Consultation at the House of Bruton
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Lettice has her future sister-in-law Arabella Tyrwhitt as a houseguest at Cavendish Mews. Arabella is engaged to marry Lettice’s eldest brother Leslie. As Arabella has no sisters, and her mother is too unwell at present to travel up to London from Wiltshire, Lettice has taken it upon herself to help Arabella shop and select a suitable trousseau. So, she has brought her to London to stay in Cavendish Mews, rather than opening up the Tyrwhitt’s Georgian townhouse in Curzon Street for a week, so from there she can take Arabella shopping in all the best shops in the west end. One of the most important appointments Lettice has made for Arabella is one with their old childhood chum and Lettice’s best friend Gerald Bruton.
Gerald is also a member of the aristocracy, whose family live on the opposite side of Lettice’s family estate of Glynes to that of Arabella’s family. Lettice, Arabella and Gerald all grew up together in Wiltshire. The fortunes of the Chetwynds, the Tyrwhitts and the Brutons have changed over the ensuing years with Lettice’s and Arabella’s families weathering the war, rising taxes and the increases in the costs of living quite well, whereas Gerald’s family has become quite penurious with the family home needing a new roof and everyone in the Bruton household finding themselves in somewhat straitened circumstances. In an effort to gain some independence from his family Gerald has taken up designing gowns from a shop in Mayfair’s Grosvenor Street. Whilst initially a drain on his limited finances, the House of Bruton is finally starting to turn a profit thanks in part to the success he had making the wedding dress of a mutual friend of his and Lettice’s, socialite Margot Channon. It is in Gerald’s couturier, the House of Bruton, that we find ourselves today. Lettice has convinced Arabella that there is no designer in London more suited to make her wedding gown and a few other important pieces of her trousseau than Gerald.
“Here we are, ladies.” Gerald says as he places a silver tray on the low table between Lettice and Arabella on which stands a silver pot, milk jug, cups and saucers. “Tea.”
“You are so hospitable, Gerald.” Arabella remarks as she takes the cups and saucers off the tray and sets them up on the table. “Thank you.”
“I do wish you’d let me redecorate for you.” Lettice remarks, looking around Gerald’s maison with a critical eye, taking in the old fashioned, slightly worn brocade sofa and chairs on which they sit, the screen featuring Art Nouveau ladies and the Edwardian wallpaper of old fashioned roses. “It reminds me of the drawing room in Bruton Hall.”
“That’s because the furniture comes from the drawing room of Bruton Hall. You know that! Thank God for the leaky roof is all I’ll say.”
“Whatever do you mean, Gerald?” Arabella asks.
“Well, if it weren’t for the leaky roof, I doubt Father would let me take a stick of furniture from home. As it is, with the damp situation in the drawing room the furniture from there is probably safer up here in London being used than it is in Bruton Hall covered in dust sheets where it will be attacked by mould and end up being musty.”
“Are things really as bad as all that, Gerald?” Arabella asks. “I didn’t know.”
“Sadly yes, but for Father it is a secret to be kept, so he and my brother act like they have money to burn, when in fact he is trying to raise enough capital to keep the roof over theirs and mother’s heads.”
“I’m sorry to hear that, Gerald.” consoles Arabella. “Bruton Hall was always such a fun house when we were growing up.”
“Yes, because it wasn’t as big or as draughty as Glynes or Garstanton Park.” Lettice remarks.
“Well, it may not be any bigger, but Bruton Hall has enough draughts for all of us now.” adds Gerald sadly.
“Still,” Lettice says. “Even if you are protecting your mother’s drawing room furniture, I should so like to redecorate for you Gerald. Something sleek and modern: more fitting to the customers of the House of Bruton.”
“Lettuce Leaf!” Gerald scolds Lettice in a warning fashion.
Lettice’s face flushes red as Arabella releases one of her delightfully rich and bright laughs. “Do you still call Tice that, Gerald?”
