19th Century (ottocento in Italiano
Emporio Duilio 48, Firenze
The “Emporio Duilio 48,” was founded in Florence (in the current Coin department store building, in Via de ‘Calzaiuoli) in 1902. The sales formula was, everything was under the price of 48 cents.
It is a fascinating story about early 20th-century Florence, with the tragedy of WWII a part of it.
The creator of the formula “all at 48 cents” was Joseph (Giuseppe) Siebzehner who was born in Vienna in 1863 and died in the Milan-Auschwitz route in the train departed on 29 January 1944 from platform 21). He was a Jewish merchant of a large Polish family, originally from Kańczuga (south-eastern Poland), married to Amalia Koretz (born in Plzeň on 15 March 1871 and dead in Auschwitz), daughter of Ferdinando.
The Siebzehner, already active in trade in Vienna at the end of 1800, took over the commercial activity called Grande Emporio Duilio and founded in Florence in 1888 by the Papalini brothers, who in turn had taken over the renowned Bazar Bonajuti, founded in 1834 by the architect (son of merchant) Telemaco Bonajuti.
The expansion of the Florentine headquarters in 1907 gave rise to the new name Emporio Duilio 48. This was soon joined by the two more stores in Montecatini and Viareggio; the latter was initially located in a bench where today stands the renowned shoe store Gabrielli, next to Magazzini 48.
It seems that after 1911 there were also 2 stores in Bologna, named simply: Emporio Duilio.
It’s clear that Giuseppe Siebzehner was a cutting-edge merchant, ahead of his time in Italy.
In fact, from the family archive (owned today by Count Federico di Valvasone and the last descendant, Riccardo Francalancia Vivanti Siebzehner), it emerges that Giuseppe already had two exclusive contracts at the end of the 19th century.
One with a comasco producer of festoons, lights of paper and decorations for the holidays.
The other, even more important, was with the great Bolognese blacksmith, Giordani, who built prams, tricycles, and especially bicycles for which he became a famous producer after WWI.
Even more avant-garde, Joseph was the first to produce a product catalog with mail order, a forerunner of today’s online shopping phenomenon.
The activity later passed into the hands of Giuseppe’s sons: Giorgio Vivanti Siebzehner (born in Florence, 1895 and died in Florence, 1952), lawyer and author of the Dictionary of the Divine Comedy and his brother Federico (born in Florence, 1900 and died in Florence in 1978), an electronic engineer who was among the first in Italy to conduct extensive experiments on ceramic resistance at the Italian Ceramics Society – Verbano. He, was awarded the honor of Knight to Merit of the Italian Republic in 1956.
Over time, the Francalancia Vivanti Siebzehner heirs of Valvasone and Bemporad took over the property until the commercial activity was sold to Coin Department store in 1988. The Viareggino building was instead ceded to the Fontana family in the 1990s. They later opened the Liberty Store, one of the most famous record and video games stores in the city.
Liberty of London
A fixture in the London shopping scene, Liberty is a department store in Great Marlborough Street, in the West End of London. It sells highly curated selections of women’s, men’s and children’s clothing, make-up and perfume, jewelry, accessories, furniture and furnishings, stationery and gifts. The firm is well known for its floral and graphic prints.
I love any business with a great history and didactic information in a store window. They could just as well be showing their product line for sale, but they choose to edify. That’s my kinda store. Especially when it’s Liberty of London!
While the exterior of this classic London stop has remained in its mock Tudor style best, the interior and the product lines have changed vastly, even in my lifetime. While I prefer the way the store was when I first visited it with my mother in the 1980s, I have no doubt the management knows how to keep the store vital. I always enjoy a visit to this lovely emporium on any trip to London.
Before this summer, the last time I was at Liberty was in the early 2000s with my then 11-year-old red-headed son. At that time, Paula Pryke had a flower shop at the Liberty main entrance. It was dynamic! Her shop is gone and the store still has a ghost of a flower shop at its front door. But, I miss seeing Paula Pryke’s gorgeous arrangements there. He was less interested in Liberty than in going in and out of tube stations and traveling by train.
Liberty was created by Arthur Lasenby Liberty, who was born in Chesham, Buckinghamshire, in 1843. His father was a draper and, beginning work at 16, he was apprenticed to a draper. Later, Liberty took a job at Farmer and Rogers, a women’s fashions specialist in Regent Street, rising quickly up the ranks.
He was employed by Messrs Farmer and Rogers in 1862, the year of the International Exhibition. By 1874, inspired by his 10 years of service, he decided to start a business of his own, which he did the next year.
With a £2,000 loan from his future father-in-law, Liberty took the lease of half a shop at 218a Regent Street with three staff members. His shop opened in 1875 selling ornaments, fabric and objets d’art from Japan and the East.
