5 June 2009 'Messrs. Fisher and Farkoa, two vocalists who, we understand, have already gained favour at private concerts, on Monday evening gave a performance at the smaller St. James's Hall. The speciality of these two artists is duet singing, and, doubtless owing to frequent practice, their voices blend with excellent effect. Their proramme included a love melody by Signor Campann and some humorous duets.'
(Daily News, London, Wednesday, 1 February 1893, p. 8f) 'The musical piece, ''Morocco Bound,'' will be removed from the Shafesbury to the Trafalgar Theatre the same evening [Monday next]. The miscellaneous attactions in the second act will be increasted by the appearance of Messrs. Fisher and Farkoa, the French duettists, and of Miss Dorothy Hanbury, the child ballad vocalist.'
(Western Mail, Cardiff, Saturday, 6 January 1894, p. 4g) 'The three most interesting films shown privately last week are all from books. They are addaptations of Mr. Arnold Bennett's ''The Old Wives' Tales,'' Dumas' ''The Three Musketeers,'' and Richard Whiteing's ''No. 5, John Street.'' All are of considerable merit, and in all three the inherent difficulties of turning long stories into films are very nearly overcome. . . . 'The film version of Richard Whiteing's ''No. 5, John-street'' is the work of Mr. Kenelm Foss. His task was not an easy one, but he has achieved a distinct triumph. Conditions have changed since the book was written over 20 years ago, but the changing conditions have not ffected the excellence of the story. Labour conditions may change, but human nature remains very much the same, and the film retains a good deal of the genius - and of the appeal - of the book. In the film Miss Zena Dare makes her first appearance as an actress for the films. She plays a difficult part, and plays it with great power. Her performance is a distinct success, and it suggests that the technique for acting in films is not quite so separated from that of the stage as is often suggested. Miss Dare give far more satisfactory performance than many so-called ''film stars.'' . . .' (The Times, London, Monday, 19 December 1921, p. 8a) Court Circular 'The Cafe' Chantant organized by Lady Juliet Duff in aid of the Charing-cross Hospital took place yesterday afternoon at the Savoy Hotel. It was expected that Queen Alexandra would have been present, but the death of the King of Denmark of course made this impossible. No efforts had been spared to arrange an attractive programme, which consisted of 37 items, contributed by well-known artists. The Hon. Mrs. Maurice Brett (Miss Zena Dare) was in charge of a flower stall, at which several young ladies were assisting, and tea was afterwards served in the foyer. Among the audience were the Duchess of Wellington and Lady Eileen Wellesley, Countess Torby and Countesses Zia and Nada Torby, Viscountess Maitland, Evelyn Lady Alington, Lady Rosemary Leveson-Gower and Lady Enid Fane, the Countess of Essex, Lady Evenlyn Baring and the Hon. Norah McGarel-Hogg, Lady Newborough, Lady Honor Ward, Lady Garvagh, the Hon. Mary Hughes, the Hon. Mrs. George Keppel, and Lady Beatrice Pole-Carew.' The Times, London, Thursday, 16 May 1912, p. 11a 'A ''GAIETY'' DINNER. 'Many actors and actresses associated with the Gaiety Theatre were entratined by the O.P. Club at dinner at the Hotel Cecil last night. 'Mr. Alfred F. Robbins presided over a company numbering more than 500, and in proposing the toast of ''The Gaiety'' expressed the regret which was felt by them that Mr. George Edwardes was unable to be present owing to the state of his health. The chairman recalled memories of the Gaiety Theatre from the days of John Hollingshead, and said that the sacred lamp of burlesque lighted by him had never lacked oil at the hands of Mr. George Edwardes. Mr. Edmund Payne, in replying, amused the audience with reminiscences of his connexion with the Gaiety Theatre dating from 24 years ago. The toast of ''Gaiety lasses and lads'' was submitted by Mr. T. McDonald Rendle, and Miss Gertie Millar and Mr. George Grossmith responded. Miss Connie Ediss proposed the health of the chairman. 'Among those present were the Hon. Mrs. Maurice Brett (Miss Zena Dare), Lord Dangan, Lord George Cholmondeley, Mr. Robert Hale, Miss Phyllis Broughton, Miss Jean Aylwin, Miss Evie Greene, Miss Letty Lind, Miss Emmy Wehlen, and Mr. Joseph Coyne.' The Times, London, Monday, 27 October 1913, p. 11b 'OLD GAIETY DAYS BALL 'Owing to the indisposition of the Hon. Mrs. CunninghamReid, Mrs. McCorquodale presided at the meeting yesterday at 12, Upper Brook Street for the Old Gaiety Days ball, which will take place on May 15 at the Savoy Hotel, in aid of the Margaret Street Hospital Preventorium Fund. Mrs. R.G. Edwards, the chairman, is returning from the South of France on Sunday. Miss Olga Lynn, who is assisting Mr. George Grossmith in Carranging the Cabaret, announced that among the artists and hostesses would be Miss Vesta Tilley, Miss Lily Elsie, the Marchioness of Headfort, Miss Camille Clifford, Miss Jose' Collins, Miss Zena Dare, Mr. Joseph Coyne, Miss Ivy St. Helier, Miss Denise Orme, Miss Constance Collier, Miss Connie Ediss, Mr Seymour Hicks, and Miss Ellaline Terriss. Tickets, 2 2s. each, can be obtained from Mrs. R.G. Edwards, the Hon. Mrs. Cunningham-Reid, and Mrs. Frank Braham at 20, Hanover Square, W.1.' The Times, Thursday, 22 March 1934, p. 17d 'THE ESHER PAPERS 'A NEW SERIES FOR ''THE TIMES'' 'The series of articles on the journals and letters of the late Lord Esher which appeared in The Times during June and July are to be floowed by a second series on the second volume soon to be published by Ivor Nicholson and Watson. . . . 'Miss Zena Dare, the friend of the Eshers, but not yet the wife of Maurice Brett, the editor of the Papers, who unhappily died before their publication as a book, is the recipient of many tributes from her future father-in-law. . . .' The Times, Monday, 8 October 1934, p. 11f 'MORE ESHER PAPERS 'A NEW SERIES FOR ''THE TIMES'' 'Next week The Times will begin the publication of a second series of articles on the Esher Papers. . . . 