naval officer to open his snuffbox where a flip disrupted by a sudden wave might precipitate all his snuff into the briny: and perhaps appropriate that this is from the reign of the sailor king.


William IV squeeze action snuff box.


I have to say I learned a lot in poking around this subject and enjoyed looking at some very beautiful pieces of bijouterie.