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Exclusive @ Vintage Fair 2021
compatible with
Maitreya-Belleza-Signature-Legacy-Omega-BOM
tone 70% AND 40%
Landmark Event
maps.secondlife.com/secondlife/Alegranza/102/228/29
A.T Mainstore
maps.secondlife.com/secondlife/Aorta/166/137/28
Vintage Fair 2021 Presented by Maraschino and Pale Girl Productions - This year's theme: Woodstock!!
This amazing photo was taken by Jaimy Hancroft of Death Row Designs. (DRD). DRD are our official partners for this year's Vintage Fair. Be sure to find their newest designs at the event between June 12th through 22nd. Just search Vintage Fair in world.
secondlifesyndicate.com/2021/06/21/sand-vixen/
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Helli is in a little bit of this and that today., just enjoying the sun.
Tiffy Vellla had sent me her Vintage Fair release, but I got so caught up in hair fair and Shop & Hop last week, I didn't get to blogging it until now. I sometimes forget that Pale Girl Production events don't last so long.
You will be able to find these fab glasses at her mainstore in the coming days, if you missed the last hours of Vintage Fair.
Ivey of Sn@tch is also back, and slowly working on new content for her store(I say slowly, cause she said it, but honestly, she has been making all sorts of things!).
She made us a new Fishing outfit, that is summery and nautical themed, so if you have a bit of time, you can fish for this outfit, for FREE.
I'm also wearing the newish Gen 3 skin, Jalyn, from Soul. I normally wear alternatively toned skins from this brand, but this is a great base skin to build on top of I found. It is a very clean skin, so works great if you love layering makeups like I do. I didn't go crazy in this post, just so the skin could actually be shown off properly.
Items of Note:
Hair - L$50
Skin - @ Mainstore
Shape - L$1
Beauty Mark - Free
Lipstick - Free (have to fish for it)
Outfit - Free (have to fish for it)
Jewelry - 30% off at Shop & Hop
Sunglasses - *NEW* for Vintage Fair
Beachball Pose is an old Gacha from Curvosity
... and The-Q-List!
I am SUPER excited to be able to say that you can now find The-Q-List at Hallow Manor!
Hallow Manor is a hunt and a really awesome shopping event with an amazing roundup of creators, all put together by the Pale Girl Productions team. That team also runs events like The Vintage Fair, The Signature Event and The Skin Fair, so be sure to keep your eyes open for those as well!
Go pick the notecard up! :D ♥ It's FREE and has 100s of currently active shopping events listed by end date!
It is on the wall just by where you land! :)
Get on the chopper here!
Here's the Hallow Manor shopping guide, and hunter's guide!
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I created The-Q-List because I felt I kept missing out on SO many good events! I always found out about them too late, or when I would remember that I wanted to go, it was already too late. Then I'd just sigh and wish there was a better way for me to remember when they ended, so I could be sure to not miss out.
So, I started collecting all the info, and then my friends wanted me to share it with them, so I made it a notecard in SL.. then more friends popped up, asking for it.. and it's just grown from there.
Now it's made available by means of a media partnership with Pale Girl Productions, and through a dedicated channel in CTS discord server. I am so happy about that! ♥
Oh, and my logos were made for me by Eowyn Swords! ♥ THANK YOU!
NOTE: If you want an updated copy in a notecard, just send me a message in Second Life. If I am around, I'll send one to you right away ♥ Always free of course!
"The-Q-List" on Discord: https://discord.gg/kzhCshP.
I update this list several times a week usually! (daily mostly.. haha) ♥ The links are all clickable in discord, no need to copy/paste if you go look at the list there.
If you are an event organizer and wish for your events to be added to the list, just send me a message in discord, or a message/notecard in SL! If I don't reply within a day or less (usually far less), I didn't see it, so just poke me again!
- Q ( qzxr Resident)
My discord: Qzxr#9381
Hallow Manor Shopping Event and Twisted Hunt
When you arrive at Hallow Manor, you will walk the gloomy trail through the swamp finding a variety of goods that have been created with the macabre and frightful in mind. Once you have purchased everything your little black heart desires, you will enter the grounds of Hallow Manor hunt area, and perhaps run into your worst nightmare in a shack or on the trail.
You will have an opportunity to purchase a HUD in order to search for the lost keys to unlock the hidden prize room, or, if you so wish, purchase a master key HUD, to bi-pass the hunt.
WARNING: THIS IS NOT A HUNT FOR THE FAINT OF HEART.
Keys move every 6 hours, and you must be within 15 meters of a key for it to register on your HUD.
We poured sweat and starlight into Chapter One of Quantum Fold, and when the final shot wrapped, celebration was inevitable. Ninety episodes don’t conjure themselves—it takes an army of cast and crew. Of course, not everyone survived the production, but those who did earned this revel.
You can see behind me, the Arcturians have graciously abducted a few dozen citizens from Arizona, their attempt at goodwill after accidentally vaporizing half the state. It feels a shame to scrub their memories of this wondrous gathering under the—umm—beautiful pale orange sky, but better that than sending them home branded as lunatics.
The Arcturians aren’t natural celebrants—joy is alien to their alien bones—but at my urging they raised an Earth-style carnival for this event, complete with food trucks serving actual human fare. Well not fare “made” from humans but, ya know, stuff we eat, like tacos. Normally they subsist on sterile nutro pills, yet I suspect the one looming behind me wants to taste my taco.
No, not “that” taco. One of these, right here on the plate.
Kayla? Oh, one of them convinced her to sample aged Remeades rum. She's over in the porta-loo. She’ll be fine. Probably.
Oh, hey. I got a new job back on Earth. Waitressing. The tips have been absolutely fantastic. In a few weeks I should have enough saved to get my Mini out of the impound —woo-hoo! I can’t believe the assholes towed it while we were saving the world.
Would you like a taco? It's supposed to be chicken.
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You can view Quantum Fold episodes in order from the beginning in her album titled, Quantum Fold:
www.flickr.com/photos/199076397@N02/albums/72177720326169...
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This is an A.I. image generated using my SL avi.
I hope my pictures make you smile ♥
If you like what you see, please toss me a fav and follow me. I love seeing your comments. They make my day and keep me motivated!
I love my followers. You guys totally ROCK! ♥♥
And if you're taking time to read this you are SO awesome!!! Thank you!!!! ♥♥♥
Here's a link to my other Flickr photos/ images:
Ready? We have a whole REALM filled with the macabre and frightening just waiting for you!
HALLOW MANOR is coming! The insane Shopping Event & HUNT....
Opening at NOON October 15th to the majority of SL, YOU can get early access already on October 14th 9am SLT by joining the "PGP Update Group"...
Designers have been hand selected to participate in the event. Each designer has created an event exclusive(s) and hunt prize.
Click HERE for our Shopping Guide (it gets updated daily!)
For those who love to HUNT click HERE for the guidelines ♥
More info? Click HERE!
PROUDLY PRESENTED BY
SPONSORED BY
Cureless - Insomnia Angel - Jinx
Moon Amore - Olive - Varonis
"The witching hour, somebody had once whispered to her, was a special moment in the middle of the night when every child and every grown-up was in a deep deep sleep, and all the dark things came out from hiding and had the world all to themselves." -Roald Dahl
Sponsor Items
Featured Items from Narcisse for Bound Box October 2017
Maxine Dress
Exclusive to this month’s Bound Box is Maxine. Bound Box is a kinky subscription box available currently available on a quarterly basis and this dress is available along with 11 other original mesh items all with a kinky theme.
Maxine is a tightly structured dress that has a silk top which you can choose the opacity level or can remove it all together, you have all the control
Maxine comes in 18 different colors with a texture change hud that allows you to change the color of the Silk Top, the top half of the dress, the cuffs and the skirt so you can completely customize her to your own liking.
More information about the Bound Box and how you can get one can be found here: palegirlproductions.wordpress.com/2017/10/08/octobers-bou...
Featured Items from [MODA] DAKOTA HEELS & HUD for Bound Box October 2017
Exclusive to this month’s Bound Box is [MODA] DAKOTA HEELS & HUD. Bound Box is a kinky subscription box available currently available on a quarterly basis and this dress is available along with 11 other original mesh items all with a kinky theme.
[MODA] DAKOTA HEELS & HUD has 36 Colors and is fitted for SLink, Maitreya and Belleza.
More information about the Bound Box and how you can get one can be found here: palegirlproductions.wordpress.com/2017/10/08/octobers-bou...
My Look
Items featured from other Designers
Clothing:
Fishnet Stockings: SeamlessStockings (BBD) - Fishnet Tights V2A - Maitreya
Anatomy:
Hair: +elua+ Noela_Variety A pack
Head: LeLutka Bento Head – GREER
Ears: ^^Swallow^^ Darkness Ears @ The Black Fair Event
Skin: amara beauty - Heidi (LELUTKA applier) Tone 2 featured
Eyes: Izzie's - Demon Eyes FLF
Nails: #EMPIRE – Almond Nails – Medium
Nails Appliers: Weaponized Sugar Intergalactic nails
Body, Hands + Feet: Maitreya – Lara V4.1
Accessories:
Rings: ^^Swallow^^ Aphrodite Bento Rings 0.3
Makeup + Piercings:
Eye Shadow/Liner: Izzie's - Gloom Eyeshadows (Gift)
Lip Piercings: |CerberusXing| – [CX] Bitten (Bento) *Group Gift* (unrigged)
Bento Septum: LittleFish – ~LF~ Selena Septum (LeLutka Greer)
Bento Facial Piercings: LittleFish – ~LF~ Brow Piercings
Pets:
Shoulder Raven: JIAN Raven Collection (Companion) @ Salem
In Scene
Trees: JIAN Raven Collection
Mushrooms: {anc} story. / mushroom - cheese and {anc} story. / mushroom - night
Candles: {anc} story. / candle - yellow
Ravens/Crows: JIAN Raven Collection and +Half-Deer+ Raven [Witchy] (Witch hat has been hidden) @ Salem
Skull: + Aii's Skull Box Gift + {aii}
Cauldron: + WitchCraft + Witch's Brew [Bubbling Pumpkin] (The Nightmare Hunt)
Sparkles: {anc} pearl willow {black} (tree part has been hidden)
Grass: -LC- Full Grass Field – 6 – Seasonal
Fog: Fog: Smoke Machine V36
Pose: BellePoses - LadyCrow (Pose 2 featured) @ The Black Fair Event
Scene up by my partner, Acheron and me.
Location
Taken at our Studio
My Blog
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.
Tonight however we have headed east of Cavendish Mews, down through St James’, past Trafalgar Square and down The Strand to one of London’s most luxurious and fashionable hotels, The Savoy*, where, surrounded by mahogany and rich red velvet, gilded paintings and extravagant floral displays, Lettice is having dinner with the son of the Duke of Walmsford, Selwyn Spencely. The pair have made valiant attempts to pursue a romantic relationship since meeting at Lettice’s mother, Lady Sadie’s, Hunt Ball the previous year. Yet things haven’t been easy, their relationship moving in fits and starts, partially due to the invisible, yet very strong influence of Selwyn’s mother, Lady Zinnia, the current Duchess of Walmsford. Although Lettice has no solid proof of it, she is quite sure that Lady Zinnia does not think her a suitable match for her eldest son and heir. From what she has been told, Lettice also believes that Lady Zinnia is matchmaking Selwyn with his cousin Pamela Fox-Chavers. In an effort to see what her potential rival for Selwyn’s affections is like, Lettice organised an ‘accidental’ meeting of she, Pamela and Selwyn at the Royal Horticultural Society’s Great Spring Show** a few weeks ago. As a result of this meeting, Selwyn has finally agreed to explain to Lettice his evident reluctance to introduce her to his mother as a potentially suitable match. Yet as she walks beneath the grand new Art Deco portico of the Savoy and the front doors are opened for her by liveried doormen, Lettice is amazed that surrounded by so many fashionable people, Selwyn thinks the Savoy dining room is the place to have a discreet dinner, especially after they have been very discreet about their relationship for the past year.
Lettice is ushered into the grand dining room of the Savoy, a space brilliantly illuminated by dozens of glittering electrified chandeliers cascading down like fountains from the high ceiling above. Beneath the sparkling light, men in white waistcoats and women a-glitter with jewels and bugle bead embroidered frocks are ushered into the dining room where they are seated in high backed mahogany and red velvet chairs around tables dressed in crisp white tablecloths and set with sparkling silver and gilt china. The large room is very heavily populated with theatre patrons enjoying a meal before a show and London society out for an evening. The space is full of vociferous conversation, boisterous laughter, the clink of glasses and the scrape of cutlery against crockery as the diners enjoy the magnificent repast served to them from the hotel’s famous kitchens. Above it all, the notes of the latest dance music from the band can be heard as they entertain diners and dancers who fill the parquet dance floor.
A smartly uniformed waiter escorts Lettice to a table for two in the midst of the grand dining salon, where Selwyn, dressed in smart white tie stands and greets Lettice.
“My Angel!” he gasps, admiring her as she stands before him in a champagne coloured silk crepe gown decorated with sequins with a matching bandeau set amidst her Marcelled** hair. “Don’t you look ravishing!”
“Thank you, Selwyn.” Lettice purrs in pleasure as she allows the waiter to carefully slide the seat of the chair beneath her as she sits. “That’s very kind of you to say so.” She gracefully tugs at her elbow length white evening gloves.
Sparkling golden French champagne is poured into their crystal flutes from a bottle sitting in a silver cooler on the linen covered table by their obsequious waiter. The expansive menu is consulted with Lettice selecting Pied de Veau*** and Selwyn choosing Cambridge Sausages**** both dishes served with a light Salade Romaine*****. Polite conversation is exchanged between the two. Lettice is given congratulations on the great success of the publication of her article in ‘Country Life’******, which Selwyn has finally seen. Selwyn is asked how Pamela’s coming out ball went. The pair dance elegantly around the true reason they are there.
It is only when a large silver salver of cheeses is put down and they are served Vol-au-Vent de Volaille à la Royale******* on the stylish gilt edged white plates of the Savoy that Lettice finally plucks up the courage to start the conversation that they have been trying to avoid.
Cutting a small piece of flaky golden pastry and spearing it with a piece of tenderly cooked chicken and a head of mushroom Lettice inserts it into her mouth and sighs with delight.
“There is nothing nicer than dinner at the Savoy, is there my Angel?” Selwyn addresses his dinner partner.
“Indeed no,” Lettice agrees after swallowing her dainty mouthful. “However, I must confess that I was surprised that you chose the Savoy dining room for us to meet. It’s the most indiscreet place to have a discreet dinner.” She deposits her polished silver cutlery onto the slightly scalloped edge of her plate. “We’ve been so careful up until now, choosing places where we are less likely to garner attention. Here we sit amongst all the most fashionable people of London society. There are bound to be friends of both your parents and mine who will see us sitting here together at a table for two.” She glances around at the bejewel decorated ladies looking like exotic birds in their brightly coloured frocks and feathers and their smartly attired male companions. “There are even photographers here this evening.”
“I know my Angel.” Selwyn replies matter-of-factly before putting a small amount of his own vol-au-vent into his mouth.
“Whilst I know my mother won’t mind seeing my name associated with yours, or a picture of the two of us together at the Savoy,” She glances nervously at Selwyn as he serenely chews his second course. “I thought we were trying to avoid Zinnia’s attention.”
Selwyn finishes his mouthful and then takes a slip of champagne before elucidating somewhat mysteriously. “A change of plans, my Angel.”
“A change of plans, Selwyn?” Lettice queries, running her white evening glove clad fingers over the pearls at her throat as she worries them. “What does that mean? I don’t understand.”
“You and I have had some rather awkward conversations over my refusal to introduce you to Zinnia, haven’t we, Lettice?”
“We have, darling Selwyn. And I thought that was what we were going to talk about this evening.”
“And so we will, but I also want this evening to be a statement of intention.”
“A statement of intention?” Lettice’s heart suddenly starts to beat faster as she licks her lips.
“Yes. . I invited you here this evening because it is one of the most fashionably public places to be seen. I want people to see us together this evening, my darling, whether it be Zinnia’s spies amongst us, or just the general citizenry of society. I also thought that since there is a rather ripping band playing tonight, that you and I might cut a rug******** a bit later and that perhaps we might get photographed. Zinnia won’t want to meet you, unless your presence is waved in front of her like a red rag to a bull.”
“I’m not sure I like that term when used in conjunction with your mother, Selwyn darling.” Lettice says warily.
“But it’s true. For all her forthrightness and ferocity, Zinnia is very good at playing ostriches when she wishes, and pretending not to see things she doesn’t want to see.” Selwyn explains before taking another sip of champagne. “I should have done this earlier, like when we agreed that I would escort you to your friend Priscilla’s wedding in November last year. However, I wasn’t man enough to stand up to her. Now I want to make a statement about you, about us,” He reaches out and places his pale and elegant right hand bearing a small signet ring over Lettice’s evening glove clad left hand, staring Lettice directly in the eye. “And I need Zinnia to sit up and take notice.”
Lettice picks up her champagne flute in her right hand and quickly sips as small amount of the effervescent beverage to whet her suddenly dry throat. She considers what Selwyn has just said along with other things people have said to her about Selwyn and Lady Zinnia over the last year since she reacquainted herself with Selwyn.
“The day I attended Priscilla’s wedding without you,” Lettice begins. “I met Sir John Nettleford-Hughes.”
“Sir John!” Selwyn scoffs, releasing Lettice’s hand, leaving a warm patch that Lettice can still feel through the thin fabric of her white glove. “He’s one of Zinnia’s cronies. I’m quite sure that they had,” Selwyn pauses whilst he finds the right word. “An understanding, shall we say, when they were both younger.” He looks at Lettice again. “I hope I didn’t shock you, my Angel.”
“Not at all, Selwyn darling.” Lettice assures him. “After all, I am twenty-three now, and a lady who has set forth into the world.”
“I’m glad my Angel. I’d never want to shock you with something like that.”
“It doesn’t shock me, Selwyn darling, but it would explain some things he said to me that day when I was cornered by him.”
“Cornered?”
“Yes. I now think he deliberately sought me out and cornered me so he could tell me what he did.”
“What did Sir John say?” Selwyn queries.
“I didn’t really pay that much attention to it,” Lettice begins, glancing down at her partially eaten vol-au-vent. “At least not at first. I thought he was just spitting venom at me because I spurned his affections the evening of Mater’s Hunt Ball when I met you.”
“What did he say?” Selwyn presses anxiously.
“When I explained your absence as my escort – he only knew because he is related to Cilla’s mother and she had been crowing to him about your attendance at the wedding – he laughed when I said that you were at Clendon********* meeting Pamela. He said it was not a coincidence that you were forced to cancel your own plans in preference for spending time with your cousin. He said that your mother had orchestrated it.”
“And so she had, my Angel.” Selwyn conforms. “And that is why I said that I should have been more of a man and stood up to Zinnia at that time. However,” He releases a pent up breath which he exhales shudderingly. “Zinnia is not someone to cross, especially when she is determined, or in a foul mood, of which she was both.”
“Sir John said that even though we had been discreet about spending time together, that your mother already knew about our assignations.”
“I would imagine him to be quite correct.”
“I accused him of telling her, but he denied it.”
“I would doubt that even as a crony of Zinnia, he would have had the pleasure of breaking the news of your existence as a potential future daughter-in-law to her. Zinnia’s talons reach far and wide, and her spies exist in some of the most unlikely places. What else did Sir John have to say?”
“He said that your mother is the one who would undoubtedly arrange your marriage to suit her own wishes. He implied that I ought not tip my cap at you since you were not free to make your own decision when it came to the subject of marriage. He said that even your father wouldn’t cross your mother on that front.”
Selwyn chuckles sadly. “Sir John is well informed.”
“So it’s true then?”
“What is, darling?”
“That you aren’t free to marry.”
“No, of course not. Not even Zinnia with all her bluster can force me to marry someone I don’t want to.”
Lettice releases a breath she didn’t even realise she was holding in her chest beneath the silk crepe and sparkling beading of her gown.
“However, Zinnia and my Uncle Bertrand have their own plans as regards Pammy and her relationship to me, and they are both applying pressure to both of us.”
“Sir John said that too.” Lettice utters deflatedly.
“I should like to point out, my Angel, that I was not aware as to the plans and plotting afoot for Pammy and I when I met you again at your mother’s ball.” Selwyn assures Lettice. “I didn’t even know about it in the lead up to Priscilla’s wedding. It was only that weekend at Clendon when I was first reintroduced to Pammy and I inadvertently overheard snippets of private conversations Zinnia and my uncle that I realised that they had been hatching their plot to bind us into a marriage of convenience to bind our families closer together for almost as long as Pammy has been alive.”
“So this wasn’t something new, then?”
“It was to me, Lettice darling, but not to them. Do you remember I told you at the Great Spring Show that my real aunt, Bertrand’s first wife, Miranda, was a bolter**********?”
“Yes Selwyn.”
“And that he fled to America and that was where he met Rosalind?”
“Yes Selwyn.”
“Well, the reason why he fled to New York was because the failure of his marriage to Miranda and her desertion of him led to quite a scandal. The scandal clung to Pammy, long after Miranda was gone, and I think after a he married Rosalind, being connected to an element of scandal herself, being a divorcée, she hatched the plan with Uncle Bertrand and Zinnia with Pammy’s social well being at heart.”
“What do you mean?”
“Well, I mean that from the outside, there is nothing unusual or untoward about two distant cousins marrying. The fact that the Spencely and Fox-Chavers happen to be two very distinguished and wealthy old families who would doubtless look to intermarry across the generations also throws off any whiff of scandal.”
“Are you saying they planned to marry you two so that Pamela would be untarnished by her mother’s actions?”
“Yes.”
“But how is the child responsible for her mother’s sins, Selwyn?”
“You know as well as I do, coming from a family as old and well established as your own, Lettice, that scandal sticks like glue.”
“Then why throw a ball for Pamela? Why introduce her to society?”
“Because as the next Duke of Walmsford, it is only fitting that I should marry a suitable girl from a suitable family who has been presented in society. Certain families won’t allow their daughters to socialise with poor Pammy, and I’m quite sure that whilst they send their eligible sons, just as many would never countenance a marriage between them and Pammy.”
“So if Pamela marries well, into a family who would welcome her, she is absolved of any wrongdoings of her mother. There is no whiff of scandal and she rises above reproach.”
“Exactly.” Selwyn sighs. “Clever girl.”
Lettice takes a larger than usual gulp of champagne as she allows the thoughts just formed from their conversation to sink in. “And how does Pamela feel about this? Does she even know that she is being matched with you, Selwyn?”
“Yes she does,” Selwyn explains. “Although I was the one who told her. However, like me, she has no desire to see us to get married. She barely knows me, and both of us treat each other like siblings rather than potential romantic marriage prospects.”
“Does she know why your mother, aunt and uncle hatched this plan?”
“Well,” Selwyn replies uncertainly. “She knows her mother deserted Uncle Bertrand, but I don’t think she realises that Miranda’s legacy to her is a tainted one, and I’m quite sure she doesn’t know about some of the other debutante’s families attitudes towards her because of Miranda’s actions.”
“So what is she to do, if no decent bachelor will have her, and you won’t marry her?”
“I didn’t say that no eligible bachelors would consider marriage with Pammy, Angel, only some.” Selwyn says with a smile. “And half of those who won’t marry her would only have wanted to marry her for her money.”
“You sound as if you know something.” Lettice remarks, giving her dinner partner a perplexed look.
“Oh I wouldn’t go as far as to say that, my Angel.” he replies mysteriously.
“So, what would you say then, Selwyn darling?” Lettice prods.
