Put on your overcoat and button up those galoshes. Auctioning off the contents of Woodlea, Virginia Water, Surrey England at two o’clock sharp at 489 Park Avenue in town. Mother having bought a new manse in Tuxedo Park on the cheap but needing it decorated up by Christmas. From 1927.

The Drawing Room, Woodlea, Virginia Water, Surrey, England. Page 9 of ENGLISH, FRENCH AND ITALIAN ANTIQUE FURNITURE; BEAUVAIS AND FLEMISH TAPESTRIES, REGENCE BOISERIE AND OBJETS D’ART. The contents of Woodlea, Virginia Water, Surrey, England, chiefly collected by the late LORD GRIMTHORPE. THE ANDERSON GALLERIES, 489 Park Avenue at Fifty-Ninth Street, New York. January 16, 1927. Collections of the Metropolitan Museum of Art, New York. Artwork in the public domain due to age. via https://archive.org/details/englishfrenchita00ande/page/n9/mode/1up

26. CUSHION COVERED WITH VENETIAN EIGHTEENTH CENTURY BROCATELLE; Architecture and landscape in silver thread and silks. 27. PAIR OF CUSHIONS WITH ELIZABETHAN CREWEL WORK; In multi-colored silks on a gray-green ground. 28. CUSHION WITH STUART CREWEL WORK; In green, orange-red and yellow on a cream linen ground. Page 15 of ENGLISH, FRENCH AND ITALIAN ANTIQUE FURNITURE; BEAUVAIS AND FLEMISH TAPESTRIES, REGENCE BOISERIE AND OBJETS D’ART. The contents of Woodlea, Virginia Water, Surrey, England, chiefly collected by the late LORD GRIMTHORPE. THE ANDERSON GALLERIES, 489 Park Avenue at Fifty-Ninth Street, New York. January 16, 1927. Collections of the Metropolitan Museum of Art, New York. Artwork in the public domain due to age. via https://archive.org/details/englishfrenchita00ande/page/n15/mode/1up

58. LOW SIX-LEGGED FIRESIDE GENCH BENCH COVERED WITH ISPAHAN VELVET EMBROIDERY; The latter, 17^th century. The moulded “S’ scroll supports in the Stuart taste are of comparatively modern workmanship. The cover is worked in silver and gold thread and colors in flower and bird arabesques placed in ogives, on a brilliant scarlet velvet ground. Formal borders to the right and left. Page 20 of ENGLISH, FRENCH AND ITALIAN ANTIQUE FURNITURE; BEAUVAIS AND FLEMISH TAPESTRIES, REGENCE BOISERIE AND OBJETS D’ART. The contents of Woodlea, Virginia Water, Surrey, England, chiefly collected by the late LORD GRIMTHORPE. THE ANDERSON GALLERIES, 489 Park Avenue at Fifty-Ninth Street, New York. January 16, 1927. Collections of the Metropolitan Museum of Art, New York. Artwork in the public domain due to age. via https://archive.org/details/englishfrenchita00ande/page/n20/mode/1up

72. MAHOGANY TRIPOD CENTRE TABLE WITH ILLUMINATED TOP. English, ca. 1820. On three scrolled and voluted supports; bold spirally twisted centre stem. The circular top with broad member contains a delightful series of architectural views of Rome painted on slate. The centre dominated by a view of Saint Peter’s in an oval medallion surrounded converging panels with views of antique and Renaissance Rome. Page 25 of ENGLISH, FRENCH AND ITALIAN ANTIQUE FURNITURE; BEAUVAIS AND FLEMISH TAPESTRIES, REGENCE BOISERIE AND OBJETS D’ART. The contents of Woodlea, Virginia Water, Surrey, England, chiefly collected by the late LORD GRIMTHORPE. THE ANDERSON GALLERIES, 489 Park Avenue at Fifty-Ninth Street, New York. January 16, 1927. Collections of the Metropolitan Museum of Art, New York. Artwork in the public domain due to age. via https://archive.org/details/englishfrenchita00ande/page/n25/mode/1up

104. WALNUT MERIDIENNE OF THE LOUIS QUINZE PERIOD. French, ca. 1770. Of imaginative form. The back with upholstery in wavily mounded and attenuated shield-shaped frame sloping downwards to the left. The seven scroll-foot supports connected by moulded serpentined rails. One foot restored. Loose down cushion seat. Page 35 of ENGLISH, FRENCH AND ITALIAN ANTIQUE FURNITURE; BEAUVAIS AND FLEMISH TAPESTRIES, REGENCE BOISERIE AND OBJETS D’ART. The contents of Woodlea, Virginia Water, Surrey, England, chiefly collected by the late LORD GRIMTHORPE. THE ANDERSON GALLERIES, 489 Park Avenue at Fifty-Ninth Street, New York. January 16, 1927. Collections of the Metropolitan Museum of Art, New York. Artwork in the public domain due to age. via https://archive.org/details/englishfrenchita00ande/page/35/mode/1up