'In outspoken passages Lord Esher confesses his deep affection for his son Maurice (who did not live to welcome in its final form the book he edited) and for his future daughter-in-law, Miss Zena Dare. . . .' The Times, Tuesday, 9 October 1934, p. 16e 'GRANDSON FOR ZENA DARE 'A son has been born in a London nursing home to Mrs. Kenneth Thornton, daughter of Miss Zena Dare (the Hon. Mrs. Maurice Brett), the actress. It was stated last night that both mother and child were ''progressing very well.'' Mrs. Thornton is the elder daughter of the late Lieutenant-Colonel the Hon. Maurice Brett and of Mrs. Brett. Her marriage to Mr. Kenneth Thornton, younger son of Mrs. T.B. Thornton and the late Mr. Thornton, took place at St. Margaret's, Westminster, last April.' The Times, London, 9 March 1935, p. 10a '1,000TH PERFORMANCE 'Mr. Ivor Novello's musical play Perchance to Dream will be given its 1,000th performance at the London Hippodrome on September 24. The end of its run has been fixed for October so that Mr. Tom Arnold can send the entire production, including Mr. Novello and Miss Zena Dare, to South Africa for a season opening in Johannesburg in December. Mr. Arnold states that during its London run it has been seen twice a week for two-and-a-half years by three women whose purchase of stall seats has cost them over 750.' The Times, London, Saturday, 20 September 1947, p. 6g 'ACTRESSES' GAIETY PARTY 'Lady Huggins, chairman of the actresses' party to be held on Saturday, December 5, at the Dorchester Hotel from 3 to 6 p.m., will bring a party of young people. Mrs. Reynolds-Veitch, Mrs. Vernon Tate, Miss Zena Dare, Lady (Thomas) Bethell, Lady (Albert) Levy, Miss Googie Withers, Miss Gillian Scaife, and Miss Marie Burke are also bringing guests. Miss Olive Gilbert and Mr. Douglas Byng will appear in the cabaret. Tickets, at one guinea, are available from Miss Adeline Bourne, 114, Queen's Gate, S.W.7 (telephone: Kensington 0549) The Times, Friday, 27 November 1953, p. 10b 'In Chancery. - Re the Opera, Limited. - By direction of the Official Liquidator, F.Whinnery, Esq. 'MESSRS. ROBINSON and FISHER are instructed to SELL by public TENDER, at their Rooms, 21, Old Bond-street, W., on Thursday, April 17th, at 7 o'clock precisely, the whole of the nearly new and valuable THEATRICAL COSTUMES and PROPERTIES for the late Cinderella Pantomime at Her Majesty's Theatre, together with the coloured sketches for the same, designed by Lucian Besche, costumes supplied by Madam Auguste, Miss Fisher, j. Harrison, Morris Angel, Potter and Dopman, Mons. and Madame Alias, properties by Laphart, armour by Messrs. Kennedy, Phillips, and Kahn, O.C. and G. Phillips, and Guiperle and Co., of Paris, at a cost of about 17,000. . . .' The Times, London, Friday, 28 March 1890, p. 16e, advertisement 'The Theatrical Costumes, Armour, &c., recently used in the representation of Anthony and Cleopatra at the Princess's Theatre. 'DEBENHAM, STORR, and SONS will include the above THEATRICAL WARDROBE in the SALE by AUCTION, at thier Mart, King-street, Covent-garden, on Monday, 13th Febraury, at 2 o'clock. Catalogues preparing.' The Times, London, Saturday, 4 February 1893, p. 16b, advertisement POLICE 'At LAMBETH, JAMES WILSON, 21, and WILLIAM HENRY CAUGHTRY, 24, carmen, were charged on remand with being concerned together in stealing a basket containing 28 ladies' theatrical costumes, value 57, the property of Frederick Mouillot. In the early hours of Sunday week Police-constables Julian and Bolderow were in Avenue-road, Camberwell, when they saw the prisoners wheeling a costermonger's barrow, which upon examination they [were] found to contain a number of theatrical costumes. The prisoners told the policemen that they had found the property and were about to take it to the Camberwell police station; but, as they were going in the opposite direction, the constables declined to accept that explanation and took the prisoners into custody. The costumes were afterwards identified as belonging to The Girl From Up There. The company had been performing at Kennington Theatre, and completed their engagement there on the night of the 14th inst. at the close of the performance the costumes in question were packed in a hamper and placed on a Pickford's van for conveyance to the Broadway Theatre, Deptford. The hamper disappeared during the journey. Police-constable Julian said he found fropm inquries he had made during the remand that both prisoners bore good characters. They now adked to have the case settled, and Mr. Hopkins sentenced them to three months' hard labour each.' The Times, London, Tuesday, 24 September 1901, p. 11e New Theatre Quarterly (2004), 20:2:99-116 Cambridge University Press Copyright 2004, Cambridge University Press doi:10.1017/S0266464X04000016 Beauty and the Market: Actress Postcards and their Senders in Early Twentieth-Century Australia Veronica Kelly Abstract A hundred years ago the international craze for picture postcards distributed millions of images of popular stage actresses around the world. The cards were bought, sent, and collected by many whose contact with live theatre was sometimes minimal. Veronica Kelly's study of some of these cards sent in Australia indicates the increasing reach of theatrical images and celebrity brought about by the distribution mechanisms of industrial mass modernity. The specific social purposes and contexts of the senders are revealed by cross-reading the images themselves with the private messages on the backs, suggesting that, once outside the industrial framing of theatre or the dramatic one of specific roles, the actress operated as a multiply signifying icon within mass culture with the desires and consumer power of women major factors in the consumption of the glamour actress card. A study of the typical visual rhetoric of these postcards indicates the authorized modes of femininity being constructed by the major postcard publishers whose products were distributed to theatre fans and non-theatregoers alike through the post. Veronica Kelly is working on a project dealing with commercial managements and stars in early twentieth-century Australian theatre. She teaches in the School of English, Media Studies, and Art History at the University of Queensland, is co-editor of Australasian Drama Studies, and author of databases and articles dealing with colonial and contemporary Australian theatre history and dramatic criticism. Her books include The Theatre of Louis Nowra (1998) and the collection Our Australian Theatre in the 1990s (1998). see the following for references to Gabs, Zena et al Fashioning the feminine By Cheryl Buckley, Hilary Fawcett 'London, Sunday Night [7 October 1900]. . . . 'A change has just taken place in the cast of Self and Lady at the Vaudeville. Miss Fanny Brough, at very short notice, undertook on the first night a part which was intended for some other actress. As Miss Brough is now required elsewhere, the role has been taken over by Miss Adrienne Dairolles, who in private life is the wife of the editor of the London Daily Chronicle.'
(Glasgow Herald, Glasgow, Monday, 8 October 1900, p. 11c/d) 'In recognition of her prompt and kind services in taking up the part of Paquita at the Vaudeville Theatre on the first night of Self and Lady, Messrs Frohman and Gatti have presented Miss Fanny Brough with a solid silver tea-service.'
