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This is a piece of gear I put together for testing supplemental lenses used on my camera mounted lenses. Using this rig I can test any add-on lens for flatness of field, working distance, field width, depth of field, and other lens characteristics. Here my D40 is set up with a Nikon 105mm f/2.5 AI-S lens. Reverse-mounted for testing on the front of the 105mm is a kodak 7 inch f/3.5 Projection Ektanon lens from a dead Kodak Carousel slide projector. The test subject is a banknote (Clydesdale Bank One Pound) clamped beneath a thin glass plate. The camera is mounted on a support that provides rotation, allowing the lens to swing in an arc left and right. The stage on the right is set up to enable a mounted subject to swing in an arc left and right as well as up and down. Test subjects are usually bank notes with fine engraving. The stage is set horizontally for mounting a bank note beneath a thin glass plate, which is then carefully clamped in place. The table is then swung down into a vertical position facing the camera. The camera is positioned so that the lens faces straight down the rail, then its support is locked. The stage slide lock is loosened allowing the stage to be moved until the surface of the glass plate contacts the barrel of the lens or component being tested. With the stage's horizontal and vertical rotation locks loosened, the table is carefully manipulated until the full circumference of the lens ring is in contact with the glass. Once this happens, the camera back is absolutely parallel, vertically and horizontally, with the surface of the bank note beneath the glass plate. The stage rotation knobs are then locked and the stage moved back down the rail away from the camera. While you look through the viewfinder, the stage is slowly moved back toward the camera until the bank note image is at its sharpest, then the stage is locked in position. Now it's a simple matter to set a speed and aperture that will produce a decent image. I always use the self timer when working with this set-up. Lighting is provided by overhead fluorescent bulbs, with exposures running from about 1/2 to four seconds depending upon the ISO and aperture used.
The "heart" of this setup... the flat rail with lockable articulated sliding stage, is a Baird Stereo Bar, a device used for shooting stereo image pairs, one side at a time, by shifting the camera position between exposures to produce separation, the "stereo base" determined by the focal length of the lens used. I bought this back in 1977 and used it to produce stereo images for a number of years. It has adapted well for use as part of this test rig, and can be ready in minutes for shooting stereo images by removing the temporary bottom supports.
DSC-8334
Vitamins offer a variety of health advantages. Vitamins can aid in addressing your deficiencies in vitamins. They boost your digestion system, immune system and also cell growth. It improves your energy levels and improves your focus.
Get the vitamin deficiencies in your diet
A lot of people suffer from nutritional deficiencies due to poor diet. Multivitamins can be taken by people who are deficient in minerals or vitamins. Multivitamins are beneficial for children, pregnant women or anyone taking treatment to meet vitamin requirements. Some people are very picky about foods, so they receive benefits from vitamins.
Boost your energy level
Many liquid vitamins and chewings are available in the marketplace to immediately increase the energy level of your body. Vitamins that aren't soluble in water don't stay within your body for long. Your body needs fresh vitamins to stay active.
Supplements that include Vitamin B6, B12, and folic acids can boost your energy level through direct diluting of blood vessels. Vitamin B and Vitamin C dissolve easily in water and are later absorbed into bloodstreams to ease symptoms. The excess vitamins are extracted through urine.
Concentrate more
Vitamin B can be a problem if you have difficulty focusing and easily distracted. Vitamin B3, Vitamin B9 and Vitamin B12 will assist you in focusing and staying focused better. Vitamin B3 and Vitamin B9 increase your cognitive capacity as well as your learning capacity and productivity. It also helps you focus and concentrate better. dailylifesupplements.com/
ARRIVA Buses Wales VDL Commander 2504 - CX54 EPJ sets off from Rhyl on a Sunday journey on route 51 to Denbigh.
Spider-Girl (1998-2006) # 90
After being morphed into a series of odd creatures, Spider-Girl goes out to stop a crime spree but finds herself going against Misery.
What If? (1977-1984) # 1
What if Spider-Man joined the Fantastic Four?
Venom: Space Knight (2015-2016) # 1
In space, no one can hear you scream...with excitement! Flash Thompson is a lot of things. Soldier. Veteran. Double amputee. Host to a powerful alien symbiote. Now, apart from the Guardians of the Galaxy, Flash has also been tasked with being an intergalactic ambassador of Earth and an Agent of the Cosmos. What does that mean? It means Flash Thompson will be what he's always wanted to be: A Big. Damn. Hero. It's high adventure in deep space as Venom swashbuckles his way across the universe!
True Believers: Phoenix Presents Jean Grey Vs. Sabretooth (2017) # 1
Reprinting X-MEN (1991) # 28
True Believers: Phoenix Returns (2017) # 1
Reprinting Fantastic Four (1961) # 286
True Believers: Wolverine vs. Venom (2018) # 1
Reprinting Venom: Tooth and Claw # 1
Whaling was an important way of life on the Azores and supplemented the low income for many people who lived on the islands. It was never a commercial adventure and was always done in small boats and held hand harpoons were used which made it a very serious occupation. When the alarm went off that a whale was in the area the whalers would stop what they were doing and would rush down to the coast and launch the boat. Today whaling is for the visitors to the islands to see these magnificent mammals and once again they provide an income.
This is an image of the whalers statue outside the whaling museum at Sao Roque do Pico.
Another one of my oldies. I'm slowly putting them up so that they can go to the back of my stream when I upload new stuff.
Why it might be good - nature. Its all nature. Doing its thing & looking spectacular.
The only thing I did was lazily point at it and shoot away. I didn't think about the sunlight falling onto the rose, or how it would translate into a photograph. I didn't think about it at all.
Why am I posting this if I don't particularly like it? Well .. I think it acts as a supplement, telling me what not to do while assuring me about how far (or not so far) I'm come.
There’s also homemade bacon-infused butter, lobster butter, truffle aioli, and cocktail sauce can be added for $4 supplement each.
Lbs
100 Yonge St.
Toronto, ON
(647) 351-4747
lbstoronto.com
Twitter: @LbsToronto
Owners: Jonathan Gonsenhauser and Will Tomlinson
Introducing for TorontoLife: torontolife.com/food/restaurants/lbs-pounds-lobster-burge...
Several of the major UK newspapers, such as the Times and the then Manchester Guardian used to produce quite lavish and extensive 'supplements' on allsorts of industries and allied subjects. This is a wealth of information on - office equipment if that is your bent! Needless to say its is full of adverts and articles on what was the pre-computer office world and so one where huge changes would occur in the next decades. Sadly no designer is given for this splendid cover.
French card by Mon Ciné. The card was a supplement to the magazine Mon Ciné, no. 102, published 3 January 1924.
Alla Nazimova (1879–1945) was a grand, highly flamboyant star of the American silent cinema. The Russian-born film and theatre actress, screenwriter, and film producer was widely known as just Nazimova. On Broadway, she was noted for her work in the classic plays of Ibsen, Chekhov, and Turgenev. Her efforts at silent film production were less successful, but a few sound-film performances survive as a record of her art.