189. TWO VENETIAN BRONZE POLE LANTERNS ON STRANDS. Italian, Late 17^th century. A handsome pair composed of gadroon bulbous members upon which are placed six putti bodies as if on clouds. The hexagonal body with scrolled ear-brackets glazed at a more recent date. The gadrooned domes also simulating clouds with winged amorini heads and turreted gadroon finial with pennants bearing the lion of Saint Mark. The pole is covered with contemporary crimson brocatelle and furnished with a florally chased member. The moulded, arched and three-sided bases covered with crimson brocatelle of more recent date. Page 76 of ENGLISH, FRENCH AND ITALIAN ANTIQUE FURNITURE; BEAUVAIS AND FLEMISH TAPESTRIES, REGENCE BOISERIE AND OBJETS D’ART. The contents of Woodlea, Virginia Water, Surrey, England, chiefly collected by the late LORD GRIMTHORPE. THE ANDERSON GALLERIES, 489 Park Avenue at Fifty-Ninth Street, New York. January 16, 1927. Collections of the Metropolitan Museum of Art, New York. Artwork in the public domain due to age. via https://archive.org/details/englishfrenchita00ande/page/76/mode/1up

254. ORMOLU PLATEAU OF THE EMPIRE PERIOD. An important table centre after Thomire, with broad band in classical taste surmounted by grapevine arabesques in continuous border intersectioned by rectangular panels with Bacchic masks and grapevine festoons. On lion’s-claw supports. Page 117 of ENGLISH, FRENCH AND ITALIAN ANTIQUE FURNITURE; BEAUVAIS AND FLEMISH TAPESTRIES, REGENCE BOISERIE AND OBJETS D’ART. The contents of Woodlea, Virginia Water, Surrey, England, chiefly collected by the late LORD GRIMTHORPE. THE ANDERSON GALLERIES, 489 Park Avenue at Fifty-Ninth Street, New York. January 16, 1927. Collections of the Metropolitan Museum of Art, New York. Artwork in the public domain due to age. via https://archive.org/details/englishfrenchita00ande/page/117/mode/1up

270. MAGNIFICENT EIGHTEEN-LIGHT ROCK CRYSTAL CHANDELIER. French, mid-18^th century. The scroll arms carrying candle holders are placed in two tiers; the arms surrounded by rock crystal beads and furnished with diamond-cut and pear-shaped pendants, some cut and some of solid rock crystal. The bottom with large orb cut with oval discs; the upper part composed of two lyre-shaped scroll compositions, each terminating in marguerite rosettes and also furnished with a variety of crystal pendants. This chandelier furnished the library at Woodlea. Page 133 of ENGLISH, FRENCH AND ITALIAN ANTIQUE FURNITURE; BEAUVAIS AND FLEMISH TAPESTRIES, REGENCE BOISERIE AND OBJETS D’ART. The contents of Woodlea, Virginia Water, Surrey, England, chiefly collected by the late LORD GRIMTHORPE. THE ANDERSON GALLERIES, 489 Park Avenue at Fifty-Ninth Street, New York. January 16, 1927. Collections of the Metropolitan Museum of Art, New York. Artwork in the public domain due to age. via https://archive.org/details/englishfrenchita00ande/page/133/mode/1up

Why get a bronze plaque that vanishes in the weeds when you can decorate the family plot with immortal century plant leaves sitting in forever urns. Imagery from WHITE BRONZE MONUMENTS, STATUARY, PORTRAIT MEDALLIONS, BUSTS, STATUES AND ORNAMENTAL IRON WORK for Cemeteries, Public and Private Buildings, manufactured by the Monumental Bronze Company of Bridgeport, Connecticut. Published in October, 1882.

*32nd Degree, 9 x 10 1/2 inches.* (top row, center). The motto, written in Latin, reads: ‘*Spes Mea in Deo est.’* From a page in the catalogue made up of fraternal order pieces with this motto being associated with the Scottish Rite of Freemasonry. American. Page 6 of a trade catalogue published in October 1882 by the Monumental Bronze Company of Bridgeport, Connecticut. Collections of the Smithsonian Libraries. Artwork in the public domain due to age. via https://archive.org/details/Whitebronzemonu00Monu/page/6/mode/1up

*Number 1 Emblem, Eastern Star, 5 1/2 x 5 1/2 inches.* Page 4 (lower right) of a trade catalogue published in October 1882 by the Monumental Bronze Company of Bridgeport, Connecticut. Collections of the Smithsonian Libraries. Artwork in the public domain due to age. via https://archive.org/details/Whitebronzemonu00Monu/page/4/mode/1up