“I’d go so far as to say that being the happy and pretty young thing that she is, Pammy is in no short supply of admirers whose families would overlook her mother’s status as a bolter.”
“Because they want to marry her for her Fox-Chavers money?”
“Well, there are a few of those, I’ll admit,” Selwyn agrees. “But that is why her dear cousin Selwyn is escorting her to all these rather tedious London Season occasions. I can keep those wolves away. However even if we discount them, there are still a few rather decent chaps who are vying for Pammy’s attentions.”
“Are there any that Pamela is interested in?” Lettice asks hopefully.
“As a matter of fact there are two young prospects whom she is quite keen on, or so she confides in me.”
“Oh that’s wonderful, Selwyn!” Lettice deposits her glass on the linen covered surface of the table and claps her hands in delight, beaming with a smile of happy relief. The her face falls. “But then, what are we all to do? Hasn’t your mother charged you with chaperoning Pamela throughout the Season?”
“Well, that was the other reason why I decided to bring you to the Savoy, my Angel.” Selwyn remarks. “We need to be seen together about town, and the best way to do that is to be seen at the functions and places that will be popular because they are part of the London Season, like cricket matches at Lords, and the Henley Regatta************.”
“And the Goodwood races!” adds Lettice with enthusiasm. “And Cowes week************!”
“That’s the spirit, my Angel!” Selwyn encourages her with equal enthusiasm. “Zinnia has charged me with chaperoning Pammy for her own end, but we will use the Season to thwart her with our own ends in mind.”
“Oh Selwyn, how clever you are! What a darling you are!”
Just at that time, the waiter who served them their vol-au-vents and player of cheese approaches the table. Noticing their half eaten meals and their cutlery sitting idle, he tentatively asks, “Shall I clear now, Your Grace?”
“If you would fetch us clean plates and cutlery for the cheese.” Selwyn replies. “Which I think we shall enjoy after a turn on the dancefloor. Don’t you agree, my Angel?” He stands up, pushing his chair back and offering Lettice his hand.
“I do indeed, Selwyn darling!” Lettice pulls her napkin from her lap and drops it on the tabletop.
The waiter pulls out Lettice’s chair, and taking Selwyn’s hand, Lettice allows him to lead her proudly across the dining room of the Savoy. Pairs of eyes note the handsome young couple and lips whisper behind glove clad hands and fans as remarks are made as to who they are and that they appear to be together as a couple, yet for the first time since the night of her mother’s Hunt ball, Lettice doesn’t care what people are thinking or saying. She feels light, as though floating on a cloud, and as she falls comfortably into Selwyn’s strong arms and they begin to sway to the music, she feels proud to be with Selwyn: the man she is falling in love with, and who intends to marry her.
*The Savoy Hotel is a luxury hotel located in the Strand in the City of Westminster in central London. Built by the impresario Richard D'Oyly Carte with profits from his Gilbert and Sullivan opera productions, it opened on 6 August 1889. It was the first in the Savoy group of hotels and restaurants owned by Carte's family for over a century. The Savoy was the first hotel in Britain to introduce electric lights throughout the building, electric lifts, bathrooms in most of the lavishly furnished rooms, constant hot and cold running water and many other innovations. Carte hired César Ritz as manager and Auguste Escoffier as chef de cuisine; they established an unprecedented standard of quality in hotel service, entertainment and elegant dining, attracting royalty and other rich and powerful guests and diners. The hotel became Carte's most successful venture. Its bands, Savoy Orpheans and the Savoy Havana Band, became famous. Winston Churchill often took his cabinet to lunch at the hotel. The hotel is now managed by Fairmont Hotels and Resorts. It has been called "London's most famous hotel". It has two hundred and sixty seven guest rooms and panoramic views of the River Thames across Savoy Place and the Thames Embankment. The hotel is a Grade II listed building.
**May 20 1913 saw the first Royal Horticultural Society flower show at Chelsea. What we know today as the Chelsea Flower Show was originally known as the Great Spring Show. The first shows were three day events held within a single marquee. The King and Queen did not attend in 1913, but the King's Mother, Queen Alexandra, attended with two of her children. The only garden to win a gold medal before the war was also in 1913 and was awarded to a rock garden created by John Wood of Boston Spa. In 1919, the Government demanded that the Royal Horticultural Society pay an entertainment tax for the show – with resources already strained, it threatened the future of the Chelsea Flower Show. Thankfully, this was wavered once the Royal Horticultural Society convinced the Government that the show had educational benefit and in 1920 a special tent was erected to house scientific exhibits. Whilst the original shows were housed within one tent, the provision of tents increased after the Great War ended. A tent for roses appeared and between 1920 and 1934, there was a tent for pictures, scientific exhibits and displays of garden design. Society garden parties began to be held, and soon the Royal Horticultural Society’s Great Spring Show became a fixture of the London social calendar in May, attended by society ladies and their debutante daughters, the occasion used to parade the latter by the former. The Chelsea Flower Show, though not so exclusive today, is still a part of the London Season.
***Pied de Veau is a dish of calves feet served in a thick creamy chicken sauce, often served with carrots and onions.
****Cambridge Sausages are made from coarse ground lean and fatty pork with binder (rice in some receipts) and a heavy admixture of sweet spices such as mace, ginger and nutmeg, linked, in medium skins.
*****Salade Romaine is a salad made of Romaine lettuce, cherry tomatoes, cucumbers, red onions, parmesan cheese, and a delicious olive garden dressing.
******Country Life is a British weekly perfect-bound glossy magazine that is a quintessential English magazine founded in 1897, providing readers with a weekly dose of architecture, gardens and interiors. It was based in London at 110 Southwark Street until March 2016, when it became based in Farnborough, Hampshire. The frontispiece of each issue usually features a portrait photograph of a young woman of society, or, on occasion, a man of society.
*******Vol-au-Vent de Volaille à la Royale is a dish of sliced chicken with mushroom and quenelles cooked in a cream sauce served in a puff pastry casing. The Savoy’s kitchens were famous for their deliciously light and tasty vol-au-vent selections, with 1920s menus often containing a selection of four to six varieties as plats du jour.
********The term “cutting a rug” emerged in the 1920s from American culture and became common parlance on both sides of the Atlantic by the 1930s. It came about because of African American couples doing the Lindy Hop (also known as the Jitterbug). This was vigorous, highly athletic dancing that when done continuously in one area made the carpet appear as though it was “cut” or “gashed”. Selwyn using this language would have been at the front of the latest fashion for exciting youthful language from America.
*********Clendon is the family seat of the Duke and Duchess of Walmsford in Buckinghamshire.
**********A Bolter is old British slang for a woman who ended her marriage by running away with another man.
***********The Henley Royal regatta is a leisurely “river carnival” on the Thames. It was at heart a rowing race, first staged in 1839 for amateur oarsmen, but soon became another fixture on the London social calendar. Boating clubs competed, and were not exclusively British, and the event was well known for its American element. Evenings were capped by boat parties and punts, the air filled with military brass bands and illuminated by Chinese lanterns. Dress codes were very strict: men in collars, ties and jackets (garishly bright ties and socks were de rigueur in the 1920s) and crisp summer frocks, matching hats and parasols for the ladies.
************Cowes Week is one of the longest-running regular regattas in the world, and a fixture of the London Season. With forty daily sailing races, up to one thousand boats, and eight thousand competitors ranging from Olympic and world-class professionals to weekend sailors, it is the largest sailing regatta of its kind in the world. Having started in 1826, the event is held in August each year on the Solent (the area of water between southern England and the Isle of Wight made tricky by strong double tides). It is focussed on the small town of Cowes on the Isle of Wight.
This splendid array of cheeses on the table would doubtless be enough to please anyone, but I suspect that even if you ate each cheese and biscuit on this silver tray, you would still come away hungry. This is because they, like everything in this scene, are in reality 1:12 size miniatures from my miniatures collection, including pieces from my childhood.
Fun things to look for in this tableau:
The silver tray of biscuits have been made in England by hand from clay by former chef turned miniature artisan, Frances Knight. Her work is incredibly detailed and realistic, and she says that she draws her inspiration from her years as a chef and her imagination. The cheeses and the vol-au-vents come from Beautifully handmade Miniatures in Kettering, as do the two slightly scalloped white gilt plates and the wonderful golden yellow roses in the vase on the table. The cutlery I acquired through Kathleen Knight’s Dolls House Shop in the United Kingdom. The silver champagne cooler on the table is made by Warwick Miniatures in Ireland, who are well known for the quality and detail applied to their pieces. The bottle of champagne itself is hand made from glass and is an artisan miniature made by Little Things Dollhouse Miniatures in Lancashire. The bottle is De Rochegré champagne, identified by the careful attention paid to recreating the label in 1:12 scale. The two glasses of sparkling champagne are made of real glass and were made by Karen Ladybug Miniatures in the United Kingdom.
The two red velvet upholstered high back chairs I have had since I was six years old. They were a birthday present given to me by my grandparents.
The painting in the background in its gilded frame is a 1:12 artisan piece made by Amber’s Miniatures in the United States.
The red wallpaper is beautiful artisan paper given to me by a friend, who has encouraged me to use a selection of papers she has given me throughout the whole “Cavendish Mews – Lettice Chetwynd” series.
Introducing the Ooh-la-licious® Naavah Catwa Appliers Collection — a Skin Fair 2017 Exclusive — for Catwa Bento mesh heads. Our appliers come in 11 skin tones, with 5 brow options and 12 lip options. Ooh-la-licious® Naavah works great on all Catwa Bento mesh heads such as Catya, Lilo, Kimberly, etc...as well as on static and non-Bento Catwa heads (particularly Alice, Annie, Gwen and Sarah).
Ooh-la-licious Skins® is one of the proud sponsors of Skin Fair 2017 — presented by Pale Girl Productions. The event dates are Friday, March 10, through Sunday, March 26. Ooh-la-licious Skins® inworld group members gain early access to the event with group tag enabled. We're located on Sim 2 near the landing point: maps.secondlife.com/secondlife/Chanterelle/145/96/21
Additional Skin Fair information can be found here: palegirlproductions.wordpress.com/
Please follow us on Flickr to keep up-to-date on our latest release information. More photos and information to come!
Designer/Model: Oohlala Sassoon
Body: Ooh-la-licious® Generation 5 Maitreya Applier
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Head Applier: Ooh-la-licious® Naavah (Honey)
Mesh Head: Catwa Catya Bento
Fit: Blueberry Angelberry (Shine)
Portrait by Satomi Masukami
© 2017 Ooh-la-licious Skins® All Rights Reserved.
#CurvesEvent
A new Monthly event presented by Pale Girl Productions, a SL™ event production company.
Opens the 3rd of every month and closes the 24th of each month
→ maps.secondlife.com/secondlife/Entice%20Fashion/195/193/1501
→ ʙʟᴏɢ :
palegirlproductions.com/2019/04/03/curves-april-is-open/
→ → Close-up in my other pictures.
I am wearing :
◤.• 💜 Featured Item 💜•. ◢
✿- MOZ Designs #MOZDesigns
♥❤ Tangas Thong Satin
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Vivid%20Valley/186/60/23
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
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→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/mozdesigns
www.flickr.com/photos/mozdesigns/32618165947/in/feed
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Other Items :
✿- Other item from MOZ that I am wearing :
♥❤ MOZ Natalie Blouse @ Curves Event
WIth hud , matchable with other MOZ items
Original Fitmesh for Maitreya, Slink, Belleza, Tonic and eBody mesh bodies.
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/mozdesigns/46455332955/in/dateposted/
✿- Head Genus Project Baby
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Genus%20Project%20Mainstor...
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
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www.flickr.com/photos/crazy-shopaholic/
www.flickr.com/groups/3940492@N25/
→ ғᴀᴄᴇʙᴏᴏᴋ :
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→ Discord :
✿- Abar eBODY Curvy #ebody
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Coral%20Island/222/160/2001
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/133873458@N04/
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/169492
→ ʙʟᴏɢ:
✿- Beusy Dove hair
A double bun styled with optional metal accessories
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Becrux/166/87/125/
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/93378/
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/colorlessisblogging/
→ ғᴀᴄᴇʙᴏᴏᴋ :
✿- NamiiChu satang earrings gold LIMITED EDITION PACK
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/LAD/211/22/22
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marketplace.secondlife.com/stores/200055
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/sugarysweeties/
→ ғᴀᴄᴇʙᴏᴏᴋ :
✿- Entice - Be My Baby Lipsticks HUD - Genus/Omega
→ ᴍᴀɪɴsᴛᴏʀᴇ : : maps.secondlife.com/secondlife/Flawless/124/179/29
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/158991
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/125732001@N03/
→ ʙʟᴏɢ: entice.fashion/
✿- LIVIA Cherish Bento Mesh Nails + polish hud
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Sandy%20Creek/91/241/22
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/172242
→ ʙʟᴏɢ:
liviaslblog.wordpress.com/ Blog
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/livia-sl/
✿-ATD - Baby Girl Fatpack ring rose gold
Find this @ the Curves event
Comes in white gold plat, two gold versions, and rose gold
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Wakulla%20Waters/212/93/3960
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
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→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/147131878@N08/46821496464/in/photol...
✿- Ito Raya boots @ Curves Event
→ Owner : HausofIto Resident
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/mzindiadelgado/
Many thanks for supporting my work.🌷
Love ♥ 💋
Kara ♡ 🐰💕
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 not long returned from a trip to Paris which she took with her fiancée, Sir John Nettleford-Huges and his widowed sister, Lettice’s future sister-in-law, Clemance Pontefract. Lettice went to Paris to attend the ‘Exposition Internationale des Arts Décoratifs et Industriels Modernes’* which is highlighting and showcasing the new modern style of architecture and interior design known as Art Deco of which Lettice is an exponent, however Sir John was going for very different reasons of his own. His involved him attending the exhibition with Lettice in the mornings, before slipping away discreetly and meeting up with his old flame, Madeline Flanton in the afternoon. Old enough to be Lettice’s father, wealthy Sir John was until recently still a bachelor, and according to London society gossip intended to remain so, so that he might continue to enjoy his dalliances with a string of pretty chorus girls of Lettice’s age and younger. After an abrupt ending to her understanding with Selwyn Spencely, son and heir to the title Duke of Walmsford, Lettice in a moment of both weakness and resolve, agreed to the proposal of marriage proffered to her by Sir John. More like a business arrangement than a marriage proposal, Sir John offered Lettice the opportunity to enjoy the benefits of his large fortune, be chatelain of all his estates and continue to have her interior design business, under the conditions that she agree to provide him with an heir, and that he be allowed to discreetly carry on his affairs in spite of their marriage vows. He even suggested that Lettice might be afforded the opportunity to have her own extra marital liaisons if she were discreet about them.
Busy in the Cavendish Mews kitchen, Edith, Lettice’s maid, is arranging a small selection of dainty canapés onto a white gilt edged plate in the kitchen to serve to Lettice and her soon to arrive guest, when she hears the mechanical buzz of the Cavendish Mews servant’s call bell. Glancing up she notices the circle for the front door has changed from black to red, indicating that it is the front door bell that has rung.
“Oh he must be here!” she murmurs. “And not before time too, thank goodness!”
Quickly whipping off the starched white apron she is wearing to protect her black moiré* evening uniform with her hand stitched lace collar and matching cap, she hurries from the kitchen into the public area of the flat via a door in the scullery adjoining the kitchen, snatching up her elegant starched frilled cap from hook by the door as she goes. She hurriedly affixes the cap over her blonde waves, pinned in a chignon** at the nape of her neck as she walks into the entrance hall.
The front door buzzer goes again, sounding noisily, filling the atmosphere with a jarring echo. Edith glances towards the etched glass drawing room doors which stand slightly ajar, but there is no usual call from her mistress, and her face crumples as she considers this lack of interest in who is ringing the front doorbell. Her black low heels sink into the thick and luxurious Chinese silk carpet laid out before the front door. “I’m coming. I’m coming.” mutters Edith under her breath. She pats her cap and the hairpins holding her blonde waves self-consciously as she goes, hoping that she looks presentable as she opens the front door.
“It’s only little me, dear Edith.” Gerald simpers as he stands on the doorstep outside.
“Oh Mr. Bruton, Sir!” Edith gasps as she ushers Lettice’s oldest childhood chum and best friend through the door with a sweeping gesture. “Thank goodness you’re here!”
Gerald is a member of the aristocracy like Lettice, and the two grew up on adjoining estates in Wiltshire. However, although also being a member of the landed gentry Gerald’s fate is very different to Lettice’s. He has been forced to gain some independence from his rather impecunious family in order to make a living. Luckily his artistic abilities have led him to designing gowns from a shop in Grosvenor Street, a business which, after promotion from Lettice and several commissions from high profile and influential society ladies, is finally beginning to turn a profit. As Lettice’s oldest friend, Gerald is usually the person she turns to in a crisis, and she telephoned him earlier in the day at his Grosvenor Street atelier, imploring him to come around for cocktails and canapés that night before supper.
As he shrugs off his luxurious Astrakhan coat*** into the maid’s waiting arms, he glances at Edith. “That bad, is it, Edith?”
“Well, Mr. Bruton,” Edith says, folding the silky fur coat over her arms and reaching out to accept Gerald’s smart beaver fur top hat****. “I wouldn’t say it’s that dire, Sir.”
“But?” Gerald asks, persisting with Edith, encouraging her complete her unspoken thoughts as he hands her his grey dyed kid leather gloves.
“Well Miss Lettice just hasn’t been herself since she came back from Paris. I am a bit worried, Sir. She isn’t behaving like she usually does.”
“Such as?”
“She seems distracted by something, Sir, and whatever it is, it’s eating away at her. She hasn’t touched her paints to start the designs for Mrs. Hatchett’s commission, even though Mrs. Hatchett sent across her portrait to Cavendish Mews whilst Miss Lettice was away, so that it would be here upon her return.”
“That does sound serious.” Gerald opines with an eyebrow cocked in concern.
“She’s quite off her food. I can’t even tempt her with one of my home-made sponges. She hasn’t taken any calls since her return, and told me to tell any visitors that she is indisposed currently.” Edith goes on. “You’re her first friend that she has contacted, Sir.”
“Well thank goodness for that!” Gerald replies, as he tugs on the collar of his dinner jacket. “I’d best see what your mistress is all about then!”
“Oh thank you, Sir!” Edith exclaims. “I hope you’ll help her in her troubles, whatever they are. I’ll be in with the canapés shortly.”
“Hullo Lettice darling! It’s just me!” Gerald calls as he walks into the drawing room where Lettice sits in her usual black japanned, rounded back, while upholstered tub armchair next to the telephone. “I came here as soon as I could get away, after your surprise telephone call, my darling.”
Gerald observes his best friend with a concerned look. Although arrayed in a beautiful rich pink salmon satin evening frock of his own design, with a plunging V-neck and an asymmetrical draping hem, Lettice’s face looks wan and pale, and there are dark circles under eyes, which usually sparkle like Kashmir sapphires*****, but tonight appear dull and almost a blueish grey.
“Unfortunately, Lady Bessom simply would not leave today until she had picked my designs for her daughter’s wedding frock completely apart!” Gerald leans down and embraces his best friend, who returns his hug, but as he holds her, she feels fragile in his arms. “Goodness knows why she wants to engage a couturier, if she already knows what she wants. Better she employs a court dressmaker who will make what she wants without question,” he prattles on awkwardly as he glimpses the large green bottle of Gordon’s Dry Gin****** on the low black japanned coffee table, with her glass already half empty. “Rather than me, who only wants the best for poor Edwina. I don’t want to send the mousy little creature down the aisle in a frock that not only looks out of fashion, but draws attention to every physical flaw in the poor girl’s figure.” He releases Lettice, who does not respond to his remarks, so he finishes up, “It would look bad for the House of Bruton too.”
Without waiting to be asked, Gerald assumes his usual seat opposite Lettice, sinking into the comfortable, thick white floral embossed upholstery of Lettice’s companion tub armchair.
“Well,” Gerald goes on with a deep sigh. “You obviously haven’t called me over to talk about the Exposition Internationale des Arts Décoratifs et Industriels Modernes******* and how you found it. Although I hope you found some inspiration my darling.”
“Oh yes, plenty.” Lettice replies, breaking her unusual silence with her rather laconic and uninspired reply.
Gerald looks dubiously across at his friend.
“I’ve had Moaning Minnie on the telephone to me the last few days,” Gerald says dourly, referring to their mutual friend, London banker’s wife, Minnie Palmerston by her nickname. “She thinks she’s put her foot in it again, since you won’t see her or return her telephone calls.”
“Minnie always thinks she has put her foot in it.” Lettice replies without enthusiasm.
“That’s because she usually has,” Gerald quips. “Although not with you and I Lettice darling.”
“Mmmm…” Lettice murmurs, picking up her dainty glass with its long stem and draining the contents of gin and tonic – likely more of the former and less of the latter judging by the quality of the sheen of the clear liquid as it disappears down her throat.
Just at that moment, Edith slips into the dining room of Cavendish Mews by way of the green baize door that leads from the service part of the flat, carrying her completed plate of dainty savoury canapés. She walks across the room and into the drawing room where she stands before the fire, between Lettice and Gerald. “I thought you could do with these, Miss.” She slides the ruffle edged plate onto the table. “it might help line your stomach, Miss.” she adds in concern, turning her head slight towards Gerald with a meaningful look, who nods surreptitiously back at her.
“Thank you Edith, but I’m really not that hungry.” Lettice replies.
“Well, you’ve nothing whatever in your stomach, so I suggest you at least try a few to help sop up some of your gin cocktails, Miss.”
“Err, yes. Thank you, Edith.” Gerald pipes up quickly as the maid wades into murky waters with her mistress, in an effort to avoid her being barked at by an out-of-sorts Lettice, or worse. “We’ll take it from here. Thank you.”
“Very good, Sir.” Edith bobs a quick curtsey and retreats.
As soon as he knows Edith has retreated to the kitchen through the green baize door, Gerald says, “Alright Lettuce Leaf! Out with it!” He hopes that he can break her funk, at least a little bit, by using his childhood nickname for her, which he knows she hates.
“Don’t call me that Gerald! You know how I hate it!” she replies, admittedly not with her usual vigour, but at least with a little bit of energy.
“That’s better.” Gerald smiles. “So, what is it that was so ghastly about your trip to Paris that it has you looking so bloody******** and in such a god awful funk?”
“I’m not in a funk!” Lettice responds in a churlish fashion.
Gerald simply gives her a withering look as he pours them both a small amount of gin into their glasses and adds more carbonated tonic water from the clear glass syphon than Lettice has been adding to her own drinks.
“Those are rather over the top, aren’t they?” Gerald nods in the direction of a vase of red roses, white asters, pink oriental lilies and purple irises towering over the telephone on the small table beside Lettice’s armchair.
“They’re from John.” Lettice replies in a languorous fashion.
“Was it Sir John?” Gerald asks directly, returning the syphon to the tabletop, before setting back in his seat languidly with his glass in one hand, and one of Edith’s canapés in the other. As he bites into the dainty puff pastry decorated with tiny herb sprigs and a tiny cherry tomato he adds, “Edith is right you know, Lettice darling. You should have one of these, they are delicious, and have a rather delectable creamy cheese filling.”
Encouraged, Lettice snatches one off the plate and grabs the stem of her glass. When she pulls a face after tasting the gin and tonic in her glass, she puts both down again, and reaches for the bottle of Gordon’s to add more gin to her glass.
“Ahh-ahh!” Gerald replies, snatching the bottle away quickly before she can reach it. “Not until you tell me what is going on.” He persists. “So, it was Sir John then!”
