Burning Bright

28/09/2011 § Leave a comment

Dreams of Rousseau’s  jungle scenes and Blake’s tyger.
Is it all this talk of travel and adventure…?

French painter Henri Julien Felix Rousseau (May 21, 1844 – September 2, 1910) is the most celebrated of the naïvist artists.  Largely ridiculed in his lifetime for his simplistic style, Rousseau’s fame came posthumously.

“Picasso could never have painted Guernica without that gentle innocent, Henri Rousseau.” (See: When Henri Met Pablo)

From the verdant density of the jungle, to the wide eyes of the wild cats, to the streaming mane of the woman, of the gypsy, of the horse…it is like Rousseau has a secret window into my sleeping mind.  Rousseau paints my dreams, dreams that are always just slightly too surreal to be real…

Rousseau’s final masterpiece, The Dream (1910).

[Rousseau’s] …best known paintings depict jungle scenes, even though he never left France or saw a jungle. Stories spread by admirers that his army service included the French expeditionary force to Mexico are unfounded. His inspiration came from illustrated books and the botanical gardens in Paris, as well as tableaux of “taxidermified” wild animals. He had also met soldiers, during his term of service, who had survived the French expedition to Mexico and listened to their stories of the subtropical country they had encountered. To the critic Arsene Alexandre, he described his frequent visits to the Jardin des Plantes: “When I go into the glass houses and I see the strange plants of exotic lands, it seems to me that I enter into a dream.

Rousseau’s big cats have been stalking my mind.
The leopard, the lion, the tyger…

The Tyger

Tyger! Tyger! burning bright
In the forests of the night,
What immortal hand or eye
Could frame thy fearful symmetry?

In what distant deeps or skies
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand dare sieze the fire?

And what shoulder, & what art.
Could twist the sinews of thy heart?
And when thy heart began to beat,
What dread hand? & what dread feet?

What the hammer? what the chain?
In what furnace was thy brain?
What the anvil? what dread grasp
Dare its deadly terrors clasp?

When the stars threw down their spears,
And watered heaven with their tears,
Did he smile his work to see?
Did he who made the Lamb make thee?

Tyger! Tyger! burning bright
In the forests of the night,
What immortal hand or eye
Dare frame thy fearful symmetry?

William Blake, 1794

Like Rousseau, English poet William Blake (November 28, 1757 – August 12, 1827) was largely unrecognized during his lifetime.  He has since been recognized as an important member of the Romantic Movement.

Man of the Hour: Briggs Swift Cunningham II

26/09/2011 § 2 Comments

Briggs Swift Cunningham II

“…the millionaire amateur who devotes his time and money,
his enthusiasm and his burning energy to the pursuit of a breakneck sport.”
TIME Magazine, 1954

Briggs Swift Cunningham II was born to race.  Hailing from a wealthy Ohioan family — his father had interests in railways, meat-packing, commercial real estate, founded Citizens’ National Bank, and was the chief financier of two young developers named William Cooper Procter and James Norris Gamble (perhaps you’ve heard of them?) — Cunningham, or “Mr. C,” was a moneyed sportsman who dedicated his life to dominating gentlemanly pursuits, and did it with the kind of style rarely seen today.  Born in 1907, he left his mark most notably in the realms of auto and yacht racing.  Were he born today, I still have a hard time imagining him doing anything else.  Cunningham doesn’t strike me as the kind of man who would base jump.  Just doesn’t have the same elegance.

As a child Cunningham summered in the Northeast, where his love for sailing was born.  After his family relocated to Southport, CT he joined the Pequot Yacht Club at the age of 17, thus beginning a love affair with yachting that would last over 30 years.  He entered Yale to become an engineer, but it didn’t stick.  He left university and married first wife Lucy Bedford, daughter of a Standard Oil heir, whose enthusiasm for sport and yachting — and money to burn — matched his own and on their honeymoon they travelled the world, attending regattas and watching the Monaco Grand Prix.  Monaco would spark the beginning of Cunningham’s love of auto racing.  He spent the years before WWII racing the seas and cars and getting his pilot’s license.  He was also an excellent shot.  When he was turned down by the US Navy on account of his age and asthma, he just bought his own aircraft and flew anti-submarine patrols along the eastern seaboard with the Civil Air Patrol and US Coast Guard throughout the war instead.  The man wasn’t one to take limits — or the word “no” — seriously.

After the war, he turned his attention to auto racing, with an eye on competing — and winning — in the 24-hour races at Le Mans, France with American cars and drivers, a feat never performed.  In 1950 he entered the race with two modified Cadillac Coupe de Villes against a field of Ferraris, Aston Martins and Jaguars and still managed to come in 10th and 11th.  The next year he returned with a car he designed and built himself.  That car failed to finish in 1951, but the design he introduced the 1952 season was his most successful and considered by many to be the first true American sports car: the Cunningham C-4R.  The C-4R finished fourth at Le Mans — Cunningham himself drove 20 of the 24 hours because his partner was ill! — with Cunningham (and American automotive manufacturing) earning the esteem of the European racing establishment.  Americans were no longer merely hot rodders.