(The Era, London, Saturday, 13 October 1900, p. 12b) 'SELF AND LADY,
'AT THE VAUDEVILLE THEATRE. 'Visitors to the Vaudeville Theatre last night can have been neither much disappointed nor yet much surprised; for M. Pierre Decourcelles's new farce is onf the most perfectly traditional order. It was received with the good humour which almost invariably greets the efforts of the theatrical caricaturist, for the lovers of so-called farcical comedies are, of all playgoers, the least difficult to satisfy. Scenes of boisterous, nonsensical, merriment strung together without rhyme or reason are sure to please, provided the fun is free from impropriety or double intent, and the actors popular favourites. These last conditions being perfectly fulfilled, Self and Lady will doubtless enjoy a long run. The plot reveals little originality. M. Furet and his friend Dr. Duplautin, both married men, are no^ceurs well known at the Grasshopper Hotel near Chalons, where many a petit souper have enjoyed in Room No. 8 in company other than that of their wifes. The tenor of the local opera, Racouli by name, learning that he is the heir to a fortune of two millions of francs, suddenly abandons his profession at a moment's notice. Furet, who is an accomplished amateur singer, steps into his shoes, and performs Faust with such success that he promptly receives an assignation from the Countess of Archangel. The enchanted lady is no other than his own wife, who unknown to him was present at the performance, and has failed to recognize him in his new ro^le. There have, of course, been misunderstandings in the me'nage; he burning Mme. Furet's novels, she returning the compliment by destroying his songs. The rendezvous is for the next night at the Grasshopper Hotel. And there, too, Dr. Duplautin has arranged to meet two charming little milliners. There, likewise, goes the doctor's jealous old wife and the real Racouli and his fiercely affectionate spouse Paquita, a lady of Spanish extraction and vivacity. Furet appears in the costume of Faust; he meets and makes extravagant love to a veiled lady in black, whom he believes to be the Countess Archangel, and who proved to be the aged dame Duplautin. there are a hundred other mistakes and imbroglios, and all the arts of the writers and players of the Palais Royal are brought into requisition. Above all, there is no moment's pause for reflection; episode succeeds episode in bewildering rapidity; so fast do the speakers chatter that it is almost impossible to follow what they say. But it matters little, the situations, the facial expressions, the practical jokes makes it all as clear as needs be, and incessant laught is the result.
'Messrs. Seymour Hicks, Herbert Standing, and Cosmo Stuart are adepts at entertainments of this description, and they did full justice to M. Decourcelles's tomfoolery. Miss Emily Miller was excellent in make-up and humour as the Doctor's caricature of a wife; and Miss Fanny Brough was quite herself - what greater compliment can be paid to her? - as Paquita. Miss Ellaline Terriss is altogether too refined, too ladylike, too worthy, in fact, of better comedy, to be seen with satisfaction in rought-and-tumble pieces of this description.
'SOME NOTES ON THE DRESSES. 'Very dainty and charming is the dress in which Miss Ellaline Terriss makes her first appearance. It is of ivory-white silk gauze, painted with many little scattered bunches of pale pink flowers. The skirt is trimmed with long lines of cream lace insertion, arranged like sash ends at the back, where they run from waist to hem, while in front they are used to head a deep accordion-pleated flounce of the painted muslin, which in its turn is bordered along the lower edge, with ruches of white chiffon. Through the delicate ivory-white of the muslin the pink of the silk lining shines effectively, and at the waist there are folds of pale pink, soft satin, drawn up high in front, to add to the Empire effect of the gown. The muslin draperies on the left side of the bodice are caught with a large buckle of bright steel, while the quaint little revers are bound narrowly with black velvet ribbon, and on the transparent lace sleeves tiny black velvet bows also appear. At the end of the first act we catch a momentary glimpse of Miss Terriss, in a black glace' silk domino, the sleeves of which are covered with glittering jet paillettes, while her head and face are hidden by heavy mantilla of black Spanish lace.
'It is not until nearly the end of the second act that we are allowed to see the beautiful black and white evening gown, which Miss ellaline Terriss wear under her long black cloak. It is a very handsome dress of black velvet, with whide insertions of fube transparent black lace, crossing the velvet here and there, and leaving visible a lining of white satin. Elaborate embroderies of jet outline the low bodice, and are seen again upon the shoulders at at the wrists of the long, transparent sleeves of fine black lace, while a similar embrodery ornaments the velvet near the hem of the skirt. In the last act, we find Miss Terriss wearing a quite a simple little gown of white chiffon with a white silk spot. The skirt is finely tucked on the hips, and bordered near the hem with three little flounces, while the bodice is quite charming, with its dainty fichu of chiffon, bordered with cream lace, and caught in the centre with a single deep red rose. The sleevers of this gown, too, are particularly pretty, with their puffs of lace at the wrist, threaded through with narrow black velvet baby ribbons. When Madame Furet - in other words, Miss Terriss - packs her trunk and threatens to go home to her mother, she wears over this white chiffon gown a charming Empire coat of fine turquoise blue cloth, with revers of cream satin, covered by a very handsome collar of Irish gipure. This coat has a full jabot of cream chiffon, and is fastened across the front with wide straps of stitched blue cloth and large gold buttons. Miss Terriss wears with this coat a very becoming hat of white felt, trimmed with long white ostrich feathers.
'As Paquita, the Spanish wife of Racouli, the tenor, Miss Fanny Brough looked well in a gown of dark blue cloth, trimmed with orange silk and dark blue velvet, while the two little milliners, played respectively by Miss Hilda Jeffreys and Miss May Chatteris, are dressed alike in scarlet and white foulard, with frilled skirts, white waist-bands, and collars of tuckd lawn and lace. Their hats are cream-coloured rustic straw, smartly trimmed with huge bows of scarlet glace' silk. Miss Emily Miller's toilettes in the part of Madame Duplautin are intertionally, no doubt, more grotesque than pleasing, while the maid Toinette (Miss Florence Lloyd) looks equally pretty in her neat afternoon dress of black cashmere, with its dainly collar and cuffs of lace and muslin, and in he blue and white morning print, and snow-white cap and apron.'