Liberty hadn’t wanted to open just another store — he dreamed of an “Eastern Bazaar” in London that could fundamentally change homeware and fashion. Naming his new shop “East India House,” his collection of ornaments, fabrics and objects d’art from the Far East captured the attention of London, already in the crux of orientalist fervor.
It only took 18 months for Liberty to repay his loan, purchase the second half of the store, and begin to add neighbouring properties to his portfolio. From the beginning, the store also imported antiques, with the original V&A museum actually purchasing pieces of Eastern embroidery and rugs for its collection. As the business grew, neighboring properties were bought and added.
In 1884, he introduced the costume department, directed by Edward William Godwin (1833–86), a distinguished architect and a founding member of The Costume Society. Godwin and Liberty created in-house apparel to challenge the fashions of Paris.
In 1885, 142–144 Regent Street was acquired and housed the ever-increasing demand for carpets and furniture. The basement was named the Eastern Bazaar, and it was the vending place for what was described as “decorative furnishing objects”.
Liberty renamed the property “Chesham House,” after the place in which he grew up. The store became the most fashionable place to shop in London, and Liberty fabrics were used for both clothing and furnishings. Some of its clientele included famous Pre-Raphaelite artists.
To show the kind of innovative approach Liberty had for his business, in November of 1885, he brought 42 villagers from India to stage a living village of Indian artisans.
Liberty’s specialised in Oriental goods, in particular imported Indian silks, and the aim of the display was to generate both publicity and sales for the store.
During the 1890s, Liberty built strong relationships with many English designers. Some of these designers, including Archibald Knox, practiced the artistic styles we now call Arts and Crafts and Art Nouveau. Liberty helped develop Art Nouveau in England through his encouragement of such designers. The company became associated with this new style, to the extent that even today in Italy, Art Nouveau became known as the Stile Liberty, after the London shop.
In 1882, author and playwright Oscar Wilde went on a tour of the United States, bringing with him a wardrobe full of clothes from Liberty, creating a demand for the store’s fashions with Americans. Wilde was obviously a huge fan of Liberty.
The iconic Tudor revival building was built by Liberty so that business could continue while renovations were being completed on the other premises. This great building was constructed in 1924 from the timbers of two ships: HMS Impregnable (formerly HMS Howe) and HMS Hindustan.
HMS Impregnable (c.1900), one of the two ships used to build Liberty
The emporium was designed by Edwin Thomas Hall and his son, Edwin Stanley Hall. They designed the building at the height of the 1920s fashion for Tudor revival.
In 1922, the builders had been given a lump sum of £198,000 to construct it, which they did from the timbers of two ancient ‘three-decker’ battle ships. Records show more than 24,000 cubic feet of ships timbers were used including their decks now being the shop flooring: The HMS Impregnable – built from 3040 100-year-old oaks from the New Forest – and the HMS Hindustan, which measured the length and height of the famous Liberty building.
The ships were not Liberty’s only association with warfare. Carved memorials line the department store’s old staircase pay tribute to the Liberty staff who lost their lives fighting in WWII for a different kind of liberty – freedom from the regimes of the Axis powers.
One only need to look up to the roof , upon which stands a marvel of a gilded copper weathervane. Standing four feet tall and weighing 112 pounds, this golden ship recreates The Mayflower, the English vessel famous in American history for taking pilgrims to the new world in 1620.
The interior of the shop was designed around three light wells that form the main focus es of the building. Each of these wells was surrounded by smaller rooms to create a cosy feeling. Many of the rooms had fireplaces and some of them still exist.
Liberty of London was designed to feel like a home, with each atrium was surrounded by smaller rooms, complete with fireplaces and furnishings.
Ever the purveyor of craftsmanship, Arthur Liberty had a furniture workshop in Archway, London. Run by Lawrence Turner, the workshop produced Liberty Arts and Crafts furniture and the intricately carved panels and pillars found throughout the store. The craftsmen allowed his fantasy, ensuring every ornament was a one-off – paving the way for discovery.
Sadly, Arthur died seven years before the building’s completion and so never saw his dream realised. But, his statue stands proudly at our Flower Shop entrance to welcome you warmly into his emporium of wonder.
The architectural historian Nikolaus Pevsner was very critical of the building’s architecture, saying: “The scale is wrong, the symmetry is wrong. The proximity to a classical façade put up by the same firm at the same time is wrong, and the goings-on of a store behind such a façade (and below those twisted Tudor chimneys) are wrongest of all”.
During the 1950s, the store continued its tradition for fashionable and eclectic design. All departments in the shop had a collection of both contemporary and traditional designs. New designers were promoted and often included those still representing the Liberty tradition for handcrafted work.