“Only when she’s being remarkably prosaic or irritating.” Gerald replies.
“You’re the one being irritating, Gerald!” pouts Lettice. “You know I hate being called that, especially in front of company.”
“Bella isn’t company,” retorts Gerald as he takes up the teapot and pours tea into Arabella’s cup and then Lettice’s. “She’s family. Aren’t you, Bella darling?”
“Well, I soon will be to Tice, when I marry Leslie, but yes, I think we’ve all spent so much time together growing up that we are all practically family.”
“Lettuce Leaf doesn’t know when to let sleeping dogs lie.” Gerald says settling back languidly into the comfortable, slightly sagging cushions of the settee alongside Arabella.
“I should hit you with my umbrella.” Lettice counters, picking up her green stub ended umbrella and playfully threatening to follow through with the action before lowering it again, placing it alongside her green leather handbag on the slightly worn carpet, which she notes also comes from the drawing room of Bruton Hall.
“Then I shall have you flung out on the street by the police for assault and battery to my person.” Gerald replies in a playful fashion.
“What’s wrong with wanting to update your fashion house, Gerald?” asks Lettice as she picks up the milk jug and adds a little milk to her tea. “Surely you don’t think having old fashioned décor is good for business!”
“We’ve had this discussion before, Lettice darling. If I’ve said it once, I’ve said it a hundred times, I’ll be happy for you to update my fashion house when I can afford to have you do it, and not a day beforehand.”
“You’re so proud Gerald. You spoil my fun.” remarks Lettice.
“Well,” Arabella says soothingly. “I think your premises are lovely, Gerald. Not everyone wants streamline chrome and black and white marble, Tice.”
“You know I don’t design rooms like that, Bella.” Lettice replies with a sideways glance.
“That’s true, but even your more moderate classical modern designs might not please some of Gerald’s clients. Mothers are often the ones who introduce their daughters to their seamstresses and designers, and I think this room exudes comfort, like a drawing room does.”
“She has a point, Lettice.” Gerald says with a satisfied smile.
“Oh you two!” Lettice picks up her cup and sinks back into the armchair in which she sits, the springs sighing a little underneath her weight. “Have it your own way, but no matter what you do Gerald, you shan’t please all your clients.”
“Besides, Tice doesn’t have time to redecorate here at the moment, what with the Channon’s house in Penzance and Mrs. Palmerston’s dining room.” Bella adds as she picks up her own cup of tea.
“What’s this?” Gerald queries, raising his right eyebrow as he eyes Lettice. “You’re redecorating Monstrous Minnie’s dining room?” He places his hands melodramatically against his cheeks and pulls a face of mock horror.
“It’s alright Gerald. Bella’s met Minnie now, and she has been introduced to her histrionics.”
“Welcome to the club no-one wants to join, Bella dear.” consoles Gerald.
“I really didn’t know where to look,” Arabella admits. “And I was frightened she was going to smash one of Tice’s champagne flutes. It really was frightfully awkward. Is she always like that?”
“Not always, but often.” Gerald admits. “Minnie’s lovely, and the kindest and most generous soul, but that dramatic streak she has is a terrible flaw. Are you really going to take her on as a paying client, Lettice darling?”
“I might be.” Lettice clarifies.
“Tice is having luncheon with her whilst you and I discuss my wedding gown.” Arabella adds.
“Well, Charles may have enough money to foot your bill, Lettice my dear, but I just hope she doesn’t have a fit over what you do. You are either very brave, or very stupid.”
“Possibly I’m both,” Lettice admits. “However Gerald, I have a plan. I am telling her from the outset that if I am going to take her on and redecorate her dining room there are to be no dramas and no tears.”
“Brave words my darling,” retorts Gerald. “But can a leopard change its spots?”
“I suppose we’ll see.” Lettice muses. “Now, do get out your scrapbooks and show Bella your work before I have to go to St John’s Wood.”