(The Pall Mall Gazette, London, Thursday, 20 September 1900, p. 4b) 'A fire broke out between one and two o'clock yestrday in the presmies of Messrs. Williams and Co., military cap makers, at the back of Richmond-buildings, in Dean-street, Soho, which completely destroyed them. Great apprehensions were entertained of the extensive factories of Rundell and Bridge, which joined, and of Mr. Carpue's and other houses in Dean-street, but no serious damage was done. The conduct of the New Police was very exemplary, and they bore the taunts of the rabble with firmness, and soon make them retreat from the confined spot in which the fire took place. There was a fire in the same place and similar premises about fourteen years ago.' (Jackson's Oxford Journal, Oxford, Saturday, 13 November 1930, p. 2c) advertisement 'Opposite the OPERA-HOUSE, HAYMARKET. 'LANCT. TUCK (from Messrs. Rundell and Bridge, Jewellers and Goldsmiths to their Majesties) returns his grateful acknowledgements to the Nobility and Gentry for the very distinguished Patronage and Favours he receive last season. Having completed a new and elegant assortment of JEWELLERY, &c. &c. begs to solicit and assure them no pains or attention shall be wanting to merit their future Favours and Patronage. Dimaonds set, and Pearls strung in the newest fashions.' (The Morning Chronicle, London, Saturday, 21 January 1804, p. 1c, advertisement) 'The four troops of the Essex Yeomen Cavalry, commanded by Colonel BURGOYNE, will muster on the 9th, being the first of Holybush fair, and after the field-day, will present their Colonel with a gold vase, of the value of 500 gunineas, with an appropriate address and inscription, richly ornamented with an a-la-Gre'c, border border Egyptian Sphinx, Stud Feet, and the Colonel's Arms in the centre; the vase was made by RUNDELL and BRIDGE; the a-la-Gre'c borders, embossments, arms, &c. were executed by HARDING, of Old-street.' [sic] (The Morning Chronicle, London, Friday, 5 September 1806, p. 4a) 'On Saturday - Vinning, a principal shopman of Messrs. Rundell and Bridge, Jewellers, in Ludgate-street [sic], was apprehended under a warrant from the Lord Mayor, charged with having robbed their extensive property of various quantities of plate, and other articles, and fraudulently receiving the amount of bills from various of their respectable customers, to the amount of several hundred pounds: he confessed his guilt.' (The Morning Chronicle, London, Wednesday, 2 March 1808, p. 3c) From the London Gazette Partnerships Dissolved 'P. Rundell, J. Bridge, E.W. Rundell. A. De Caix and B.C. De Caix, Rupert-street, Haymarket, mould manufacturers.' (The Derby Mercury, Thursday, 30 March 1809) 'THE DEATH OF RAFFAELLE MONTI. - The death of Rafaelle Monti, the Italian sculptor, whose works obtained a high reputation in England, is announced as having taken place on Sunday, in London. He was born at Milan in 1818, and studied under his father. In 1846 he came to England, where he soon obtained a good reputation, exhibiting, among other works, his veiled statue exectued for the Duke of Devonshire, which attracted great attention. Returning to Milan in the following year he joined the popular party, and in 1848, as one of the chiefs of the National Guard, was sent on a mission to the camp of Charles Albert. After the disastrous results of the brief campaign of that year he flad to England, where the orginality of his subjects, united with his great executive skill, secured for him popularity and extensive pantronage.' The Belfast News-Letter, Belfast, Thursday, 20 October 1881, p.6f 'MONTI'S SCULPTURE. 'A young Italian sculptor of illustrious names is showing some very graceful works at the house of Messrs. Colnaghi, in Pall-mall East. Signor Raffaele Monti is the nephew of the poet, and the son of a sculptor of some eminence. His present collection comprises a figure of Eve mourning for her fall; a groupe [sic] of girls, fishing; a bust of the Veiled Vestal, and some other works. 'The Even is a lovely figure. The sculptor has rightly made it a model of woman, in all the fulness of her beauty. The posture is one expressing the languor of despondency; the countenance is bathed in regret. The forms are richly voluptuous; their fulness, however, restrained with the grace of perfect symmetry, and the attitude chastened by feminine modesty. 'In the Fishing Groupse, the heads are portraits. One girl stands with lifted rod; the other, holding one arm round her companion, and looking up with a smile of satisfaction, is stooping to lift the captured fish from the water. The composition is very graceful, and remarkable for the quiet vivacity of the action. 'Among the smalle works are some little elfs, spirits of flowers; which flowers are chisselled in marble with singular grace. The flow of the lily, the firm sweep of its petals, is so excellently caught, that the likeness cheats one, and you may fancy the colour or perfume. Two little Amori, modern and ancient - respectively in puris naturalibus, and in coat and waistcoat - are pretty pleasantries. We have heard the sculptor call his Veiled Vesta ''uno scherzo'' - a freak; it is a cunning use of the semi-transparent marble to suggest the forms beneath the veil; and very prettily it is done; though the present version, more defined, is not quite so happy as another which we hve seen by the same hand. 'The main characteristics of Signor Monti's style are, grace and life; the latter a rare quality among modern artists.' John Bull, London, Saturday, 7 September 1850, p. 571 '... there was real mourning amongst the British art fraterminety at Canova's death in 1822. As David Wilkie visiting Canova's now-deserted studio in 1826 reflected upon his treatment of marble, 'No one appears to have gone more completely rid of its weight or its hardness. Under his hand it has all the pliability of a yielding material... 'Canova was not the only Italian sculptor to find favour with British patrons in the nineteenth century. Amongst others were the Bergamasque Giovanni Maria Benzoni who to Victorian commentators seems to carry on the Canovian tradition of transforming marble into ''yielding flesh'' and Rafaele Monti, a protagonist of the Scuola Lombarda, who moved to London in 1848 in order to escape the political upheavals of Italy, establishing a successful studio there...' Cinzia Maria Sicca and Alison Yarrington, editors, The Ilustrous Trade, Material Culture and the History of Sculpture in England and Italy c.1700-c.1860, 'Introduction', 2000, p. 10 Monti 'Philip Ward-Jackson in his entry on the sculptor in the Oxford Dictionary of National Biography has pointed out how Monti was very much in the public eye in Britain when his work was staged at the 1862 Exhibition. The sculptor had, according to this author, produced decorative work for the Crystal Palace when it was removed to Sydenham, Kent, in 1853, notably the coloured plaster casts of the Parthenon sculptures. By 1858, his relief for the proscenium arch at the Covent Garden Opra House was in place and during that decade he had also worked for the influential Rothschild family at Mentmore. He also designed the bronze equestrian statue of the Marquis of Londonderry, unveiled in 1861 in the market square at Durham.' Manfred Fister and Ralf Hertel, Performing National Identity, 2008, pp.80-81, note 17 'COURT OF BANKRUPTCY, Basinghall-street, Nov. 24 [1854]. . . . '(Before Mr. Commissioner FONBLANQUE.) 'IN RE MONTI. 