Alla Nazimova (Russian: Алла Назимовa) was born Marem-Ides Leventon (Russian name Adelaida Yakovlevna Leventon) in Yalta, Crimea, Russian Empire, in 1879. She was the youngest of three children of Jewish parents Yakov Abramovich Leventon, a pharmacist, and Sofia (Sara) Lvovna Horowitz, who moved to Yalta in 1870 from Kishinev. At age 17 Alla Leventon abandoned her training as a violinist and went to Moscow to work in theatre with V.I. Nemirovich-Danchenko. In 1892, she joined Constantin Stanislavski's Moscow Art Theatre using the name of Alla Nazimova for the first time. Her stage name was a combination of Alla (a diminutive of Adelaida) and the surname of Nadezhda Nazimova, the heroine of the Russian novel 'Children of the Streets'. Nazimova's theatre career blossomed early. In 1899 she married Sergei Golovin, a fellow actor, but they soon separated. Gary Brumburgh at IMDb: “She grew discontented with Stanislavsky and later performed in repertory. She met the legendary Pavel Orlenev, a close friend of Anton Chekhov and Maxim Gorky, and entered into both a personal and professional relationship with him.” By 1903 she was touring Russian provinces. She also toured Europe, including London and Berlin, with Orlenev. They immigrated to the United States in 1905. He soon returned, but she was signed up by the American producer Henry Miller. Although she spoke not a word of English, she so impressed the Shubert brothers that they hired her on the condition she learn English in six months. In 1906 she made her Broadway debut in the title role of 'Hedda Gabler' by Henrik Ibsen with critical and popular success. She also played other Ibsen characters: Nora in 'A Doll’s House', Hedwig in 'The Wild Duck', and Hilda in 'The Master Builder'. She quickly became extremely popular and remained a major Broadway star for years. From 1912 to 1925 Nazimova maintained a ‘fake marriage’ with British actor and director Charles Bryant, who often was her co-star. In order to bolster this arrangement with Bryant, Nazimova kept her marriage to Golovin secret. Due to her notoriety in a 35-minute 1915 pacifist play entitled War Brides, Nazimova made her silent film debut in the film version, War Brides (Herbert Brenon, 1916), which was produced by independent producer Lewis J. Selznick. She made $100,000 touring in War Brides and an additional $60,000 for the film version. The film's lost status makes it now a sought-after title. In 1917, she negotiated a contract with Metro Pictures, a precursor to MGM, that included a weekly salary of $13,000. She moved from New York to Hollywood, where she made a number of highly successful films for Metro, including a part as a reformed prostitute in Revelation (George D. Baker, 1918), that earned her a considerable amount of money. Nazimova soon felt confident enough in her abilities to begin producing and writing films in which she also starred. Examples are Eye for Eye (Albert Capellani, 1918), The Brat (Herbert Blache, 1919) and Madame Peacock (Ray C. Smallwood, 1920).
Alla Nazimova starred in Camille (Ray C. Smallwood, 1921) as the courtesan Marguerite opposite Rudolph Valentino as her idealistic young lover Armand. Camille is based on the play adaptation La Dame aux Camélias (The Lady of the Camellias) by Alexandre Dumas, fils. The film was set in 1920s Paris, whereas the original version took place in Paris in the 1840s. It had lavish Art Deco sets and Rudolph Valentino later married the art director, Natacha Rambova. Jennifer Horne at The Women Film Pioneers Project: “Working under contract with Metro Pictures Corporation between late 1917 and April 1921, her company, Nazimova Productions, produced nine largely profitable, feature-length films and brought along the writing talent of writer-producer June Mathis. Details regarding the supervisory roles Nazimova played in the production of many of her films remain confusing since not all of Nazimova’s contributions are reflected in the official credits on films.” In her film adaptations A Doll's House (Charles Bryant, 1922), based on Henrik Ibsen, and Salomé (Charles Bryant, 1923), based on Oscar Wilde's play, Nazimova developed her own filmmaking techniques, which were considered daring at the time. Despite the film being only a little over an hour in length and having no real action to speak of, Salomé cost over $350,000 to make. All the sets were constructed indoors to be able to have complete control over the lighting. The film was shot completely in black and white, matching the illustrations done by Aubrey Beardsley in the printed edition of Wilde's play. The costumes, designed by Natacha Rambova, used material only from Maison Lewis of Paris, such as the real silver lamé loincloths worn by the guards. Both A Doll's House and Salomé were critical and commercial failures. Gary Brumburgh: “The monetary losses she suffered as producer were astronomical. The Hays Code, which led to severe censorship in pictures, also led to her downfall, as did her outmoded acting style.” By 1925 Nazimova could no longer afford to invest in more films; and financial backers withdrew their support. Left with few options, she gave up on the film industry. She became an American citizen in 1927.
In 1928, Alla Nazimova returned to the Broadway stage as Madame Ranevsky in Eva Le Gallienne’s production of Anton Chekhov’s The Cherry Orchard. Acclaimed were also her starring roles as Natalya Petrovna in Rouben Mamoulian's 1930 production of Turgenev's A Month in the Country, Christine in Eugene O’Neill’s Mourning Becomes Electra (1931), O-Lan in Pearl Buck’s The Good Earth (1932), and as Mrs. Alving in Ibsen's Ghosts (1935). In the early 1940s, she played character roles in a few more films. She played Robert Taylor's mother who is in a concentration camp in Nazi Germany in Escape (Mervyn Le Roy, 1940) and Tyrone Power's mother in Blood and Sand (Rouben Mamoulian, 1941). Her final film was Since You Went Away (John Cromwell, 1944), an epic about the American home front during World War II. Nazimova openly conducted relationships with women, and there were outlandish parties at her mansion on Sunset Boulevard, in Hollywood, California, known as ‘The Garden of Alla’. She is credited with having originated the phrase ‘sewing circle’ as a discreet code for lesbian or bisexual actresses. Nazimova helped start the careers of both of Rudolph Valentino's wives, Jean Acker and Natacha Rambova. Although she was involved in a lesbian affair with Acker, it is debated if Nazimova and Rambova had a sexual affair. Nazimova was impressed by Rambova's skills as an art director, and Rambova designed the innovative sets for Nazimova's film productions of Camille and Salomé. Of those Nazimova is confirmed to have been involved with romantically, the list includes actress Eva Le Gallienne, director Dorothy Arzner, writer Mercedes de Acosta, and Oscar Wilde's niece, Dolly Wilde. Nazimova lived with Glesca Marshall from 1929 until her death. In 1945 Nazimova died of coronary thrombosis in a hospital in Los Angeles. She was 66.
Sources: Jennifer Horne (Women Film Pioneers Project), Gary Brumburgh (IMDb), Sandra Brennan (AllMovie), Encyclopaedia Britannica, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
The Flickr Lounge-Finding Circles
I needed a new pill box so got a round one with nice big compartments.
Incorporating herbal supplements into your diet can unlock a world of health benefits! 🌱 Boost your immune system, reduce inflammation, improve digestion, manage stress, and sleep better with these natural wonders. 🌙💪 CLICK LINK IN BIO to discover the power of herbal supplements.
ARRIVA Buses Wales Optare Solo 696 - CX09 BGZ sets off from Rhyl on a Sunday journey on route 36 Circular via Rhuddlan, Dyserth & Prestatyn.
U.S. Department of Agriculture's (USDA) Food and Nutrition Service (FNS) Disaster Supplemental Nutrition Assistance Program (D-SNAP) and South Carolina Department of Education (SCDOE) responded to severe flooding in South Carolina, by using of the National School Lunch Program, at the Richland County Schools - District One - Central Kitchen Facility, to provide disaster congregate feeding to those in need, in Columbia, SC, on Wednesday, Nov. 18, 2015.