WHITE BRONZE CENTURY PLANTS AND FL.OWER VASES: Number 2 Century Plant. 12 Leaves, height of vase and leaves 18 inches. Price, $15. (left) – Number 3 Century Plant. 16 Leaves, height 33 inches. Price, $45. Page 11 (upper images) of a trade catalogue published in October 1882 by the Monumental Bronze Company of Bridgeport, Connecticut. Collections of the Smithsonian Libraries. Artwork in the public domain due to age. via https://archive.org/details/Whitebronzemonu00Monu/page/11/mode/1up

*Number 222. Statue of ‘Faith.’ Price, $300. Height: 5 feet.* Page 13 (upper images) of a trade catalogue published in October 1882 by the Monumental Bronze Company of Bridgeport, Connecticut. Collections of the Smithsonian Libraries. Artwork in the public domain due to age. via https://archive.org/details/Whitebronzemonu00Monu/page/13/mode/1up

WHITE BRONZE, For Fountain Statues is the best, and will never need painting: ‘Baby Elephant,’ holding a Watch and Chain, showing how it can be utilized as a sign for many kinds of businesses. Price, without the Watch and Chain, $100. (left) – Baby Elephant Statue. Price, $100. Extreme height of this Bronze Cast is 26 inches, which includes the Base, which is 15 x 24 inches square and 4 inches thick. the length of the figure is 35 inches (right). Page 16 (upper images) of a trade catalogue published in October 1882 by the Monumental Bronze Company of Bridgeport, Connecticut. Collections of the Smithsonian Libraries. Artwork in the public domain due to age. via https://archive.org/details/Whitebronzemonu00Monu/page/16/mode/1up

THE MONUMENTAL BRONZE COMPANY’S DESIGNS: Number 105. 6 feet 7 inches high. Price, $535. Bottom Base, 41 ½ x 41 ½ inches square. The 4 upper Emblem Tablets are solid. The 4 Tablets in the die will be made removable. The 4 Tablets on 2^nd Base will be made solid. The Statue is our Number 99 (See page 15). This monument is suitable for any of our large and medium statues. Page 38 of a trade catalogue published in October 1882 by the Monumental Bronze Company of Bridgeport, Connecticut. Collections of the Smithsonian Libraries. Artwork in the public domain due to age. via https://archive.org/details/Whitebronzemonu00Monu/page/38/mode/1up

Number 160. 9 feet, 8 inches high. Price, 660. Bottom Base, 62 x 62 inches square. The Cross is a ‘Double Front,’ being alike on front and back. The Inscription Tablets in the Gothic panel on front and back of the Cross will be made removable, unless ordered solid. The four Tablets in top portion of second Base will be made removable. Page 55 of a trade catalogue published in October 1882 by the Monumental Bronze Company of Bridgeport, Connecticut. Collections of the Smithsonian Libraries. Artwork in the public domain due to age. via https://archive.org/details/Whitebronzemonu00Monu/page/55/mode/1up

I found out about the Monumental Bronze Company and their catalogue from this blog post which also shows one of their monuments in real life, which appears on page 57 of the catalogue here. https://archive.org/details/Whitebronzemonu00Monu/page/57/mode/1up

https://gravelyspeaking.com/2025/11/23/gone-to-join-the-angels/

Gravestones to Order

a new article from the same blog where I found the mention of Monumental Bronze describing how their markers were marketed, etc. Whether this is in response to my blog post I have no idea but am going to hope so-

An envisioning. 2002, and six o’clock in the evening, a Dutch oven filled with chili bubbling away in the kitchen of the flat in Birchmore Close.

Oh to be here.

Mid-February in the Dakotas, with the horizon looking bleaker with every mile that stretches out closer and closer to the land of polar bears and Winken, Blinken, and Nod getting lost on their river of crystal light.

my new short fiction piece published on my Substack at the link if you’d like to read the rest:

https://sarahbguestperry.substack.com/p/an-envisioning-2002-and-six-oclock

Mid-1960s promotional photograph. Found on June Cleaver’s Vintage Closet on Facebook and Instagram. Its on the internet in a few other places too.

Imagery from a commemorative publication on the occasion of the May 1873 Vienna World’s Fair that was put out by the Imperial and Royal Austrian Museum and the School of Applied Arts. At least some of the items in these engravings were in the museum’s collections.