Cunningham C4R. Image via Team Quail.

We also have Cunningham to thank for the familiar racing color scheme shown above.  In 1950, when he entered his first race at Le Mans, America did not yet have an established national racing color, so he picked one — white with two broad blue stripes that stretched the length of the car.  The stripes were called “Cunningham stripes” for years.  Cunningham continued to manufacture cars until 1955 and they remain highly prized by collectors, as evidenced by the excitement surrounding the discovery of the final missing C-3 — one of only 25 cars manufactured — in a Connecticut barn just a few weeks ago.

Missing C-3. Image via WSJ.

Cunningham would also excel in the realm of yachting in the 1950s.  In 1958, he was tapped to skipper the American yacht Columbia in the America’s Cup, leading to a rout of the British challenger, Sceptre, 4-0.  In September of that same year, LIFE photographer George Silk captured some amazing images of the yacht race and teams in Newport, Rhode Island.

Skipper of the Scepter, Graham Mann, with Cunningham.

The Columbia, left, and the Scepter.

Skippers Cunningham, Mann and chairman of the
America’s Cup Race committee, John Dickerson (far right).

Cunningham at the helm.

”Briggs was like a fine violinist with boats,” said Victor Romagna, who sailed with Cunningham in the competition. ”He would need someone to do the tuning, as one might with a Stradivarius, but afterwards, we would hand the boat back to Briggs. Then he would play the instrument absolutely perfectly.”  Via: NYT.

Racing Committee.
Cute shorts, gents.

Sceptre.

Columbia race team.

Weatherly yacht and team.

After his victory at the America’s Cup in 1958, Cunningham continued to sail the Columbia, as a member of the New York Yacht Club.  As was typical for Cunningham, he also managed to introduce a technical innovation to sailing in the form of a now-commonly used device called the “Cunningham” that adjusts sail tension.


Was pleased to find footage of Cunningham, circa 1956, at the Pequot Yacht Club.
The film is silent, but he appears around the 3 minute mark, dressed in black.

Cunningham continued to race at Le Mans into the 1960s, but instead drove teams of Corvettes, Maseratis and Jaguars.  When he became unable to compete as he grew older, he began to unload his massive collections.   He sold off his cars in the late 1980s and he parted with his libraries of motoring and yacht books, his art collection and his models in the early 1990s, much of it going to the Herreshoff Marine Museum in Bristol, Rhode Island.  Fittingly, he was inducted into both the America’s Cup Hall of Fame and the Motor Sports Hall of Fame.

Cunningham died in 2003 at the age of 96, survived by his second wife Laura, children, stepchildren, grandchildren and great-grandchildren.

Rabbit Hole Revisit: paws22 on Flickr

23/09/2011 § Leave a comment

This picture kind of blew my mind.

It had been awhile since I checked in with paws22 on Flickr, and I’m happy to report that he’s busy as ever.  If you haven’t yet had a chance to check out his Flickr stream, I’d suggest you hop to.

Field Notes: (capsule) womens

20/09/2011 § 2 Comments

Dropped by (capsule) womens this weekend and was pleased to get an early look at what S/S 2012 has in store for the ladies.  While it does feel slightly strange to be looking at shorts when it’s just getting to be sweater weather, I’m definitely not complaining.  Let’s get real.  As always, (capsule) provided the opportunity to catch up with familiar brands (and faces) and make a few new discoveries as well.

Penfield. Love the color and clasp.

Species by the Thousands.  Magnified chic.

Wm. J. Mills & Co.  Lovely ladylike options.

Vintage Mills labels.

Made Me: Schott Perfecto x Liberty London lining

In God We Trust.  Lady bowties, cufflinks.

Cheeky hand-inscribed flask.

Bridge and Burn.  Through the menswear blogs, I was already aware of Bridge and Burn, but I didn’t know they also designed for women.  Display a distinct menswear influence, factor in a very well-placed use of contrast (linings, waistbands, zippers) and copiously use navy, red, stripes and plaid, and I’m pretty much sold.  I want it all.  Was also very pleased to chat up owner/designer Erik Prowell.

Bliss Lau. The Fathom.  In. Love.
The Fathom is a double ring that can be worn together or separately.
That gorgeous purple stone is a gem called “Viking’s Compass.”

Worn by designer Bliss Lau herself.  Can we talk about that amaze manicure?