Lettice sighs. “No, it wasn’t.” She sighs more deeply. “Well yes it was, but not entirely. There are a number of things that have come to light,” She huffs. “Or rather haven’t come to light, that have put me out-of-sorts.”
Keeping the bottle out of harm’s, and Lettice’s way, by slipping it onto the seat beside him, Gerald goes on, “I’m listening then.”
Lettice takes a bite out of the canapé in her left hand and chews her mouthful rather indolently before explaining.
“Well, in one respect it was John who upset me.”
“What did he do?”
“Well, when I agreed to marry him, he promised me that he would never do anything to shame me.”
“And he did?” Gerald asks. When Lettice nods shallowly, he presses, “What did he do?”
“Well, Clemance organised the most marvellous picnic in the Tuileries Gardens********* for us. She wanted me to meet some of her Parisian friends, the Duponts, who were lovely.”
“However?”
“However, John also invited that woman, Mademoiselle Flanton, the actress from Cinégraphic********** to join us, along with some of her ghastly and gauche theatrical friends.”
“But you knew that Sir John was going to meet this Mademoiselle Flanton, whilst you were in Paris. He told you that he would, right from when you first mentioned going to the Exposition Internationale des Arts Décoratifs et Industriels Modernes at the Savoy*********** months ago.” Gerald says before finishing off the rest of his canapé.
“I know he did.”
“For all his faults,” Gerald defends Sir John. “And god knows he has many of them, he’s never tried to hide them from you. In fact, from all you’ve intimated to me, he’s been very up front about them right from the very beginning.”
“Knowing about them, and having them flung in your face are two quite different things.” Lettice retorts.
“Ahh yes.” Gerald opines, reaching for another canapé. “I did notice how piqued you were at Sylvia’s house party at ‘The Nest’ when he arrived with Paula Young, even after he’s told you that she was going to be there.”
“They played handies************ right there in front of me!”
“Who? Sir John and Paula? I thought they did much more than that, that weekend, Lettice darling.”
“Don’t be so obtuse, Gerald!” Lettice snaps. “I meant John and that awful, vulgar Mademoiselle Flanton! They entwined fingers like lovers right in front of me on the picnic rug! Goodness knows if Clemance or the Duponts saw it. I doubt Clemance did, but if the Duponts did, they were at least too polite to pass comment.”
Gerald raises his half drunk cocktail, “God bless the Entente Cordiale*************.”
“This is no time to be glib, Gerald darling!” Lettice scolds. “It was most embarrassing and distracting.”
“I’m sorry Lettice darling.” Gerald apologises. “I didn’t mean for it to come across like that. I’m as horrified about the business with Mademoiselle Flanton as I am about that of Miss Young. At least Miss Young and Sir John conducted their affair behind closed doors as it were, at Sylvia’s, with probably a very understanding and accepting select group of people. Behaving that way in public is atrocious! That must have been quite awful for you, poor darling!”
“It was Gerald darling! Quite awful!”
Lettice drains her glass and holds it out to Gerald to replenish.
“No, Lettuce Leaf!” Gerald replies, moving protectively between Lettice and the bottle of gin nestled on the seat beside him. “I told you, not until you tell me everything that is upsetting you! If you have any more, you’ll get tight**************, and when you get tight, you get nonsensical, and I can’t make out anything you say properly. If you want me to help you, or my advice,” He wags a finger admonishingly at her. “You’ll not be like your errant fiancée and hold to your promise and tell me all!”
“Oh Gerald!” Lettice mewls as she sinks back into her seat deflatedly. “You really are beastly sometimes!”
“Don’t be a spoiled young flapper and tell me what else happened.” Gerald persists.
“Well, besides the hands incident at Clemance’s picnic, and the fact that John did what he told me he was going to whilst we were in Paris, and left Clemance and I at the International Exhibition of Modern Decorative and Industrial Arts together, bold-faced lying to his sister about where he was going, whilst he pursued a secret tryst with Mademoiselle Flanton, he also subjected me to an evening of cocktails at her Parisian apartment.”
“But I thought Sir John had been clear about both of those things at the Savoy too, Lettice darling. You told me that was what he was going to do.” Gerald shakes his head with a lack of comprehension. “I don’t understand.”
“Well, it wasn’t just the evening that was tiresome and humiliating for me.” Lettice goes on, taking up a small canapé of sauteed and honey glazed carrot cut into a heart shape. “I’m sure everyone there knew about John and Mademoiselle Flanton’s history together, and the rekindling of their acquaintance,” She shudders as she utters the last word with vehemence. “And I was seen as just the poor little unsuspecting wife-to-be, an innocent jeune fille à marier*************** plucked from the British aristocracy, with no idea about who was who, or what was what.”
“Well, if it wasn’t that alone, what was it, Lettice darling?”
“It was Mademoiselle Flanton herself.” Seeing Gerald’s look, imagining the French actress throwing herself flagrantly in front of Sir John in Lettice’s presence, Lettice quickly elucidates, “Oh nothing like that Gerald darling! No, it was what she told me!”
“What she told you?”
“Yes,” Lettice replies laconically. “During the evening, Mademoiselle Flanton appraised me of some things that now have me wondering.”
“Wondering about what?”
“After Mademoiselle Flanton learned, or rather read, of John’s and my engagement, and she reconnected with John on this trip to Paris, he told her about all that beastly business with Selwyn and how he had dissolved our understanding after proposing to Kitty Avendale, the diamond mine heiress.”
“Well, I think that is rather beastly of Sir John! Such pillow talk!” Gerald retorts hotly, quite forgetting that not all that long ago, he and his lover, West End oboist Cyril, were involved in pillow talk revolving around Lettice and Sir John’s relationship. “I would be most offended too!”
“No, it wasn’t that, that upset me, Gerald.”
“Then what was it?”
“Well, after he did this, Mademoiselle Flanton told me that out of her own piqued interest, she had her secretary do some minor investigations into the alleged engagement.”
Gerald chokes on his mouthful of gin and tonic, spluttering and coughing violently. Struggling to regain both his breath and composure, he manages to ask, “Alleged engagement?”
“Mademoiselle Flanton made me question what I have been shown by Lady Zinnia. Mademoiselle Flanton’s secretary did some digging around and she noted something I hadn’t even considered. Apparently there has been no announcement in The Times, or any other British newspaper about Selwyn’s engagement. Don’t you find that a little odd?”
Still catching his breath, Gerald takes another slug of his gin and tonic before saying, “I do. The Duchess, Lady Zinnia, is a woman of many pretentions. There is no way that she would let such an advantageous match pass by unnoticed, especially considering her original idea had been to marry Selwyn off to his cousin and join two powerful British dynasties.” He pauses and considers. “But how do you even know that what Mademoiselle Flanton claims is true? It isn’t like either of us have been reading the marriage announcements.”
“I know, Gerald, and I certainly haven’t, but I know someone who reads them religiously.”
“Not Sadie?” Gerald asks, referring to Lettice’s mother, Lady Sadie.
“No,” Lettice elucidates. “Margot’s mother, Lady de Virre. She never fails to find out who has become engaged to whom, so when I came home from Paris, I telephoned her, and she told me that she hasn’t seen a thing about the engagement.”
“Intriguing.” Gerald remarks, taking a deep breath, as much out of shock as to help him regain his composure.
“But wait, there is more yet to tell, Gerald.” Lettice says, her voice rising with excitement, her body pulsating with a sudden energy that has been lacking before now. “What Mademoiselle Flanton’s secretary also told her mistress, was that based upon her investigations, Kitty Avendale only arrived in Durban last year not long after Selwyn did. No-one had ever heard of her o seen her before that time, anywhere. For the heiress to a diamond mine, that seems a more than a little odd too, don’t you think, Gerald?”
“I do.”
“I suggested to her that perhaps Mr. Avendale had only made his money recently, but then Mademoiselle Flanton told me that there is apparently no father with a diamond mine!”
“What?”
“Exactly! Her secretary found the only Australian man with a surname of Avendale was a jockey of some kind who was caught race fixing**************** when he deliberately lost the Durban Handicap*****************. There is something decidedly fishy going on here, and I suspect Lady Zinnia’s hand in it.”
“But you said that Lady Zinnia showed you pictures of Selwyn and Miss Avendale tougher, with an engagement announced beneath it, Lettice.”
“Well, Mademoiselle Flanton made me question what I have actually been shown. She made me wonder whether I have been shown the whole truth, or only a half – something redacted – or worse yet, something fabricated by Lady Zinnia.”
“Well, she was always a vicious viper, that one,” Gerald gasps. “Selwyn always told me that what she wanted, she always got in the end, by hook or by crook.”
“Tell me, do you ever hear from Selwyn any more, Gerald darling?”
“No, Lettice darling, but I just assumed that he stopped writing to me because he knows that you’re my best friend, and it would have been indelicate for him to write to me after breaking your heart.”
“What if it was the other way around, Gerald darling?”
“Whatever do you mean, Lettice?”
“What if he stopped writing to you because I broke his heart when he read about my engagement to Sir John, and he didn’t want to talk to you any more because you are my best friend?”
“Do you suspect Sir John’s involvement too? You could break your engagement with him you know. It’s your prerogative.”
“I know I can, but… well… no.” Lettice admits. “I don’t suspect John’s hand in this anywhere. Mademoiselle Flanton is very protective of John. I think if he had done something nefarious, she wouldn’t have believed it, and she certainly wouldn’t have told me what she did that night. I don’t suppose you could get Selwyn’s current address from your club? You once told me that you two were members of the same club here in London.”
“We were,” Gerald says, blushing as he speaks. “But I’m afraid I’m not a member of the club any more, Lettice darling. You see, I was banned for not paying my membership and letting it fall so far in arrears. At the time I was rather short you know, trying to set up my atelier in Grosvenor Street, which wasn’t cheap, so I rather let it go, as I had to so many of life’s little pleasantries. Then, when I had enough money to pay my debts, I saw no reason to rejoin a club that is only for men, and more sporting men at that. I’d met Hattie and Cyril by that stage and made more friends through her than I ever did at that damn club, that I just simply never paid. I doubt they would let me even try and contact Selwyn through them. I am sure I am persona non grata****************** to them now.”
“Oh Gerald darling! What am I going to do? I don’t want to break my engagement to John, and hurt his pride or the feelings of Clemance, particularly if I have no call to withdraw from our arrangement. Also, it would only enrage Pater and Mater would be fit to be tied.”
“But you said that they were lukewarm about the engagement.”
“Initially yes, but lately they have come around to it, and seem quite happy. If Mater was willing to come up to London to help me shop for a wedding frock.”
“Direct more like.” Gerald quips disgruntledly. “Considering she won’t consider me as the designer of it.”
“Well, you know what I mean, Gerald darling, and I’m still chipping away at her on that. Anyway, if she was willing to come up to London, she can’t be against it.” She wrings her hands after depositing her empty glass on the tabletop. “What am I to do, Gerald darling? You’re my best friend, my oldest chum! You’re the only one of my close friends I’d dare turn to right now who doesn’t have an invested interest in me breaking it off with John. You’ll be honest with me, and give very sound advice.”
“Well, I’m flattered you think that Lettice darling. Let me think.” He then fishes out the bottle of Gordon’s and holds it across the table between he and Lettice for her to take.
She shakes her head in return. “I need a clear head to think, Gerald darling.”
Gerald fixes himself another grin and tonic, this time with more of the former than the latter as he allows all of Lettice’s revelations sink in. He sists in silence, sipping his drink for a while, and the room becomes enveloped in a thick, yet anticipatory and charged silence as Lettice sits opposite him. At length he speaks.
“How willing are you to go, regarding this investigation into the truth, Lettice darling?” he asks seriously.
“I’ll do whatever it takes, Gerald.” Lettice says with resolve.
“Even if it may take a few months or more?”
“I don’t care how long it will take if I can discover the truth. I won’t be able to sleep properly until I do.”
“Well, I hope that isn’t quite true, Lettice darling,” Gerald remarks, giving her a doleful look as he does. “As it may take six months or more, and you’ll have to do some manoeuvring and procrastination of your own that may take a bit of effort.”
“I told you, Gerald darling,” Lettice reiterates. “I’ll do anything.”
“Then, would you get Leslie involved?”
“Leslie? As in my brother, Leslie?”
“Yes.”
“No. He’s against John’s and my engagement, even though he pretends to the contrary. He doesn’t think I know he’s lying when he tells me how happy he is for me, but he is. I’ve known him all my life. Besides, he is Mater’s favourite, and she would wheedle anything I confide in him about all this out of him, and then she’s be off to attack Lady Zinnia, which would only make things worse if it turns out all to be for naught.”
“Hhhmmm…” Gerald muses. “That’s probably quite wise, Lettice darling. A clear heard is good for your thinking.” He taps the edge of his own partially empty glass. “Then are you willing to get your own hands dirty?”
“Dirty? How do you mean, Gerald?”
“Well, I was only mentioning Leslie because before he took a more active role in the estate as the heir to Glynes, he worked for the Foreign Office, and I thought he might have had some sleuthing contacts.”
“I don’t want him involved, Gerald. Only you know, and I intend to keep it that way.”
“Then we two are going to have to hire a Pinkerton*******************.”
“A Pinkerton!” Lettice gasps. “Is that really necessary, Gerald darling?”
“I’m afraid so, Lettice darling.” he replies. “No-one else, outside people in the Foreign Office, will be able to sleuth out the truth for you. It won’t be cheap. Pinkertons are expensive.”
“I can afford it.” Lettice replies with steely resolve.
“And as I said, they may take a few months or longer before they find out what is what, and who was involved, so you are going to have to buy time.”
“Buy time?”
“No matter who pressures you, you are going to have to drag your feet about getting married, and it seems to me that with Sadie and Clemance Pontefract involved now, things are moving a little faster than they were before their involvement.”
“Well, I should be able to convince John. He’s in no hurry to get married, but Mater and Clemance won’t want too long an engagement. Clemance has already scolded both John and I about being glacially slow in making our plans.”
“Then you are going to have to steel yourself against the pressure, Lettice darling. If you really want to know the truth, and make sure that you aren’t making a mistake by marrying Sir John, when Selwyn may yet be waiting for you, you will have to stall for time.”
“Then if that is what I’ll do. But how?”
“Throw yourself into your work. Edith tells me you’ve done nothing about the designs for Dolly Hatchett’s Queen Anne’s Gate******************** townhouse redecoration. That will be a good start. If you are too busy to make important decisions, then even at their most fervent, neither Sadie nor Clemance can progress without you. Put your foot down about Sadie’s decision not to let me make your wedding frock. We all know how stubborn she can be. That will give us time too.”
Lettice smiles at Gerald, a beaming and genuine smile. “Thank you for helping me with this, Gerald. I knew you were the only one to assist me.”
Gerald holds out his hand to Lettice, who grasps it firmly in return. “Of course! You’re my best and oldest chum! I’d do anything to help you and support you!”
*Moiré, is a textile with a wavy (watered) appearance produced mainly from silk, but also wool, cotton, and rayon. The watered appearance is usually created by the finishing technique called calendering. Moiré effects are also achieved by certain weaves, such as varying the tension in the warp and weft of the weave. Silk treated in this way is sometimes called watered silk. Rayon moiré was a popular choice for the black evening uniform for female domestics between the wars, as it gave the elegant appearance of silk, and looked very smart with the white lace cuffs and collars of such uniforms.
**A chignon is a classic, versatile hairstyle characterized by a low bun or knot of hair, typically worn at the nape of the neck, though it can also be a more general term for hair wrapped at the back of the head. The name "chignon" comes from the French phrase "chignon du cou," meaning "nape of the neck," where the hairstyle is traditionally positioned. This elegant and refined style has been around for centuries.
***An Astrakhan coat is a fur coat or jacket made from the tightly curled fleece of the newborn Karakul lamb. This distinctive, looped material, also known as Persian lamb fur, creates a glamorous, warm, and luxurious garment often in black, grey, or golden yellow. Astrakhan coats were worn in London during several periods, most notably as part of Victorian and Edwardian high fashion, in the 1860s and 1870s, again from 1890 to 1908, and into the early Twentieth Century, with renewed popularity in the 1920s and 1930s and again in the 1950s and 1960s. The luxurious fur was used for full coats, as well as collars and trims, fitting with the ornate aesthetic of the late Nineteenth Century and the trends of the early Twentieth Century.
****Old top hats were historically made from animal products, most notably the felted underfur of beavers, which was the preferred material for early top hats. As beaver fur supplies declined and alternatives became available, the high-quality, shiny material known as silk plush replaced beaver fur as the favoured material for the best top hats. Other animal furs used included camel and vicuña, and later, the fur of rabbits was used to create a material called "Melusine" for some modern top hats.
*****Pale blue sapphires from India are known as Kashmir sapphires. They are very rare, and are known for their velvety, cornflower-blue colour, not typically a pale hue. Whilst the term "Kashmir" refers to their origin, the characteristic colour associated with these precious stones is a rich, intense blue, not pale.
******Gordon's London Dry Gin was developed by Alexander Gordon, a Londoner of Scots descent. He opened a distillery in the Southwark area in 1769, later moving in 1786 to Clerkenwell. The Special London Dry Gin he developed proved successful, and its recipe remains unchanged to this day. The top markets for Gordon's are (in descending order) the United Kingdom, the United States and Greece. Gordon's has been the United Kingdom’s number one gin since the late Nineteenth Century. It is the world's best-selling London dry gin.
*******The International Exhibition of Modern Decorative and Industrial Arts was a specialized exhibition held in Paris, from April the 29th (the day after it was inaugurated in a private ceremony by the President of France) to October the 25th, 1925. It was designed by the French government to highlight the new modern style of architecture, interior decoration, furniture, glass, jewellery and other decorative arts in Europe and throughout the world. Many ideas of the international avant-garde in the fields of architecture and applied arts were presented for the first time at the exposition. The event took place between the esplanade of Les Invalides and the entrances of the Grand Palais and Petit Palais, and on both banks of the Seine. There were fifteen thousand exhibitors from twenty different countries, and it was visited by sixteen million people during its seven-month run. The modern style presented at the exposition later became known as “Art Deco”, after the exposition's name.
********The old fashioned British term “looking bloody” was a way of indicating how dour or serious a person or occasion looks.
*********The Tuileries Garden is a public garden between the Louvre and the Place de la Concorde in the first arrondissement of Paris. Created by Catherine de' Medici as the garden of the Tuileries Palace in 1564, it was opened to the public in 1667 and became a public park after the French Revolution. Since the Nineteenth Century, it has been a place for Parisians to celebrate, meet, stroll and relax.
**********Cinégraphic was a French film production company founded by director Marcel L'Herbier in the 1920s. It was established following a disagreement between L'Herbier and the Gaumont Company, a major film distributor, over the film "Don Juan et Faust". Cinégraphic was involved in the production of several films, including "Don Juan et Faust" itself. Cinégraphic focused on more experimental and artistic films.
***********The Savoy Hotel is a luxury hotel located in the Strand in the City of Westminster in central London. Built by the impresario Richard D'Oyly Carte with profits from his Gilbert and Sullivan opera productions, it opened on 6 August 1889. It was the first in the Savoy group of hotels and restaurants owned by Carte's family for over a century. The Savoy was the first hotel in Britain to introduce electric lights throughout the building, electric lifts, bathrooms in most of the lavishly furnished rooms, constant hot and cold running water and many other innovations. Carte hired César Ritz as manager and Auguste Escoffier as chef de cuisine; they established an unprecedented standard of quality in hotel service, entertainment and elegant dining, attracting royalty and other rich and powerful guests and diners. The hotel became Carte's most successful venture. Its bands, Savoy Orpheans and the Savoy Havana Band, became famous. Winston Churchill often took his cabinet to lunch at the hotel. The hotel is now managed by Fairmont Hotels and Resorts. It has been called "London's most famous hotel". It has two hundred and sixty seven guest rooms and panoramic views of the River Thames across Savoy Place and the Thames Embankment. The hotel is a Grade II listed building.
************The phrase "play handies" to mean couples holding hands started around 1910. An earlier related phrase, "playing hand," referring to holding a hand of cards, was documented in the 1890s. In 1936, a different meaning emerged for the term "handies" as a word for a charades-like game played with hand gestures, a usage documented by the Chicago Tribune.
*************The Entente Cordiale was a set of agreements signed by France and the United Kingdom on April the 8th, 1904, to resolve colonial disputes and foster a closer working relationship, marking the end of a long history of imperial rivalry and isolation. While not a formal military alliance, the agreements paved the way for future cooperation and helped form the Triple Entente, which played a significant role in the dynamics leading up to World War I.
**************To get tight is an old fashioned term used to describe getting drunk.
***************A jeune fille à marier was a marriageable young woman, the French term used in fashionable circles and the upper-classes of Edwardian society before the Second World War.
****************We usually think of match or race fixing as a modern day thing, but one of the earliest examples of this sort of match fixing in the modern era occurred in 1898 when Stoke City and Burnley intentionally drew in that year's final "test match" so as to ensure they were both in the First Division the next season. In response, the Football League expanded the divisions to eighteen teams that year, thus permitting the intended victims of the fix (Newcastle United and Blackburn Rovers) to remain in the First Division. The "test match" system was abandoned and replaced with automatic relegation. Match fixing quickly spread to other spots that involved high amounts of gambling, including horse racing.
*****************The Durban July Handicap is a South African Thoroughbred horse race held annually on the first Saturday of July since 1897 at Greyville Racecourse in Durban, KwaZulu-Natal. Raced on turf, the Durban July Handicap is open to horses of all ages. It is South Africa's premier horse racing event. When first held in July 1897, the race was at a distance of one mile. The distance was modified several times until 1970 when it was changed to its current eleven furlongs.
******************“Persona non grata” is a Latin phrase meaning “unwelcome person.” As a legal term, it refers to the practice of a state prohibiting a diplomat from entering the country as a diplomat, or censuring a diplomat already resident in the country for conduct unbecoming of the status of a diplomat.
*******************A “Pinkerton” is a private detective, and refers to the Pinkerton Detective Agency, founded by Allan Pinkerton, known for its historical role in labour disputes and spying. For decades after Allan Pinkerton's death, his name became a slang term for any private investigator, regardless of whether they worked for the Pinkerton Agency or not. Today, the agency (now simply called Pinkerton) focuses on risk management, intelligence, and security services.
********************Queen Anne’s Gate is a street in Westminster, London. Many of the buildings are Grade I listed, known for their Queen Anne architecture. Simon Bradley and Nikolaus Pevsner described the Gate’s early Eighteenth Century houses as “the best of their kind in London.” The street’s proximity to the Palace of Westminster made it a popular residential area for politicians.
This 1920s upper-class drawing room is different to what you may think at first glance, for it is made up entirely of 1:12 size dollhouse miniatures.
Fun things to look for in this tableau include:
On Lettice's table are two glasses which are hand spun artisan pieces made from real glass which I have had since I was a young teenager. I bought them from a high street shop that specialised in dolls and dollhouse furnishings, including miniatures. They are amongst the first real artisan pieces I ever bought. The bottle of Gordon's Gin is another artisan piece made by Little Things Dollhouse Miniatures in Lancashire, with so much attention and detail paid to the period lable. For this scene, I have taken a piece of Lettice’s tea set, which is a beautiful artisan set featuring a rather avant-garde Art Deco Royal Doulton design from the Edwardian era called “Falling Leaves”, and turned the sugar bowl into an ice cube bowl. The glass comport is made of real glass and was blown by hand is an artisan miniature acquired from Beautifully Handmade Miniatures in Kettering. The ice cubes, the soda syphon and the savory hors d'oeuvres on the plate also comes from Beautifully handmade Miniatures.