'This was a meeting for the choice of assignees in the case of Raffaele Moni, sculptor, of Great Marlborough-street. The bankrupt is well known to the public from his numerous casts in the Crystal Palace. The failure is for a considerable amount. From a preliminary statement furnished by Messrs. Paul and Turner, it appers that a sum of 15,866. is due to unsecured creditors, and 731. to those holding security. There is due to the bankrupt from the Crystal Palace Company a sum of 5,043. (he having already received 13,630. on account of 18,693.). There are works of art, held by creditors as security, valued at 1,793.; ditto, at studios, 3,600.; value of plant, studios, &c, 1,500.; furniture, 300.; debtors, 700. The bankrupt has an unfinished contract with the Crystal Palace Company to a large amount, but it is estimated that a sum of 6,000. will be require to complete it. Among the articles thus contracted for and not completed are, the fountains for the basin in the north-east transept (these have been delivered, but the marble and copper work remains to be completed); 36 fountains to cascades, consisting of boys carrying tazzas, to be executed in galvano-plaster; four fountains to the end of cascades, consisting of three boys, three swans, three festoons, three masks, and two tazzas each, to be executed in galvano-plaster and delivered by the 14th of May, for 1,390.; two statues to represent Mercury and Fortune, for the top of templets to cascae, 500., to be completed by the same date; 48 tazzas in Sicilian marble, 1,780.; 190 ditto, for 3,651. The following have been executed in plaster, at 2 10s. each; 54 vases, at 10. each; four river fountains - Atlantic, Pacific, Arctic, and Indian - executed in cement, 120. each; eight statues in cement, for fountains in terrace gardens - Hope, Joy, Friendship, Love, Modesty, Valour, Vigilance, and Prudence - for 720. ( all delivered except Hope and Joy, which are completed ready for delivery). Debts to the amount of about 5,000. were proved at the meeting, and the following gentlemen were chosen trade assignees: - Mr. George Thomas Ellis, builder, of John-street, Berkeley- square, and Mr. Montague Hunt, of Whitehall-place, gentleman. Mr. Stansfield is the official assignee, and Messrs. Ashurst are the solicitors under the bankruptcy. The bankrupt attributes his failure to his having undertaken contracts at a figure at which he is now unable to carry them out, owing to the enhanced price of labour and materials; also the the partial failure of a process by which he sought to produce the galvano-plaster casts.' The Times, London, Saturday, 25 November 1854, p. 11d 'An exhibition at the Victoria and Albert Museum commemorating the International Exhibition of 1862 admirably displays a number of remarkable objects of decorative art and sculpture shown 100 years ago. . . . 'Classical antiquity, the Italain Renaissance, the Middle Ages were all sources of motifs for the artist. . . John Gibson's worship of ancient Greece is manifest in the celebrated ''Tinted Venus''. . . Of a quite different character, and aesthetically of special note is the allegory of the Risorgimento ''The Sleep of Sorry and the Dream of Joy,'' by Raffaelle Monti, a fine baroque conception by this member of the anti-classical Milanese School, who came as an exile to England, the veiled figure floating upwards representing a liberated Italy rising from the body prostrate beneath foreign domination.' 'Marking the Centenary of the 1862 Exhibition,' The Times, London, Saturday, 21 July 1962, p. 4d 'an opportunity to study the taste in sculpture of a neglected generation will be provided at Christie's on September 22, when 27 marbles from Grittleton, near Chippenham, most of them life-size, will be auctioned. . . . 'The 27 marbles were acquired between 1833 and 1856, the year of his death, by Joseph Neeld, great-nephew and chief heir of Philip Rundell, who left nearly 1m. . . 'there are three portrait busts, two of them of the avaricious Philip Rundell, and five over-lifesize figures by E.H. Bailey (as forgotten an R.A. as ever existed), who was a pupil of Flaxman, chief modeller for Rundell and Bridge and known in his day as ''a master of feminine delicacy.'' One, ''Eve after the fall'', by Italian Rafaelle Monti, won a prize at the Great Exhibition of 1851...' 'Nineteenth-century nostalgia. Sculpture Collection for Sale,' The Times, Tuesday, 30 August 1966, p.10b (The Times, 23 September 1966, p. 14d, notes that Monti's 'Eve after the Fall' made the Grittleton collection's highest price of 800gns. Obituary 'Raphael Monti died in London on Sunday, aged 63. A native of Milan, he studied sculpture under his fatther, Gaetano Monti, and at an early age won the Gold Medal of the Imperial Academy in that city by a group of ''Alexander taming Bucephalus.'' His next considerable work, ''Ajax defending the body of Patroclus,'' was exhibited before he was grown up. Between 1838 and 1842 he resided at Vienna, and between 1842 and 1847 was occupied with several groups designed to add to the attractions of Milan. In the last-mentioned year he came to England, where his ''veiled statue,'' executed at the insistance of the Duke of Devonshire, elicited high praise. Returning soon afterwards to Milan, he gave in his adherence to the popular party, and in 1848, as one of the chiefs of the National Guard, was sent on a mission to the camp of Charles Albert. The war over, he again came to England, and from that time devoted himself to his art. Models of more than one of his works may be found in the Crystal Palace. He is probably seen at his best in the groups of ''The Veiled Vestal'' and ''Eve after the Fall,'' which are characterized in a high degree by originality of conception and beauty of treatment.' The Times, Tuesday, 18 October 1881, p. 10f 'THE LATE RAFFAELLE MONTI. - The celebrated work by this eminent Italian sculptor, THE VEILED LADY, which attracted so much attention at the International Exhbition, is now in the Galleries of H. Graves and Co., 6, Pall-mall, London. Visitors are respectfully invited.' The Times, London, Tuesday, 25 October 1881, p. 1f, advertisement 'TO A.J.P. - I am longing to be with you. I implore you to write or wire me on Wednesday. - J.W.' The Times, Tuesday, 25 October 1881, p. 1b, advertisement Sotheby's Belgravia, 26 July 1973 The Cup of Byron, Monti for Hancock, London, 1864 Court Circular 'His Excellency Prince Callimaki, Envoy Extraordinary and Minister Plenipotentiary from the Sublime Ottoman Porte to the Court of st. James's, arrived yesterday at the Turkish Embassy in Bryanstone-square [sic]. His Excellency is accompanied by his Lady, Princess Callimaki, and suite.' The Times, London, Saturday, 29 August 1846, p. 5a 'The Epoque announces the departure for London of Prince Callimaki, Minister Plenipotentiary of the Porte to the Court of England. ''All those who knew the Prince,'' says the Epoque- '''During his long stay in Paris, cannot but rejoice in his appointment. The choice of a Chistian to fill so elevated a post does great honour to the Sultan. It is an additional pledge given by him to the friends of civilization ...' The Times, London, Wednesday, 2 September 1846, p. 5a Court Circular 'Prince Callimaki, who for two years and a half has occupied the post of Ottoman Envoy Extraordinary and Minister Plenipotentiary at this Court, leaves London in a day or two for Paris, where he is accredited in the same capacity.' The Times, London, Thursday, 21 December 1848, p. 4d 'THE EXHIBITIONS OF WORKS OF ART DURING THE YEAR 1853. No. III. SCULPTURE AND ARCHITECTURAL DESIGNS. '... we rejoice to welcome among us men like Baron Barochetti and Raffaele Monti. The influence of Italians on our English School of Art is not to be regarded as a meter matter of temperament. In the south of Europe there is a much greater familiarity with the nude than in the north; and this cicumstance alone is sufficient to account for a greater air of nature in the works of sculpture. Moreover, the attitudes of inhabitants of warm countries are, genrally speaking, more free and graceful - there is more ''abandon,'' less self-consciousness, in the Italian peasant than in the northern. . . . 