In 1955, Liberty began opening several regional stores in other UK cities; the first of these was in Manchester. Subsequent shops opened in Bath, Brighton, Chester, York, Exeter and Norwich.
During the 1960s, extravagant and Eastern influences once again became fashionable, as well as the Art Deco style, and Liberty adapted its furnishing designs from its archive.
LIBERTY PRINT ‘CONSTANTIA,’ 1961
In 1996, Liberty announced the closure of all of its department stores outside London, and instead focused on small shops at airports.
Since 1988, Liberty has had a subsidiary in Japan which sells Liberty-branded products in major Japanese shops. It also sells Liberty fabrics to international and local fashion stores with bases in Japan.
Liberty’s London store was sold for £41.5 million and then leased back by the firm in 2009, to pay off debts ahead of a sale. Subsequently, in 2010, Liberty was taken over by private equity firm BlueGem Capital in a deal worth £32 million.
In 2013, Liberty was the focus of a three-part hour-long episode TV documentary series titled Liberty of London, airing on Channel 4. The documentary follows Ed Burstell (Managing Director) and the department’s retail team in the busy lead up to Christmas 2013.
Channel 4 further commissioned a second series of the documentary on 28 October 2014. This series featured four, one hour-long episodes based on six months worth of unprecedented footage. Series two aired in 2014.
Liberty has a history of collaborative projects – from William Morris and Dante Gabriel Rossetti in the nineteenth century to Yves Saint Laurent and Dame Vivienne Westwood in the twentieth.
Recent collaborations include brands such as Scott Henshall, Nike, Dr. Martens, Hello Kitty, Barbour, House of Hackney, Vans, Onia, Manolo Blahnik, Uniqlo, Superga, Drew Pritchard of Salvage Hunters and antique lighting specialist Fritz Fryer.
The website for Liberty also has these suggestions for you to watch for as you sally throughout the sprawling store:
The clock on the Kingly Street entrance of the Liberty store has some words of wisdom for the shoppers who pass by. It says “No minute gone comes back again, take heed and see ye do nothing in vain.” Above the clock, the striking of the hour chime brings out figures of St. George and the Dragon, to recreate their legendary battle every sixty minutes. On each corner of the clock are the angels of the Four Winds: Uriel (south), Michael (east), Raphael (west), and Gabriel (north).
The ascent of woman
God bless them one and all. London’s cultural institutions are very proud of their suffragette heritage, as well they should be! I’ve enjoyed these products throughout the city’s museums.
London broods on you
The Italian Gardens, Kensington Gardens
You might know that almost the first place I would go once I got to London would be the “Italian Gardens!” Ma, certo! Like a bee to honey.
This lovely, smallish ornamental water garden was created in the 1860s and is to be found on the north side of park, near Lancaster Gate. It is believed the garden was a gift from Prince Albert (he died 1861) to his beloved wife, Queen Victoria. Regardless of the why, they are now recognized as a site of particular importance and are listed Grade II by Historic England.
Portraits of Victoria and Albert flank the 2 sides of the balustrades overlooking the lake.
BTW, about once every six months while I am living in Italy I will see something in some work of art that causes me to say: “that’s a new one–I’ve never seen that before.” I love it when that happens.
But, today, at the Italian Gardens, I had one of those moments, caused by the bas-relief below:
I’ve seen a lot of weird images captured in marble sculpture, especially in the form of putti of various stripes, but I have never seen a rifle in a Neo-classical sculpture before today! A detail of it is below:
The Italian Gardens are found within the grounds of Kensington Gardens; you can locate them at the top of the Serpentine River in the map below:
The Italian Gardens are an elaborate mix of four main basins. They feature central rosettes carved in Carrara marble, the Portland stone and white marble Tazza Fountain, and a collection of stone statues and urns. It’s fun to see if you can spot the five main urn designs – a swan’s breast, woman’s head, ram’s head, dolphin and oval.
Strengthening the supposition that this decorative complex was commissioned by Prince Albert is the fact that the layout of the Italian Gardens is very similar to that of Osborne House on The Isle of Wight, where the royal family spent holidays. Prince Albert was a keen gardener and took charge of the gardens at Osborne House, where he introduced an Italian garden with large raised terraces, fountains, urns and geometric flower beds.
It’s thought that in 1860 he brought the idea to Kensington Gardens. The design by James Pennethorne includes many features of the Osborne garden.
The initials of Queen Victoria and Prince Albert can be found on one of the walls of the Pump House, at the north of the gardens.
You can see the V & A monogram in this photo.
This building once contained a steam engine which operated the fountains – the pillar on the roof is a cleverly-disguised chimney. A stoker kept the engine running on Saturday nights to pump water into the Round Pond, so on Sundays there was enough water pressure to run the fountains.