The very realistic floral arrangement to the right of the photo is made by hand by Falcon Miniatures who specialise in high end miniatures.
Lettice’s drawing room is furnished with beautiful J.B.M. miniatures. The Art Deco tub chairs are of black japanned wood and have removable cushions, just like their life sized examples. To the left of the fireplace is a Hepplewhite drop-drawer bureau and chair of black japanned wood which has been hand painted with chinoiserie designs, even down the legs and inside the bureau. The Hepplewhite chair has a rattan seat, which has also been hand woven. To the right of the fireplace is a Chippendale cabinet which has also been decorated with chinoiserie designs. It also features very ornate metalwork hinges and locks.
On the top of the Hepplewhite bureau stand three real miniature photos in frames including an Edwardian silver frame, a Victorian brass frame and an Art Deco blue Bakelite and glass frame.
The fireplace is a 1:12 miniature resin Art Deco fireplace which is flanked by brass accessories including an ash brush with real bristles.
The carpet beneath the furniture is a copy of a popular 1920s style Chinese silk rug, and the geometric Art Deco wallpaper is beautiful hand impressed paper given to me by a friend, which inspired the whole “Cavendish Mews – Lettice Chetwynd” series.
Close up in the other pciture
Curves Event 3 #CurvesEvent
A new Monthly event presented by Pale Girl Productions, a SL™ event production company.
Opens the 3rd of every month and closes the 24th of each month
→ maps.secondlife.com/secondlife/Entice%20Fashion/195/193/1501
→ ʙʟᴏɢ :
palegirlproductions.com/2019/04/03/curves-april-is-open/
I am wearing :
✿- Head Genus Project Baby
→ ᴍᴀɪɴsᴛᴏʀᴇ :
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→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
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→ ғᴀᴄᴇʙᴏᴏᴋ :
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→ Discord :
✿- Abar eBODY Curvy #ebody
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Coral%20Island/222/160/2001
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→ ʙʟᴏɢ:
✿ - Beusy: Cream Hairstyle / Fatpack
high-ponytail 60s style
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✿ - Moccino Beaute - Coytada Eyeshadow Collection eyeshadow and eyeliner
Find this @ The Galleria Mall
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✿ - PINKI. Dolce Lipstick HD [genus]
Find this @ the Curves event
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→ ғʟɪᴄᴋʀ :
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✿ - R2A SPRING DRESS W/HUD
Original mesh 100% in 6 colors
katena bimbo/reg, freya, venus, slink, maitreya and ebody
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✿ - BLAXIUM -Zarkana Claws- Bento- FATPACK
Color HUD- The eBody size is compatible with the Classic and Curvy body.
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✿ - Nᴏᴠᴇᴍʙᴇʀ'
♥❤ Nov-Alessia Heart Choker (G)
Past Curves Event Item
♥❤ Nov-Xenon Watch (G) comes in gold and silver
www.flickr.com/photos/noveyjustice/46839983344/in/datepos...
Find this @ The Galleria Mall
→ ᴍᴀɪɴsᴛᴏʀᴇ :
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→ Tumblr :
✿-ATD -
♥❤Baby Girl Fatpack ring rose gold
Find this @ the Curves event
Comes in white gold plat, two gold versions, and rose gold
♥❤ ATD - Kami necklace
Find this @ The Galleria Mall
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Wakulla%20Waters/212/93/3960
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/196027
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/147131878@N08/46821496464/in/photol...
✿- Ito Raya boots @ Curves Event
→ Owner : HausofIto Resident
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/mzindiadelgado/
✿ -*PAN* Rose Etched Wall Fountain 6P 5LI
Original mesh designs
Past Curves Event item
→ Website: pandesigns.nyc/
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Entice%20Fashion/42/210/28/In
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/177552/
→ ғʟɪᴄᴋʀ :
www.flickr.com/groups/pandesignsnyc/
→ ғᴀᴄᴇʙᴏᴏᴋ :
Etc.
Many thanks for supporting my work.🌷
Love ♥ 💋
Kara ♡ 🐰💕
Curves Event 4 - The Pink Flamingo Diner @Legsville
#CurvesEvent
A new Monthly event presented by Pale Girl Productions, a SL™ event production company.
Opens the 3rd of every month and closes the 24th of each month
→ maps.secondlife.com/secondlife/Entice%20Fashion/195/193/1501
→ ʙʟᴏɢ :
palegirlproductions.com/2019/04/03/curves-april-is-open/
I am wearing :
✿- Head Genus Project Baby
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Genus%20Project%20Mainstor...
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/crazy-shopaholic/
www.flickr.com/groups/3940492@N25/
→ ғᴀᴄᴇʙᴏᴏᴋ :
www.facebook.com/genusprojectofficial/
→ Discord :
✿- Abar eBODY Curvy #ebody
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Coral%20Island/222/160/2001
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/133873458@N04/
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/169492
→ ʙʟᴏɢ :
✿ - Jackalope JCKLP / Floppy Beach Hat / Watermelons / Unrigged
Different textures available
Can match a swimsuit that is so cute too and in different textures too. Ok, i have it :p
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Ninnananna/235/117/2801
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/piperpatrucci_jcklp www.flickr.com/groups/jcklp/
→ ғᴀᴄᴇʙᴏᴏᴋ :
✿ - Wasabi // Jaz Mesh Hair - Reds
Ponytails, can wear the hat using the styling & sizing hud
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Coraline/127/149/55
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/64050
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/wasabipills/31553748447/in/dateposted/
→ Tumblr :
→ Plurk:
→ Instagram:
www.instagram.com/wasabihairsl/
✿ - [evoLove] - Lolita Glasses
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Moments%20in%20Love/125/12...
maps.secondlife.com/secondlife/Whispering%20Winds/25/133/24
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/fr-FR/stores/175007
→ ғʟɪᴄᴋʀ :
www.flickr.com/groups/evolove/pool/evoloveposes
www.flickr.com/groups/2850482@N25
→ ғᴀᴄᴇʙᴏᴏᴋ :
→ ʙʟᴏɢ :
✿ - Moccino Beaute - Coytada Eyeshadow Collection HUD
Eyeshadow Eyeliner
Find this @ The Galleria Mall
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/194280
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/absolutelysharon/
www.flickr.com/photos/absolutelysharon/32597085687/in/dat...
✿ - THRONED [T.] FULL Matte HD Lipsticks // Genus HUD
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/East%20Oakdale/5/99/3101
→ Accessories Store :
maps.secondlife.com/secondlife/East%20Oakdale/9/95/3502
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/182480
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/143387276@N05/
www.flickr.com/photos/143387276@N05/32590813067/in/pool-c...
→ Instagram :
www.instagram.com/goddessly.sl IG: @Goddessly.sl
✿ - Nᴏᴠᴇᴍʙᴇʀ'
♥❤ Nov-Alessia Heart Choker (G)
Past Curves Event Item
♥❤ Nov-Xenon Watch (G) comes in gold and silver
www.flickr.com/photos/noveyjustice/46839983344/in/datepos...
Find this @ The Galleria Mall
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Vistas%20Downtown/115/121/26
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/175100/
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/noveyjustice/
→ ғᴀᴄᴇʙᴏᴏᴋ :
→ Tumblr :
✿ - ITO Tara Dress
This dress comes in tropical and ribbed fabrics.
Fitted for Maitreya (comp) Freya, Hourglass, Physique, eBody Curvy, Tonic Curvy.
→ Owner : HausofIto Resident
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/mzindiadelgado/
www.flickr.com/photos/mzindiadelgado/47435256412/in/datep...
✿ - BLAXIUM -Zarkana Claws- Bento- FATPACK
Color HUD- The eBody size is compatible with the Classic and Curvy body.
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Paradisco/160/242/3334
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/61762
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/silvermoon_namiboo/
www.flickr.com/photos/silvermoon_namiboo/40851198745/in/p...
→ ғᴀᴄᴇʙᴏᴏᴋ :
www.facebook.com/blaxiumbysilvermoon/
✿-ATD -
♥❤Baby Girl Fatpack ring rose gold
Find this @ the Curves event
Comes in white gold plat, two gold versions, and rose gold
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Wakulla%20Waters/212/93/3960
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/196027
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/147131878@N08/46821496464/in/photol...
✿ - SlackGirl ::SG:: Ana Shoes - SLINK
Elegant vintage vibes
Romantic Wedding time shoes, elegant with gems option on it.
Ana shoes is for Maitreya / Slink and Belleza feet!
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Elmira/154/55/25
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/129199165@N04/
www.flickr.com/photos/slackg/32149817687/in/dateposted/
→ ʙʟᴏɢ :
✿ - Foxcity Sweet tooth - Icecream and pose
backdrop and pose set combo in pack
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/FOXCITY/180/69/21
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/11069
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/itsfoxy/47335777042/in/dateposted/
→ yᴏuᴛuʙᴇ :
Many thanks for supporting my work.🌷
Love ♥ 💋
Kara ♡ 🐰💕
Curves Event 3 Close up #CurvesEvent
A new Monthly event presented by Pale Girl Productions, a SL™ event production company.
Opens the 3rd of every month and closes the 24th of each month
→ maps.secondlife.com/secondlife/Entice%20Fashion/195/193/1501
→ ʙʟᴏɢ :
palegirlproductions.com/2019/04/03/curves-april-is-open/
I am wearing :
✿- Head Genus Project Baby
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Genus%20Project%20Mainstor...
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/crazy-shopaholic/
www.flickr.com/groups/3940492@N25/
→ ғᴀᴄᴇʙᴏᴏᴋ :
www.facebook.com/genusprojectofficial/
→ Discord :
✿- Abar eBODY Curvy #ebody
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Coral%20Island/222/160/2001
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/133873458@N04/
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/169492
→ ʙʟᴏɢ:
✿ - Beusy: Cream Hairstyle / Fatpack
high-ponytail 60s style
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Becrux/166/87/125
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/93378/
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/colorlessisblogging/
www.flickr.com/photos/colorlessisblogging/40442911522/in/...
→ ғᴀᴄᴇʙᴏᴏᴋ :
✿ - Moccino Beaute - Coytada Eyeshadow Collection eyeshadow and eyeliner
Find this @ The Galleria Mall
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/194280
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/absolutelysharon/
www.flickr.com/photos/absolutelysharon/32597085687/in/dat...
✿ - PINKI. Dolce Lipstick HD [genus]
Find this @ the Curves event
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Salem/207/159/1799
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/nettasugar
www.flickr.com/groups/4454734@N25/
✿ - R2A SPRING DRESS W/HUD
Original mesh 100% in 6 colors
katena bimbo/reg, freya, venus, slink, maitreya and ebody
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/ScratchN%20Post%20Quatre/3...
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/166103
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/140238982@N02/
www.flickr.com/photos/140238982@N02/47531427601/in/datepo...
→ ғᴀᴄᴇʙᴏᴏᴋ :
www.facebook.com/R2A-176176139399007/
✿ - BLAXIUM -Zarkana Claws- Bento- FATPACK
Color HUD- The eBody size is compatible with the Classic and Curvy body.
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Paradisco/160/242/3334
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/61762
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/silvermoon_namiboo/
www.flickr.com/photos/silvermoon_namiboo/40851198745/in/p...
→ ғᴀᴄᴇʙᴏᴏᴋ :
www.facebook.com/blaxiumbysilvermoon/
✿ - Nᴏᴠᴇᴍʙᴇʀ'
♥❤ Nov-Alessia Heart Choker (G)
Past Curves Event Item
♥❤ Nov-Xenon Watch (G) comes in gold and silver
www.flickr.com/photos/noveyjustice/46839983344/in/datepos...
Find this @ The Galleria Mall
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Vistas%20Downtown/115/121/26
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/175100/
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/noveyjustice/
→ ғᴀᴄᴇʙᴏᴏᴋ :
→ Tumblr :
✿-ATD -
♥❤Baby Girl Fatpack ring rose gold
Find this @ the Curves event
Comes in white gold plat, two gold versions, and rose gold
♥❤ ATD - Kami necklace
Find this @ The Galleria Mall
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Wakulla%20Waters/212/93/3960
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/196027
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/147131878@N08/46821496464/in/photol...
✿- Ito Raya boots @ Curves Event
→ Owner : HausofIto Resident
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/mzindiadelgado/
✿ -*PAN* Rose Etched Wall Fountain 6P 5LI
Original mesh designs
Past Curves Event item
→ Website: pandesigns.nyc/
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Entice%20Fashion/42/210/28/In
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/177552/
→ ғʟɪᴄᴋʀ :
www.flickr.com/groups/pandesignsnyc/
→ ғᴀᴄᴇʙᴏᴏᴋ :
Etc.
Many thanks for supporting my work.🌷
Love ♥ 💋
Kara ♡ 🐰💕
Giant insects have arrived at The Ark, a new animal-themed event presented by Pale Girl Productions! Spyralle's Mantis and Grass Hopper are fractal embellished garden ornaments you can also shrink for indoor decoration. These are not animated or scripted and have modest land impact. Mesh and textures are original work by Kerryth Tarantal.
SALTY is participating in the Curves Event in May. The event Exclusive is called Make Me Feel in Darks. The available sizes are Maitreya, Freya, Hourglass, Isis & Physique. It comes in Red, Black, Sky, Green, and Purple. Come pick your favorite, or take home the Fat Pack!
Curves is open May 3rd to the 24th
Don't miss out on the event only special prices!
♡ Fat bottomed girls, you make the rocking world go round! ♡
#CurvesEvent
A new Monthly event presented by Pale Girl Productions, a SL™ event production company.
Opens the 3rd of every month and closes the 24th of each month
→ maps.secondlife.com/secondlife/Entice%20Fashion/195/193/1501
→ ʙʟᴏɢ :
palegirlproductions.com/2019/04/03/curves-april-is-open/
I am wearing :
◤.• 💜 Featured Item 💜•. ◢
✿- MOZ Designs #MOZDesigns
♥❤ Tangas Thong Satin
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Vivid%20Valley/186/60/23
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/160936
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/mozdesigns
www.flickr.com/photos/mozdesigns/32618165947/in/feed
-----------------------------------------------------------------------------------
Other Items :
✿- Other item from MOZ that I am wearing :
♥❤ MOZ Natalie Blouse @ Curves Event
WIth hud , matchable with other MOZ items
Original Fitmesh for Maitreya, Slink, Belleza, Tonic and eBody mesh bodies.
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/mozdesigns/46455332955/in/dateposted/
✿- Abar eBODY Curvy #ebody
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Coral%20Island/222/160/2001
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/133873458@N04/
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/169492
→ ʙʟᴏɢ:
✿- LIVIA Cherish Bento Mesh Nails + polish hud
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Sandy%20Creek/91/241/22
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/172242
→ ʙʟᴏɢ:
liviaslblog.wordpress.com/ Blog
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/livia-sl/
✿-ATD - Baby Girl Fatpack ring rose gold
Find this @ the Curves event
Comes in white gold plat, two gold versions, and rose gold
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Wakulla%20Waters/212/93/3960
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/196027
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/147131878@N08/46821496464/in/photol...
✿- Ito Raya boots @ Curves Event
→ Owner : HausofIto Resident
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/mzindiadelgado/
Many thanks for supporting my work.🌷
Love ♥ 💋
Kara ♡ 🐰💕
Crimson vixen
You aren't of this world
With your purity and goodness
Backed with the passion & heart of a warrior
A warrior that dances to battle
That's dances to the sweet nothings that love whispers
That knows all the words to your favorite song
To our song
To the song of you
The one my ears we're formed to hear
& There you are
Illuminated
By the suns rays
Spotlighted
In the most beautiful of ways
& I can see all the colours of nature
Playing off your face
All the colours of beauty, in you
And I want to be painted by all of it
By all of you
So let's paint this whole town red
With glory and love
And they can all wake up to a city
Marked by a crimson vixen
Touched by the hands of graceful passion
Of somebody who was burnt before
But bares no fear to be burned once more
Not when in the name of love
In the name of all things good
And real
And her
She would stand there flaming
And dancing still
Like the most tragically beautiful
Yet inspiring reckless thing you've ever seen
Lighting the way for me
For us all
I move closer
I need to feel her heat
I need to jump inside her fire
And let everything els just burn away
Until we are left there naked
No hands to hold
Just soul in soul
With everything anyone ever wanted
Realizing that you must let go of everything
In order to gain it all
& Now nothing can stop your flight of freedom
No flesh or bones
Could hold these spirits now
- Daisy Fields
Narcisse @ Pale Girl Production Event, the Trunk Show
Here comes the blushing bride, Cora.
Cora comes in two parts, the Gown and Pearl Strands.
The dress is a very simple satin design and whilst you can wear it alone, I recommend you wear it with the Pearl Strands.
Cora is being sold exclusively at the new Pale Girl Production Event, the Trunk Show which is a themed event specifically for Weddings and starts on the 19th.
Cora comes in 16 colors. I have not done any fatpack exclusive colours this time around as I didn't want to feel any Bride should be forced into spending more for 1 color just because it was a fatpack exlusive. However..... in saying that.....
Single colors come with a HUD that allows you to change the Pearl strands to one of 3 colours, Ivory, Black or Silver. There is a fatpack just for the Pearl Strands that will allow someone who simply wants to purchase a single color dress, to enable them to purchase ALL the Pearl colors if they so desire.
Alternatively the Gown & Pearls can be purchased in its entirety as a Fatpack, Narcisse has made the Gown in 16 colors which she hopes gives any Bride plenty of options to find the perfect color for them (Narcisse knows from experience how hard that can be to get the perfect color!).
There are 8 different Pearl colors.
With the Gown, there are two ways of wearing it. The original design was more daring with only the Pearls covering the breasts, however there was a suggestion that not all Brides will find this appealing so a more modest option was incorporated. On all the Huds there is a modesty option for you to choose.
She is rigged for Maitreya at the moment and Narcisse has almost finished the Slink version. Narcisse is hoping to start rigging her items for Belleza very soon as well.
Az Design
Eyes: Az Design – Az… Tyrande Eyes – Unisex Fatpack ( Catwa and Lelutka Appliers) @ Mainstore and Marketplace
Appliers only for CATWA and LELUTKA.
This Fatpack contains 10 textures on HUD to change the color of each eye. There is also Left and Right eye options for each texture giving you the ability to apply a different texture to each eye.
NOTE: CATWA and LELUTKA mesh eyes are NOT included
Be sure to wear your Az Design Group Tag for a 10% Discount and VIP Group Gifts!
The Look
Clothes:
Dress: Narcisse – Cora (Maitreya) @ Trunk Show
Accessories:
Rings: ^^Swallow^^ Aphrodite Bento Rings 0.3 (Maitreya)
Necklace: (Yummy) Eclat Suite - Diamond
Anatomy:
Skin: amara beauty – Antonia 05 Catwa Applier & amara beauty – body appliers OMEGA)
Hair: TRUTH VIP - Sugar [Browns]
Ears: ^^Swallow^^ Pixie Ears
Eyes: Catwa – Animated Eyes & Tears
Eye Appliers: Az… Tyrande Eyes – Unisex Fatpack (Catwa Applier)
Head: Catwa – Catya Bento
Body, Hands + Feet: Maitreya – Lara V4.1
Tattoo: *Queen oF Ink - Lotus Tattoo (Maitreya)
Makeup + Piercings:
Eye Shadow/Liner: Shadow: . MILA . Perfect Bride Makeup (Catwa & Lelutka)@ Trunk Show
Lipstick: . MILA . Perfect Bride Makeup (Catwa & Lelutka)
Lip Piercings: |CerberusXing| – [CX] Bitten (Bento) *Group Gift*
Rigged Facial Piercings: LittleFish – ~LF~ Brow Piercings (Bento)
Companion:
Ground Peakcok: JIAN :: Peacock
The Scene
Pose: L y r i u m_ Model Poses Pack (Pose 4 Pictured)
Photo taken at The Outer Garden
SALTY's Touch Me outfit was made with the song 'Touch Me' by The Doors in mind.
This fun hippie themed outfit includes glasses, a top and skirt that come in 8 options. Fitted for Maitreya, Freya, Isis, Hourglass & Physique.
Only available at the Vintage Fair until June 16th!
If you are a unique style lover and have a hint of quirkeness for all what's old... then there is a good news for you - Vintage Fair.
It starts today so there is your time for... happiness!
_________________
Welcome to the Vintage Fair 2016!
June 10th - 26th
palegirlproductions.wordpress.com/
www.flickr.com/groups/palegirlproductions/pool/
Vintage Fair 2016 is presented by:
Pale Girl Productions
Vintage Fair 2016 is sponsored by:
MESHWORX, ChiMia, Entice, Cynful
- Event Dates: June 10th - 26th
- Every store has created at least 1 exclusive item from a decade pre-90's.
- There will be a strict low script policy enforced.
- The sim is Moderate, so please don't do anything crazy or inappropriate.
We are looking forward to an amazing Vintage Fair and hope to see you there! Doors will open June 10th at 12:01am SLT. The location will be announced at a later time. It is sure to be the event of the year, so don't miss it!
Here is the list of participating stores in no particular order:
Sponsored by:
MESHWORX
Entice
Cynful
ChiMia
Other Participating Designers:
The Annex
Truth / Gawk / Phedora / Deathrocker Betty Crocker / ChiMia / oOo Studio / Meva / Empire / Empyrean Forge / an lar Poses / Elikatira / Essenz / Wicca's Wardrobe / Gabriel / Yasum Design / Kaithleen's / Atelier Pepe / Goth1c0 / Tantalum / Blueberry Hill / Senzafine / Bee.Bu / Epoch / Spyralle / Codex / Nantra / Belle Epoque / 7 Deadly Skins / Astralia / Pichi / Shake / WoW Skins / Little Llama / Deluxe Body Factory / The Muses / Just Magnetized / Arte / Pose It / Bishes Inc / M's Avon / Elephante Poses / Belle Elephante / Identity Body Shop / Krystal Fine Jewelry / Fri.day / KoKoLoReS / Blacklace / KL Couture / Endless Pain Tattoos / SyS / Slackgirl / Velvet Whip / Dark Passions - Koffin Nails / Eclectica / Lotus / ChicChica / Ds'elles / %Percent / Cheeky / La Jolie Rose / Anachron / Plastik / Veechi / Modulus / Supernatural / Striped Mocha / Tuli / Eclat / Aidhona / Nivaro / Ex Machina / Trevah / Sn@tch / Kaerri / Boutique #187 / Method Moda / Aisling / Figure / AviCandy / EverGlow / Crystal Clothing Co. / Secrets / Sync'd Motion / Zibska / Angelica / La Boheme / Tabou / Glitzz / Adored / Stix / Salt & Pepper / Things / Ayashi / Kunglers / Doe / Wimey / Black Haus / AvaWay / Brixley / :MV: / Avenge / Identity Emote / Letituier / Bamse / Tukinowaguma / Una / glYph / Lybra / !gO! / Bliensen + MaiTai / Murray / Malena Von Dash
#CurvesEvent
A new Monthly event presented by Pale Girl Productions, a SL™ event production company.
Opens the 3rd of every month and closes the 24th of each month
→ maps.secondlife.com/secondlife/Entice%20Fashion/195/193/1501
→ ʙʟᴏɢ :
palegirlproductions.com/2019/04/03/curves-april-is-open/
I am wearing :
✿- Abar eBODY Curvy #ebody
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Coral%20Island/222/160/2001
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/133873458@N04/
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/169492
→ ʙʟᴏɢ:
✿- LIVIA Cherish Bento Mesh Nails + polish hud
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Sandy%20Creek/91/241/22
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/172242
→ ʙʟᴏɢ:
liviaslblog.wordpress.com/ Blog
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/livia-sl/
✿-ATD - Baby Girl Fatpack ring rose gold
Find this @ the Curves event
Comes in white gold plat, two gold versions, and rose gold
→ ᴍᴀɪɴsᴛᴏʀᴇ :
maps.secondlife.com/secondlife/Wakulla%20Waters/212/93/3960
→ ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ :
marketplace.secondlife.com/stores/196027
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/147131878@N08/46821496464/in/photol...