*Ansicht des Säulenhofes.* Signed F. W. Bader on the lower right. Page 9 of *Das Kaiserlich Königliche österreichische Museum und die Kunstgewerbeschule : Festschrift bei Gelegenheit der Weltausstellung in Wien, Mai 1873.* F. W. Bader, Vienna, engraver. J. C. Fischer and Company, Vienna, Austria, printers. Collections of the Getty Research Institute. Artwork in the public domain due to age. via https://archive.org/details/daskaiserlichkon00unse/page/9/mode/1up

*Venetianischer Caminständer, 1577, aus der Sammlung des Museums.* Drawn by Hermann von Riewel. Page 29 of *Das Kaiserlich Königliche österreichische Museum und die Kunstgewerbeschule : Festschrift bei Gelegenheit der Weltausstellung in Wien, Mai 1873.* J. C. Fischer and Company, Vienna, Austria, printers. Collections of the Getty Research Institute. Artwork in the public domain due to age. via https://archive.org/details/daskaiserlichkon00unse/page/29/mode/1up

*Juvvelcngehänge.* Jan Collaert, artist. ca. 1543. Also in the Metropolitan Museum of Art New York with a date of 1581 here https://www.metmuseum.org/art/collection/search/426130. Page 37 of *Das Kaiserlich Königliche österreichische Museum und die Kunstgewerbeschule : Festschrift bei Gelegenheit der Weltausstellung in Wien, Mai 1873.* J. C. Fischer and Company, Vienna, Austria, printers. Collections of the Getty Research Institute. Artwork in the public domain due to age. https://archive.org/details/daskaiserlichkon00unse/page/37/mode/1up

*Initial ‘C.’ F. W. Bader and Company, Vienna, engraver.* Page 58 of *Das Kaiserlich Königliche österreichische Museum und die Kunstgewerbeschule : Festschrift bei Gelegenheit der Weltausstellung in Wien, Mai 1873.* J. C. Fischer and Company, Vienna, Austria, printers. Collections of the Getty Research Institute. Artwork in the public domain due to age. via https://archive.org/details/daskaiserlichkon00unse/page/n58/mode/1up

*Spitzenmuster von Matteo Florimi, Siena, Italy, 1593.* Figure 20, Page 45 of *Das Kaiserlich Königliche österreichische Museum und die Kunstgewerbeschule : Festschrift bei Gelegenheit der Weltausstellung in Wien, Mai 1873.* J. C. Fischer and Company, Vienna, Austria, printers. Collections of the Getty Research Institute. Artwork in the public domain due to age. via https://archive.org/details/daskaiserlichkon00unse/page/45/mode/thumb

Kopfleiste, .Motiv aus der Umrahmung des Diploms für die Mitglieder der Gesell-schaft zur Förderung der Kunstgewerbeschule. Initial Z, Venedig 1568. Engraved after a drawing by Joseph Storck. *F. W. Bader and Company, Vienna, engraver.* Page 68 of *Das Kaiserlich Königliche österreichische Museum und die Kunstgewerbeschule : Festschrift bei Gelegenheit der Weltausstellung in Wien, Mai 1873.* J. C. Fischer and Company, Vienna, Austria, printers. Collections of the Getty Research Institute. Artwork in the public domain due to age. via https://archive.org/details/daskaiserlichkon00unse/page/n68/mode/1up

*Kreuz mit Email translucide* made by Maso Finiguerra in the 15th century and in the collections of the Imperial and Royal Austrian Museum. Engraving after a drawing by Hermann Kühn. Page 68 of *Das Kaiserlich Königliche österreichische Museum und die Kunstgewerbeschule : Festschrift bei Gelegenheit der Weltausstellung in Wien, Mai 1873.* J. C. Fischer and Company, Vienna, Austria, printers. Collections of the Getty Research Institute. Artwork in the public domain due to age. via https://archive.org/details/daskaiserlichkon00unse/page/n78/mode/1up

*Schale* by A. Hirschvogel (1503-1552). Page 61 Image 85 of *Das Kaiserlich Königliche österreichische Museum und die Kunstgewerbeschule : Festschrift bei Gelegenheit der Weltausstellung in Wien, Mai 1873.* J. C. Fischer and Company, Vienna, Austria, printers. Collections of the Getty Research Institute. Artwork in the public domain due to age. via https://archive.org/details/daskaiserlichkon00unse/page/61/mode/1up

*Majolika-Schüssel.* Italian, 16th century. in the collections of the Imperial and Royal Austrian Museum. Engraving after a photograph taken by I. Angerer. Image 102 of *Das Kaiserlich Königliche österreichische Museum und die Kunstgewerbeschule : Festschrift bei Gelegenheit der Weltausstellung in Wien, Mai 1873.* J. C. Fischer and Company, Vienna, Austria, printers. Collections of the Getty Research Institute. Artwork in the public domain due to age. via https://archive.org/details/daskaiserlichkon00unse/page/n102/mode/1up

*Spitzenmuster.* Lace pattern by Cesare Vecelho. ca. 1606. Image 80 of *Das Kaiserlich Königliche österreichische Museum und die Kunstgewerbeschule : Festschrift bei Gelegenheit der Weltausstellung in Wien, Mai 1873.* J. C. Fischer and Company, Vienna, Austria, printers. Collections of the Getty Research Institute. Artwork in the public domain due to age. via https://archive.org/details/daskaiserlichkon00unse/page/80/mode/1up

Hand-fans found in a current Bonham’s auction catalogue. So pretty!