In times of emergency, FNS coordinates with state and federal partners, as well as local volunteer organizations, such as the American Red Cross and Salvation Army, to provide USDA Foods to shelters and other mass feeding sites and, in limited cases, distribute food packages directly to households in need. USDA Foods are 100% domestically produced, processed and procured agricultural commodities that are made available to schools, tribes, and low-income individuals through FNS Nutrition Assistance Programs. Once retail food stores reopen, if survivors still need nutrition assistance and the area has received a ‘Presidential Disaster Declaration with Individual Assistance,’ State agencies may request to operate D-SNAP. People who may not normally qualify for nutrition assistance benefits may be eligible for D-SNAP if they had disaster-related expenses, such as loss of income, damage to property, relocation expenses, and, in some cases, loss of food due to power outages. Those already participating in the SNAP may be eligible for supplemental benefits under D-SNAP. For more information please visit this web site: www.fns.usda.gov/disaster.
Central Kitchen Facility is the only central kitchen in South Carolina. They provide meals to 32 schools. Operations start at 4-5AM. The meals are comprised of 10-11,000 lunches, 6,000 breakfasts, 3,100 snacks, 3,100 supplemental meals, district-wide catering and more. To accomplish this there are 38 employed here and a total of 150 across the entire operation of satellite kitchens and other facilities. 14 truck move food and commodities from here to where they are needed. USDA photo by Lance Cheung.
The Mount Barker Institute is a Local Heritage Place in the town. It served as Council Office until 1939.
The building is now known as the Town Hall.
*Opening of the Mount Barker Institute
Friday last was one of Mount Barker's bright red-letter days, when the new and handsome building just completed for Institute purposes was formally opened.
On the 11th December last, the foundation stone of the present commodious building was laid with Masonic honours under most auspicious circumstances.
The Hon J Dunn MLC, had headed a liberal subscription-list with £100, the Government had supplemented the subscriptions to the extent of £800, and the designs of a most elegant and useful structure had been submitted by the Hon Thomas English, MLC, accepted by the Building Committee, and contracted for by Messrs Trenouth & Dick, builders, of Strathalbyn, and most creditably has the whole been completed. The contract price of the building was £1,505, but furniture, fittings (provided by Mr A Hendry, of Mount Barker) piano &c, have increased the total cost to about £1,831.
Towards this £424 18s. has been subscribed, £216 11s. 9d. raised by a bazaar held in March last, outstanding subscriptions £60, grant from the Government £800, leaving a deficiency before the opening of about £330.
The building is in the Italian style, and the stone used is a beautiful freestone from a quarry on the Hon J Dunn's property — the same as is used for the Bank, Congregational Baptist Church, and other buildings.
The ground-floor to front building contains entrance-hall 10 feet wide, library, 17ft x 16ft, waiting-room, 16ft x by 12ft, all 13 feet high. There is also a side entrance hall and staircase 9 feet wide. The first floor contains a large room, 26ft 6in x 16ft, and 14ft high, capable of seating 100 persons, and now used by Lodges, &c: also a classroom 17ft 6in x 11ft 6in, and entrance to future gallery in public hall. The public hall is 50ft x32ft, 21ft 6in high, lit by three circular-headed windows on both sides, finished with ornamental dressings in plaster.
Provision is made for future extension at the rear of large hall, to consist of proscenium and retiring-rooms, also for a gallery at the front end. For illumination at night, the hall has three chandeliers, each carrying four lamps with 1½ inch burners. The hall at present will accommodate about 350 persons.
At noon on Friday last the ceremony of formally opening the Institute took place.
A procession was formed of the Committee, Concordia Band, and others, who escorted the Hon J Dunn from his residence to the building.
The Hon T English handed the key to Mr Dunn, requesting him to open the Institute, and remarking that Mr Dunn had always been associated with every good cause in the town, and was ready and willing at all times to lend a helping hand by money and otherwise.
The Hon J Dunn then opened the front doors, amid the cheers of the spectators and the large hall was soon occupied by a numerous audience.
He congratulated them on the successful completion of the Mount Barker Institute. (Cheers.)
The Hon T English remarked that the men of Mount Barker had done a great deal, but where would they have been without the ladies?
The gathering broke up, most of those present adjourning to the grounds of the Hon J Dunn (kindly lent for the occasion) where the picnic was held.
The Concordia Band dispensed some choice music and refreshment stalls were erected.
The tea meeting took place in the Institute Hall, when it is calculated about 700 persons took tea. The spread was everything that could be desired, and the arrangements (thanks to the ladies again) perfect.
The entertainment followed in the same room, when the chair was taken at about half-past 7 by J G Ramsay Esq JP. He then stated that W Townsend Esq MP, was expected every moment to deliveries lecture, but having been unavoidably detained in town, he would call for some music to commence with.
Mr and Mrs Paltridge then commenced a set of quadrilles for cornet and piano, but when the first figure had been played, the piano, which was raised at one end to make it level on the sloping platform, slipped off the block, and two kerosine lamps fell to the ground, one of which broke, and the floor was immediately in a blaze. Several ladies sitting near had a narrow escape, the lighted kerosine splashing their dresses, but fortunately the day having been cold and dreary, dark warm stuffs were worn, and no harm was done. Several gentlemen quickly beat out the flames with shawls, coats, and whatever else they could lay hold of, and in about a moment all was safe again.
Mr Townsend having arrived, then came forward and offered his congratulations on the erection of so beautiful a building, and expressed his regret than an accident should have so upset the audience, but was pleased no bad results had followed.
He then delivered the first part of his celebrated lecture, 'Lights and Shades of London Life’, in his usual masterly manner.
In the interval between the first and second part of the lecture some more excellent music was introduced. [Ref: Southern Argus 16-9-1875]
*Mount Barker Institute Extension
Mount Barker is peculiarly happy in the possession of one of the prettiest and most commodious institutes in the colony. The additions recently made have largely added to the attractions of the building, and the stage facilities are now unequalled out of Adelaide.
The committee having received Mr R Barr-Smith's generous gift of £500 placed it to advantage by extending the hall and the stage greater depth, and at the same time redecorated the hall, both outside and in, with excellent effect. The stage is now 30 ft in depth, and is provided with a complete suite of dressing-rooms, a piece of land belonging to the Presbyterian Church having been purchased at the back of the institute. The dressing-rooms are fitted with every convenience, and the stage accommodation is very complete.
The lighting of the hall is excellent, gasoline lamps having been superseded by electric banner lamps, which give all the light required and add greatly to the attractions of the hall.
The reopening of the institute took place on Wednesday evening, when a musical and dramatic entertainment attracted an overflowing audience. [Ref: Advertiser 25-11-1895]
*MOUNT BARKER INSTITUTE
The formal opening of the "Founders' Room" at the Mount Barker Institute is to take place on Thursday evening of next week, when it is anticipated that the president (Mr B Barker) will perform the ceremony at 7.30 pm. Members of the Institute and library are invited to attend. After the room has been declared open the unveiling of the enlarged portraits of the founders will take place in the new room.
In the main hall, the general public are to be entertained at an illustrated lecture by the Rev A C Hill BA, the subject being "Windsor Castle." The lecturer has a collection of 100 magnificent coloured lantern slides with which to illustrate his talk. Mrs A C Hill will present musical items between times. No charge is made for admission. [Ref: Mount Barker Courier and Onkaparinga and Gumeracha Advertiser 17-3-1933]
There’s also homemade bacon-infused butter, lobster butter, truffle aioli, and cocktail sauce can be added for $4 supplement each.