✿- Ito Raya boots @ Curves Event
→ Owner : HausofIto Resident
→ ғʟɪᴄᴋʀ :
www.flickr.com/photos/mzindiadelgado/
Many thanks for supporting my work.🌷
Love ♥ 💋
Kara ♡ 🐰💕
The Trunk Show presented Pale Girl Productions
The Trunk Show runs from August 19th to September 18th, 2018.
Participating designers
%Percent
Also Known As
amias
Armonia
Azul
BEO
Bliensnen & Maitai
Bitter Sweet Studios
Blossom
Boutique 187
Chop Zuey
Dreamcatcher
Enfant Terrible
Entice
Goth1co
Hanta
Have Unequal
Infinity
IrrISIStible
JUMO
K & S Creations
Kaerri
Koukla
LANA Originals
Lovely Laura’s Weddings
{MV}
Mariposa
Milla Rasmuson
Nina Carrasco
NRage Studio Poses
Pan
Queenz
Roawenwood
Senzafine
Seniha Originals
Serendipity Weddings
SlackGirl
Sn@tch
Spot On
Supernatural
TM Creation
The Annex
The Green Door
Tiny Trinkets
Tori’s Stylez
Tres Beau
Utopia
Vanilla Bae
Yasum
Yen
Zibska
Zvi
The Christmas on 34th Street 2015 is presented by:
Pale Girl Productions
sponsored by:
Entice
Blues Hair
The Annex
Salt & Pepper
Christmas on 34th Street is a holiday event focused on gift giving. All merchandise offered at the event will be transferable (excluding the 10L gift). The atmosphere reflects a sleepy small town set in a black and white movie.
***IMPORTANT*** Due to the way we have done our packaging for the event, the items purchased are transfer but upon opening become copy. So if you would like to gift the items purchased do NOT unpack the vendors.
The event takes place from Wednesday, December 9th through Sunday, December 27th.
We will be enforcing a strict script policy at the event. Please come in as little as possible and detach all objects that you may be wearing. This will allow for a better shopping experience for all. We suggest wearing system clothes for the event.
To keep up to date on the events that Pale Girl Productions host, you can join the Pale Girl Productions Info Group. This group will also get a 12 hour early access pass and so will be able to start their shopping on December 8th. Please copy and paste the following link into your SL browser to join the Pale Girl Productions Info Group:
secondlife:///app/group/2604ff63-a0ce-16c3-4675-48d760dc5332/about
We are looking forward to this amazing event and hope to see you there! Doors will open December 9th at 12:01am SLT. The location will be announced at a later time.
Here is the list of participating stores in no particular order:
Essences
ND/MD
DAZED.
Roawenwood
.::WoW Skins::.
Pink Acid / Black Bantam
oOo Studio
blueberry hill
LoveMe Skins
Kalopsia
n° 7
Salt & Pepper
Pepe Hair
Essenz
[ zerkalo ]
dami
Plastik
aisling
Blues
Shakeup
MINA Hair
Rebel Gal / Bold&Beauty
Sage
LaVian
Modulus
DRD
Spyralle
M's Avon
AR2 Style
W.Winx & Flair
Senzafine
analog dog hair
The Stringer Mausoleum
Ex Machina
Lyrical
YS&YS
Zibska
.Identity. Body Shop
-Strike It-
The Forge
M.birdie
Astralia *accessories and more*
Hilly Haalan
Sari-Sari
!Chop Shop!
E.V.E
.::Cubic Cherry Kre-ations:..
Cosmic Dust
Meva
ANE
Moon Amore
Lowen
[sYs] Design
Veechi
Beloved Jewelry
Blacklace Lingerie
BOND7
cheeky
PICHI
Bella Elephante
-SECRETS-
Glitzz
Supernatural
The Annex
Entice
C ya there!
Ever Gypsy - Glamour Makeup @ Pale Girl Productions Vintage Event - June 12th – 22nd, 2020 -https://palegirlproductions.com/category/vintage-fair/
Credits: babycatslair.wordpress.com/2020/04/08/upcoming-1940s-glam...
The Postcard
A postally unused postcard that was published by Fotofolio of Box 661, Canal Sta., NY, NY. The photography was by Rollie McKenna. The card has a divided back.
Dylan Thomas
Dylan Marlais Thomas, who was born in Swansea on the 27th. October 1914, was a Welsh poet and writer whose works include the poems 'Do not go Gentle Into That Good Night' and 'And Death Shall Have No Dominion.'
Dylan's other work included 'Under Milk Wood' as well as stories and radio broadcasts such as 'A Child's Christmas in Wales' and 'Portrait of the Artist as a Young Dog'.
He became widely popular in his lifetime, and remained so after his death at the age of 39 in New York City. By then he had acquired a reputation, which he had encouraged, as a roistering, drunken and doomed poet.
In 1931, when he was 16, Thomas, an undistinguished pupil, left school to become a reporter for the South Wales Daily Post, only to leave under pressure 18 months later.
Many of his works appeared in print while he was still a teenager. In 1934, the publication of 'Light Breaks Where no Sun Shines' caught the attention of the literary world.
While living in London, Thomas met Caitlin Macnamara. They married in 1937, and had three children: Llewelyn, Aeronwy and Colm.
Thomas came to be appreciated as a popular poet during his lifetime, though he found it hard to earn a living as a writer. He began augmenting his income with reading tours and radio broadcasts. His radio recordings for the BBC during the late 1940's brought him to the public's attention, and he was frequently used by the BBC as an accessible voice of the literary scene.
Thomas first travelled to the United States in the 1950's. His readings there brought him a degree of fame, while his erratic behaviour and drinking worsened. His time in the United States cemented his legend, however, and he went on to record to vinyl such works as 'A Child's Christmas in Wales'.
During his fourth trip to New York in 1953, Thomas became gravely ill and fell into a coma. He died on the 9th. November 1953, and his body was returned to Wales. On the 25th. November 1953, he was laid to rest in St Martin's churchyard in Laugharne, Carmarthenshire.
Although Thomas wrote exclusively in the English language, he has been acknowledged as one of the most important Welsh poets of the 20th century. He is noted for his original, rhythmic and ingenious use of words and imagery. He is regarded by many as one of the great modern poets, and he still remains popular with the public.
-- Dylan Thomas - The Early Years
Dylan was born at 5 Cwmdonkin Drive, the son of Florence Hannah (née Williams; 1882–1958), a seamstress, and David John Thomas (1876–1952), a teacher. His father had a first-class honours degree in English from University College, Aberystwyth and ambitions to rise above his position teaching English literature at the local grammar school.
Thomas had one sibling, Nancy Marles (1906–1953), who was eight years his senior. The children spoke only English, though their parents were bilingual in English and Welsh, and David Thomas gave Welsh lessons at home.
Thomas's father chose the name Dylan, which means 'Son of the Sea', after Dylan ail Don, a character in The Mabinogion. Dylan's middle name, Marlais, was given in honour of his great-uncle, William Thomas, a Unitarian minister and poet whose bardic name was Gwilym Marles.
Dylan caused his mother to worry that he might be teased as the 'Dull One.' When he broadcast on Welsh BBC, early in his career, he was introduced using this pronunciation. Thomas favoured the Anglicised pronunciation, and gave instructions that it should be spoken as 'Dillan.'
The red-brick semi-detached house at 5 Cwmdonkin Drive (in the respectable area of the Uplands), in which Thomas was born and lived until he was 23, had been bought by his parents a few months before his birth.
Dylan's childhood featured regular summer trips to the Llansteffan Peninsula, a Welsh-speaking part of Carmarthenshire, where his maternal relatives were the sixth generation to farm there.
In the land between Llangain and Llansteffan, his mother's family, the Williamses and their close relatives, worked a dozen farms with over a thousand acres between them. The memory of Fernhill, a dilapidated 15-acre farm rented by his maternal aunt, Ann Jones, and her husband, Jim, is evoked in the 1945 lyrical poem 'Fern Hill', but is portrayed more accurately in his short story, 'The Peaches'.
Thomas had bronchitis and asthma in childhood, and struggled with these throughout his life. He was indulged by his mother and enjoyed being mollycoddled, a trait he carried into adulthood, and he was skilful in gaining attention and sympathy.
Thomas's formal education began at Mrs Hole's Dame School, a private school on Mirador Crescent, a few streets away from his home. He described his experience there in Reminiscences of Childhood:
"Never was there such a dame school as ours,
so firm and kind and smelling of galoshes, with
the sweet and fumbled music of the piano lessons
drifting down from upstairs to the lonely schoolroom,
where only the sometimes tearful wicked sat over
undone sums, or to repent a little crime – the pulling
of a girl's hair during geography, the sly shin kick
under the table during English literature".
In October 1925, Dylan Thomas enrolled at Swansea Grammar School for boys, in Mount Pleasant, where his father taught English. He was an undistinguished pupil who shied away from school, preferring reading.
In his first year, one of his poems was published in the school's magazine, and before he left he became its editor. In June 1928, Thomas won the school's mile race, held at St. Helen's Ground; he carried a newspaper photograph of his victory with him until his death.
During his final school years Dylan began writing poetry in notebooks; the first poem, dated 27th. April 1930, is entitled 'Osiris, Come to Isis'.
In 1931, when he was 16, Thomas left school to become a reporter for the South Wales Daily Post, only to leave under pressure 18 months later. Thomas continued to work as a freelance journalist for several years, during which time he remained at Cwmdonkin Drive and continued to add to his notebooks, amassing 200 poems in four books between 1930 and 1934. Of the 90 poems he published, half were written during these years.
In his free time, Dylan joined the amateur dramatic group at the Little Theatre in Mumbles, visited the cinema in Uplands, took walks along Swansea Bay, and frequented Swansea's pubs, especially the Antelope and the Mermaid Hotels in Mumbles.
In the Kardomah Café, close to the newspaper office in Castle Street, he met his creative contemporaries, including his friend the poet Vernon Watkins.
-- 1933–1939
In 1933, Thomas visited London for probably the first time.
Thomas was a teenager when many of the poems for which he became famous were published:
-- 'And Death Shall Have no Dominion'
-- 'Before I Knocked'
-- 'The Force That Through the Green Fuse Drives the Flower'.
'And Death Shall Have no Dominion' appeared in the New English Weekly in May 1933:
'And death shall have no dominion.
Dead men naked they shall be one
With the man in the wind and the
west moon;
When their bones are picked clean and
the clean bones gone,
They shall have stars at elbow and foot;
Though they go mad they shall be sane,
Though they sink through the sea they
shall rise again
Though lovers be lost love shall not;
And death shall have no dominion'.
When 'Light Breaks Where no Sun Shines' appeared in The Listener in 1934, it caught the attention of three senior figures in literary London - T. S. Eliot, Geoffrey Grigson and Stephen Spender. They contacted Thomas, and his first poetry volume, '18 Poems', was published in December 1934.
'18 Poems' was noted for its visionary qualities which led to critic Desmond Hawkins writing that:
"The work is the sort of bomb
that bursts no more than once
in three years".
The volume was critically acclaimed, and won a contest run by the Sunday Referee, netting him new admirers from the London poetry world, including Edith Sitwell and Edwin Muir. The anthology was published by Fortune Press, in part a vanity publisher that did not pay its writers, and expected them to buy a certain number of copies themselves. A similar arrangement was used by other new authors, including Philip Larkin.
In September 1935, Thomas met Vernon Watkins, thus beginning a lifelong friendship. Dylan introduced Watkins, working at Lloyds Bank at the time, to his friends. The group of writers, musicians and artists became known as "The Kardomah Gang".
In those days, Thomas used to frequent the cinema on Mondays with Tom Warner who, like Watkins, had recently suffered a nervous breakdown. After these trips, Warner would bring Thomas back for supper with his aunt.
On one occasion, when she served him a boiled egg, she had to cut its top off for him, as Thomas did not know how to do this. This was because his mother had done it for him all his life, an example of her coddling him. Years later, his wife Caitlin would still have to prepare his eggs for him.
In December 1935, Thomas contributed the poem 'The Hand That Signed the Paper' to Issue 18 of the bi-monthly New Verse.
In 1936, Dylan's next collection 'Twenty-five Poems' received much critical praise. In 1938, Thomas won the Oscar Blumenthal Prize for Poetry; it was also the year in which New Directions offered to be his publisher in the United States. In all, he wrote half his poems while living at Cwmdonkin Drive before moving to London. It was the time that Thomas's reputation for heavy drinking developed.
In early 1936, Thomas met Caitlin Macnamara (1913–94), a 22-year-old blonde-haired, blue-eyed dancer of Irish and French descent. She had run away from home, intent on making a career in dance, and at the age of 18 joined the chorus line at the London Palladium.
Introduced by Augustus John, Caitlin's lover, they met in The Wheatsheaf pub on Rathbone Place in London's West End. Laying his head on her lap, a drunken Thomas proposed. Thomas liked to comment that he and Caitlin were in bed together ten minutes after they first met.
Although Caitlin initially continued her relationship with Augustus John, she and Thomas began a correspondence, and by the second half of 1936 they were courting. They married at the register office in Penzance, Cornwall, on the 11th. July 1937.
In early 1938, they moved to Wales, renting a cottage in the village of Laugharne, Carmarthenshire. Their first child, Llewelyn Edouard, was born on the 30th. January 1939.
By the late 1930's, Thomas was embraced as the "Poetic Herald" for a group of English poets, the New Apocalyptics. However Thomas refused to align himself with them, and declined to sign their manifesto.
He later stated that:
"They are intellectual muckpots
leaning on a theory".
Despite Dylan's rejection, many of the group, including Henry Treece, modelled their work on Thomas's.
During the politically charged atmosphere of the 1930's, Thomas's sympathies were very much with the radical left, to the point of holding close links with the communists, as well as being decidedly pacifist and anti-fascist. He was a supporter of the left-wing No More War Movement, and boasted about participating in demonstrations against the British Union of Fascists.
-- 1939–1945
In 1939, a collection of 16 poems and seven of the 20 short stories published by Thomas in magazines since 1934, appeared as 'The Map of Love'.
Ten stories in his next book, 'Portrait of the Artist as a Young Dog' (1940), were based less on lavish fantasy than those in 'The Map of Love', and more on real-life romances featuring himself in Wales.
Sales of both books were poor, resulting in Thomas living on meagre fees from writing and reviewing. At this time he borrowed heavily from friends and acquaintances.
Hounded by creditors, Thomas and his family left Laugharne in July 1940 and moved to the home of critic John Davenport in Marshfield, Gloucestershire. There Thomas collaborated with Davenport on the satire 'The Death of the King's Canary', though due to fears of libel, the work was not published until 1976.
At the outset of the Second World War, Thomas was worried about conscription, and referred to his ailment as "An Unreliable Lung".
Coughing sometimes confined him to bed, and he had a history of bringing up blood and mucus. After initially seeking employment in a reserved occupation, he managed to be classified Grade III, which meant that he would be among the last to be called up for service.
Saddened to see his friends going on active service, Dylan continued drinking, and struggled to support his family. He wrote begging letters to random literary figures asking for support, a plan he hoped would provide a long-term regular income. Thomas supplemented his income by writing scripts for the BBC, which not only gave him additional earnings but also provided evidence that he was engaged in essential war work.
In February 1941, Swansea was bombed by the Luftwaffe in a three night blitz. Castle Street was one of many streets that suffered badly; rows of shops, including the Kardomah Café, were destroyed. Thomas walked through the bombed-out shell of the town centre with his friend Bert Trick. Upset at the sight, he concluded:
"Our Swansea is dead".
Soon after the bombing raids, he wrote a radio play, 'Return Journey Home', which described the café as being "razed to the snow". The play was first broadcast on the 15th. June 1947. The Kardomah Café reopened on Portland Street after the war.
In May 1941, Thomas and Caitlin left their son with his grandmother at Blashford and moved to London. Thomas hoped to find employment in the film industry, and wrote to the director of the films division of the Ministry of Information (MOI). After initially being rebuffed, he found work with Strand Films, providing him with his first regular income since the Daily Post. Strand produced films for the MOI; Thomas scripted at least five films in 1942.
In five film projects, between 1942 and 1945, the Ministry of Information (MOI) commissioned Thomas to script a series of documentaries about both urban planning and wartime patriotism, all in partnership with director John Eldridge:
-- 'Wales: Green Mountain, Black Mountain'.
-- 'New Towns for Old' (on post-war reconstruction).
-- 'Fuel for Battle'.
-- 'Our Country' (1945) was a romantic tour of Great
Britain set to Thomas's poetry.
-- 'A City Reborn'.
Other projects included:
-- 'This Is Colour' (a history of the British dyeing industry).
-- 'These Are The Men' (1943), a more ambitious piece in which Thomas's verse accompanied Leni Riefenstahl's
footage of an early Nuremberg Rally.
-- 'Conquest of a Germ' (1944) explored the use of early antibiotics in the fight against pneumonia and tuberculosis.
In early 1943, Thomas began a relationship with Pamela Glendower; one of several affairs he had during his marriage. The affairs either ran out of steam or were halted after Caitlin discovered his infidelity.
In March 1943, Caitlin gave birth to a daughter, Aeronwy, in London. They lived in a run-down studio in Chelsea, made up of a single large room with a curtain to separate the kitchen.
The Thomas family made several escapes back to Wales during the war. Between 1941 and 1943, they lived intermittently in Plas Gelli, Talsarn, in Cardiganshire. Plas Gelli sits close by the River Aeron, after whom Aeronwy is thought to have been named. Some of Thomas’ letters from Gelli can be found in his 'Collected Letters'.
The Thomases shared the mansion with his childhood friends from Swansea, Vera and Evelyn Phillips. Vera's friendship with the Thomases in nearby New Quay is portrayed in the 2008 film, 'The Edge of Love'.
In July 1944, with the threat of German flying bombs landing on London, Thomas moved to the family cottage at Blaencwm near Llangain, Carmarthenshire, where he resumed writing poetry, completing 'Holy Spring' and 'Vision and Prayer'.
In September 1944, the Thomas family moved to New Quay in Cardiganshire (Ceredigion), where they rented Majoda, a wood and asbestos bungalow on the cliffs overlooking Cardigan Bay. It was here that Thomas wrote the radio piece 'Quite Early One Morning', a sketch for his later work, 'Under Milk Wood'.
Of the poetry written at this time, of note is 'Fern Hill', believed to have been started while living in New Quay, but completed at Blaencwm in mid-1945. Dylan's first biographer, Constantine FitzGibbon wrote that:
"His nine months in New Quay were a second
flowering, a period of fertility that recalls the
earliest days, with a great outpouring of poems
and a good deal of other material".
His second biographer, Paul Ferris, concurred:
"On the grounds of output, the bungalow
deserves a plaque of its own."
The Dylan Thomas scholar, Walford Davies, has noted that:
"New Quay was crucial in supplementing
the gallery of characters Thomas had to
hand for writing 'Under Milk Wood'."
-- Dylan Thomas's Broadcasting Years 1945–1949
Although Thomas had previously written for the BBC, it was a minor and intermittent source of income. In 1943, he wrote and recorded a 15-minute talk entitled 'Reminiscences of Childhood' for the Welsh BBC.
In December 1944, he recorded 'Quite Early One Morning' (produced by Aneirin Talfan Davies, again for the Welsh BBC), but when Davies offered it for national broadcast, BBC London initially turned it down.
However on the 31st. August 1945, the BBC Home Service broadcast 'Quite Early One Morning' nationally, and in the three subsequent years, Dylan made over a hundred broadcasts for the BBC, not only for his poetry readings, but for discussions and critiques.
In the second half of 1945, Dylan began reading for the BBC Radio programme, 'Book of Verse', that was broadcast weekly to the Far East. This provided Thomas with a regular income, and brought him into contact with Louis MacNeice, a congenial drinking companion whose advice Thomas cherished.
On the 29th. September 1946, the BBC began transmitting the Third Programme, a high-culture network which provided further opportunities for Thomas.
He appeared in the play 'Comus' for the Third Programme, the day after the network launched, and his rich, sonorous voice led to character parts, including the lead in Aeschylus's 'Agamemnon', and Satan in an adaptation of 'Paradise Lost'.
Thomas remained a popular guest on radio talk shows for the BBC, who stated:
"He is useful should a younger
generation poet be needed".
He had an uneasy relationship with BBC management, and a staff job was never an option, with drinking cited as the problem. Despite this, Thomas became a familiar radio voice and well-known celebrity within Great Britain.
By late September 1945, the Thomases had left Wales, and were living with various friends in London. In December, they moved to Oxford to live in a summerhouse on the banks of the Cherwell. It belonged to the historian, A. J. P. Taylor. His wife, Margaret, became Thomas’s most committed patron.
The publication of 'Deaths and Entrances' in February 1946 was a major turning point for Thomas. Poet and critic Walter J. Turner commented in The Spectator:
"This book alone, in my opinion,
ranks him as a major poet".
From 'In my Craft or Sullen Art,' 'Deaths and Entrances' (1946):
'Not for the proud man apart
From the raging moon, I write
On these spindrift pages
Nor for the towering dead
With their nightingales and psalms
But for the lovers, their arms
Round the griefs of the ages,
Who pay no praise or wages
Nor heed my craft or art'.
The following year, in April 1947, the Thomases travelled to Italy, after Thomas had been awarded a Society of Authors scholarship. They stayed first in villas near Rapallo and then Florence, before moving to a hotel in Rio Marina on the island of Elba.
On their return to England Thomas and his family moved, in September 1947, into the Manor House in South Leigh, just west of Oxford, found for him by Margaret Taylor.
He continued with his work for the BBC, completed a number of film scripts, and worked further on his ideas for 'Under Milk Wood'.
In March 1949 Thomas travelled to Prague. He had been invited by the Czech government to attend the inauguration of the Czechoslovak Writers' Union. Jiřina Hauková, who had previously published translations of some of Thomas' poems, was his guide and interpreter.
In her memoir, Hauková recalls that at a party in Prague, Thomas narrated the first version of his radio play 'Under Milk Wood.' She describes how he outlined the plot about a town that was declared insane, and then portrayed the predicament of an eccentric organist and a baker with two wives.
A month later, in May 1949, Thomas and his family moved to his final home, the Boat House at Laugharne, purchased for him at a cost of £2,500 in April 1949 by Margaret Taylor.
Thomas acquired a garage a hundred yards from the house on a cliff ledge which he turned into his writing shed, and where he wrote several of his most acclaimed poems. To see a photograph of the interior of Dylan's shed, please search for the tag 55DTW96
Just before moving into the Boat House, Thomas rented Pelican House opposite his regular drinking den, Brown's Hotel, for his parents. They both lived there from 1949 until Dylan's father 'D.J.' died on the 16th. December 1952. His mother continued to live there until 1953.
Caitlin gave birth to their third child, a boy named Colm Garan Hart, on the 25th. July 1949.
In October 1949, the New Zealand poet Allen Curnow came to visit Thomas at the Boat House, who took him to his writing shed. Curnow recalls:
"Dylan fished out a draft to show me
of the unfinished 'Under Milk Wood'
that was then called 'The Town That
Was Mad'."