Two blonde tortoiseshell and Brussels Point de Gaze lace folding fans. The first fan with a fine lace leaf with meandering floral sprays and scattered dragon flies within scrolling floriate borders, the plain sticks with foliate pierced ribs, the guards also plain, with matching metal mounted rivet, with A Rodien retailers card box. The second fan similarly with a fine lace leaf with dense all-over floriate scrolling sprays and flowers within scrolling floriate borders with scalloped edges, the plain sticks with foliate pierced ribs, the guards also plain, with matching metal mounted rivet. Late 19th c. Probably Franco-Flemish. Image © Bonhams 2001-2025. Fair use license. via https://www.bonhams.com/auction/31230/lot/102/two-continental-blonde-tortoiseshell-and-brussels-point-de-gaze-lace-folding-fans-probably-franco-flemish-late-19th-century-2/

A tortoiseshell and black Chantilly lace folding fan and a similar mother-of-pearl and black Chantilly lace folding fan. The first with a finely worked leaf decorated with a panel of delicate flowers, foliage and scrolls centred by a bouquet below an further garland and set within foliate borders on a net ground applied to an ivory backing, the reverse lined black, the plain sticks with concealed ribs, the similar guard sticks with an applied carved interlaced scrolling mount, with D shaped swing handle. The second with an unusual finely worked leaf decorated with a Chinoiserie figural frieze centred by a Chinaman (sic) smoking a long pipe within an open gazebo, and flanked by two pairs of tall palm trees and a pair of elaborate pagoda temples and two similar further figures, all within scrolling borders on a fine hexagonal net ground applied to a ivory satin backing, the reverse lined pale pink, the plain sticks with concealed ribs and matching plain guard sticks, with paste set rivet. French. 1850-1875. Image © Bonhams 2001-2025. Fair use license. via https://www.bonhams.com/auction/31230/lot/101/a-tortoiseshell-and-black-chantilly-lace-folding-fan-and-a-similar-mother-of-pearl-and-black-chantilly-lace-folding-fan-french-third-quarter-19th-century-2/

A collection of ten Japanese folding fans in tortoiseshell, bamboo and wood and lacquered and inlaid wood, some with painted silk or paper leaves, two of brisé form, together with a small Chinese export paper and bamboo folding fan. The Japanese fans comprising a tortoiseshell example with lacquered guard sticks, the satinised paper leaf with a rustic figural landscape decoration, with ivory shibiyama ball corded silk tassel, a carved and pierced wood and ivory and mother of pearl inlaid example, the silk leaf painted with cranes, the guardsticks with bird, temple and musician decoration, with beaded silk tassel, three brisé examples, two of tortoiseshell, one with Shibayama decoration, the other of wood with gilt and silvered lacquered decoration with Shibayama inlaid ivory ball corded silk tassel and a wooden example, the leaf with gilt and silvered decoration of birds, bamboo, flowers and foliage, two bamboo and paper folding dance fans with colourful Iris and blossom and autumn leaf decoration, a bamboo and painted paper example, with lacquered guards, the corded tassel with ivory Shibayama plaque with insects, a Shibayama decorated bamboo example, the printed and embroidered silk leaf decorated with birds on flowering boughs, the guardsticks with mother of pearl, painted bone and hardstone inlaid decoration, a white wood folding brisé fan with painted rustic figural landscape decoration, the reverse with a flowering standard wisteria and pheasants, the small Chinese painted paper and bamboo fan with figural decoration on a black ground. 19th and early 20th c. Image © Bonhams 2001-2025. Fair use license. via https://www.bonhams.com/auction/31230/lot/108/a-collection-of-ten-japanese-folding-fans-in-tortoiseshell-bamboo-and-wood-and-lacquered-and-inlaid-wood-some-with-painted-silk-or-paper-leaves-two-of-brise-form-together-with-a-small-chinese-export-paper-and-bamboo-folding-fan-19th-century-and-early-20th-century-11/