“Yes, of course!” Gerald replies. “After all, today isn’t about you Lettice, it’s all about Bella.” He smiles magnanimously at Arabella as she perches, cup in one hand and saucer in the other in her smart, yet slightly parochial and old fashioned white linen suit.
Gerald brings forth a large thick cardboard folio which he opens and with a flourish, he scatters a selection of photos of beautifully dressed women across the coffee table between them.
“Oh!” gasps Arabella, picking up a photo of a bride with a frothy lace veil framing her face beneath a stylish headdress. “I love this!”
“Oh, that was Marion Lambley’s wedding dress.” Gerald says, manoeuvring another photo of the same woman alongside her husband and flanked by other wedding guests. “It was very simple, with minimal detail which suited her. Something like that would suit you too.” Gerald eyes Arabella, looking her up and down again. “You’re naturally pretty and have a lovely figure, so you need a dress to compliment you, rather than to make you.” Then he stops mid thought and holds out his hands. “But of course, as a bride-to-be, you must have your own ideas, surely?”
“Well, I do have a few ideas.” Bella admits shyly, her face flushing with the sudden focus of attention on her.
“Then you must tell me your ideas first, and then we can work out what your wedding gown will look like.” Gerald replies encouragingly.
This intimate scene with comfortable furnishings and tea looks very inviting, but is perhaps not all that it seems at first, for it is made up entirely of pieces from my 1:12 miniatures collection.
Fun things to look for in this tableau include:
The low coffee table can barely be seen beneath an array of interesting things. The photographs are all real photos from the 1920s, produced to high standards in 1:12 size on photographic paper by Little Things Dollhouse Miniatures in Lancashire. The magazines including a 1922 copy of Vogue was made by hand by Petite Gite Miniatures in the United States. The porcelain tea set, which has two matching cups and saucers, a milk jug and a sugar bowl, were part of a job lot of over one hundred pieces of 1:12 chinaware I bought from a seller on E-Bay. The silver serving tray and teapot have been made by Warwick Miniatures in Ireland, who are well known for the quality and detail applied to their pieces.
Open on the table is a copy of “Modes et Manières d'Aujourd'hui” illustrated by Georges Lepape (1887 – 1971), which was a luxury French fashion periodical produced between 1912 and 1922 in limited printings of around 300 each year of publication. It is a 1:12 size miniatures made by the British miniature artisan Ken Blythe. Most of the books I own that he has made may be opened to reveal authentic printed interiors. In some cases, you can even read the words, depending upon the size of the print! I have quite a large representation of Ken Blythe’s work in my collection, but so little of his real artistry is seen because the books that he specialised in making are usually closed, sitting on shelves or closed on desks and table surfaces. Therefore, it is a pleasure to give you a glimpse inside one of the books he has made. To give you an idea of the work that has gone into these volumes, each book contains twelve double sided pages of illustrations and they measure thirty-three millimetres in height and width and are only three millimetres thick. What might amaze you even more is that all Ken Blythe’s opening books are authentically replicated 1:12 scale miniatures of real volumes. To create something so authentic to the original in such detail and so clearly, really does make this a miniature artisan piece. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago, as well as through his estate via his daughter and son-in-law. His legacy will live on with me and in my photography which I hope will please his daughter. I hope that you enjoy this peek at just two of hundreds of his books that I own, and that it makes you smile with its sheer whimsy!
Lettice’s green handbag is also a hand-made artisan piece of soft green leather, made by Karen Ladybug Miniatures in the United Kingdom. The two furled umbrellas are 1:12 artisan pieces made of silk, satin and lace. Arabella’s brown leather handbag came from a large collection of 1:12 artisan hats and miniature accessories that I bought from an American miniature collector Marilyn Bickel.
The House of Bruton is furnished with beautiful JaiYi miniatures, who are a high quality miniature furniture manufacturer. The screen in the background is a hand made 1:12 artisan miniature the panels of which are decorated with stylised Art Nouveau Alphonse Mucha (1860 – 1939) illustrations of women.