-- Dylan Thomas's American tours, 1950–1953
(a) The First American Tour
The American poet John Brinnin invited Thomas to New York, where in 1950 they embarked on a lucrative three-month tour of arts centres and campuses.
The tour, which began in front of an audience of a thousand at the Kaufmann Auditorium in the Poetry Centre in New York, took in a further 40 venues. During the tour, Thomas was invited to many parties and functions, and on several occasions became drunk - going out of his way to shock people - and was a difficult guest.
Dylan drank before some of his readings, although it is argued that he may have pretended to be more affected by the alcohol than he actually was.
The writer Elizabeth Hardwick recalled how intoxicated a performer he could be, and how the tension would build before a performance:
"Would he arrive only to break
down on the stage?
Would some dismaying scene
take place at the faculty party?
Would he be offensive, violent,
obscene?"
Dylan's wife Caitlin said in her memoir:
"Nobody ever needed encouragement
less, and he was drowned in it."
On returning to Great Britain, Thomas began work on two further poems, 'In the White Giant's Thigh', which he read on the Third Programme in September 1950:
'Who once were a bloom of wayside
brides in the hawed house
And heard the lewd, wooed field
flow to the coming frost,
The scurrying, furred small friars
squeal in the dowse
Of day, in the thistle aisles, till the
white owl crossed.'
He also worked on the incomplete 'In Country Heaven'.
In October 1950, Thomas sent a draft of the first 39 pages of 'The Town That Was Mad' to the BBC. The task of seeing this work through to production was assigned to the BBC's Douglas Cleverdon, who had been responsible for casting Thomas in 'Paradise Lost'.
However, despite Cleverdon's urgings, the script slipped from Thomas's priorities, and in early 1951 he took a trip to Iran to work on a film for the Anglo-Iranian Oil Company. The film was never made, with Thomas returning to Wales in February, though his time there allowed him to provide a few minutes of material for a BBC documentary, 'Persian Oil'.
Early in 1951 Thomas wrote two poems, which Thomas's principal biographer, Paul Ferris, describes as "unusually blunt." One was the ribald 'Lament', and the other was an ode, in the form of a villanelle, to his dying father 'Do not go Gentle Into That Good Night". (A villanelle is a pastoral or lyrical poem of nineteen lines, with only two rhymes throughout, and some lines repeated).
Despite a range of wealthy patrons, including Margaret Taylor, Princess Marguerite Caetani and Marged Howard-Stepney, Thomas was still in financial difficulty, and he wrote several begging letters to notable literary figures, including the likes of T. S. Eliot.
Margaret Taylor was not keen on Thomas taking another trip to the United States, and thought that if he had a permanent address in London he would be able to gain steady work there. She bought a property, 54 Delancey Street, in Camden Town, and in late 1951 Thomas and Caitlin lived in the basement flat. Thomas described the flat as his "London House of Horror", and did not return there after his 1952 tour of America.
(b) The Second American Tour
Thomas undertook a second tour of the United States in 1952, this time with Caitlin - after she had discovered that he had been unfaithful on his earlier trip. They drank heavily, and Thomas began to suffer with gout and lung problems.
It was during this tour that the above photograph was taken.
The second tour was the most intensive of the four, taking in 46 engagements.
The trip also resulted in Thomas recording his first poetry to vinyl, which Caedmon Records released in America later that year. One of his works recorded during this time, 'A Child's Christmas in Wales', became his most popular prose work in America. The recording was a 2008 selection for the United States National Recording Registry, which stated that:
"It is credited with launching the
audiobook industry in the United
States".
(c) The Third American Tour
In April 1953, Thomas returned alone for a third tour of America. He performed a "work in progress" version of 'Under Milk Wood', solo, for the first time at Harvard University on the 3rd. May 1953. A week later, the work was performed with a full cast at the Poetry Centre in New York.
Dylan met the deadline only after being locked in a room by Brinnin's assistant, Liz Reitell, and was still editing the script on the afternoon of the performance; its last lines were handed to the actors as they put on their makeup.
During this penultimate tour, Thomas met the composer Igor Stravinsky. Igor had become an admirer of Dylan after having been introduced to his poetry by W. H. Auden. They had discussions about collaborating on a "musical theatrical work" for which Dylan would provide the libretto on the theme of:
"The rediscovery of love and
language in what might be left
after the world after the bomb."
The shock of Thomas's death later in the year moved Stravinsky to compose his 'In Memoriam Dylan Thomas' for tenor, string quartet and four trombones. The work's first performance in Los Angeles in 1954 was introduced with a tribute to Thomas from Aldous Huxley.
Thomas spent the last nine or ten days of his third tour in New York mostly in the company of Reitell, with whom he had an affair.
During this time, Thomas fractured his arm falling down a flight of stairs when drunk. Reitell's doctor, Milton Feltenstein, put his arm in plaster, and treated him for gout and gastritis.
After returning home, Thomas worked on 'Under Milk Wood' in Wales before sending the original manuscript to Douglas Cleverdon on the 15th. October 1953. It was copied and returned to Thomas, who lost it in a pub in London and required a duplicate to take to America.
(d) The Fourth American Tour
Thomas flew to the States on the 19th. October 1953 for what would be his final tour. He died in New York before the BBC could record 'Under Milk Wood'. Richard Burton featured in its first broadcast in 1954, and was joined by Elizabeth Taylor in a subsequent film. In 1954, the play won the Prix Italia for literary or dramatic programmes.
Thomas's last collection 'Collected Poems, 1934–1952', published when he was 38, won the Foyle poetry prize. Reviewing the volume, critic Philip Toynbee declared that:
"Thomas is the greatest living
poet in the English language".
There followed a series of distressing events for Dylan. His father died from pneumonia just before Christmas 1952. In the first few months of 1953, his sister died from liver cancer, one of his patrons took an overdose of sleeping pills, three friends died at an early age, and Caitlin had an abortion.
Thomas left Laugharne on the 9th. October 1953 on the first leg of his trip to America. He called on his mother, Florence, to say goodbye:
"He always felt that he had to get
out from this country because of
his chest being so bad."
Thomas had suffered from chest problems for most of his life, though they began in earnest soon after he moved in May 1949 to the Boat House at Laugharne - the "Bronchial Heronry", as he called it. Within weeks of moving in, he visited a local doctor, who prescribed medicine for both his chest and throat.
Whilst waiting in London before his flight in October 1953, Thomas stayed with the comedian Harry Locke and worked on 'Under Milk Wood'. Locke noted that Thomas was having trouble with his chest, with terrible coughing fits that made him go purple in the face. He was also using an inhaler to help his breathing.
There were reports, too, that Thomas was also having blackouts. His visit to the BBC producer Philip Burton a few days before he left for New York, was interrupted by a blackout. On his last night in London, he had another in the company of his fellow poet Louis MacNeice.
Thomas arrived in New York on the 20th. October 1953 to undertake further performances of 'Under Milk Wood', organised by John Brinnin, his American agent and Director of the Poetry Centre. Brinnin did not travel to New York, but remained in Boston in order to write.
He handed responsibility to his assistant, Liz Reitell, who was keen to see Thomas for the first time since their three-week romance early in the year. She met Thomas at Idlewild Airport and was shocked at his appearance. He looked pale, delicate and shaky, not his usual robust self:
"He was very ill when he got here."
After being taken by Reitell to check in at the Chelsea Hotel, Thomas took the first rehearsal of 'Under Milk Wood'. They then went to the White Horse Tavern in Greenwich Village, before returning to the Chelsea Hotel.
(Bob Dylan, formerly Robert Zimmerman, used to perform at the White Horse; Dylan Thomas was his favourite poet, and it is highly likely that Bob adopted Dylan's first name as his surname).
The next day, Reitell invited Thomas to her apartment, but he declined. They went sightseeing, but Thomas felt unwell, and retired to his bed for the rest of the afternoon. Reitell gave him half a grain (32.4 milligrams) of phenobarbitone to help him sleep, and spent the night at the hotel with him.
Two days later, on the 23rd. October 1953, at the third rehearsal, Thomas said he was too ill to take part, but he struggled on, shivering and burning with fever, before collapsing on the stage.
The next day, 24th. October, Reitell took Thomas to see her doctor, Milton Feltenstein, who administered cortisone injections. Thomas made it through the first performance that evening, but collapsed immediately afterwards.
Dylan told a friend who had come back-stage:
"This circus out there has taken
the life out of me for now."
Reitell later said:
"Feltenstein was rather a wild doctor
who thought injections would cure
anything".
At the next performance on the 25th. October, his fellow actors realised that Thomas was very ill:
"He was desperately ill…we didn’t think
that he would be able to do the last
performance because he was so ill…
Dylan literally couldn’t speak he was so
ill…still my greatest memory of it is that
he had no voice."
On the evening of the 27th. October, Thomas attended his 39th. birthday party, but felt unwell, and returned to his hotel after an hour. The next day, he took part in 'Poetry and the Film', a recorded symposium at Cinema 16.
A turning point came on the 2nd. November. Air pollution in New York had risen significantly, and exacerbated chest illnesses such as Thomas's. By the end of the month, over 200 New Yorkers had died from the smog.
On the 3rd. November, Thomas spent most of the day in his room, entertaining various friends. He went out in the evening to keep two drink appointments. After returning to the hotel, he went out again for a drink at 2 am. After drinking at the White Horse, Thomas returned to the Hotel Chelsea, declaring:
"I've had eighteen straight
whiskies. I think that's the
record!"
However the barman and the owner of the pub who served him later commented that Thomas could not have drunk more than half that amount, although the barman could have been trying to exonerate himself from any blame.
Thomas had an appointment at a clam house in New Jersey with Todd on the 4th. November. When Todd telephoned the Chelsea that morning, Thomas said he was feeling ill, and postponed the engagement. Todd thought that Dylan sounded "terrible".
The poet, Harvey Breit, was another to phone that morning. He thought that Thomas sounded "bad". Thomas' voice, recalled Breit, was "low and hoarse". Harvey had wanted to say:
"You sound as though from the tomb".
However instead Harvey told Thomas that he sounded like Louis Armstrong.
Later, Thomas went drinking with Reitell at the White Horse and, feeling sick again, returned to the hotel. Dr. Feltenstein came to see him three times that day, administering the cortisone secretant ACTH by injection and, on his third visit, half a grain (32.4 milligrams) of morphine sulphate, which affected Thomas' breathing.
Reitell became increasingly concerned, and telephoned Feltenstein for advice. He suggested that she get male assistance, so she called upon the artist Jack Heliker, who arrived before 11 pm. At midnight on the 5th. November, Thomas's breathing became more difficult, and his face turned blue.
Reitell phoned Feltenstein who arrived at the hotel at about 1 am, and called for an ambulance. It then took another hour for the ambulance to arrive at St. Vincent's, even though it was only a few blocks from the Chelsea.
Thomas was admitted to the emergency ward at St Vincent's Hospital at 1:58 am. He was comatose, and his medical notes stated that:
"The impression upon admission was acute
alcoholic encephalopathy damage to the brain
by alcohol, for which the patient was treated
without response".
Feltenstein then took control of Thomas's care, even though he did not have admitting rights at St. Vincent's. The hospital's senior brain specialist, Dr. C. G. Gutierrez-Mahoney, was not called to examine Thomas until the afternoon of the 6th. November, thirty-six hours after Thomas' admission.
Dylan's wife Caitlin flew to America the following day, and was taken to the hospital, by which time a tracheotomy had been performed. Her reported first words were:
"Is the bloody man dead yet?"
Caitlin was allowed to see Thomas only for 40 minutes in the morning, but returned in the afternoon and, in a drunken rage, threatened to kill John Brinnin. When she became uncontrollable, she was put in a straitjacket and committed, by Feltenstein, to the River Crest private psychiatric detox clinic on Long Island.
It is now believed that Thomas had been suffering from bronchitis, pneumonia and emphysema before his admission to St Vincent's. In their 2004 paper, 'Death by Neglect', D. N. Thomas and Dr Simon Barton disclose that Thomas was found to have pneumonia when he was admitted to hospital in a coma.
Doctors took three hours to restore his breathing, using artificial respiration and oxygen. Summarising their findings, they conclude:
"The medical notes indicate that, on admission,
Dylan's bronchial disease was found to be very
extensive, affecting upper, mid and lower lung
fields, both left and right."
The forensic pathologist, Professor Bernard Knight, concurs:
"Death was clearly due to a severe lung infection
with extensive advanced bronchopneumonia.
The severity of the chest infection, with greyish
consolidated areas of well-established pneumonia,
suggests that it had started before admission to
hospital."
Thomas died at noon on the 9th. November 1953, having never recovered from his coma. He was 39 years of age when he died.
-- Aftermath of Dylan Thomas's Death
Rumours circulated of a brain haemorrhage, followed by competing reports of a mugging, or even that Thomas had drunk himself to death. Later, speculation arose about drugs and diabetes.
At the post-mortem, the pathologist found three causes of death - pneumonia, brain swelling and a fatty liver. Despite Dylan's heavy drinking, his liver showed no sign of cirrhosis.
The publication of John Brinnin's 1955 biography 'Dylan Thomas in America' cemented Thomas's legacy as the "doomed poet". Brinnin focuses on Thomas's last few years, and paints a picture of him as a drunk and a philanderer.
Later biographies have criticised Brinnin's view, especially his coverage of Thomas's death. David Thomas in 'Fatal Neglect: Who Killed Dylan Thomas?' claims that Brinnin, along with Reitell and Feltenstein, were culpable.
FitzGibbon's 1965 biography ignores Thomas's heavy drinking and skims over his death, giving just two pages in his detailed book to Thomas's demise.
Ferris in his 1989 biography includes Thomas's heavy drinking, but is more critical of those around him in his final days, and does not draw the conclusion that he drank himself to death.
Many sources have criticised Feltenstein's role and actions, especially his incorrect diagnosis of delirium tremens and the high dose of morphine he administered. Dr C. G. de Gutierrez-Mahoney, the doctor who treated Thomas while at St. Vincent's, concluded that Feltenstein's failure to see that Thomas was gravely ill and have him admitted to hospital sooner was even more culpable than his use of morphine.
Caitlin Thomas's autobiographies, 'Caitlin Thomas - Leftover Life to Kill' (1957) and 'My Life with Dylan Thomas: Double Drink Story' (1997), describe the effects of alcohol on the poet and on their relationship:
"Ours was not only a love story, it was
a drink story, because without alcohol
it would never had got on its rocking
feet. The bar was our altar."
Biographer Andrew Lycett ascribed the decline in Thomas's health to an alcoholic co-dependent relationship with his wife, who deeply resented his extramarital affairs.
In contrast, Dylan biographers Andrew Sinclair and George Tremlett express the view that Thomas was not an alcoholic. Tremlett argues that many of Thomas's health issues stemmed from undiagnosed diabetes.
Thomas died intestate, with assets worth £100. His body was brought back to Wales for burial in the village churchyard at Laugharne. Dylan's funeral, which Brinnin did not attend, took place at St Martin's Church in Laugharne on the 24th. November 1953.
Six friends from the village carried Thomas's coffin. Caitlin, without her customary hat, walked behind the coffin, with his childhood friend Daniel Jones at her arm and her mother by her side. The procession to the church was filmed, and the wake took place at Brown's Hotel. Thomas's fellow poet and long-time friend Vernon Watkins wrote The Times obituary.
Thomas's widow, Caitlin, died in 1994, and was laid to rest alongside him. Dylan's mother Florence died in August 1958. Thomas's elder son, Llewelyn, died in 2000, his daughter, Aeronwy in 2009, and his youngest son Colm in 2012.
-- Dylan Thomas's Poetry
Thomas's refusal to align with any literary group or movement has made him and his work difficult to categorise. Although influenced by the modern symbolism and surrealism movements, he refused to follow such creeds. Instead, critics view Thomas as part of the modernism and romanticism movements, though attempts to pigeon-hole him within a particular neo-romantic school have been unsuccessful.
Elder Olson, in his 1954 critical study of Thomas's poetry, wrote:
"There is a further characteristic which
distinguished Thomas's work from that
of other poets. It was unclassifiable."
Olson went on to say that in a postmodern age that continually attempted to demand that poetry have social reference, none could be found in Thomas's work, and that his work was so obscure that critics could not analyse it.
Thomas's verbal style played against strict verse forms, such as in the villanelle 'Do not go Gentle Into That Good Night'.
His images appear carefully ordered in a patterned sequence, and his major theme was the unity of all life, the continuing process of life and death, and new life that linked the generations.
Thomas saw biology as a magical transformation producing unity out of diversity, and in his poetry sought a poetic ritual to celebrate this unity. He saw men and women locked in cycles of growth, love, procreation, new growth, death, and new life. Therefore, each image engenders its opposite.
Thomas derived his closely woven, sometimes self-contradictory images from the Bible, Welsh folklore, preaching, and Sigmund Freud. Explaining the source of his imagery, Thomas wrote in a letter to Glyn Jones:
"My own obscurity is quite an unfashionable one,
based, as it is, on a preconceived symbolism
derived (I'm afraid all this sounds woolly and
pretentious) from the cosmic significance of the
human anatomy".
Thomas's early poetry was noted for its verbal density, alliteration, sprung rhythm and internal rhyme, and some critics detected the influence of the English poet Gerard Manley Hopkins. Hopkins, had taught himself Welsh, and used sprung verse, bringing some features of Welsh poetic metre into his work.
However when Henry Treece wrote to Thomas comparing his style to that of Hopkins, Thomas wrote back denying any such influence. Thomas greatly admired Thomas Hardy, who is regarded as an influence. When Thomas travelled in America, he recited some of Hardy's work in his readings.
Other poets from whom critics believe Thomas drew influence include James Joyce, Arthur Rimbaud and D. H. Lawrence.
William York Tindall, in his 1962 study, 'A Reader's Guide to Dylan Thomas', finds comparison between Thomas's and Joyce's wordplay, while he notes the themes of rebirth and nature are common to the works of Lawrence and Thomas.
Although Thomas described himself as the "Rimbaud of Cwmdonkin Drive", he stated that the phrase "Swansea's Rimbaud" was coined by the poet Roy Campbell.
Critics have explored the origins of Thomas's mythological pasts in his works such as 'The Orchards', which Ann Elizabeth Mayer believes reflects the Welsh myths of the Mabinogion.
Thomas's poetry is notable for its musicality, most clear in 'Fern Hill', 'In Country Sleep', 'Ballad of the Long-legged Bait' and 'In the White Giant's Thigh' from Under Milk Wood.
Thomas once confided that the poems which had most influenced him were Mother Goose rhymes which his parents taught him when he was a child:
"I should say I wanted to write poetry in the
beginning because I had fallen in love with
words.
The first poems I knew were nursery rhymes,
and before I could read them for myself I had
come to love the words of them. The words
alone.
What the words stood for was of a very
secondary importance ... I fell in love, that is
the only expression I can think of, at once,
and am still at the mercy of words, though
sometimes now, knowing a little of their
behaviour very well, I think I can influence
them slightly and have even learned to beat
them now and then, which they appear to
enjoy.
I tumbled for words at once. And, when I began
to read the nursery rhymes for myself, and, later,
to read other verses and ballads, I knew that I
had discovered the most important things, to
me, that could be ever."
Thomas became an accomplished writer of prose poetry, with collections such as 'Portrait of the Artist as a Young Dog' (1940) and 'Quite Early One Morning' (1954) showing he was capable of writing moving short stories. His first published prose work, 'After the Fair', appeared in The New English Weekly on the 15th. March 1934.
Jacob Korg believes that one can classify Thomas's fiction work into two main bodies:
-- Vigorous fantasies in a poetic style
-- After 1939, more straightforward
narratives.
Korg surmises that Thomas approached his prose writing as an alternate poetic form, which allowed him to produce complex, involuted narratives that do not allow the reader to rest.
-- Dylan Thomas as a Welsh Poet
Thomas disliked being regarded as a provincial poet, and decried any notion of 'Welshness' in his poetry. When he wrote to Stephen Spender in 1952, thanking him for a review of his Collected Poems, he added:
"Oh, & I forgot. I'm not influenced by
Welsh bardic poetry. I can't read Welsh."
Despite this, his work was rooted in the geography of Wales. Thomas acknowledged that he returned to Wales when he had difficulty writing, and John Ackerman argues that:
"Dylan's inspiration and imagination
were rooted in his Welsh background".
Caitlin Thomas wrote that:
"He worked in a fanatically narrow groove,
although there was nothing narrow about
the depth and understanding of his feelings.
The groove of direct hereditary descent in
the land of his birth, which he never in
thought, and hardly in body, moved out of."
Head of Programmes Wales at the BBC, Aneirin Talfan Davies, who commissioned several of Thomas's early radio talks, believed that the poet's whole attitude is that of the medieval bards.
Kenneth O. Morgan counter-argues that it is a difficult enterprise to find traces of cynghanedd (consonant harmony) or cerdd dafod (tongue-craft) in Thomas's poetry. Instead he believes that Dylan's work, especially his earlier, more autobiographical poems, are rooted in a changing country which echoes the Welshness of the past and the Anglicisation of the new industrial nation:
"Rural and urban, chapel-going and profane,
Welsh and English, unforgiving and deeply
compassionate."
Fellow poet and critic Glyn Jones believed that any traces of cynghanedd in Thomas's work were accidental, although he felt that Dylan consciously employed one element of Welsh metrics: that of counting syllables per line instead of feet. Constantine Fitzgibbon, who was his first in-depth biographer, wrote:
"No major English poet has
ever been as Welsh as Dylan".
Although Dylan had a deep connection with Wales, he disliked Welsh nationalism. He once wrote:
"Land of my fathers, and
my fathers can keep it".
While often attributed to Thomas himself, this line actually comes from the character Owen Morgan-Vaughan, in the screenplay Thomas wrote for the 1948 British melodrama 'The Three Weird Sisters'.
Robert Pocock, a friend from the BBC, recalled:
"I only once heard Dylan express an
opinion on Welsh Nationalism.
He used three words. Two of them
were Welsh Nationalism."
Although not expressed as strongly, Glyn Jones believed that he and Thomas's friendship cooled in the later years because he had not rejected enough of the elements that Thomas disliked, i.e. "Welsh nationalism and a sort of hill farm morality".
Apologetically, in a letter to Keidrych Rhys, editor of the literary magazine 'Wales', Thomas's father wrote:
"I'm afraid Dylan isn't much
of a Welshman".
FitzGibbon asserts that Thomas's negativity towards Welsh nationalism was fostered by his father's hostility towards the Welsh language.
Critical Appraisal of Dylan Thomas's Work
Thomas's work and stature as a poet have been much debated by critics and biographers since his death. Critical studies have been clouded by Thomas's personality and mythology, especially his drunken persona and death in New York.
When Seamus Heaney gave an Oxford lecture on the poet, he opened by addressing the assembly:
"Dylan Thomas is now as much
a case history as a chapter in the
history of poetry".
He queried how 'Thomas the Poet' is one of his forgotten attributes. David Holbrook, who has written three books about Thomas, stated in his 1962 publication 'Llareggub Revisited':
"The strangest feature of Dylan Thomas's
notoriety - not that he is bogus, but that
attitudes to poetry attached themselves
to him which not only threaten the prestige,
effectiveness and accessibility to English
poetry, but also destroyed his true voice
and, at last, him."
The Poetry Archive notes that:
"Dylan Thomas's detractors accuse him
of being drunk on language as well as
whiskey, but whilst there's no doubt that
the sound of language is central to his
style, he was also a disciplined writer
who re-drafted obsessively".
Many critics have argued that Thomas's work is too narrow, and that he suffers from verbal extravagance. However those who have championed his work have found the criticism baffling. Robert Lowell wrote in 1947:
"Nothing could be more wrongheaded
than the English disputes about Dylan
Thomas's greatness ... He is a dazzling
obscure writer who can be enjoyed
without understanding."