A mother of pearl and Irish Carrickmacross lace folding fan, together with a similar period blonde tortoiseshell, needlepoint lace and painted silk folding fan and a similar period horn and painted silk and gauze folding fan. The first fan with a leaf worked with meandering leaves and flowers within a floral ribband border on a fine net ground, the plain sticks with pierced bone ribs, the guard sticks also plain, with matching rivet and plain metal D shaped swing handle, the second with a needlepoint lace leaf and applied painted silk figural cartouches depicting courtly figures in 18th century style dress, the plain sticks with corresponding ribs to the rear, the obverse guard with applied yellow? metal and inset gem? stone (both untested) scrolling leafy flower mount, the third fan with a satin leaf painted with a scene of a pair of 18th centruy style courtly lovers, the painted scrolling and floral painted gauze borders with applied gold sequin borders, the sticks with foliate gilt scrolling decoration, each side with a pair of concentric large and small mother of pearl backed roundels, the guards sticks with continuations of the larger roundel mouldings, the gilt metal D shaped handle with inset green paste rivet. Continental, late 19th c. Image © Bonhams 2001-2025. Fair use license. via https://www.bonhams.com/auction/31230/lot/109/a-mother-of-pearl-and-irish-carrickmacross-lace-folding-fan-together-with-a-similar-period-blonde-tortoiseshell-needlepoint-lace-and-painted-silk-folding-fan-and-a-similar-period-horn-and-painted-silk-and-gauze-folding-fan-continental-late-19th-century-3/

Three commemorative printed and hand coloured folding fans. The first commemorating the arrival of Ferdinand I of the two Scillies to Naples, circa 1816(?), the paper leaf printed to the obverse with a hand coloured view of the royal couple arriving in the city reserved on an abstracted landscape ground, the reverse with a vignette of the their ships arrival in the harbour with foliate gilt borders, the sticks and guards of black stained wood with mother of pearl rivet, the second commemorating The Assembly of Notables, circa 1767, the hand coloured paper leaf decorated with a central figural scene of Louis XVI, high ranking nobles and the clergy with inscribed text and date *1787*, with stained wood sticks and guard sticks, with brass and copper rivet, the last commemorating the Constitution of Spain, Cortes, Cadez, March 18, 1812, the obverse leaf with hand coloured figural decoration flanked by coats of arms and insignia within pink banded border, the ivory painted sticks and guard with gilt metal D shaped rivetted handle. The first probably Italian, early 19th century, the second French, late 18th century, the third probably Spanish, late 18th century. Image © Bonhams 2001-2025. Fair use license. via https://www.bonhams.com/auction/31230/lot/113/three-continental-commemorative-printed-and-hand-coloured-folding-fans-the-first-probably-italian-early-19th-century-the-second-french-late-18th-century-the-third-probably-spanish-late-18th-century-3/

Putting new pom pom fringe on the parasol and heading out for the Palm Fete Parade which was held in Miami, Florida with these images being in a folder labeled “1915 Palm Fete Parade” that is part of the Woman’s Club Coconut Grove Records Collection at the University of Miami Library.

*Coconut Grove entry at Palm Fete Parade.* Miami, Florida. Image ca. 1915. American. Stamped DEVINE AND HAYES Commercial Photographers 300 Second street, MIAMI, FLORIDA on the back. Woman’s Club of Coconut Grove Records Collection, University of Miami Library Special Collections. Copyright not determined but probably in the public domain due to age. via https://digitalcollections.library.miami.edu/digital/collection/asm0400/id/79/rec/1

*Housekeepers Club entry at Palm Fete Parade.* Miami, Florida. Image ca. 1915. American. Stamped DEVINE AND HAYES Commercial Photographers 300 Second street, MIAMI, FLORIDA on the back with “Housekeepers Club car loaned by Mr. Commers for the officers; Miss Flora McFarlane President, Mrs. Clinkenbeard Vice-President, Mrs. Wade Secretary Mrs. Commers Treasurer. At the Parade in Miami Florida, January 12th 1915 First prize” written on the back. The Housekeepers Club is the original name of the Woman’s Club of Coconut Grove. Woman’s Club of Coconut Grove Records Collection, University of Miami Library Special Collections. Copyright not determined but probably in the public domain due to age. via https://digitalcollections.library.miami.edu/digital/collection/asm0400/id/22/rec/3

*Mrs. D.T. Davis and Lillian Justison for Coconut Grove entry in Palm Fete Parade.* Miami, Florida. Image ca. 1915. American. Stamped DEVINE AND HAYES Commercial Photographers 300 Second street, MIAMI, FLORIDA with “*Back seat. Mrs. D.T. Davis, Mrs. Dr Justison Sc. Driver Harold Dr B. Justison, Mrs. Lillian Justison 1915″* written on the back. Woman’s Club of Coconut Grove Records Collection, University of Miami Library Special Collections. Copyright not determined but probably in the public domain due to age. via https://digitalcollections.library.miami.edu/digital/collection/asm0400/id/105/rec/4

Eventually the Palm Fete went away; it appears it was the forerunner of the Orange Bowl parade.