In 2011, the gardens were restored to their original splendour. The project involved:
- Restoring the original stonework. This included carving eight life-sized swan heads and necks as replacement handles on some of the urns.
- Restoring the Tazza Fountain. Fine stone carving was carried out on-site. The central rosettes also needed careful cleaning and some sections were replaced with newly-carved marble.
- A new planting scheme to recapture the Victorian vision and help maintain water quality. Native water lilies, yellow flag iris, flowering rush and purple loosestrife are rooted in cages just below the water. New walkways help ducks get in and out of the water.
- A new cleaner water system and water quality improvements. 13 tons of silt were removed from the fountain basins during the restoration. The fountains are now fed with fresh water from a borehole. The water is aerated and its temperature raised as it leaps in the air, before flowing out into the Long Water. Happily, this improves the ecology of the lake.
The restoration was funded by The Tiffany and Co. Foundation as part of a project to restore ornamental and drinking fountains across the eight Royal Parks, and known as Tiffany – Across the Water.
Also, just for fun, the Italian Gardens have provided a star location in several films.
The Wallace Collection, London. Wow! …and Manolo Blanik too.
If you are a regular reader of my blog, you know that I rarely post images of the decorative arts. I am typically not a fan of fussy porcelains or fine cabinetry. I just don’t seem to have the gene that lets me appreciate that stuff.
But, today in London, I visited the Wallace Collection and it knocked my socks off. I mean, this place is crazy! The former mansion of the Wallace family was gifted to the country of Britain in the last years of the 19th century, and is still set up in a similar manner to the way in which the family lived.
As you might know, I’ve been to a few museums and house museums in my day, but this place is more opulent than any other.
All I can say is WOW! And then show you some (a lot, probably too many) pictures of this amazing place.
Oh, and p.s….Manolo Blanik shoes were also on display. I’ve never owned a pair and never will. But, to see the shoes interspersed with the collections added an element I’d not thought of before. My guide at the Wallace Collection told me that Blanik was an Anglophile and was particularly interested in the Wallace Collection. This is a new point of approach for me, and I could dig it!
Let’s go!
The first thing I heard in the excellent tour I joined, is that when this Japanese chest (and its matching partner) arrived in Europe, it absolutely blew the minds of connoisseurs. They were obsessed with the black lacquer and wanted to emulate it. They couldn’t, it turned out, because the plant that produces the lacquer did’t grow in the west.
Here’s my guide, standing in front of the Japanese chest.
That didn’t daunt them. The king of France set up a artisanal workshop, patronizing the best of the artistic producers known to France, and they experimented and experimented, trying to produce–if not lacquer itself–at least something that looked very close to it.
Above, King Louis XV, the king who developed the French fine arts.
This is the time period in which France is lifted by the decorative arts. France would no longer import fine luxury goods–they would produce them. It started then and is still going strong today.
The wardrobe below was produced in this workshop.
Before having a gander at the million photos I took today, introduce yourself to the Wallace Collection here with the director:
Now, please join me as I wander through the collection:
Can you say “opulence?”
Also, the Wallace Collection has a lovely restaurant!
And then, on to the armor!
And to a Gothic crown. Because, why not?
Check out the line of matching armor head pieces and shields.
Below: a portrait of Madame de Pompadour, commissioned by herself. My guide told the fascinating story of this woman and her involvement with the French king, and discussed the fascinating iconography of this portrait. Please note her tiny shoe peeking out from under her “Pompadour pink” gown, for which she set the fashion of the day. This is the type of detail by which Blanik was inspired. Looking at his shoes today, I could see it.
And, then there is this Jean-Honoré Fragonard masterwork: The Swing (1767).
Monet’s house in Giverny
Below are photos of the view of the garden from Monet’s bedroom window:
The dining room:
The kitchen:
Galleria Vittorio Emauele, Milano
When I was in Milano at Christmas, I saw this beautiful galleria decked to the 9s. It was a bit less hectic today, and, even without the Christmas finery, this early shopping mall is still a sight to behold. I enjoyed it from inside and underneath the glass ceiling, but then I went hunting for a way to get outside and on top of the galleria. Do you think I found a way?
If you said “no,” then you don’t know me very well! I have the will and I find the way!
So, here it is from the outside, above the rooftop.
A 19th-century kitchen in a Genovese palazzo
Inside the magnificent Grimaldi Palazzo in Genoa is an essential room that often does not survive into the modern age. I’m speaking of a kitchen.
As it happens the 19th-century kitchen of the Grimaldi Palazzo is more or less still extant and is a very interesting place to visit when in Genoa. Here are some of my photos of my recent visit to this very important room.
get back, lauretta! 
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