Kenneth Rexroth said, on reading 'Eighteen Poems':
"The reeling excitement of a poetry-intoxicated
schoolboy smote the Philistine as hard a blow
with one small book as Swinburne had with
Poems and Ballads."
Philip Larkin, in a letter to Kingsley Amis in 1948, wrote that:
"No one can stick words into us
like pins... like Thomas can".
However he followed that by stating that:
"Dylan doesn't use his words
to any advantage".
Amis was far harsher, finding little of merit in Dylan's work, and claiming that:
"He is frothing at the mouth
with piss."
In 1956, the publication of the anthology 'New Lines' featuring works by the British collective The Movement, which included Amis and Larkin amongst its number, set out a vision of modern poetry that was damning towards the poets of the 1940's. Thomas's work in particular was criticised. David Lodge, writing about The Movement in 1981 stated:
"Dylan Thomas was made to stand for
everything they detest, verbal obscurity,
metaphysical pretentiousness, and
romantic rhapsodizing".
Despite criticism by sections of academia, Thomas's work has been embraced by readers more so than many of his contemporaries, and is one of the few modern poets whose name is recognised by the general public.
In 2009, over 18,000 votes were cast in a BBC poll to find the UK's favourite poet; Thomas was placed 10th.
Several of Dylan's poems have passed into the cultural mainstream, and his work has been used by authors, musicians and film and television writers.
The long-running BBC Radio programme, 'Desert Island Discs', in which guests usually choose their favourite songs, has heard 50 participants select a Dylan Thomas recording.
John Goodby states that this popularity with the reading public allows Thomas's work to be classed as vulgar and common. He also cites that despite a brief period during the 1960's when Thomas was considered a cultural icon, the poet has been marginalized in critical circles due to his exuberance, in both life and work, and his refusal to know his place.
Goodby believes that Thomas has been mainly snubbed since the 1970's and has become: "... an embarrassment to twentieth-century poetry criticism", his work failing to fit standard narratives, and thus being ignored rather than studied.
-- Memorials to Dylan Thomas
In Swansea's maritime quarter is the Dylan Thomas Theatre, the home of the Swansea Little Theatre of which Thomas was once a member. The former Guildhall built in 1825 is now occupied by the Dylan Thomas Centre, a literature centre, where exhibitions and lectures are held and which is a setting for the annual Dylan Thomas Festival. Outside the centre stands a bronze statue of Thomas by John Doubleday.
Another monument to Thomas stands in Cwmdonkin Park, one of Dylan's favourite childhood haunts, close to his birthplace. The memorial is a small rock in an enclosed garden within the park, cut by and inscribed by the late sculptor Ronald Cour with the closing lines from Fern Hill:
'Oh as I was young and easy
in the mercy of his means
Time held me green and dying
Though I sang in my chains like
the sea'.
Thomas's home in Laugharne, the Boathouse, is now a museum run by Carmarthenshire County Council. Thomas's writing shed is also preserved.
In 2004, the Dylan Thomas Prize was created in his honour, awarded to the best published writer in English under the age of 30. In 2005, the Dylan Thomas Screenplay Award was established. The prize, administered by the Dylan Thomas Centre, is awarded at the annual Swansea Bay Film Festival.
In 1982 a plaque was unveiled in Poets' Corner, Westminster Abbey. The plaque is also inscribed with the last two lines of 'Fern Hill'.
In 2014, the Royal Patron of The Dylan Thomas 100 Festival was Charles, Prince of Wales, who made a recording of 'Fern Hill' for the event.
In 2014, to celebrate the centenary of Thomas's birth, the British Council Wales undertook a year-long programme of cultural and educational works. Highlights included a touring replica of Thomas's work shed, Sir Peter Blake's exhibition of illustrations based on 'Under Milk Wood', and a 36-hour marathon of readings, which included Michael Sheen and Sir Ian McKellen performing Thomas's work.
Towamensing Trails, Pennsylvania named one of its streets, Thomas Lane, in Dylan's honour.
-- List of Works by Dylan Thomas
-- 'The Collected Poems of Dylan Thomas: The New Centenary Edition', edited and with Introduction by John Goodby. London: Weidenfeld & Nicolson, 2014.
-- 'The Notebook Poems 1930–34', edited by Ralph Maud. London: Dent, 1989.
-- 'Dylan Thomas: The Film Scripts', edited by John Ackerman. London: Dent 1995.
-- 'Dylan Thomas: Early Prose Writings', edited by Walford Davies. London: Dent 1971.
-- 'Collected Stories', edited by Walford Davies. London: Dent, 1983.
-- 'Under Milk Wood: A Play for Voices', edited by Walford Davies and Ralph Maud. London: Dent, 1995.
-- 'On The Air With Dylan Thomas: The Broadcasts', edited by Ralph Maud. New York: New Directions, 1991.
-- Correspondence
-- 'Dylan Thomas: The Collected Letters', edited by Paul Ferris (2017), 2 vols. London: Weidenfeld & Nicolson
Vol I: 1931–1939
Vol II: 1939–1953.
-- 'Letters to Vernon Watkins', edited by Vernon Watkins (1957). London: Dent.
-- Posthumous Film Adaptations
-- 2016: Dominion, written and directed by Steven Bernstein, examines the final hours of Dylan Thomas.
-- 2014: Set Fire to the Stars, with Thomas portrayed by Celyn Jones, and John Brinnin by Elijah Wood.
-- 2014: Under Milk Wood BBC, starring Charlotte Church, Tom Jones, Griff Rhys-Jones and Michael Sheen.
-- 2014: Interstellar. The poem is featured throughout the film as a recurring theme regarding the perseverance of humanity.
-- 2009: A Child's Christmas in Wales, BAFTA Best Short Film. Animation, with soundtrack in Welsh and English. Director: Dave Unwin. Extras include filmed comments from Aeronwy Thomas.
-- 2007: Dylan Thomas: A War Films Anthology (DDHE/IWM).
-- 1996: Independence Day. Before the attack, the President paraphrases Thomas's "Do not go Gentle Into That Good Night".
-- 1992: Rebecca's Daughters, starring Peter O'Toole and Joely Richardson.
-- 1987: A Child's Christmas in Wales, directed by Don McBrearty.
-- 1972: Under Milk Wood, starring Richard Burton, Elizabeth Taylor, and Peter O'Toole.
-- Opera Adaptation
-- 1973: Unter dem Milchwald, by German composer Walter Steffens on his own libretto using Erich Fried's translation of 'Under Milk Wood' into German, Hamburg State Opera. Also at the Staatstheater Kassel in 1977.
-- Final Thoughts From Dylan Thomas
"Somebody's boring me.
I think it's me."
"Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light."
"When one burns one's bridges,
what a very nice fire it makes."
"I think, that if I touched the earth,
It would crumble; It is so sad and
beautiful, so tremulously like a dream."
"An alcoholic is someone you don't
like, who drinks as much as you do."
"I hold a beast, an angel, and a madman in me,
and my enquiry is as to their working, and my
problem is their subjugation and victory, down
throw and upheaval, and my effort is their self-
expression."
"The only sea I saw was the seesaw sea
with you riding on it. Lie down, lie easy.
Let me shipwreck in your thighs."
"Why do men think you can pick love up
and re-light it like a candle? Women know
when love is over."
"Poetry is not the most important thing in life.
I'd much rather lie in a hot bath reading
Agatha Christie and sucking sweets."
"And now, gentlemen, like your manners,
I must leave you."
"My education was the liberty I had to read
indiscriminately and all the time, with my eyes
hanging out."
"I'm a freak user of words, not a poet."
"Our discreditable secret is that we don't
know anything at all, and our horrid inner
secret is that we don't care that we don't."
"It snowed last year too: I made a snowman
and my brother knocked it down and I knocked
my brother down and then we had tea."
"Though lovers be lost love shall not."
"Man’s wants remain unsatisfied till death.
Then, when his soul is naked, is he one
with the man in the wind, and the west moon,
with the harmonious thunder of the sun."
"And books which told me everything
about the wasp, except why."
"We are not wholly bad or good, who
live our lives under Milk Wood."
"Love is the last light spoken."
"... an ugly, lovely town ... crawling, sprawling ...
by the side of a long and splendid curving
shore. This sea-town was my world."
"I do not need any friends. I prefer enemies.
They are better company, and their feelings
towards you are always genuine."
"This poem has been called obscure. I refuse
to believe that it is obscurer than pity, violence,
or suffering. But being a poem, not a lifetime,
it is more compressed."
"One: I am a Welshman; two: I am a drunkard;
three: I am a lover of the human race, especially
of women."
"I believe in New Yorkers. Whether they've ever
questioned the dream in which they live, I wouldn't
know, because I won't ever dare ask that question."
"These poems, with all their crudities, doubts and
confusions, are written for the love of man and in
praise of God, and I'd be a damn fool if they weren't."
"Before you let the sun in, mind he wipes his shoes."
"Nothing grows in our garden, only washing.
And babies."
"Make gentle the life of this world."
"A worm tells summer better than the clock,
the slug's a living calendar of days; what shall
it tell me if a timeless insect says the world
wears away?"
"Time passes. Listen. Time passes. Come
closer now. Only you can hear the houses
sleeping in the streets in the slow deep salt
and silent black, bandaged night."
"Rhianon, he said, hold my hand, Rhianon.
She did not hear him, but stood over his bed
and fixed him with an unbroken sorrow. Hold
my hand, he said, and then: Why are you
putting the sheet over my face?"
"Come on up, boys - I'm dead."
"Life is a terrible thing, thank God."
Introducing the Ooh-la-licious® Naavah Catwa Appliers Collection — a Skin Fair 2017 Exclusive — for Catwa Bento mesh heads. Our appliers come in 11 skin tones, with 5 brow options and 12 lip options. Ooh-la-licious® Naavah works great on all Catwa Bento mesh heads such as Catya, Lilo, Kimberly, etc...as well as on static and non-Bento Catwa heads (particularly Alice, Annie, Gwen and Sarah).
Ooh-la-licious Skins® is one of the proud sponsors of Skin Fair 2017 — presented by Pale Girl Productions. The event dates are Friday, March 10, through Sunday, March 26. Ooh-la-licious Skins® inworld group members gain early access to the event with group tag enabled. We're located on Sim 2 near the landing point: maps.secondlife.com/secondlife/Chanterelle/145/96/21
Additional Skin Fair information can be found here: palegirlproductions.wordpress.com
Please follow us on Flickr to keep up-to-date on our latest release information. More photos and information to come!
Designer/Model: Oohlala Sassoon
Shape: Ooh-la-licious® Custom Bento Shapes
Head Applier: Ooh-la-licious® Naavah (Honey)
Mesh Head: Catwa Catya Bento
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© 2017 Ooh-la-licious Skins® All Rights Reserved.
Exclusively at the Vintage Fair 2018 from Sn@tch! Dolores comes in 7 color packs with Bamboo and Jade Hair Sticks at a discounted price exclusively for this event! The Vintage Fair begins this FRIDAY!
secondlifesyndicate.com/2021/06/21/sand-vixen/
------------------------------
Helli is in a little bit of this and that today., just enjoying the sun.
Tiffy Vellla had sent me her Vintage Fair release, but I got so caught up in hair fair and Shop & Hop last week, I didn't get to blogging it until now. I sometimes forget that Pale Girl Production events don't last so long.
You will be able to find these fab glasses at her mainstore in the coming days, if you missed the last hours of Vintage Fair.
Ivey of Sn@tch is also back, and slowly working on new content for her store(I say slowly, cause she said it, but honestly, she has been making all sorts of things!).
She made us a new Fishing outfit, that is summery and nautical themed, so if you have a bit of time, you can fish for this Swimsuit, for FREE.
I'm also wearing the newish Gen 3 skin, Jalyn, from Soul. I normally wear alternatively toned skins from this brand, but this is a great base skin to build on top of I found. It is a very clean skin, so works great if you love layering makeups like I do. I didn't go crazy in this post, just so the skin could actually be shown off properly.
Items of Note:
Hair - L$50
Skin - @ Mainstore
Skin - L$1
Swimsuit - Free (have to fish for it)
Jewelry - 30% off at Shop & Hop
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.
Today however, we are far from Cavendish Mews. We are not even in England as we follow Lettice, her fiancée, Sir John Nettleford Hughes, and her widowed future sister-in-law, Clementine (known preferably now by the more cosmopolitan Clemance) Pontefract on their adventures on their visit to Paris.
Old enough to be Lettice’s father, wealthy Sir John was until recently still a bachelor, and according to London society gossip intended to remain so, so that he might continue to enjoy his dalliances with a string of pretty chorus girls of Lettice’s age and younger. After an abrupt ending to her understanding with Selwyn Spencely, son and heir to the title Duke of Walmsford, Lettice in a moment of both weakness and resolve, agreed to the proposal of marriage proffered to her by Sir John. More like a business arrangement than a marriage proposal, Sir John offered Lettice the opportunity to enjoy the benefits of his large fortune, be chatelain of all his estates and continue to have her interior design business, under the conditions that she agree to provide him with an heir, and that he be allowed to discreetly carry on his affairs in spite of their marriage vows. He even suggested that Lettice might be afforded the opportunity to have her own extra marital liaisons if she were discreet about them.
The trio have travelled to Paris so that Lettice may attend the ‘Exposition Internationale des Arts Décoratifs et Industriels Modernes’* which is highlighting and showcasing the new modern style of architecture and interior design known as Art Deco of which Lettice is an exponent. Now that Lettice has finished her commission for a feature wall at the Essex country retreat of the world famous British concert pianist Sylvia Fordyce, Lettice is moving on to her next project: a series of principal rooms in the Queen Anne’s Gate** home for Dolly Hatchett, the wife of Labour MP for Towers Hamlets*** Charles Hatchett, for whom she has done work before. Mrs. Hatchett wants a series of stylish formal rooms in which to entertain her husband’s and her own influential friends in style and elegance, and has given Lettice carte-blanche to decorate as she sees fit to provide the perfect interior for her. Lettice hopes to beat the vanguard of modernity and be a leader in the promotion of the sleek and uncluttered lines of the new Style Moderne**** which has arisen as a dynamic new movement at the exhibition.
We find ourselves in the Hotel du Collectionneur, a stylised Art Deco pavilion with a large central rounded bay designed by architect Pierre Patout***** within the grounds of Exposition des Arts Decoratifs et Industriels Modernes. For the first time at an international exposition, pieces of furniture are being displayed not as individual items but in rooms, similar to those in a home, where all the decor is coordinated. The works of the French furniture maker Émile-Jacques Ruhlmann****** are displayed around Lettice, Clemance and Sir John in rooms complete with paintings and fireplaces in the same modern style as the building itself. Joining hundreds of other Parisians and foreign visitors to the exhibition, the trio enter the pavilion where the appreciative voices of visitors in dozens of languages burble together in one vociferous cacophony beneath the ceilings of the Hotel du Collectionneur’s lofty ornamented plaster ceilings.
“Oh!” Lettice gasps as she steps into the room. “Clemance! John! Isn’t it glorious?”
She stops and takes stock as she admires her surrounds. Set up like a drawing room, the display interior is stripped back of excess ornamentation and furniture, allowing what choice pieces have been selected to grace the room to shine in their right, from the geometrically patterned lounge suite with its sleek, rounded shapes to the brightly hand painted ornaments placed artfully and sparingly on surfaces, to the amazing geometric wallpaper which requires no paintings to hang upon its surface for it is its own feature.
Sir John looks about him with a bored look, unimpressed by the geometric designs and sharp edges that he sees as he stifles a yawn, and remains silent.
“Quite glorious, Lettice my dear!” Clemance agrees with Lettice purringly as she admires the décor around her with an appreciative eye, her gaze alighting upon an elegant tea set, hand painted with bright interconnecting circles, set out on a low black japanned table between the sofa and an armchair.
“But?” Lettice turns and looks at the older woman who has a flicker of doubt in the eyes, asking her future sister-in-law to complete her thought.
“Well,” Clemance goes on. “I mean, I love it, Lettice my dear. It’s so… so sleek and stylish and frightfully modern.”
“But?” Lettice persists.
“Well, however much I like it, and I do my dear, I just don’t think I could bear to have a room so starkly furnished as this, and I should never want to give up all my pretty little bibelots*******.” She raises her gloved hand to her throat and worries the two strands of creamy pearls hanging there. “Could you really see the matrons of Mayfair or Holland Park, like me, sacrificing all their chintz and ornaments for this more streamlined look?”
Lettice considers what Clemance has said as she eyes the room’s details with a critical eye. In her mind, the room is just perfect, with its stripped back décor which reflects her own uncluttered and modern style at Cavendish Mews.
“As I said, I do like it, Lettice,” Clemance reiterates. “However, it would be too radical a change for me.”
“I do believe that under the correct stewardship, with the right patrons, that the Art Deco movement could take root in Great Britain, Clemance. Perhaps not quite in this form,” She looks around her again. “But perhaps in a slightly more subtle, and British way.”
Sir John snorts derisively at Lettice’s remark.
“Then I am afraid that I’m not your exponent, Lettice my dear.” Clemance apologises.
“I never expected you to be, Clemance.” Lettice replies, ignoring her fiancée’s snort. “You’ll forgive me for saying this, but you are not the audience I am trying to engage. It is the younger set, the likes of my friends Dickie and Margot Channon, or Minnie Palmerston.”
“Or perhaps more to the point, Dolly Hatchett, dare I hesitate to add?” Clemance asks.
“Exactly!” Lettice concurs. “They are the people who crave change, modernity and a new world. They are the ones who have yet to become attached to the styles created in the past and want to forge their own new look.”
“I must seem terribly irrelevant, Lettice my dear.” Clemance says with an apologetic lilt in her voice.
“Oh, not at all, Clemance!” Lettice assures her, linking her arm though her future sister-in-law’s and squeezing her hand comfortingly. “You were once at the vanguard of fashion, Clemance. How could you fail not to, living here in Paris, where new trends begin? However, for styles to evolve, it must be left in the hands of the next generation.”
“Yes, I read in the newspapers about the seismic changes afoot in our society at the hands of you Bright Young Things********. The days of influence for the likes of The Souls*********, The Coterie********** and people like me ceased with the first whistle of the Great War, just like the Cave of the Golden Calf***********. Now it is de rigueur for young people like you to dance until all hours at nightclubs and drink cocktails on the terrace at four. Only a lucky few like dear Sylvia have managed to transition successfully from the old to the new and remain in fashion.”
“Goodness knows what the Prince of Wales will do when he becomes our new King.” Sir John opines. “Probably fling every tradition out, along with the Georgian furniture, and fill Buck House with those ghastly, vulgar Americans he is so fond of, and debutantes will be presented to him over cocktails.”
“Perhaps the Establishment need a bit of a shake up.” Lettice addresses Sir John, but her remark receives a withering look. Turning her attentions back to Clemance, she goes on, “You’re not a washed up old rag, you know Clemance?”
“Oh, I feel like it some days, Lettice my dear.” Clemance admits. “I’m only glad that dear sweet little Josette,” She refers to her pet canary. “Doesn’t care whether I am in vogue or not.”
“Well, it was very good of you to accompany me to the Exposition Internationale des Arts Décoratifs et Industriels Modernes, and to introduce me to some of your coterie of old Parisian friends whilst we are visiting the capital.” Lettice silently discounts Madeline Flanton, the glamorous silent film star actress employed at Cinégraphic************ who is also an old flame of Sir John’s, and a woman that judging by his subtle, yet not subtle enough for Lettice not to notice, overtures indicate, still has Sir John in her thrall in spite of the fact that she is much older than his usual conquests. “And of course, John too.” Lettice turns her attention back to her fiancée, who has been trailing the two women through the different pavilions, following in their chatty wake in relative silence for the most part, except when posed a question by either one of them.
Sir John stands out as English amongst the other European gentleman milling around the pavilion’s room, dressed in his smart and well-cut Jermyn Street************* tweed suit. There is a formality and stiffness to him as he leans on his silver topped walking cane. His handsome, older face with its pale patrician skin and maze of lines and wrinkles cannot help but betray his boredom as his eyes flit in a desultory manner over the furnishings, ornaments and papered walls around him. Unaware that he is being observed, he tries to stifle a yawn, muffling it behind his glove clad hand.
“Oh my dear Nettie,” Clemance remarks, using the nickname she coined that is only used by Sir John’s closest family, friends and confidants. “Is as much of a pretender as me.” She chuckles. “I know you met him at the Portland Gallery one night, but don’t let that fool you, Lettice my dear. He was only escorting Priscilla Carter out of a sense of duty, because her husband was otherwise engaged that evening.”
“Yes, so he intimated that night.”
“My brother, my dear Lettice, despite his pretences, is as much of an old fashioned traditionalist as me.”
“Don’t think I don’t know when I’m being spoken about, Clemmie,” Sir John says with a mirthful lilt as he suddenly frees himself of his statuesque stillness and turns his whole body towards Lettice and his sister with linked arms, and strides across the geometrically patterned Art Deco carpet woven in greens, Eau de Nil************** and blues. He smiles a weak smile as he reaches their side, and adds, “Or hear it, for that matter.” He gives Clemance a mock doleful gaze, his blue eyes glinting with the light cast by the Art Deco lamps suspended overhead.
“Sorry, Nettie darling!” Clemance apologises, blanching as she does.
Cocking a well-manicured eyebrow, Sir John remarks, “Discretion was never your strongest suit, dear Clemmie.”
“I was merely remarking that, like me, you are a traditionalist, Nettie, and in spite of your appearance there, you would not go in for the styles of Mr. Chilvers and the Portland Gallery, any more than you would be an exponent of the décor shown here.”
“I did buy Lettice the daub from the Portland Gallery by that fingerpainter that she liked so much as an engagement gift, dear Clemmie.” Sir John points out, turning to his fiancée for her agreement. “Oh! What’s his name again? Paolo something-or-other?”
“Picasso.” Lettice elucidates with a gentle smile directed at him. “Pablo Picasso.”
“I arrest my case!” Clemance says, waving her free right hand expansively at her brother. “He’s a traditionalist, through and through, in spite of his pretences decrying outherwise.”
“I never denied that I was, Clemmie. I have no time for all this modernity,” He gesticulates around him rather stiffly. “When the furnishings of the Georgian era still serve us just as well today as they did several centuries ago. I cannot see people in a century looking back with fondness upon this new modern style. There is no flair to it, no real craftsmanship.”
“Oh John!” Lettice gasps. “How can you say that when you are surrounded by such superb craftsmanship made by Monsieur Ruhlmann?”
“I just don’t believe it, Lettice my dear. And to counter your remark, Clemmie darling, I did agree that Lettice could hang the modernist daubs she favours around our Belgravia townhouse once we’re married, so long as she left my library, dressing room and study alone.”
“He did, Clemance.” Lettice agrees.
“My, my!” Clemance exclaims. “You are full of surprises today, Nettie darling! Such a concession, Lettice my dear! My brother must love you very deeply indeed, to agree to that.”