Just When I Thought I Was Out… {Ralph Lauren Collection Spring 2012}

16/09/2011 § 2 Comments

…they keep pulling me back in.”  — Michael Corleone

I suppose I should have never doubted that Ralph Lauren would be my favorite from NYFW.  We go way, way back.  And this time around I flirted with the idea of another man, but the indomitable Mr. Lauren didn’t care.  He waited.  He reclinated.  He knew that when he would drop his glittering collection on my head, I’d come running right back to his side.  He knew that I wouldn’t ever be able to say no to him…

The man was right.

For spring 2012, while most other collections showed influences of the 1930s and 40s, Mr. Lauren reached back even further to a decade he is most comfortable with — the 1920s.  And why not?  His costumes for Jack Clayton’s Gatsby are constantly referenced by fashion and costume designers.  Why not seize upon spring’s nostalgia, ratchet up the glamour and hit his own sweet spot?  Textbook really.  These are clothes for both Daisy Buchanan and Jordan Baker, and you probably already know I tend to like Jordan a bit more…  If you were looking for 1920s with an edge, for the ironic jazz age, you won’t find it here, because that is not what Mr. Lauren does.  You need to go talk to Thom Browne if that’s what you want, because that’s what he showed this week.  Mr. Lauren is unfailingly earnest, and you will either find this boring, or love it to death as I do.  Ralph Lauren is not an iconoclast — he is an icon.  And it is a dying breed at that…

Mr. Lauren’s spring 2012 is iridescent, feathered, and jeweled.  It is club-collared, double-breasted and cuffed.  The palazzo pant is making a return.  You better learn how to tie a tie and how to wear a cloche hat.  And above all, get thyself to a fabulous ball because these gorgeous silk gowns, they are screaming to be worn.

Now, I had to restrain myself here.  Of course I wanted to post it all down to the last drop, but if you really want to see every outfit, you can head over to Vogue for that.  And I highly recommend you do because photographer Marcio Madeira had a field day.  His shots are A.Maz.Ing.  What I wanted to share with you, were some of my favorite looks, coupled with some of my favorite detail shots  (Madeira blew my mind with these — I have yet to see any other runway detail shots that are this lavish, this indulgent).

Ready? Let’s Charleston…

“Let’s, let’s stay together
Loving you whether, whether
Times are good or bad, happy or sad…”

Well done, sir.

All images via Vogue.

LIFE Archives: Back to School, Winchester College 1951

14/09/2011 § 1 Comment

Cornell Capa captures returning students at Winchester College in 1951.

I actually have the AC on as I write this — hello Indian summer!
Seeing all of this delicious tweed is such a tease.

Auction: Doyle New York: The Estate of Douglas Fairbanks, Jr.

12/09/2011 § 1 Comment

Douglas Fairbanks, Jr. in 1938.
December 9, 1909 – May 7, 2000

Over the weekend, I dropped by Doyle New York on the Upper East Side to peruse the estate of Douglas Fairbanks, Jr., due to be sold tomorrow morning, September 13, at 10am.  Fairbanks, son of screen legend Douglas Fairbanks, Sr. and his first wife Anna; and stepson to his father’s second wife — screen legend in her own right — Mary Pickford; was Hollywood royalty.  Encouraged by his father and stepmother, Fairbanks, Jr. began acting at a young age in silent films, eventually working in “talkies” and on the stage, and became quite the leading man.

During the second World War, Fairbanks, Jr. served as a reserve officer in the US Navy, where he trained with the British Royal Navy through an officer exchange program headed by Lord Mountbatten, a friend of his father, Fairbanks, Sr.  Fairbanks, Jr. returned to the states where he was instrumental in the creation of the Beach Jumper program, a special naval unit specializing in misinformation and deception.  After the war, he returned to acting.

Fairbanks, Jr. was married three times — once to Joan Crawford! — and had three daughters.  He was a rather acquisitive fellow who enjoyed the best of everything.  This auction of his estate contains more than 400 lots of jewelry, memorabilia, clothing, furniture and artwork.  I was most excited to see the clothing and personal effects and came away quite impressed…and also full of antique lust, but that’s to be expected.

Wearing the platinum, diamond and turquoise set pictured above.

Loved Fairbanks’ Rolodexes.

Decorated war hero, Hollywood star…fan of Lily Pulitzer resort wear?

Brook Club crest and lighter

Patek Philippe Gold Wristwatch
Grouped with below photo of Fairbanks wearing the watch, with Marlene Dietrich


Images via QC, LIFE and Doyle New York

Some of the lots are estimated to go as low as $100 – $200, like these ties pictured above.  So if old Hollywood, fine menswear and classic personal accessories appeals to you, you may want to mosey over to Doyle New York tomorrow morning and see what’s what.  Or perhaps place a bid from afar.  Just don’t you bid on anything that I have my eye on…

The Estate of Douglas Fairbanks, Jr.
Auctioned by Doyle New York
View the full catalog here

Featured: Quite Continental on Racked NY ~ “Shopping Confidential”

07/09/2011 § 2 Comments

Just a short note to let you know I’ve been featured elsewhere on the interwebs.  I wrote a brief post for Racked New York’s “Shopping Confidential” series about one of my favorite sources for vintage art in New York City.