Lbs
100 Yonge St.
Toronto, ON
(647) 351-4747
lbstoronto.com
Twitter: @LbsToronto
Owners: Jonathan Gonsenhauser and Will Tomlinson
Introducing for TorontoLife: torontolife.com/food/restaurants/lbs-pounds-lobster-burge...
The Georgetown Loop's Silver Plume Yard is home to a handful of relatively rare, narrow gauge diesel locomotives, which are used for yard switching as well as supplemental power for tourist trains. Sometimes, you'll see them used as helpers in conjunction with a steam locomotive and in some circumstances, they become the primary power. Two of these locomotives are GE Model U6, 52-Ton, End-Cab Road Switchers. Number 130, seen here, was built in 1956 and operated on U.S. Gypsum's narrow gauge line in Plaster City, CA before being acquired by Lindsey Ashby, the former operator of the Georgetown Loop. She ran on the loop from 1992 to 2004, and then spent some time at the Colorado Railroad Museum, when the Loop changed operators. As can be seen here, she and her sister (#140) were back at the Loop in 2016, and on this particular day, the 130 was being used as a helper with Steam Locomotive #111. During my next visit to the Loop in August of 2017, I saw this particular locomotive stripped of its cowlings and prime mover, apparently in the process of being re-engined. Hopefully, she'll be back soon. I'm not a big diesel fan, but the 130 and 140 are among the more visually appealing, narrow gauge diesels that I've seen.
Sunday.
And if anything, more packed than Saturday!
What about the day of rest, peeps?
A friend had pointed out to me the fact that the old Folkestone Harbour station has had replica signage put up, to supplement the splendid restoration of the buildings and track, after decades of neglect and then line closure.
It was to be a fine day, I needed a hair cut and we could meet our friend, Mary.
And I could take some shots too.
Perfect.
And I thought that if we went over early, there would be few people about, and I could get really fine shots. So I thought.
But I had failed to take into account an ironman or triathlon taking place.
The above activity is where people swim, cycle then run. When a marathon isn’t enough.
We knew there was something on as we passed by dozens of cyclists, wearing swimming shorts, cycling up The Tramway from the harbour. Marshals stood at every junction, pointing the way for them to go.
We drove down to the harbour, then up Tontine Street, up to the top of the Old High Street where we parked, paid for parking until quarter past eleven.
The Old High Street was almost empty, in shadow, but ripe for being snapped. So, I do.
At the bottom, where the brightly coloured “Bounce” shop glowed in the sunlight, I went to take shots from about then yards, when a woman in a green long flowing cape screamed at me:
“Don't you point your fucking camera at me!”
So said the "lady" in the final shot of this upload.
It's a free country, I am in a public space, I will take what shots I want.
I'll come over there and shove that camera...
"You and whose Army?
She stomped off.
I had already taken her shot, though she was a good 20m away.
Thankfully, we didn’t see her the rest of the day.
Which was nice.
Not as nice as the weather, though.
Once at the harbour, we climbed up the step to the old railway to walk over the pier to the swing bridge and the old Harbour Station.
We had to dodge runners in wet suits,
Once they reached the station, they jumped on bikes to cycle who knows were, before running back to the station to finish.
Anyway, we walked on, ambling really, over the pier to the station, admiring the wonderful warm morning light.
The station is magnificent. I mean it’s a shame that there won’t be trains running down the line any more, but the station has been preserved, renovated and now with period replica signage, it looks fabulous.
Also the lines used to snake from the pier onto the harbour arm, and the station sits on either side, looking resplendent.
I take lots of pictures, then, through a doorway I spot a coffee shop.
I say coffee shop, there were selling coffee and snacks from a converted shipping container. All painted up and looking nice. I mean there was that and many other such places along the harbour arm, but we chose this one.
We order coffee and then my mouth also ordered sausage baps. Or brioche rolls as the menu called them. Anyway, we took our coffee to a seat overlooking the coast with views up to Dover, and then the guy brought the rolls. And his two dogs waddled over, and the white King Charles spaniel sat beside me and used its hyper sad eyes to look at the roll I was eating.
Oh those sad, mournful eyes.
I buckle and give it a piece of sausage after about 30 seconds.
It wanted more.
Jools told me, in no uncertain terms, I should not.
So I eat the last mouthful and that was that. We drink the coffee up, then walk back the same way to the Old High Street, then up to where Jools was going to meet Mary at a new place, which would be open before ten, and I would walk to the new High Street for my hair cut.
I have to wait ten minutes outside, but I was first in the line, so I get to have my barnet shorn first.
In a blur of movement, in half an hour, I am freed of my long flowing locks.
Aah, that’s better.
I walk down to Steep Street café, where Jools and Mary are talking.
Mary reads either the Mail or Torygraph, so I put her right on a couple of her points of view, hopefully, not too hard.
But we talk of the future, but unsure when any kind of normal will happen.
We leave at eleven, back to the car and then home, dodging the port traffic, as a ferry had just docked, and the roads were busy.
But I get us home with only a few close calls with other drivers.
Hmmmmm.
Back home I prepare the leg of lamb for dinner, I slice several cloves of garlic and place them and some rosemary in the lamb flesh to ooze out flavour and marinate before cooking.
I get a message saying Tracie and Wayne had left Whitstable. And they had Sprocket.
Sprocket is their new spaniel puppy.
I say new, they’ve had Sprocket for about six months, so isn’t really a puppy any more, but we had not seen their lively dog due to the lockdown.
They arrive, so I pour Wayne and I a beer, sharing a very fine bottle of Chimay Grande Reserve, though Wayne was going to drive home. We sit in the garden and poor Sprocket was overcome with sensory overload, could not stay still for more than two seconds. The cats and kittens, obviously, were horrified at this turn of events, and made themselves scarce.
When Jools tokk them and Sprocket out for a walk, I cook dinner, prepare the potatoes, corn and stir fry, so when they return it was just about done.
Yummy.
I carve and dish up, which Wayne and I eat with a fine tripel, of course.
Lovely.
At half five, they have to leave, and I think the cats really wanted their dinner, so we waved them off and as we stood at the end of the drive, the first meow came asking about the possibility of dinner.
And that was that, really.
Cats fed, then they smell the house and garden, putting their scent down over that of a dirty dog.
Heck, it gets dark soon after seven now, and with another fun-packed weekend, we were tired again, and I find myself wanting my bed at half eight. So, after a shower I do go to bed, and was going to read, but Jools was already gone, asleep already, and tomorrow another working day, but her last two working days until who knows when…..
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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, Lettice is far from Cavendish Mews, back in Wiltshire where she is staying at Glynes, the grand Georgian family seat of the Chetwynds, and the home of Lettice’s parents, the presiding Viscount and Countess of Wrexham and the heir, their eldest son Leslie and his wife. The current Viscount has summoned his daughter home, along with his bohemian artist younger sister Eglantyne, affectionately known as Aunt Egg by her nieces and nephews.