'The enthusiasm which could lead the noble author of ''Nicolo dei Lapi'' and ''Ettore Fieramosca'' to abandon the cares of statesmanship and the pursuits of literature for the hammer and chisel, and spend weeks and months this year working in the studio of his friend Raffael Monti, is only one instance out of many of the devotion to art which is common among Italians.' The Morning Chronicle, London, Monday, 11 July 1853, p.3c in re Monti's bankruptcy, an address for him is given in addition to Marlborough Street, viz: 20 Princes Street, Hanover Square Daily News, London, Thursday, 29 March 1855, p. 7c 'The WORKS in SCULPTURE OF RAFFAELE MONTI. 'MESSRS. CHRISTIE and MANSON respectivelly give notice that they will SELL by AUCTION, at their Great Rooms, King-street, St. James's, on FRIDAY, June 16, at 1 precisely, the beautiful WORKS in Marble and Clay, of that great and highly poetical sculptor RAFFAELE MONTI; comprising an improved reproduction of ''Eve after the fall,'' and of his very finest works, of life size, and numerous exquisite, small groups, statues, and fancy busts, among which are several veiled female heads; highly interesting studies in clay, electroplated as copper [sic], and several statues, groups, and busts, copies after the antique, and of works of celebrated modern sculpters [sic], executed in Italy, and highly finished in Monti's studio, under his personal superintendence; also some elegant marble fountains, adapted for conservatories or halls. - May be viewed three days preceding, and catalogues had.' Daily News, London, Monday, 4 June 1855, p. 8b, advertisement 'FINE ARTS 'THE ROYAL ACADEMY. '... The sculpture would be much as usual were it not that Raffaele Monti has sent two groups of very great merit - ''Two Negro women of Senegal,'' and ''Piacere e dolore,'' or swift and slow hours - a flying draped or veiled figure, and one recumbent, sorrowful and despairing. This work is in marble, and very delicately carved.' The Morning Chronicle, London, Saturday, 5 May 1860, p. 5e re the sculptor, W.C. May 'The sculptor was born at Reading in 1853. He commenced his art studies at the South Kensington Museum before he had passed the early age of 15, and in a few months won several honours, including a medal. Having passed through the Royal Academy - where he gained two silver medals and honorary mention for the historical gold medal - and the studio of Mr. Woolner, R.A., he became the pupil (afterwards the favourite pupil) of the late Signor Raffaele Monti, with whom he studied and worked for six years; he continued his association with the great sculptor at intervals until his death in 1882 [sic], assisting him to carry ut many large and important works in England, India and other part of the Empire. ...' The Ipswich Journal, Ipswich, Friday, 13 May 1887, p. 5f/g 'THE CUPS OF THE ROYAL VICTORIA YACHT CLUB. - In order to render the forthcoming yachting season a memorable one, not only from the promised visit of our American kinsmen, but also from the incentive to good entries by means of valuable prizes, the royal Victoria Yacht Club a few weeks since resolved upon offering for competition at the next race a piece of plate of unprecedented worth and beauty. With this object in view a ''committee of taste,'' composed of the Marquis of Exeter, Mr. R. Sutton, and Mr. Thelluson, was appointed, and by their direction an invitation was issed to the principal London silversmiths to procure and send in designs for a work of art in silver of the value of 500gs., an amount greater by 200gs. then is usually expended upon race cups. In complance with this challenge a great number of drawings, groups, tazzas, vases, &c., were submitted to inspection, and eventually the choice fell upon a design by Signor Rafaelle Monti, well known as the sculptor of the ''Veiled Vestal,'' and ''The Sleep of Sorrow and Dream of Joy.'' The prize consists of two large massive tankards, respectively illustrative of the mhthologucal deities of the Sea and the Earth [the lid of the former a group of] Amphitrite and Neptune, seated in a nautilus-shaped shell, drawn by dolphins [and on the lid of the latter] is a group of Urnanus and Tithea... The drawings remain on view at the establishment of Messrs. Hancock and Co., Bruton-street, London.' Hampshire Telegraph and Sussex Chronicle, Portsmouth, Saturday, 4 May 1872, p. 9e London 'ENTERTAINMENT TO FOREIGN SCULPTORS. - On Monday the first of the series of hospitalities expected to take place in connection with the Great Exhition came off at Willis's Rooms, London. The chair was taken by Sir Charles Eastlake, and the number of gentlemen assembled might be about 100. After the usual loyal toasts, there came as a sentiment, ''The Foreign Governments who have contributed to the peaceful union of nations, by sending works to the Exhibition.'' To this toast Herr Lefrew, the Prussion Commissioner, responded in French. The President next gave ''The healt of the Foreign artists who had contrinuted to the Exhibition.'' Herr Kiss, the sculptor of the great work the Amazon Group in the Exhibition, rose first to acknowledge the compliment which had been paid to the forign sculptores. M. du Seigneur, the scuptor of St Michael and Satan, represented with great modest of manner the French, and signor Monti spoke [in English] on behalf of the Italian artists.' Caledonian Mercury, Edinburgh, Thursday, 15 May 1851, p. 2b OPENING OF THE CRYSTAL PALACE BY HER MAJESTY '... The Queen made a full stop before Signor Monti's great bronzes, and expressed her unqualified approbation.' Daily News, London, Monday, 12 June 1854, p. 6d 'THE SCULPTOR OF THE CRYSTAL PALACE ON THE FINE ARTS. - Signor Monti, the eminent Italian Sculptor, whose fountains and statuary at the Crystal Palace have attracted so much public notice, delivered the fourth of a series of Lecutres, at his Bureaux des Artes, Great Marlborough-street, on the 19th instant. The lecturer again reverted to the works of the ancient masters and praised the Greek people for their appreciation of the art, and also of forms; from the latter arose the first creation of the ideal . . . Sig. Monti announced his intention of devoting the two remaining lectures to observations upon modern art, and there is no doubt that he will fearlessly criticise the productions of our living artists. The lecturer was attentively listened to by a select and fashionable audience.' Jackson's Oxford Journal, Oxford, Saturday, 30 June 1855, p. 7b full report re Monti's bankruptcy Daily News, London, Thursday, 1 November 1855, p. 6c-e 'THE LAW OF BANKRUPTCY. 'Its Administration, Abuses, and Amendments. . . . 