To read it, head here.

Style Icons: Teddy Girls

07/09/2011 § 6 Comments

With lady pompadours cropping up everywhere this fall (like the editorial I just previously posted) I have been thinking a lot about the ladies who arguably perfected the hairstyle — The Teddy Girl.  You may already be familiar with the British Teddy Boy  subculture in the 1950s and 60s of boys and young men who dressed like the dandies of the Edwardian period, but also had something of a reputation for hooliganism.  Smaller in number, less well-known and less frequently photographed, Teddy Girls pushed the boundaries of conventional 1950s style for women, with some perfectly emulating the Teddy Boys in both hair style and dress.

These girls were awesome.

I love her ribbon/cameo necktie.  Love.

The teddy girls left school at 14 or 15, worked in factories or offices, and spent their free time buying or making their trademark clothes – pencil skirts, rolled-up jeans, flat shoes, tailored jackets with velvet collars, coolie hats and long, elegant clutch bags. It was head-turning, fastidious dressing, taken from the fashion houses of the time, which had launched haute-couture clothing lines recalling the Edwardian era. Soon the fashion had leapt across the class barrier, and young working-class men and women in London picked up the trend.

When the Girls Came Out To Play by Susannah Price for The Sunday Times

[Photographer Ken] Russell’s work offers a glimpse into the lives of a group of feisty young women who were set on creating an identity of their own. Their choice of clothes wasn’t only for aesthetic effect: these girls were collectively rejecting post-war austerity.

Among many people, male “teds” had an intimidating reputation. They were often linked in the public’s mind with violent crime. In July 1953, 17-year-old John Beckley was murdered by teddy boys near Clapham Common, and the Daily Mirror’s headline – Flick Knives, Dance Music and Edwardian Suits – made an explicit connection between clothing and criminality.

Former teddies insist that the connection between thuggery and style only applied to a small number of them. “We weren’t bad girls,” says Rose Shine, then Rose Hendon, who was 15 when she posed for Russell. “We were all right. We got slung out of the picture house for jiving up the aisles once, but we never broke the law. We weren’t drinkers. We’d go to milk bars, have a peach melba and nod to the music, but you weren’t allowed to dance. It was just showing off: ‘Look at us!’ We called the police ‘the bluebottles’ – you’d see them come round in a Black Maria to catch people playing dice on the corner. But we’d just sit on each other’s doorsteps and play music.”

When the Girls Came Out To Play by Susannah Price for The Sunday Times

Images 1 & 7 Roger Mayne via // Images 2 – 6 Ken Russell via

LIFE Archives: Glenn Miller {A Nightingale Sang…}

02/09/2011 § 1 Comment

Do you recall I went to Sleep No More a few months ago?  I noted that the production’s music was an interesting oeuvre, spanning decades and genres — but there was one song that I liked most of all, a jazz standard written in 1939 called “A Nightingale Sang in Berkley Square.”  About a magical night spent falling in love, this song has been sung by many, but the version I prefer — and the version used in Sleep No More — is by the Glenn Miller Orchestra.


Isn’t it just gorgeous…?

While I was familiar with a number of Glenn Miller Orchestra classics — Chattanooga Choo Choo, In the Mood, Moonlight Serenade, among others — I realized I actually did not know all that much about Glenn Miller himself, and upon a quick LIFE Archive search (which has been down for ages, praise Google for finally fixing the bug!), I turned up a batch of great photos of the band leader and band performing for US troops in Connecticut in 1943.

Between the years of 1939 and 1942, the Glenn Miller Orchestra had 70 — count ’em, seven-zero — top ten hits.  The Orchestra also had its own CBS radio show and appeared in feature films.  Most amazing though, was to find out that in 1942, at the height of popularity, Glenn Miller disbanded the Orchestra so that he could serve his country — musically, of course — in World War II.  Too old to be drafted, Miller joined the US Army Air Force, conducted and modernized army bands and eventually formed the Glenn Miller Army Air Force Band.  On December 15, 1944 Miller boarded a Paris-bound plane in order to make performance arrangements for the band.  Tragically, Miller’s plane disappeared somewhere over the English Channel and was never found.

Miller’s story was made into a film in 1954, starring James Stewart.

Ladies watching “The Glenn Miller Story” in the theatre, 1954.

New to Glenn Miller?  This album has all the classics — a great starter.

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