Through her social connections, Lettice’s Aunt Egg contrived an invitation for Lettice to an amusing Friday to Monday long weekend party held by Sir John and Lady Caxton, who are very well known amongst the smarter bohemian set of London society for their weekend parties at their Scottish country estate, Gossington, and enjoyable literary evenings in their Belgravia townhouse. Lady Gladys is a successful authoress in her own right and writes under the nom de plume of Madeline St John. Over the course of the weekend, Lettice was coerced into accepting Lady Gladys’ request that she redecorate her niece and ward, Phoebe’s, small Bloomsbury flat. Phoebe, upon coming of age inherited the flat, which had belonged to her parents, Reginald and Marjorie Chambers, who died out in India when Phoebe was still a little girl. The flat was held in trust by Lady Gladys until her ward came of age. When Phoebe decided to pursue a career in garden design and was accepted by a school in London closely associated with the Royal Society, she started living part time in the flat. Lady Gladys felt that it was too old fashioned and outdated in its appointment for a young girl like Phoebe. When Lady Gladys arranged for Lettice to inspect the flat, Lettice quickly became aware of Lady Gladys’ ulterior motives as she overrode the rather mousy Pheobe and instructed Lettice to redecorate everything to her own instructions and taste, whist eradicating any traces of Pheobe’s parents. Reluctantly, Lettice commenced on the commission which is nearing its completion. However, when Pheobe came to visit the flat whilst Lettice was there, and with a little coercion, Pheobe shared what she really felt about the redecoration of her parent’s home, things came to a head. Desperately wanting to express herself independently, Pheobe hoped living at the flat she would finally be able to get out from underneath the domineering influence of her aunt. Yet now the flat is simply another extension of Lady Glady’s wishes, and the elements of her parents that Pheobe adored have been appropriated by Lady Gladys. Determined to undo the wrong she has done by Pheobe by agreeing to all of Lady Glady’s wishes, in a moment of energizing anger, Lettice decided to confront Lady Gladys. However unperturbed by Lettice’s appearance, Lady Gladys advised that she was bound by the contract she had signed to complete the work to Gladys’ satisfaction, not Phoebe’s.
Thus, Viscount Wrexham has contrived a war cabinet meeting in the comfortable surrounds of the Glynes library with Lettice and Eglantyne to see if between them they can work out a way to untangle Lettice from Lady Gladys’ contract, or at least undo the damage done to Pheobe by way of Lettice’s redecoration of the flat.
Being early autumn, the library at Glynes is filled with light, yet a fire crackles contentedly in the grate of the great Georgian stone fireplace to keep the cooler temperatures of the season at bay. The space smells comfortingly of old books and woodsmoke. The walls of the long room are lined with floor to ceiling shelves, full thousands of volumes on so many subjects. The sunlight streaming through the tall windows facing out to the front of the house burnishes the polished parquetry floors in a ghostly way. Viscount Wrexham sits at his Chippendale desk, with his daughter sitting opposite him on the other side of it, whilst Eglantyne, a tall, willowy figure and always too restless to sit for too long, stands at her brother’s shoulder as the trio discuss the current state of affairs.
“So is what Gladys says, correct, Lettice?” the Viscount bristles from his seat behind his Chippendale desk as he lifts a gilt edged Art Nouveau decorated cup of hot tea to his lips. “Did you sign a contract?”
“Well yes of course I did, Pappa!” Lettice defends, cradling her own cup in her hands, admiring the beautifully executed stylised blue Art Nouveau flowers on it. “You told me that there should be a formal contract in place ever since I had that spot of unpleasantness with the Duchess of Whitby when she was reluctant to pay her account in full after I had finished decorating her Fitzrovia first-floor reception room.”
“And I take it, our lawyers haven’t perused it?” he asks as he replaces the cup in its saucer on the desk’s surface.
“No Pappa.” Lettice replies, fiddling with the hem of her silk cord French blue cardigan. “Should they have?”
The Viscount sucks in a deep breath audibly, his heckles arcing up.
“Cosmo.” his sister says calmingly, standing at his side, placing one of her heavily bejewelled hands on his shoulder, lightly digging her elegantly long yet gnarled fingers into the fabric of his tweed jacket and pressing hard.
The Viscount releases a gasp. He looks down upon the book he had been pleasurably reading before he summoned both his sister and daughter to his domain of the Glynes library, a copy of Padraic Colum’s* ‘The Golden Fleece and the Heroes who Lived Before Achilles’** illustrated by Willy Pognay, and focuses on it like an anchor to manage the temper roiling within him. Trying very hard to suppress his frustration and keep it out of his steady modulation, the Viscount replies, “Yes my girl,” He sighs again. “Preferably you should have any contracts drawn up by our lawyers, and then signed by a client: not the other way around. And if it does happen to be the other way around, our lawyers should give it a thorough going over before you sign it.”
“But a contract is a contract, Pappa, surely?” Lettice retorts before taking another sip of tea.
The Viscount’s breathing grows more laboured as his face grows as red as the cover of ‘The Golden Fleece and the Heroes who Lived Before Achilles’ on the tooled leather surface of the desk before him.
“Cosmo.” Eglantine says again, before looking up and catching her niece’s eye and tries to warn her of the thunderstorm of frustration and anger that is about to burst from the Viscount by giving her an almost imperceptible shake of her head.
The Viscount continues to breathe in a considered and deliberate way as he tries to continue, his deep voice somewhat strangulated by his effort not to slam his fists on the desktop and yell at his daughter. “A contact varies, Lettice. It depends on who has written it as to what clauses are contained inside, such as Gladys’ condition that she is to be completely satisfied with the outcome of the redecoration, or she may forfeit any unpaid tradesmen’s bills, not to mention your own. You should have read it thoroughly before you signed it.”
“Oh.” Lettice lowers her head and looks down dolefully into her lap.
The Viscount turns sharply in his Chippendale chair, withdrawing his shoulder from beneath his sister’s grounding grasp with an irritable shake and glares at his sister through angry, bloodshot eyes. When she was young, Eglantine had Titian red hair that fell in wavy tresses about her pale face, making her a popular muse amongst the Pre-Raphaelites she mixed with. With the passing years, her red hair has retreated almost entirely behind silver grey, save for the occasional streak of washed out reddish orange, except when she decides the henna it, and she still wears it as she did when it was at its fiery best, sweeping softly about her almond shaped face, tied in a loose chignon at the back of her neck.
“I place the blame for this situation solely at your feet, Eglantyne!” the Viscount barks at his sister.
“Me!” Eglantyne laughs in incredulity. “Me! Don’t be so preposterous, Cosmo.” She grasps at one of the many strings of highly faceted, winking bugle beads that cascade down the front of her usual choice of frock, a Delphos dress***, this one of silver silk painted with stylised orange poppies on long, flowing green stalks. “I call that most unfair!” she complains. “I’m not responsible for Gladys’ lawyers, or their filthy binding contract.”
“No, but you’re responsible for introducing Lettice to that infernal woman!” the Viscount blasts. “Bloody female romance novelist!”
“Language!” Eglantyne quips.
“Oh, fie my language!” the Viscount retorts angrily. “And fie you, Eglantyne!”
Always being her elder brother’s favourite of all his siblings, and therefore usually forgiven of any mistakes and transgressions she has made in the past as a bohemian artist, and very seldom falling into his bad books, Eglantine is struck by the forcefulness of his anger. Even though she is well aware of his bombastic temper, it is easier to deal with when it is directed to someone or something else. This unusual situation with his annoyance being squarely aimed at her leaves her feeling flustered and sick.
“Me? I… I didn’t know that… that Gladys was vying to get Lettice… before her so… so.. so she could ask her to redecorate her ward’s flat, Cosmo!” Eglantyne splutters. “How… how could I know?”
“Coerced is more like it!” Cosmo snaps in retort. “And you must have had some inkling, surely! You were always good at reading people and situations: far better than I ever was!”