'We now, however, turn from the court to the South to the building to the East, and there we find an ''infexible'' Comissioner awarding a FIRST CLASS certificate to Signor Monti, the sculptor, who kept no ''books'' whatsoever for the purpose of dislosing to his creditors and the world the various stages of his ''chiselling.'' Yet his very commissioner, in set phraseology, says, ''Where I find a man who has not kept accurat accounts has got into difficulties, ti is my invariable rule to suspend his certificate for three months. I shall repeat again and again what I have so often said - that every trader is bound to keep good books, and if he cannot do it himself, he out to employ other persons.'' Before writing our next article we shall take a peep into Signor Monti's studio, with the view of seeing what ''dummies'' he preserves.' The Era, London, Sunday, 25 November 1855, p. 9b 'THE MUSICAL EXAMINER. 'Two musical events have distinguished the past week. One was the performance, on Tuesday evening, at St. Martin's Hall, of Bach's Grosse Passions Musik... the other event of the week was the opening of St James's Hall on Thursday evening with a sacred concert for the benefit of the Middlesex Hospital. The concert was good, and its object good, for the needs of the Middlesex Hospital are equal to its claims. The concert, however, was not of an unuaul kind; the new thing on Thursday was the beautiful hall itself. Against it, beautiful as it is, we must urge one objection. The illumination set in the roof by Mr Owen Jones, over a telling firmament of gas stars suspended in mid air, has dubtless by its great richness compelled the warm colouring of Signor Monti's two sets of figures, repeated alternately round the room, into the semblance of young male and female acrobats in flesh-coloured tights, and some of them with fillets in their towy hair, who display their art in a most perilous way over the window-frames. Some of them, indeed, were they the acrobats they seem to be, must tumble and break their necks, to say nothing of the ladies above whom they happen to be perched. It is the suggestion of life, furnished by the colouring, that puts these figures into a ridiculously false position. But Mr Owen Jones set his heart upon colour. White sculpture would not lead the eye up properly among the mazes of his florid decoration. let us suggest, however, that even this decoration, beautiful undoubtedly, is little suited for use in a music hall wherein all great musicians shall be heard to speak. . . .A good music hall should leave the eye at peace and rest as much as possible, remove offences, but avoid also stimulants of its attention. It should be built for the ear . . .' The Examiner, London, Saturday, 27 March 1858, p. 197c 'DURHAM. - The monument to the late Marquis of Londonderry will shortly be completed. The pedseal is contructed of enormous stones from Peneher Quarry, some of their weighing between seven and eight tons. ... The work is of copper, formed by what is termed the galvano-pastic process, and is one fo the largest works of the kind which has been executed by this process.' The Newcastle Courant, Newcastle upon Tyne, Friday, 6 April 1860, p. 8c LEADER 'London: Friday, May 3, 1861. 'It is one of the triumphs of sculpture to show the leneaments of the face through a veil of marble. The Conservative benches, last night, were adorned with forms of this kind,b efore which the efforts of Signor MONTI fade into insignificance. . . .' The Morning Chronicle, London, Friday, 3 May 1861, p. 4b THE INTERNATIONAL EXHIBITION '... Signor Monti, the sculptor of the well remembered ''veiled figure'' of 1851, which now holds the place of honour in the gallery of Chiswick House, has at length obtained a place for another statue of a somewhat similar description. This time it is a Turkish lady, whose face is covered with a veil, but the effect is attempted to be heightened - it is for the critis to say with what success - by the use of light thrown on the figure through coloured media. The sculpture is beautiful and delicate, like everything that comes from Signor Monti's chisel, and the figure was yesterday surrounded by crowds of admirers.' Daily News, London, Friday, 13 June 1862, p. 6a EXTRACTS FROM PUNCH 'EXTREMELY FRIVOLOUS. - We have no respect for the art-critic who, being shown the beautiful figure of a black girl by Signor Monti, called it a Monti-negro.' The Leeds Mercury, Leeds, Thursday, 18 September 1862, p. 4b 'The Cyrstal Palace Art Union has issued a bust of Shakespeare, modelled by Signor Farelle Monti, and executed in Copeland's ceramic statuarty. The height is thirteen inches.' The Birmingham Daily Post, Birmingham, Monday, 23 May 1864, p. 7a 'The London Stereoscopic Company have sold Signor Monti's statue of ''The Sleep of Sorrow and the Dream of Joy.'' The present possessor is George E. Dering, Esq., of Lockleys, hertfordshire. A large sum is said to ahve been given for it.' The Birmingham Daily Post, Birmingham, Monday, 2 January 1865, p. 2e 'THE BRIGHTON CUP, 1867. - The entry for this race closes to-morrow (Tuesday). The trophy this year is modelled by Signor Monti, and is a group in silver representing ''Amphitrite,'' the Goddess of the Sea, being conveyed towards the coast, standing on a shell carried by sea horses and led by Tridons; whilst the Nymph of the Tide rises to pay homage to her Queen, and to present a tribute - in the shape of a rare shell of the deep - a sylph of the land-breeze comes to raise the veil of mist which surrounds the watery Queen. This elegant design will form a sourvenir in every respect worthy of Brighton Races.' Daily News, London, Monday, 8 July 1867, p. 3c The Era, London, Sunday, 11 August 1867, p. 3c, adds that this piece 'is from the ate'lier of C.f. Hancock, Son, and Co., Bruton-street, Bond-street.' 'STOCKBRIDGE. - Thursday, June 24 [1869]. 'The opening day of the Stockbridge fixture was patronised by a most influential company, amongst whom ewe noticed Prince Slotykoff, the Duke of Beaufort, the Marquis of Anglesey, Lord Royston [et al] . . . The principal evens of the nine races on the card was the Stockbridge Cup . . . The ''cup'' is a silver group of noble proportions, representing Arthur exterminating the Saxons of Cerdic at Beden Hele (Beacon Hill), A.D. 520. It has been designed and modelled by Signor Monti, the manufacturers being the well-inown firm of Hancock and Son, of Burton-street [sic], Bond-street...' The Era, London, Sunday, 27 June 1869, p. 3d 'BANQUET TO THE EARL OF BEACONSFIELD AND LORD SALISBURY. '... The banquet took place [on Saturday evening] at the Duke of Wellington's Riding School... The tables were decorated with some fine works of art in silver, the dsiengs of H.H. Armstead and Signor Monti, and lent for the occasion by Messrs. Hancocks and co., of Brunton-street, who, with Messrs. Willis, arranged the tables, &c. ...' The Western Mail, Cardiff, Monday, 29 July 1878, p. 3c 'On Monday evening, the ceremony of presenting Admiral Rous, with an appropriate testimonial, in recognition of his services to the English turf, and the zeal and assiduity he has always displayed in the performance of his responsible and laborious duties, took place at a grand banquet given to the gallant admiral at Willis's Rooms. The presentation was of a twofold character, consisting of a portrait of the admiral, by Grant, and a trio of magnificent candleabra from a most exquisite design by Monti, and expressly manufacturered for the occasion by Messrs Hancock, Son & Co., of Bruton Street and Bond Street, and Mrssrs Hunt & Roskell, of New bond Street, at a lost of 2,000 guineas.' (The newcaslte Courant, Newcastle-upon-Tyne, Friday, 22 June 1866, p. 