An envisioning. 1949 and nine in the evening in winter with the lights glimmering away on the other side of Kittredge Pond.

Oh to be here.

Midnight blue in velvet, it nearly looks like, but that a little too fancy for a January thaw. Maybe not, but sleet on the horizon according to the weather people. That being enough to put a damper on anything, even if it’s silk crushed by little gnomes, judging by what the dressmakers wanted for that frock back in Montreal.

my new short fiction piece published to my Substack at the link if you’d like to read the rest

https://sarahbguestperry.substack.com/p/an-envisioning-1949-and-nine-in-the

Tika the Italian greyhound who was a social media star with her own Instagram account dressed in Dancing Dog Couture. She died on November 4, 2025, at the age of 14. This photograph and others from the same photo shoot appear in various places on the internet including here https://dancingdogcouture.com/pages/about though I found it https://www.instagram.com/ahistoryofdogs/p/DQpmpytksS5/?hl=en here.

Paintings by Danish painter Christen Dalsgaard. Living from 1824 to 1907, he studied art in Copenhagen. The textiles are wonderful, especially the paisley shawl in the first image.

*In A Pine Wood, Study “Convalescent.”* 1863. Danish. Painting. Christen Dalsgaard, painter (1824-1907). Signed and dated on the lower right. Hirschsprung Collection, Copenhagen. Artwork in the public domain in the United States because the artist died over 100 years ago. via https://en.wikipedia.org/wiki/File:Christen_Dalsgaard_-_In_a_pine_wood._Study_-_Google_Art_Project.jpg

*First day outside after the illness.* 1900. Danish. Oil on canvas. Christen Dalsgaard, painter (1824-1907). Signature, location and date on the bottom left: *C. D. Sorø 1900*. Sold at Bruun Rasmussen Auctions on December 7, 2006. Artwork in the public domain in the United States because the artist died over 100 years ago. via https://commons.wikimedia.org/wiki/File:Christen_Dalsgaard_-_F%C3%B8rste_Dag_ude_efter_Sygdommen_-_1900.png

*A young girl frem Salling reading.* 1851. Danish. Painting. Christen Dalsgaard, painter (1824-1907). Hirschsprung Collection, Copenhagen. Artwork in the public domain in the United States because the artist died over 100 years ago. via https://commons.wikimedia.org/wiki/File:Christen_Dalsgaard_-_A_young_girl_frem_Salling_reading._Study._-_Google_Art_Project.jpg

*A young woman looking out for a boat.* 1859. Danish. Oil on canvas. Christen Dalsgaard, painter (1824-1907). Signed and dated *Chr. Dalsgaard 1859* on the bottom left. Sold at Bruun Rasmussen Auctions on September 5, 2005. Artwork in the public domain in the United States because the artist died over 100 years ago. via https://commons.wikimedia.org/wiki/File:Christen_Dalsgaard_-_En_ung_Pige,_som_seer_efter_en_Baad_-_1859.png

Drama filled landscapes by British artist John Martin (1789-1854). They all have people but the people are only slightly emotional unlike the background behind them.

*Belshazzar’s Feast*. Half-size sketch held by the Yale Center for British Art, ca. 1821. British. Oil on canvas. John Martin, painter (1789-1854). Collections of the Yale Center for British Art. In the public domain in the United States because the artist died over 100 years ago. via https://commons.wikimedia.org/wiki/File:John_Martin_-_Belshazzar%27s_Feast_-_Google_Art_Project.jpg

*Pandemonium*. Based on John Milton’s “Paradise Lost”, where Pandemonium is the capital of Hell. 1841. British. Oil on canvas. John Martin, painter (1789-1854). Photo information: Stéphane Magnenat, photographer. Collections of the Louvre Museum, Paris. In the public domain in the United States because the artist died over 100 years ago. https://commons.wikimedia.org/wiki/File:John_Martin_Le_Pandemonium_Louvre.JPG

The destruction of the Egyptians in the Red Sea. Early 19th century. British. Watercolor. John Martin, watercolorist (1789-1854). Collections of and image credit the Victoria and Albert Museum, London. Artwork itself in the public domain due to age. via https://artuk.org/discover/artworks/the-destruction-of-the-egyptians-in-the-red-sea-670015/search/actor:martin-john-17891854/page/2/view_as/grid