“Well, I didn’t, Cosmo!” Eglantine snaps back, determined not to let her brother get the upper hand on her and blame her for something she rightly considers far beyond her control. “I mean, all I was doing was trying my best to get Lettice out of her funk over losing Selwyn.” She turns quickly to Lettice and looks at her with apologetic eyes. “Sorry my dear.” Returning her attention to her brother, she continues, “I didn’t want her wallowing in her own grief, something you were only too happy to indulge her in whilst she was staying here at Glynes with you!” She tuts. “Feeding her butter shortbreads and mollycoddling her. What good was there in doing that?”
“She was staying with Lally.” the Viscount mutters through gritted teeth.
“Same thing really.” Eglantine says breezily. “Like father like daughter. Lettice needed something to restore her spark, and quiet walks in the Buckinghamshire countryside weren’t going do that. I knew that Gladys enjoyed being surrounded by London’s Bright Young Things****, and she had spoken to me about Lettice’s interior designs.”
“Aha!” the Viscount crows. “So, you did know she had designs on Lettice!”
“If you’d kindly let me finish, Cosmo.” Eglantyne continues in an indignant tone.
The Viscount huffs and lets his shoulders lower a little as he gesticulates with a sweeping gesture across his desk towards his sister for Eglantine to continue.
“What I was going to say was that Gladys telephoned me and asked me about Lettice’s interior designs after she read that article by Henry Tipping***** in Country Life******, which you and Sadie, and probably half the country read. How could I know from that innocuous enquiry that Gladys would engage Lettice in this unpleasant commission? She simply telephoned me at just the right time, so I orchestrated with Gladys for Lettice and the Channons to go and stay at Gossington.” She folds her arms akimbo. “Lettice was stagnating, and that is not good for her. As I said before, she needed to have her creativity sparked. I thought it would do Lettice good to be amongst the bright and spirited company of a coterie of young and artistic people, and I wasn’t wrong, was I Lettice?”
Startled to suddenly be introduced into the heated conversation between her father and aunt about her, Lettice stammers, “Well… yes. It was a very gay house party, and I did also receive the commission from Sir John Nettleford-Huges for Mr. and Mrs. Gifford at Arkwright Bury, Pappa.”
“That old lecher.” the Viscount spits.
“Sadie doesn’t think so,” Eglantyne remarks with a superior air, a smug smile curling up the corners of her lips. “She seemed to think he’d be a good match for Lettice two years ago at her ludicrous matchmaking Hunt Ball.”
“Now don’t you start on Sadie, Eglantyne.” the Viscount warns with a wagging finger, the ruby in the signet ring on his little finger winking angrily in the light of the library, reflecting its wearer’s fit of pique. “I’m in no mood for your usual acerbic pokes at Sadie.”
“Sir John is actually quite nice, Pappa.” Lettice pipes up quickly in an effort to defuse the situation between her father and aunt. “Once you get to know him.” she adds rather lamely when her father glares at her with a look that suggests that she may have lost all her senses. She hurriedly adds, “And that’s gone swimmingly, Pappa, and as a result, Henry Tipping has promised me another feature article on my interior designs there in Country Life.”
“There!” Eglantyne says with satisfaction, sweeping her arm out expansively towards her niece, making the mixture of gold, silver, Bakelite******* and bead bracelets and bangles jangle. “See Cosmo, it’s not all bad news. An excellent commission right here in Wiltshire that guarantees positive promotion of Lettice’s interior designs in a prestigious periodical.”
“Well, be that as it may,” the Viscount grumbles. “You are still responsible for dismissing Lettice’s justified concerns about Gladys and her rather Machiavellian plans to redecorate her ward’s flat to her own designs and hold Lettice to account for it. You told me that you aired your concerns with your aunt, Lettice. Isn’t that so?”
Lettice nods, looking guiltily at her favourite aunt, fearing disappointment in the older woman’s eyes as she does.
“Well,” Eglantyne concedes with a sigh. “I cannot deny that Lettice did raise her concerns with me when we had luncheon together, but her concerns did not appear justified at the time.”
Ignoring Eglantyne’s last remark, the Viscount continues, addressing his daughter, “And that was before she commenced on this rather fraught commission wasn’t it?”
“Well Pappa, as I told you, I had already agreed in principle to accept Gladys’ commission at Gossington. Gladys is a little hard to refuse.”
“Bombastic!” the Viscount opines.
“Pot: kettle: black.” Eglantyne pipes up, placing her hands on her silk clad hips.
“Don’t test my patience any more, Eglantyne!” the Viscount snaps. He returns his attentions to his daughter. “But you hadn’t signed any contracts at that stage, had you, Lettice?”
“Well no, Pappa.” Lettice agrees. “But I think that Gladys was having the contracts drawn up by her lawyers at that time.”
“Why didn’t you intervene when Lettice spoke to you, Eglantyne?” the Viscount asks his sister.
“Because I didn’t see any cause for alarm, Cosmo.” she replies in her own defence.
“But Lettice told you that Gladys coerced her into agreeing to redecorate the flat, didn’t she?”
“Well yes,” Eglantyne agrees. “But as I said to Lettice at the time, Gladys wears most people down to her way of thinking in the end. It is a very brave, or stupid, person who challenges Gladys when she has an idea in her head that she is impassioned about.” She pauses for a moment before continuing. “I didn’t think it was a bad thing necessarily, Cosmo. Not only was it not unusual for Gladys to get her way, but at the time, Lettice needed someone to take the lead. Her own initiative was somewhat lacking after all that business with Zinnia shipping Selwyn off to Durban. So, I wasn’t concerned, and I doubt that you would be concerned about it either, were you in my shoes.”
“Well I wasn’t.” he argues. “What about Lettice’s other concerns about taking on the commission?” he softens his voice as he addresses his daughter, “What did you say to your aunt again, my dear?”
“I said I was concerned that Gladys had ulterior motives, Pappa.” Lettice replies.
“Which she did!” the Viscount agrees. “Go on.”
“I illuded to the fact that I thought Gladys saw her dead brother and sister-in-law as some kind of threat to her happy life with Phoebe, and she wanted to whitewash them from Phoebe’s life.”
“And I suggested to Lettice that that was a grave allegation to make without proof, Cosmo.” Eglantyne explains. “And all she had to back her allegations up were some anecdotal stories, which count for nothing.”
“You accused Lettice of overdramatising.” the Viscount says angrily.
“I know I did, Cosmo.” Eglantyne admits. “I did assuage Lettice of the concerns she had that Gladys was going to insist on making changes Phoebe or she didn’t like. I admit, I was wrong about that. I assured Lettice that Gladys adores her niece, and whilst in hindsight I may not now use the word adore, I’m still instant that Gladys only wants what she thinks is best for Phoebe. Phoebe is the daughter Gladys never planned to have, but also the child Gladys didn’t know could bring her so much joy and fulfilment in her life, as a parent. And to be fair, Cosmo, if you’d ever met Phoebe, you’d understand why I said what I did.”
“Go on.” the Viscount says, cocking his eyebrow over his right eye.
“Well Pheobe is such a timid little mouse of a creature. She seldom expresses an opinion.”
“That’s because Gladys has been quashing those opinions, Aunt Egg.” Lettice adds.
“Well, we know that now, but from the outside looking in, you wouldn’t know that without the intimate knowledge that you have now received from Phoebe, Lettice.”