5f medals awarded at the Paris Exposition, 1867 'Class 21. - Gold and Silver Plate, &c., - Gold medal: Morel-Ladeuil, chaser at Messrs. Elkington's. Silver medals: Armsted, chaser at Messrs. Hunt and roskell's; Wilms, carver at Messrs Elkington's; Monti, carver at Messrs. Hancock and Co.'s. Bronze medals: Ryland, chief metal worker at Messrs. Elkington's; Pairpoint, carver at Mr. Emanuel's; Barret, carver at Messrs. Hunt and Roskell's; Carter, carver at Messrs. Hunt and Roskell's.' Daily News, London, Thursday, 4 July 1867, p. 3b Brighton Races, 1867 Wednesday, 7 August 1867 '...The Cup, modelled by Signor Monti, is a group in silver, representing Amphiltrite, the goddess of the sea, being conveyed towards the coast. She stands on a shell, carried by sea-horses, led by her faithful Tritons. Whilst the nymph of the tide rises to pay homage to her queen, and to present a tribute - in the shape of a rare shell of the deep - a sylph of the land-breeze comes to raise the veil of mist which surrounds the watery queen. The prize is from the ate'lier of C.F. Hancock, Son, and Co., Brunton-street, Bond-street.' The Era, London, Sunday, 11 August 1867, p. 3a Leeds Fine Art Society's Exhibition '... The case exhibited by Messrs. Hancock, of Bruton-street, London, contains some very fine speciments of silver workmanshiop. Among other articles there is an antique loving cup and cover, very richly chased. There is a Ballona vase designed by Signor Monti, and another vase representing ''Night and Morning,'' by the same artist [and other items].' The Leeds Mercury, Leeds, Monday, 21 March 1881, p. 8b 'A RUSSIAN PRESENT. - A very superb box of ebony, embossed with massive silver, and ornamented inside the lid with a view of Gilbraltar, and with a drawing outside of the colours, &c., of the Regiment, has been manufactured at the establishment of Mr. Hancock, of Bruton-street, Bond street, after the designs of M. Eugene Lami, and is about to be presented by the Prince Demidoff to the colonel and officers of the 79th Regiment of Cameron Highlanders, now at Gilbraltar. The box is a very elaborate speciment of British manufacture, and is in excellent taste; the thistle, the laurel, with various emblematical devices are introduced, and at the corners ar eeagles. The cost of this splendid piece of workmanship is three hundred and fifty guineas.' The Examiner, London, Saturday, 13 April 1850, p. 234b 'STOLEN KISSES. - CAUTION. - Whereas PIESSE and PUBLIN have copyright in the aove name of their New Perfume; also in their Sequel, NOB HIS HEARS legal proceedings will be at once taken against any persons counterfeiting the name, or coying the names and title, so as to mislead purchasers. 'FRANCIS CHARLES PIESSE, Solicitor, Clerkenwell.' The Daily News, London, Saturday, 1 December 1860, p. 1c, advertisment advertisement 'FRIDAY STREET 'FIVE Dozen of shaped Gadroon's Plates and seventeen Dishes; several single Dishes, to complete Sets, great Variety of Tea-Kettles, Epergnes, Tureens, Bread-Baskets, Cups and Covers, Monument and other Candlesticks, Ink-stands, Shaving-Plate, Sets of Cannisters, Knives, Forks, and Spoons complete in Cases, Cruet Frames and Castors, Gold Snuff-Boxes, Repeating, Chased and Plain Gold Watches, by the best makers; a very curious-chased Gold Watch, Chain and Etui, ornamente with fine sprigg'd Mocoa Stones; together with ever other Kind of Old Plate, either useful or ornamental, to be sold exceedingly cheap, at the Corner of Friday-street, in Cheapside, at the Golden Ball only, as for many Years past. Also the greatest Choice of New-Plate, either chased or plain, in the newest Taste, at lower Princes than common, and the most Money constantly given for any Quantity of Plate, Watches, and Jewels, and for such as are pawned. 'Four fluted Corinthian Pillar Candlesticks, a very elegant Epergne, two chased Gold Etui's [sic], and a fine rich open bordered Tea Table, a small Rose Diamond Sprig, and Trumpet, all to be sold exceeding cheap. 'A curious oval chased embossed pierced Dish very light, in the fine old Taste, a very neat round Tea-Table, with an exceeding fine graved Border, full twenty-four Inches over, a large gilt Cup, as good as new. Two Chalices, a very curious Silver chased Glass Frame in the Chinese Taste, for a Toilet.' Whitehall Evening Post or London Intelligencer, London, Thursday, 13 May 1756, p. 3a, advertisement for description of contents of a plate chest, see London Gazette, 14 September 1710, advertisement. 'MISSING. 'At Lambeth police-court on Monday an application was made with regard to the disppearance of Samuel Loveland Bevan, who left his home in Amelia-street, Walworth, a few days back, and had not since been traced. The missing made was stated to be 34 years of age, and by trade a plate-chester maker. When he left he was attired in a dark brown short coat, dark tweed trowsers and vest, sidespring boots, blue striped shirt, and felt hot.' Lloyd's Weekly Newspaper, London, Sunday, 31 August 1884, p. 3e '... Nodin and Houlds, at No. 20, in the Haymarket, St. James's... Marquees and Tents... Bedsteads... Mosquito Net Bed Hangings... Dressing and Writing Cases for travelling... Cantines in Leather, and Camp Trunks... Plate Cases, Chests, and Boxes of every Sort, for packing and other Uses... As they are the Makers of most of the Articles they vend, and the rest are procured from the principal Manufacturers, they are enabled to sell upon such Terns as they hope will recommend them.' St. James's Chronicle or the British Evening Post, London, Saturday, 15 April 1780, p. 4b, advertisement The British Museum's jewellery collection includes an 1860s English necklace formed as a row of gold dics, each applied with the shimmering head of a real humming bird. In her research into this astonishing object, Judy Rudoe did not neglect to investigate its orginal box: a beatufifully-finished morocco leather-covered case with silk and velvet lining. She even managed, by identifying the blind-stamp mark on its heel, to trace the name of its maker, the Parisian-born Louis Autra (1814?-1901). Scant attention has been paid until recently to the cases, boxes, chests and trunks that were made to contain and protect silver and jewellery. Indeed, a proper study of them is long overdue even though a wealth of information survives about them and their makers, let alone thousands of the boxes themselves. The latter range from the exquiste, for jewellery, gold boxes, &c, to robust iron-bound oak plate chests intended for the transport and storage of entire silver or plated dinner services. While jewellery cases sometimes have maker's marks, plate chests invariably do not, although the inside of one early 19th Century example was found to have a pencilled signature hidden under its green baise lining. That said, the names of various plate chest makers are known from two and a half centuries ago, some of them working in leather (who also made leather buckets and blackjacks) as well as oak in styles that hardly changed until the early 20th Century. While the making of plate chests is confined to history, there are a few firms still in existence making jewellery cases although I would venture to say that none can match the quality and delicacy of workmanship achived during the middle of the 19th Century. My own favourite maker of such boxes (identifiable by the mark, J superimosing a leaf) is the firm of Joseph Lief (d. 1867) of London, whose son, also Joseph, employed in 1881 4 men, 2 boys and 3 girls.