Consultation at the House of Bruton
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Lettice has her future sister-in-law Arabella Tyrwhitt as a houseguest at Cavendish Mews. Arabella is engaged to marry Lettice’s eldest brother Leslie. As Arabella has no sisters, and her mother is too unwell at present to travel up to London from Wiltshire, Lettice has taken it upon herself to help Arabella shop and select a suitable trousseau. So, she has brought her to London to stay in Cavendish Mews, rather than opening up the Tyrwhitt’s Georgian townhouse in Curzon Street for a week, so from there she can take Arabella shopping in all the best shops in the west end. One of the most important appointments Lettice has made for Arabella is one with their old childhood chum and Lettice’s best friend Gerald Bruton.
Gerald is also a member of the aristocracy, whose family live on the opposite side of Lettice’s family estate of Glynes to that of Arabella’s family. Lettice, Arabella and Gerald all grew up together in Wiltshire. The fortunes of the Chetwynds, the Tyrwhitts and the Brutons have changed over the ensuing years with Lettice’s and Arabella’s families weathering the war, rising taxes and the increases in the costs of living quite well, whereas Gerald’s family has become quite penurious with the family home needing a new roof and everyone in the Bruton household finding themselves in somewhat straitened circumstances. In an effort to gain some independence from his family Gerald has taken up designing gowns from a shop in Mayfair’s Grosvenor Street. Whilst initially a drain on his limited finances, the House of Bruton is finally starting to turn a profit thanks in part to the success he had making the wedding dress of a mutual friend of his and Lettice’s, socialite Margot Channon. It is in Gerald’s couturier, the House of Bruton, that we find ourselves today. Lettice has convinced Arabella that there is no designer in London more suited to make her wedding gown and a few other important pieces of her trousseau than Gerald.
“Here we are, ladies.” Gerald says as he places a silver tray on the low table between Lettice and Arabella on which stands a silver pot, milk jug, cups and saucers. “Tea.”
“You are so hospitable, Gerald.” Arabella remarks as she takes the cups and saucers off the tray and sets them up on the table. “Thank you.”
“I do wish you’d let me redecorate for you.” Lettice remarks, looking around Gerald’s maison with a critical eye, taking in the old fashioned, slightly worn brocade sofa and chairs on which they sit, the screen featuring Art Nouveau ladies and the Edwardian wallpaper of old fashioned roses. “It reminds me of the drawing room in Bruton Hall.”
“That’s because the furniture comes from the drawing room of Bruton Hall. You know that! Thank God for the leaky roof is all I’ll say.”
“Whatever do you mean, Gerald?” Arabella asks.
“Well, if it weren’t for the leaky roof, I doubt Father would let me take a stick of furniture from home. As it is, with the damp situation in the drawing room the furniture from there is probably safer up here in London being used than it is in Bruton Hall covered in dust sheets where it will be attacked by mould and end up being musty.”
“Are things really as bad as all that, Gerald?” Arabella asks. “I didn’t know.”
“Sadly yes, but for Father it is a secret to be kept, so he and my brother act like they have money to burn, when in fact he is trying to raise enough capital to keep the roof over theirs and mother’s heads.”
“I’m sorry to hear that, Gerald.” consoles Arabella. “Bruton Hall was always such a fun house when we were growing up.”
“Yes, because it wasn’t as big or as draughty as Glynes or Garstanton Park.” Lettice remarks.
“Well, it may not be any bigger, but Bruton Hall has enough draughts for all of us now.” adds Gerald sadly.
“Still,” Lettice says. “Even if you are protecting your mother’s drawing room furniture, I should so like to redecorate for you Gerald. Something sleek and modern: more fitting to the customers of the House of Bruton.”
“Lettuce Leaf!” Gerald scolds Lettice in a warning fashion.
Lettice’s face flushes red as Arabella releases one of her delightfully rich and bright laughs. “Do you still call Tice that, Gerald?”