“So what you’re implying Pappa is, that I have to see through the redecoration to Phoebe’s pied-à-terre******** to Gladys’ specifications, even if Pheobe herself doesn’t like them?”
“It does appear that way, my dear.” the Viscount concedes.
“Even if it is plain that Gladys is bullying her and taking advantage of the situation for her own means?” Lettice asks hopefully.
“It’s a sticky situation, my dear.” the Viscount replies consolingly. “I mean, you don’t actually have to go through with it. It isn’t like you need her money. If she doesn’t pay the tradesmen’s bills you’ll be a little out of pocket, but it won’t bankrupt you.”
“But,” Eglantyne says warningly. “You do run the risk of Gladys spreading malicious gossip about your business. Whatever Gladys may or may not be, she’s influential.” She sighs deeply. “It would be such a shame to ruin the career you have spent so long building and making a success.”
“And your mother wouldn’t fancy the trouble and scandals this poisonous woman could create, either.” adds the Viscount as an afterthought. “Especially when it comes to your marriageability.”
“Are you suggesting that Selwyn isn’t going to come back to me, Pappa?” Lettice asks bitterly, unable to keep the hurt out of her voice as colour fills her face and unshed tears threatening to spill fill her eyes.
“No,” the Viscount defends. “You know your happiness and security is of the utmost importance to me, Lettice my dear. No, I’m just being a realist. I wouldn’t be at all surprised if Zinnia doesn’t have something nasty up her sleeve to spring upon the pair of you, even when he does come back. If there is even the slightest smear on your character, Lettice, she will use that against you. Zinna hasn’t spoken to you since that night, has she?”
“No, thank goodness!” Lettice replies.
“Well, that may not be such a good thing.” the Viscount goes on. “Zinnia enjoys playing a long game that can inflict more pain.”
“Your father speaks the truth, Lettice, and he is wise to be a pragmatist.” Eglantyne remarks sagely.
The older woman reaches into the small silver mesh reticule********* dangling from her left wrist and unfastens it. She withdraws her gold and amber cigarette holder and a small, embossed silver case containing her choice of cigarettes, her favourite black and gold Sobranie********** Black Russians. She depresses the clasp of the case and withdraws one of the long, slender cigarettes and screws it adeptly into her holder. She then withdraws a match holder and goes to strike a match.
“Must you, Eglantyne?” the Viscount asks. “You know Sadie doesn’t like smoking indoors.”
Eglantyne ignores her brother and strikes a match and lights her Sobranie, sucking the end of her cigarette holder, causing the match flame to dance and gutter whilst the paper and tobacco of the cigarette crackles. Whisps of dark grey smoke curl as they escape the corners of her mouth.
“I’m in your bad books, Cosmo, so I may as well be in hers too.” she says, sending forth tumbling clouds of acrid smoke. “No-one will deny me my little pleasure in life.” She smiles with gratification as she draws on her holder again. “Not even Sadie. And correction: Sadie only dislikes it when a lady smokes.”
“Well, I can’t stop you any more than I seem to be able to stop Gladys from forcing Lettice to decorate this damnable flat the way she wants it, rather than the way Phoebe wants it.” the Viscount replies in a defeated tone.
The three fall silent for a short while, with only the heavy ticking of the clock sitting on the library mantle and the crackle of the fire to break the cloying silence.
“What about Sir John?” the Viscount suddenly says.
“Sir John Nettleford-Hughes?” Eglantyne asks quizzically, blowing forth another cloud of Sobranie smoke.
“No, no!” he clarifies with a shake of his head. “Not that Sir John: Sir John Caxton, Gladys’ husband. Surely, we can appeal to him. He wouldn’t want Pheobe to be unhappy.”
“He’s completely under Gladys’ thumb***********.” Eglantyne opines.
“Aunt Egg is right, Pappa. The day I went to Eaton Square************ to have it out with Gladys, I saw John, and he couldn’t wait to retreat to the safety of his club and leave we two to our own devices. He’s as completely ruled by Gladys as Phoebe is.”
“I suppose you could turn this to your advantage and have Phoebe commission you to undo your own redecoration.” the Viscount suggests hopefully.
“I don’t think that would work very well, Cosmo.” Eglantyne remarks.
“How so?”
“Well, I don’t think Gladys would take too kindly to Lettice and Phoebe going behind her back, and we’ve just discussed the difficulties a scorned woman could cause to Lettice’s reputation, both personally and professionally.”
“Besides,” Lettice adds. “I don’t think the allowance Phoebe inherits from her father’s estate is terribly large, and I don’t imagine it will be easy as a woman to win any garden design commissions to be able to afford my services.”
“There’s Gertude Jekyll*************.” Eglantyne remarks.
“Yes, but she has influential connections like Edward Lutyens**************.” Lettice counters. “And as you have noted, Aunt Egg, Phoebe is rather unassuming. She doesn’t know anyone of influence, and wields none of her own. Besides, I’m sure Gladys won’t pay Phoebe to pay me to undo her prescribed redecorations.”
“You could always redecorate the pied-à-terre without charge,” the Viscount suggests hopefully.
“As recompense for the damage I’ve done redecorating it now, you mean, Pappa?”
“In a sense.”
“The outcomes would be the same unpleasant ones for Lettice as if Phoebe could afford to commission her to do it, Cosmo.” Eglantyne warns.
“Gerald was right.” Lettice mutters.
“About what, my dear?” her father asks.
“Well, Gerald said that Gladys was very good at weaving sticky spiderwebs, and that I had better watch out that I didn’t become caught in one.” She sighs heavily. “But it appears as if I have become enmeshed in one well and truly.”
“Well, however much it displeases me to say this to you Lettice, let this be a lesson to you my girl! In future, make sure that you engage our lawyers to draw up the contracts for you.”
“But I didn’t have this contract drawn up, Pappa,” Lettice defends. “Gladys did.”
“Well, make sure our lawyers review any contracts created by someone else before you undertake to sign one if future.”
Eglantyne stares off into the distance, drawing heavily upon her Sobranie, blowing out plumes of smoke.
“So, I’m stuck then.” Lettice says bitterly. “And its my own stupid fault.”
Eglantyne’s eyes flit in a desultory fashion about the room, drifting from the many gilt decorated spines on the shelves to the armchairs gathered cosily around the library’s great stone fireplace to the chess table set up to play nearby.
“Unless your aunt can come up with something, I’m afraid I don’t see a way out for you, Lettice.” the Viscount says. He then adds kindly, “But I wouldn’t be so hard on yourself, my dear. We all have to learn life’s lessons. Sometimes we just learn them in harder ways.”
Eglantyne continues to contemplate the situation her niece finds herself in.
“Well, I’ve certainly learned my lesson this time, Pappa.”
Eglantyne withdraws the nearly spent Sobranie from her lips, scattering ash upon the dull, worth carpet beneath her mule clad feet. “I may have one idea that might work.”
“Really Aunt Egg?” Lettice gasps, clasping her hands together as she does.
“Perhaps, Lettice my dear.”
“What is it, Eglantyne?” the Viscount asks.
“I don’t want to say anything, just in case I can’t pull it off.” Eglantyne contemplates for a moment before continuing. “Just leave this with me for a few days.”
*Padraic Colum was an Irish poet, novelist, dramatist, biographer, playwright, children's author and collector of folklore. He was one of the leading figures of the Irish Literary Revival.
**“The Golden Fleece and the Heroes who Lived Before Achilles” was a novel written by Padraic Colum, illustrated by Hungarian artist Willy Pognay, published by the Macmillan Company in 1921.