Although she doesn’t mean it to do so, Clemance’s words sting Lettice as they reach her ears. Lettice and Sir John have had numerous discussions in private about what their married life will look like. Sir John has made no illusions to a grand passion or deep romance with Lettice. His proposal of marriage is just that: a proposal, a business proposition, allowing him the opportunity to take an understanding wife and thus ensure the continuation of the venerated Nettleford-Hughes name with an heir, whilst carrying on with his usual string of expendable younger lovers as is his wont. Lettice in return gets to be the chatelaine of all the Nettleford-Hughes’ family properties throughout England, and perhaps more importantly is allowed freedoms unthinkable of most married women in her position: freedom to be independent, freedom to continue to run her interior design business and carry on its successes with the unwavering support of her husband. However, the longer their engagement goes on, the more Lettice yearns for what she had with her former intended, Selwyn Spencely, son of the Duke and Duchess of Walmsford. Theirs had been a happy and easy relationship, full of love and affection, until Selwyn’s mother, Lady Zinnia interfered and broke their understanding, as per her own scheming. There is none of that free and easy, natural love between Lettice and Sir John. He has admitted to being fond of her, but he has repeatedly said that she cannot ask, nor expect love like that from him. It is a preserve for his Gaiety Girls*************** and actresses, like Paula Young, who currently occupies his sumptuous bed.
“Of course I do, Clemmie!” Sir John winds his arm around Lettice and his long, elegant fingers, clad in grey morning gloves, squeeze Lettice’s upper right arm territorially.
Lettice cannot help but go stiff at his touch, not that he seems to notice as he smiles smugly at his sister, the confidence at being a wealthy male aristocrat oozing from his every pore as he stands at her side. The hollowness of the statement rings in Lettice’s ears, and she finds that keeping up the charade of the happy young bride-to-be is growing ever more difficult with each passing day.
“And have I not faithfully trailed you all morning, through pavilion after pavilion as you two prattle away nineteen to the dozen****************, oohing and aahing over this glass vase, or that?”
“True,” Clemance agrees. “We cannot fault him for his attendance, even if it is a little distracted, can we Lettice my dear?”
“Indeed no.” Lettice replies a little hollowly, looking up at her fiancée.
“Then might I call upon your kindness, dear ladies, and be given your permission to withdraw, and leave you two unchaperoned, whilst I visit some old friends of mine here in Paris who invited me for luncheon? I suspect that neither of you will come to any harm here.”
“He’s bored with our company, evidently.” Clemance says with a cheeky wink at Lettice.
“No, I really have been invited to luncheon, Clemmie. Remember I told you about my previous engagement, Lettice my dear?” He looks meaningfully at his diminutive fiancée who suddenly seems frail and vulnerable. “We discussed this even before we left for Paris. You can join me later in the early evening for cocktails.”
“Yes, yes of course, John.” Lettice replies with false joviality, not giving away her own reality of inner turmoil. “I remember.”
How could Lettice forget the conversation she and Sir John had at the Savoy***************** when she first mentioned that she wanted to visit the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris. His counter proposal involved him attending the exhibition in the mornings, before slipping away and meeting up with Madeline Flanton in the afternoon. Determined not to lose face over this suggestion, Lettice suggested that perhaps she could meet Mademoiselle Flanton as well. Rather than balk at the idea, as she had in her heart-of-hearts hoped he might, Sir John warmed quickly to Lettice’s idea, suggesting that if they both went to Mademoiselle Flanton’s apartment for cocktails, the Parisian media wouldn’t question Sir John visiting her, and any whiff of scandal would thus be avoided. He suggested that after a few polite social cocktails with Mademoiselle Flanton, she and Sir John could escort Lettice out via the back entrance to her apartment into a waiting taxi to return her to the hotel that she, Sir John and Clemance have arranged to stay at, leaving Sir John to spend the rest of the night with Mademoiselle Flanton.
“Oh, let’s put Nettie out of his misery, shall we Lettice my dear?” Clemance laughs good naturedly, unaware of the truth behind her brother’s Parisian assignation. “Go then! Go join your racing friends at the Jockey Club de Paris******************, and discuss the Prix de l'Arc de Triomphe******************* over whisky and cigars. Lettice and I would hardly want to join you even if we could, when we have all the distractions of the exposition to amuse us. You don’t mind, do you Lettice?”
Lettice stands silent for a moment, her pale blue eyes sparkling with unshed tears as she glances at her fiancée, who returns her look with a steely one of his own, full of serious, unspoken meaning.
“Lettice?” Clemance persists.
“No!” Lettice replies, shaking her head like she is trying to rid herself of an irritating insect buzzing about her head. She blinks back the tears quickly. “No, of course I don’t mind. As you say, John darling. I did know about this arrangement, and I should be ungrateful for your company this morning if I expected you to stay here with Clemance and I, rather than see your friends at the agreed time.”
“Thank you, Lettice my dear.” Sir John purrs, his broad smile oily with pleasure. “I knew I could rely upon your word. But I will see you this evening, as we agreed?”
“As we agreed.” Lettice acknowledges with a nod.
“Excellent!” Sir John beams, clasping the top of his walking stick just a bit more tightly. “I shall collect you from the hotel at five o’clock then, and we’ll go for cocktails?”
Lettice nods and smiles brightly, hoping that Clemance won’t notice the falseness in it.
“Oh, I do wish I could join you.” Clemance sighs heavily. “But I have plans to see Monsieur and Madame Dupin tonight.”
“Oh, that’s a pity Clemmie darling.” Sir John says, perhaps a little too brightly, but luckily his sister is so focussed upon her own plans that she doesn’t notice his gayety.
“Who are you two meeting for cocktails this evening?” Clemance continues.
“Oh, just Madeline Flanton and a few of her fellow actor friends from Cinégraphic.” Sir John replies nonchalantly.
“Again?” Clemance opines. “But you only saw her at the picnic we had in the Tuileries******************** the other day.”
“I know, but you remember how Madeline and I have always gotten along. We were chatting so much the other day, and we still didn’t fit in all that we wanted to say to one another. Besides, she was rather taken with Lettice.” He pulls Lettice a little more closely to him. “And would like to get to know her better.”
“Well, you must have made quite the impression on Mademoiselle Flanton, Lettice my dear!” Clemance enthuses. “With so many hangers-on wanting to ingratiate themselves to her, she is very select as to whom she befriends. Lucky you! There are few better placed in Paris to show you a wonderful evening, my dear. Mademoiselle Flanton knows all the very best and most glittering night spots and she can always secure one of the best tables at the popular restaurants with her famous moving picture presence.”
“Oh, it’s just an intimate evening, tonight.” Sir John assures his sister. “As I said, just her and a few of her fellow acting friends from the moving picture studio.”
“That’s how her evenings always begin.” Clemance laughs. “And well you know it!” She turns her attentions to Lettice. “I should wear something a little more smart and select than you would usually wear to cocktails, Lettice my dear.” she goes on sagely. “I wouldn’t be at all surprised if you ended up Buffet de la Gare de Lyon********************* or Romano’s**********************.”
“Thank you, Clemance.” Lettice replies a little awkwardly. “I’ll do that. I just hope that I have something to match Mademoiselle Flanton’s style.”
“You will Lettice my dear. You have such excellent taste. The Dupins and I are dining at Le Select*********************** in the sixth arrondissment tonight, and they have made the arrangements. It would be impolite of me if I were to withdraw now.”
“Montparnasse, Clemance.” Lettice remarks, anxious to switch the subject to where her future sister-in-law is dining. “How thrilling! All those artists, writers, and intellectuals, all gathered under the one roof.”
“Well, the Dupins are both intellectuals themselves, so however much I may be a little jealous of you enjoying the company of Mademoiselle Flanton and her coterie, I know that I will have a splendid evening of my own in their company.”
“Well ladies, if you’ll kindly excuse me,” Sir John interrupts Clemance politely. “The gentlemen of Jockey Club await.”
“Do try and keep out of trouble, Nettie darling.” Clemance warns him. “Please don’t turn up tight************************ when you pick Lettice up from the hotel and go on to Mademoiselle Flanton.”
“Always my fussing sister,” Sir John chuckles lightly as he leans across and places a firm kiss on Clemance’s right cheek. “I promise I won’t be led astray by any men.”
Lettice scoffs quietly, thinking of the fact that Sir John’s assurances to his unaware sister are true, since the whole idea of friends at the Jockey Club de Paris was concocted by Clemance from her own assumptions about him. Sir John simply played along, not contradicting her, and leaving off his real assignation. The truth of Sir John being led astray by a woman, namely Madeline Flanton before picking Lettice up for cocktails at five was highly more likely. In fact, if she were a betting woman, Lettice would say it was a certainty.
“Until later, Lettice my dear.” Sir John growls softly as he takes up her fiancée’s left hand in his and draws it to his lips and kisses it.
Lettice quickly withdraws her hand from Sir John’s touch, feeling a repugnance for him that she hasn’t felt since she saw him at her mother’s Hunt Ball back in 1922. Not only is he lying to his sister, but he is making Lettice an accomplice to his lie, and the idea of him bedding a woman like Madeline Flanton with her peroxided hair, heavily rouged lips and kohl************************ rimmed eyes makes her feel nauseous.
“Don’t be late, will you John?” she manages to say weakly.
“Have I ever been late to an engagement with you, Lettice my dear?” he queries in return.
Lettice shakes her head shallowly.
As the two women watch the diminishing sight of Sir John’s tweed covered back disappear into the milling crowd around them, Clemance remarks with a chuckle, “Well, Nettie seemed in rather a hurry to leave. Still, I don’t suppose I blame him. The Exposition Internationale des Arts Décoratifs et Industriels Modernes wouldn’t exactly be his first choice of haunts in Paris. Never mind, Lettice my dear,” She squeezes Lettice’s arm comfortingly and smiles happily at her. “We’ll have a better time without him trailing us like an unwilling dog on a walk.”
*International Exhibition of Modern Decorative and Industrial Arts was a specialized exhibition held in Paris, from April the 29th (the day after it was inaugurated in a private ceremony by the President of France) to October the 25th, 1925. It was designed by the French government to highlight the new modern style of architecture, interior decoration, furniture, glass, jewellery and other decorative arts in Europe and throughout the world. Many ideas of the international avant-garde in the fields of architecture and applied arts were presented for the first time at the exposition. The event took place between the esplanade of Les Invalides and the entrances of the Grand Palais and Petit Palais, and on both banks of the Seine. There were fifteen thousand exhibitors from twenty different countries, and it was visited by sixteen million people during its seven-month run. The modern style presented at the exposition later became known as “Art Deco”, after the exposition's name.
**Queen Anne’s Gate is a street in Westminster, London. Many of the buildings are Grade I listed, known for their Queen Anne architecture. Simon Bradley and Nikolaus Pevsner described the Gate’s early Eighteenth Century houses as “the best of their kind in London.” The street’s proximity to the Palace of Westminster made it a popular residential area for politicians.
***The London constituency of Tower Hamlets includes such areas and historic towns as (roughly from west to east) Spitalfields, Whitechapel, Bethnal Green, Wapping, Shadwell, Mile End, Stepney, Limehouse, Old Ford, Bow, Bromley, Poplar, and the Isle of Dogs (with Millwall, the West India Docks, and Cubitt Town), making it a majority working class constituency in 1925 when this story is set. Tower Hamlets included some of the worst slums and societal issues of inequality and poverty in England at that time.
****"Style Moderne," often used interchangeably with "Streamline Moderne" or "Art Moderne," is a design style that emerged in the 1930s, characterized by aerodynamic forms, horizontal lines, and smooth, rounded surfaces, often inspired by transportation and industrial design. It represents a streamlined, less ornate version of Art Deco, emphasizing functionality and sleekness. It was first shown at the Paris International Exhibition of Modern Decorative and Industrial Arts of 1925.
*****Pierre Patout was a French architect and interior designer, who was one of the major figures of the Art Deco movement, as well as a pioneer of Streamline Moderne design. His works included the design of the main entrance and the Pavilion d'un Collecteur at the International Exhibition of Modern Decorative and Industrial Arts in Paris in 1925, and the interiors of the ocean liner Normandie and other French transatlantic liners in the 1930s.
******Émile-Jacques Ruhlmann was a French furniture designer and interior decorator, who was one of the most important figures in the Art Deco movement. His furniture featured sleek designs, expensive and exotic materials and extremely fine craftsmanship, and became a symbol of the luxury and modernity of Art Deco. It also produced a reaction from other designers and architects, such as Le Corbusier, who called for simpler, functional furniture.
*******A bibelot is a small decorative ornament or trinket.
********The Bright Young Things, or Bright Young People, was a nickname given by the tabloid press to a group of Bohemian young aristocrats and socialites in 1920s London.
*********The Souls was a small loosely-knit but distinctive elite social and intellectual group in the United Kingdom from 1885 to the turn of the century. Many of the most distinguished British politicians and intellectuals of the time were members. The original group of Souls reached its zenith in the early 1890s and had faded out as a coherent clique by 1900.
**********The Coterie, often considered to be the second generation of The Souls, was a celebrated group of intellectuals, a mix of aristocrats, politicians and art-lovers, most of whom were killed in the First World War. There were children of The Souls among them, notably Lady Diana Manners, daughter of Violet Manners, Duchess of Rutland, Duff Cooper and Raymond Asquith, eldest son of Prime Minister H. H. Asquith, who was killed on the Somme.
***********The Cave of the Golden Calf was a night club in London. In existence for only two years immediately before the First World War, it epitomised decadence, and still inspires cultural events. Its name is a reference to the Golden Calf of the Biblical story, a symbol of impermissible worship. It opened in an underground location in the basements from 3 to 9 Heddon Street, near Regent Street, in 1912 and became a haunt for the wealthy and aristocratic classes, as well as bohemian artists in search of a European-style cabaret. Its creator Frida Strindberg set it up as an avant-garde and artistic venture. It introduced London to new concepts of nightlife and provided a solid model for future nightclubs.
************Cinégraphic was a French film production company founded by director Marcel L'Herbier in the 1920s. It was established following a disagreement between L'Herbier and the Gaumont Company, a major film distributor, over the film "Don Juan et Faust". Cinégraphic was involved in the production of several films, including "Don Juan et Faust" itself. Cinégraphic focused on more experimental and artistic films.
*************Jermyn Street is a one-way street in the St James's area of the City of Westminster in London. It is to the south of, parallel, and adjacent to Piccadilly. Jermyn Street is known as a street for high end gentlemen's clothing retailers and bespoke tailors in the West End.
**************Eau de Nil is a pale, greenish-blue color, often described as a light or pastel shade. It is a cool color with a tranquil quality, sometimes described as having a bluish cast with tan or yellowish undertones. The name, meaning "water of the Nile", reflects its origin in the shimmering, pale blue-green color of the River Nile. It was a particularly popular colour in the 1920s and 30s, and the name came about because of the Egyptomania that struck the world after Howard carter uncovered Tutankhamun’s tomb un the Valley of the Kings in 1922.
***************Gaiety Girls were the chorus girls in Edwardian musical comedies, beginning in the 1890s at the Gaiety Theatre, London, in the shows produced by George Edwardes.
****************We are all familiar with the phrase “ten to the dozen’” which means someone who talks fast. However, the original expression is actually “nineteen to the dozen”. Why nineteen, you ask? Many sources say we simply don’t know, but there are other sources that claim it goes back to the Cornish tin and copper mines, which regularly flooded. With advancements in steam technology, the hand pumps they used to pump out this water were replaced by beam engines that could pump 19,000 gallons of water out for every twelve bushels of coal burned (much more efficient than the hand pumps!)
*****************The Savoy Hotel is a luxury hotel located in the Strand in the City of Westminster in central London. Built by the impresario Richard D'Oyly Carte with profits from his Gilbert and Sullivan opera productions, it opened on 6 August 1889. It was the first in the Savoy group of hotels and restaurants owned by Carte's family for over a century. The Savoy was the first hotel in Britain to introduce electric lights throughout the building, electric lifts, bathrooms in most of the lavishly furnished rooms, constant hot and cold running water and many other innovations. Carte hired César Ritz as manager and Auguste Escoffier as chef de cuisine; they established an unprecedented standard of quality in hotel service, entertainment and elegant dining, attracting royalty and other rich and powerful guests and diners. The hotel became Carte's most successful venture. Its bands, Savoy Orpheans and the Savoy Havana Band, became famous. Winston Churchill often took his cabinet to lunch at the hotel. The hotel is now managed by Fairmont Hotels and Resorts. It has been called "London's most famous hotel". It has two hundred and sixty seven guest rooms and panoramic views of the River Thames across Savoy Place and the Thames Embankment. The hotel is a Grade II listed building.
******************The Jockey Club de Paris is located at 2 rue Rabelais. It was (and still is) one of the most prestigious private clubs in Paris, known for its aristocratic and elite membership. The Jockey Club was originally organized as the "Society for the Encouragement of the Improvement of Horse Breeding in France", to provide a single authority for horse racing in the nation, beginning at Chantilly in 1834. It swiftly became the centre for the most sportifs or "sportsmen" gentlemen of le Tout-Paris. At the same time, when aristocrats and men of the haute bourgeoisie still formed the governing class, its Anglo-Gallic membership could not fail to give it some political colour: Napoleon III, who had passed some early exile in England, asserted that he had learned to govern an empire through "his intercourse with the calm, self-possessed men of the English turf". Between 1833 and 1860, the Jockey Club transformed the Champ de Mars into a racecourse, which has since been transferred to Longchamp. One front of the Café de la Paix is in rue Scribe, which ends at the façade of the Opéra Garnier. On the wall is a memorial plaque on the Hotel Scribe, at number 1, which records the former premises of the Jockey Club, which occupied luxurious quarters on the first floor from 1863 to 1913. On the ground floor beneath the Jockey Club was the fashionable Grand Café. There, on the 28th of December 1895, a stylish crowd in the Salon Indien attended the public début of the Lumière brothers' invention, the cinematograph.
*******************The Prix de l'Arc de Triomphe is a Group one flat horse race in France open to thoroughbreds aged three years or older. It is run at Longchamp Racecourse in Paris over a distance of 2,400 metres (one mile four furlongs). The race is scheduled to take place each year, usually on the first Sunday in October. Popularly referred to as the "Arc", it is the world's most prestigious all-aged horse race. Its roll of honour features many highly acclaimed horses, and its winners are often subsequently regarded as champions. It is currently the world's seventh-richest turf race and tenth-richest horse race on any surface. The Société d'Encouragement, a former governing body of French racing, had initially restricted its races to thoroughbreds born and bred in France. In 1863, it launched the Grand Prix de Paris, an event designed to bring together the best three-year-olds from any country. Thirty years later, it introduced the Prix du Conseil Municipal, an international race for the leading horses of different age groups. It was run over 2,400 metres in October, with weights determined by a horse's previous performances. The creation of a third such race was proposed at a committee meeting on 24 January 1920. The new event would complement the Grand Prix de Paris and serve as a showcase for French thoroughbred breeding. It would have similar characteristics to the Prix du Conseil Municipal, but each horse would compete on equal terms, unpenalised for previous victories. Coming in the wake of the First World War, it was decided that the race would be named after the Arc de Triomphe, a famous monument which had been the scene of a victory parade by the Allies in 1919. The chosen title had been previously assigned to a minor event at Longchamp. Another suggested title was the "Prix de la Victoire".
********************The Tuileries Garden is a public garden between the Louvre and the Place de la Concorde in the first arrondissement of Paris. Created by Catherine de' Medici as the garden of the Tuileries Palace in 1564, it was opened to the public in 1667 and became a public park after the French Revolution. Since the Nineteenth Century, it has been a place for Parisians to celebrate, meet, stroll and relax.
*********************Buffet de la Gare de Lyon – now known as Le Train Bleu ("The Blue Train") is a restaurant located in the hall of the Gare de Lyon railway station in Paris. The restaurant was originally created for the Exposition Universelle of 1900. Each ornate dining room is themed to represent cities and regions of France and they are decorated with forty-one paintings by some of the most popular artists of that time. Initially called "Buffet de la Gare de Lyon", it was renamed "Le Train Bleu" in 1963, after the famous train of the same name. The restaurant's food menu[1] is based on traditional French cuisine.
**********************Romano’s was a famous Parisian Restaurant in the Hotel de la Grand Bretagne that flourished in the Jazz Age of the 1920s. The Hotel de la Grand Bretagne at 14 Rue Caumartin might have been ever so slightly off the beaten track but the Rue Caumartin did become a major and thriving area in the 1920s. Romano’s was always listed in the French press as one of Les Grands Restaurants along with such salubrious places as Cafe de Paris, Le Boeuf Sur Le Toit and Ciro’s. Romano’s thrived during the 1920s with a classical concert under the baton of Leon Zighera at dinner, dancing to a jazz band from after dinner to midnight and the attractions of an American bar – that in 1925 was briefly called The Cecil. However, by 1930 listings of Romano’s cease to appear in the French press as its days as a destination restaurant came to an end. In 1938 the hotel and restaurant was bought by the Parisian luxury food company La Doulce. It intended to provide lunches, afternoon tea, dinner and dancing, but it is not clear if this in fact happened.
***********************Le Select is a historic Parisian cafe located in the Montparnasse district, known for its vibrant artistic and literary scene in the 1920s and beyond. It opened in 1923 and quickly became a popular gathering spot for artists, writers, and intellectuals. The cafe has maintained its classic Parisian ambiance and continues to be a beloved destination for both locals and tourists.
***********************To get tight is an old fashioned term used to describe getting drunk.
************************Kohl is a cosmetic product, specifically an eyeliner, traditionally made from crushed stibnite (antimony sulfide). Modern formulations often include galena (lead sulfide) or other pigments like charcoal. Kohl is known for its ability to darken the edges of the eyelids, creating a striking, eye-enhancing effect. Kohl has a long history, with ancient Egyptians using it to define their eyes and protect them from the sun and dust, however there was a resurgence in its use in the 1920s and 1930s. In the 1920s, kohl eyeliner was a popular makeup trend, particularly among women embracing the "flapper" aesthetic. It was used to create a dramatic, "smoky eye" look by smudging it onto the lash line and even the inner and outer corners of the eyes. This contrasted with the more demure, natural looks favoured in the pre-war era.
This beautifully appointed salon, decorated in the height of Art Deco modernity may appear real to you, but it is in fact made up entirely of pieces from my 1:12 miniatures collection.
Fun things to look for in this tableau include:
The sofa and chair are beautiful J.B.M. miniatures. The stylised Art Deco soft furnishings with their striking geometric patterns have removable cushions, just like their life sized examples.
The fireplace is a 1:12 miniature resin Art Deco fireplace, and the hearth is in reality an antique green glazed tile from my collection of tiles. The electric Art Deco three bar heater would have been the height of luxury and modernity in 1925. Painted fashionable Eau-de-Nil, it comes from Kathleen Knight’s Doll’s House Shop in the United Kingdom.
In the middle of the mantle is an Art Deco metal clock hand painted with wonderful detail by British miniature artisan Victoria Fasken. The Art Deco picture frame in blue Bakelite on the left of the clock comes from Doreen Jeffries Small Wonders Miniatures store in the United Kingdom. It features a real photo, produced to high standards in 1:12 size on photographic paper by Little Things Dollhouse Miniatures in Lancashire.
The vase on the mantle and the Clarice Cliff style dancers to the left of the photograph are hand painted miniature artisan pieces, designed in the Art Deco style of the paintress’ designs. They were obtained from Kathleen Knight’s Doll’s House Shop. Made of polymer clay that are moulded on wires to allow them to be shaped at will and put into individually formed floral arrangements, the very realistic looking red and white tulips are made by a 1:12 miniature specialist in Germany.
The tea set in the foreground bears a pattern by the contemporary to Clarice Cliff, Susy Cooper, who was famous for her interconnecting and overlapping circles design. These were painted by hand by the English miniature ceramic artist, Rachael Munday, whose work is always of high quality and highly sought after my miniature collectors around the world.
The Geometrically patterned Art Deco carpet on the floor comes from a miniatures specialist store on E-Bay.
The stylised Art Deco wallpaper I printed myself from an original 1920s design.