“Only when she’s being remarkably prosaic or irritating.” Gerald replies.
“You’re the one being irritating, Gerald!” pouts Lettice. “You know I hate being called that, especially in front of company.”
“Bella isn’t company,” retorts Gerald as he takes up the teapot and pours tea into Arabella’s cup and then Lettice’s. “She’s family. Aren’t you, Bella darling?”
“Well, I soon will be to Tice, when I marry Leslie, but yes, I think we’ve all spent so much time together growing up that we are all practically family.”
“Lettuce Leaf doesn’t know when to let sleeping dogs lie.” Gerald says settling back languidly into the comfortable, slightly sagging cushions of the settee alongside Arabella.
“I should hit you with my umbrella.” Lettice counters, picking up her green stub ended umbrella and playfully threatening to follow through with the action before lowering it again, placing it alongside her green leather handbag on the slightly worn carpet, which she notes also comes from the drawing room of Bruton Hall.
“Then I shall have you flung out on the street by the police for assault and battery to my person.” Gerald replies in a playful fashion.
“What’s wrong with wanting to update your fashion house, Gerald?” asks Lettice as she picks up the milk jug and adds a little milk to her tea. “Surely you don’t think having old fashioned décor is good for business!”
“We’ve had this discussion before, Lettice darling. If I’ve said it once, I’ve said it a hundred times, I’ll be happy for you to update my fashion house when I can afford to have you do it, and not a day beforehand.”
“You’re so proud Gerald. You spoil my fun.” remarks Lettice.
“Well,” Arabella says soothingly. “I think your premises are lovely, Gerald. Not everyone wants streamline chrome and black and white marble, Tice.”
“You know I don’t design rooms like that, Bella.” Lettice replies with a sideways glance.
“That’s true, but even your more moderate classical modern designs might not please some of Gerald’s clients. Mothers are often the ones who introduce their daughters to their seamstresses and designers, and I think this room exudes comfort, like a drawing room does.”
“She has a point, Lettice.” Gerald says with a satisfied smile.
“Oh you two!” Lettice picks up her cup and sinks back into the armchair in which she sits, the springs sighing a little underneath her weight. “Have it your own way, but no matter what you do Gerald, you shan’t please all your clients.”
“Besides, Tice doesn’t have time to redecorate here at the moment, what with the Channon’s house in Penzance and Mrs. Palmerston’s dining room.” Bella adds as she picks up her own cup of tea.
“What’s this?” Gerald queries, raising his right eyebrow as he eyes Lettice. “You’re redecorating Monstrous Minnie’s dining room?” He places his hands melodramatically against his cheeks and pulls a face of mock horror.
“It’s alright Gerald. Bella’s met Minnie now, and she has been introduced to her histrionics.”
“Welcome to the club no-one wants to join, Bella dear.” consoles Gerald.
“I really didn’t know where to look,” Arabella admits. “And I was frightened she was going to smash one of Tice’s champagne flutes. It really was frightfully awkward. Is she always like that?”
“Not always, but often.” Gerald admits. “Minnie’s lovely, and the kindest and most generous soul, but that dramatic streak she has is a terrible flaw. Are you really going to take her on as a paying client, Lettice darling?”
“I might be.” Lettice clarifies.
“Tice is having luncheon with her whilst you and I discuss my wedding gown.” Arabella adds.
“Well, Charles may have enough money to foot your bill, Lettice my dear, but I just hope she doesn’t have a fit over what you do. You are either very brave, or very stupid.”
“Possibly I’m both,” Lettice admits. “However Gerald, I have a plan. I am telling her from the outset that if I am going to take her on and redecorate her dining room there are to be no dramas and no tears.”
“Brave words my darling,” retorts Gerald. “But can a leopard change its spots?”
“I suppose we’ll see.” Lettice muses. “Now, do get out your scrapbooks and show Bella your work before I have to go to St John’s Wood.”