***The Delphos gown is a finely pleated silk dress first created in about 1907 by French designer Henriette Negrin and her husband, Mariano Fortuny y Madrazo. They produced the gowns until about 1950. It was inspired by, and named after, a classical Greek statue, the Charioteer of Delphi. It was championed by more artistic women who did not wish to conform to society’s constraints and wear a tightly fitting corset.
****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 Londo
*****Henry Tipping (1855 – 1933) was a French-born British writer on country houses and gardens, garden designer in his own right, and Architectural Editor of the British periodical Country Life for seventeen years between 1907 and 1910 and 1916 and 1933. After his appointment to that position in 1907, he became recognised as one of the leading authorities on the history, architecture, furnishings and gardens of country houses in Britain. In 1927, he became a member of the first committee of the Gardens of England and Wales Scheme, later known as the National Gardens Scheme.
******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.
*******Bakelite, was the first plastic made from synthetic components. Patented on December 7, 1909, the creation of a synthetic plastic was revolutionary for its electrical nonconductivity and heat-resistant properties in electrical insulators, radio and telephone casings and such diverse products as kitchenware, jewellery, pipe stems, teapot handles, children's toys, and firearms. A plethora of items were manufactured using Bakelite in the 1920s and 1930s.
********A pied-à-terre is a small flat, house, or room kept for occasional use.
*********A reticule is a woman's small handbag, typically having a drawstring and decorated with embroidery or beading. The term “reticule” comes from French and Latin terms meaning “net.” At the time, the word “purse” referred to small leather pouches used for carrying money, whereas these bags were made of net. By the 1920s they were sometimes made of small heavy metal mesh as well as netting or beaded materials.
**********The Balkan Sobranie tobacco business was established in London in 1879 by Albert Weinberg (born in Romania in 1849), whose naturalisation papers dated 1886 confirm his nationality and show that he had emigrated to England in the 1870s at a time when hand-made cigarettes in the eastern European and Russian tradition were becoming fashionable in Europe. Sobranie is one of the oldest cigarette brands in the world. Throughout its existence, Sobranie was marketed as the definition of luxury in the tobacco industry, being adopted as the official provider of many European royal houses and elites around the world including the Imperial Court of Russia and the royal courts of United Kingdom of Great Britain and Ireland, Spain, Romania, and Greece. Premium brands include the multi-coloured Sobranie Cocktail and the black and gold Sobranie Black Russian.
***********The idiom “to be under the thumb”, comes from the action of a falconer holding the leash of the hawk under their thumb to maintain a tight control of the bird. Today the term under the thumb is generally used in a derogatory manner to describe a partner's overbearing control over the other partner's actions.
************Eaton Square is a rectangular residential garden square in London's Belgravia district. It is the largest square in London. It is one of the three squares built by the landowning Grosvenor family when they developed the main part of Belgravia in the Nineteenth Century that are named after places in Cheshire — in this case Eaton Hall, the Grosvenor country house. It is larger but less grand than the central feature of the district, Belgrave Square, and both larger and grander than Chester Square. The first block was laid out by Thomas Cubitt from 1827. In 2016 it was named as the "Most Expensive Place to Buy Property in Britain", with a full terraced house costing on average seventeen million pounds — many of such town houses have been converted, within the same, protected structures, into upmarket apartments.
*************Gertrude Jekyll was a British horticulturist, garden designer, craftswoman, photographer, writer and artist. She created over four handred gardens in the United Kingdom, Europe and the United States, and wrote over one thousand articles for magazines such as Country Life and William Robinson's The Garden. Her first commissioned garden was designed in 1881, and she worked very closely wither her long standing friend, architect Sir Edward Lutyens.
**************Sir Edwin Landseer Lutyens was an English architect known for imaginatively adapting traditional architectural styles to the requirements of his era. He designed many English country houses, war memorials and public buildings in the years before the Second World War. He is probably best known for his creation of the Cenotaph war memorial on Whitehall in London after the Great War. Had he not died of cancer in 1944, he probably would have gone on to design more buildings in the post-war era.
Cluttered with books and art, Viscount Wrexham’s library with its Georgian furnishings is different from what you might think, for it is made up entirely of 1:12 size dollhouse miniatures from my collection.
Fun things to look for in this tableau include:
The majority of the books that you see lining the shelves of the Viscount’s library are 1:12 size miniatures made by the British miniature artisan Ken Blythe. So too are the postcards and the box for them on the Viscount’s Chippendale desk. Most of the books I own that Ken has made may be opened to reveal authentic printed interiors. In some cases, you can even read the words, depending upon the size of the print, as can be seen on The Times Literary Supplement broadsheet on the Viscount’s desk. I have quite a large representation of Ken Blythe’s work in my collection, but so little of his real artistry is seen because the books that he specialised in making are usually closed, sitting on shelves or closed on desks and table surfaces. What might amaze you even more is that all Ken Blythe’s opening books are authentically replicated 1:12 scale miniatures of real volumes. “The Golden Fleece and the Heroes who Lived Before Achilles” by Padraic Colum, illustrated by Willy Pognay, sitting on the Viscount’s desk is such an example. To create something so authentic to the original in such detail and so clearly, really do make these miniature artisan pieces. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago. His legacy will live on with me and in my photography which I hope will please his daughter.
On the desk are some 1:12 artisan miniature ink bottles and a blotter on a silver salver all made by the Little Green Workshop in England who specialise in high end, high quality miniatures. The ink bottles are made from tiny faceted crystal beads and have sterling silver bottoms and lids. The ink blotter is sterling silver too and has a blotter made of real black felt, cut meticulously to size to fit snugly inside the frame. The silver double frame on the desk also comes from Mick and Marie’s Miniature Collectables. The bottle of port and the port glasses I acquired from a miniatures stockist on E-Bay. Each glass, the bottle and its faceted stopper are hand blown using real glass.
Also on the desk to the left stands a stuffed white owl on a branch beneath a glass cloche. A vintage miniature piece, the foliage are real dried flowers and grasses, whilst the owl is cut from white soapstone. The base is stained wood and the cloche is real glass. This I acquired along with two others featuring shells (one of which can be seen in the background) from Kathleen Knight’s Dollhouse Shop in the United Kingdom.
The teapot and teacups, featuring stylised Art Nouveau patterns were acquired from an online stockist of dolls’ house miniatures in Australia.
The Chippendale desk itself is made by Bespaq, and it has a mahogany stain and the design is taken from a real Chippendale desk. Its surface is covered in red dioxide red dioxide leather with a gilt trim. Bespaq is a high-end miniature furniture maker with high attention to detail and quality.
The beautiful rotating globe in the background features a British Imperial view of the world, with all of Britain’s colonies in pink (as can be seen from Canada), as it would have been in 1921. The globe sits on metal casters in a mahogany stained frame, and it can be rolled effortlessly. It comes from Mick and Marie’s Miniature Collectables in Lancashire. The silver double frame on the desk also comes from Mick and Marie’s Miniature Collectables.
In the background you can see the book lined shelves of Viscount Wrexham’s as well as a Victorian painting of cattle in a gold frame from Amber’s Miniatures in America, and a hand painted ginger jar from Thailand which stands on a Bespaq plant stand.
The gold flocked Edwardian wallpaper is beautiful hand impressed paper given to me by a friend, which inspired the whole “Cavendish Mews – Lettice Chetwynd” series.
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