*The Destruction of Sodom and Gomorrah.* 1852. British. Oil on canvas. John Martin, painter (1789-1854). Collections of and image credit the Laing Art Gallery. Artwork itself in the public domain due to age. https://artuk.org/discover/artworks/the-destruction-of-sodom-and-gomorrah-37049/search/actor:martin-john-17891854/page/2/view_as/grid

*Battle Scene: The Fire-Worshippers*. 1837. British. Oil on canvas. John Martin, painter (1789-1854). Collections of and image credit Torre Abbey Historic House and Gardens. Artwork itself in the public domain due to age. https://artuk.org/discover/artworks/battle-scene-the-fire-worshippers-146203/search/actor:martin-john-17891854/page/2/view_as/grid

*The Expulsion of Adam and Eve from Paradise.* 1823-1827. British. Oil on canvas. John Martin, painter (1789-1854). Collections of and image credit the Laing Art Gallery. Artwork itself in the public domain due to age. https://artuk.org/discover/artworks/the-expulsion-of-adam-and-eve-from-paradise-37061/search/actor:martin-john-17891854/page/4

Smoker’s compendiums done up to look like something else, all in silver. A zeppelin, an airplane with cigarettes living in the wings and some other fun ideas. Mostly German but not all. And one in nickel plated brass but it fits right in.

A silver-plated smoker’s compendium made by J. A. Henckels and a cocktail shaker, both modeled as zeppelins. ca. 1930s. German. Inscribed “*Gus Rush*.” Image © Sotheby’s 2025. Fair use license. https://www.sothebys.com/en/buy/auction/2025/noble-private-collections-l25302/a-german-silver-plated-smokers-compendium-j-a

A large sterling silver engine turned smoking compendium, the two main compartments, one for cigars and the other for cigarettes, lined with cedar wood to keep moisture and freshness to the tobacco. The interior of the compartment lids are lemon gilded to help prevent tarnishing caused by oxidizing. Dividing the two hinged compartments are a cigar cutter and match safe, or vesta. Art Deco, made in 1938. Made in London, England by Padgett and Braham Limited. Hallmarked. Image © Foundwell. Fair use license. https://foundwell.com/products/silver-smoking-compendium?srsltid=AfmBOore2m8wKCW-q6V6fHFsUq4CRSXXnBoo73WjT68onYJq-wk73Trf

Airplane form cigar smoker’s compendium, consisting of two hinged cigarette cases, track-mounted to an aircraft body with a hidden interior compartment for storing cigars. A turn of the propeller engages the steel cigar cutter. The compendium has nested ashtrays and a removable match striker cap cover for keeping matchsticks; the underside features a wheeled hidden compartment. Art Deco, made in the 1920s. German. Nickel-plated brass. J. A. Henckels, maker. Impressed D.R.G.M. Germany. Image © 2025 – SIR JACK’S. Fair use license. https://sirjacks.com/products/ja-henckels-airplane-smokers-compendium?srsltid=AfmBOooRsBroYm0YAvxixeX1_dDjMAu7X_VO5c8htVf3WwRi_6fcP5rz

Silver and enamel smokers compendium with enamel ornamentation. Victorian, made in 1890. Made in London, England by Henry Stewart Brown. Maker’s marks: Hallmarked. Image © Bonhams 2001-2025. fair use license. https://www.bonhams.com/auction/22132/lot/58/an-unusual-victorian-silver-and-enamel-novelty-smokers-compendium-by-henry-stewart-brown-london-1890-together-with-a-late-19th-century-chinese-export-silver-mounted-mother-of-pearl-etui-2/#lot-details

Sterling silver and cranberry glass rectangular-shaped smoking compendium, modeled in the form of a carriage, with a cross-shaped chassis fitted to either side with functional hallmarked spoked wheels. The central portion of the carriage retains the original cranberry glass body/cigarette holder, which is fitted with a plain silver mount to the rim, ornamented with the engraved date ‘*1889.*‘ One end of the carriage frame bears a semi-cylindrical match holder, accented with a paralleling dishpan and applied match striker to the surface; the opposing end of the frame features a sterling silver lighter, with a bulbous circular form. Incorporated into the compendium is a conical receiver fitted with the original taper holder, accented with a pierced hole to the terminal and a tiered ball style finial/fingerpiece. Victorian, made in 1888. Maker’s marks: the frame bears the retailer’s mark ‘*Jones, 41 Saint James Street.*‘ Full hallmarks to the underside of the frame and part hallmarks to each wheel. Image © 1998-2025 Ruby Lane, Inc. Fair use license. https://www.rubylane.com/item/2236771-C7938/Antique-Victorian-Sterling-Silver-Cranberry-Glass

The airplane looked exceedingly familiar. It turns out that the same company made nickel plated airplanes fitted out in different ways, I have one in my spring series that is a twin to this plane but it’s stuffed with barware, this.