“Yes, of course!” Gerald replies. “After all, today isn’t about you Lettice, it’s all about Bella.” He smiles magnanimously at Arabella as she perches, cup in one hand and saucer in the other in her smart, yet slightly parochial and old fashioned white linen suit.
Gerald brings forth a large thick cardboard folio which he opens and with a flourish, he scatters a selection of photos of beautifully dressed women across the coffee table between them.
“Oh!” gasps Arabella, picking up a photo of a bride with a frothy lace veil framing her face beneath a stylish headdress. “I love this!”
“Oh, that was Marion Lambley’s wedding dress.” Gerald says, manoeuvring another photo of the same woman alongside her husband and flanked by other wedding guests. “It was very simple, with minimal detail which suited her. Something like that would suit you too.” Gerald eyes Arabella, looking her up and down again. “You’re naturally pretty and have a lovely figure, so you need a dress to compliment you, rather than to make you.” Then he stops mid thought and holds out his hands. “But of course, as a bride-to-be, you must have your own ideas, surely?”
“Well, I do have a few ideas.” Bella admits shyly, her face flushing with the sudden focus of attention on her.
“Then you must tell me your ideas first, and then we can work out what your wedding gown will look like.” Gerald replies encouragingly.
This intimate scene with comfortable furnishings and tea looks very inviting, but is perhaps not all that it seems at first, for it is made up entirely of pieces from my 1:12 miniatures collection.
Fun things to look for in this tableau include:
The low coffee table can barely be seen beneath an array of interesting things. The photographs are all real photos from the 1920s, produced to high standards in 1:12 size on photographic paper by Little Things Dollhouse Miniatures in Lancashire. The magazines including a 1922 copy of Vogue was made by hand by Petite Gite Miniatures in the United States. The porcelain tea set, which has two matching cups and saucers, a milk jug and a sugar bowl, were part of a job lot of over one hundred pieces of 1:12 chinaware I bought from a seller on E-Bay. The silver serving tray and teapot have been made by Warwick Miniatures in Ireland, who are well known for the quality and detail applied to their pieces.
Open on the table is a copy of “Modes et Manières d'Aujourd'hui” illustrated by Georges Lepape (1887 – 1971), which was a luxury French fashion periodical produced between 1912 and 1922 in limited printings of around 300 each year of publication. It is a 1:12 size miniatures made by the British miniature artisan Ken Blythe. Most of the books I own that he has made may be opened to reveal authentic printed interiors. In some cases, you can even read the words, depending upon the size of the print! I have quite a large representation of Ken Blythe’s work in my collection, but so little of his real artistry is seen because the books that he specialised in making are usually closed, sitting on shelves or closed on desks and table surfaces. Therefore, it is a pleasure to give you a glimpse inside one of the books he has made. To give you an idea of the work that has gone into these volumes, each book contains twelve double sided pages of illustrations and they measure thirty-three millimetres in height and width and are only three millimetres thick. What might amaze you even more is that all Ken Blythe’s opening books are authentically replicated 1:12 scale miniatures of real volumes. To create something so authentic to the original in such detail and so clearly, really does make this a miniature artisan piece. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago, as well as through his estate via his daughter and son-in-law. His legacy will live on with me and in my photography which I hope will please his daughter. I hope that you enjoy this peek at just two of hundreds of his books that I own, and that it makes you smile with its sheer whimsy!
Lettice’s green handbag is also a hand-made artisan piece of soft green leather, made by Karen Ladybug Miniatures in the United Kingdom. The two furled umbrellas are 1:12 artisan pieces made of silk, satin and lace. Arabella’s brown leather handbag came from a large collection of 1:12 artisan hats and miniature accessories that I bought from an American miniature collector Marilyn Bickel.
The House of Bruton is furnished with beautiful JaiYi miniatures, who are a high quality miniature furniture manufacturer. The screen in the background is a hand made 1:12 artisan miniature the panels of which are decorated with stylised Art Nouveau Alphonse Mucha (1860 – 1939) illustrations of women.