I’ll do the disclosure part first. The 1596 horn is to be auctioned on 24 November as lot 134 by Matthew Barton Ltd. I’ve been in contact with Matthew to discuss the content of the catalogue listing for this lot (go to p39), and have been given permission to use his photograph. He also provided the information on the 1599 Violet shoehorn below that was also missing from my catalogue. At no time was promotion or advertising requested and this post should not be construed as such. When I become aware of other Mindum horn sales, I’ll also mention them.
Photograph copyright Matthew Barton Ltd 2015
I think this is a particularly significant horn for a couple of reasons that I’ll outline below.
The finish of the horn isn’t as fine as his usual work. There’s a number of inked-in scratches meaning that either he didn’t polish the horn before starting, or it’s been reinked since. I think it’s the former due to the way the triangles along the top edge are worn and uncoloured.
The location of the date isn’t quite right, it looks like he had planned to put it at the end of the inscription but then changed his mind after doing the text and put it in a more prominent location instead. He usually fills those sort of spaces with scrollwork. He’s also tried a different technique that I haven’t seen on any of the earlier horns. There’s a row of opposing triangles between the arches at the base and the lady. Rather than opposing point to point, these are wider spaced and the points of one row face towards the spaces between the triangles in the opposite row. He’s done a knife cut either side from the apex to the base, then a third across the base, slid the point in and lifted the piece. Slow, fiddly and not a particularly good finish. I can’t see it used on any of the later horns, but he does use the opposing facing triangles from 1597 on as far as I can see, every horn after that date. I’ve discussed the purpose-built tools I think he had made in a previous post.
This horn appears to be missing at least a third, possibly more of its original length. This is normal for the horns that have been heavily used, due to wear from the coarse woollen stocks in use at the time – several others show similar amounts of loss. Looking at the decoration, there’s a row of opposing triangles across the top, that would normally separate another design area from what we currently have. For 1596, I’d expect at least an encrowned rose or fleur-di-lis at the end, and possibly a band of knotwork. This then gives us significantly more room for the inscription around the outside edge.
This example is only the second known to display Mindum’s middle name, the other being the 1595 “Robart Go To Bed” horn. I’m not certain of the significance of this and why it only appears to have happened during this two year period. Have a look at where he has put his name. The extant inscription is THIS IS ROBART HEND / RT MINDVM. Could this be Mindum’s own shoehorn? Given the extra space we’ve identified and following his usual formula, the inscription may have read:
THIS IS ROBART HENDART MINDVM’S SHOIN HORN MADE BY THE HANDE OF ROBART MINDVM
The lady on his shoe horn looks very similar to the lady on the 1593 Jane Ayres shoe horn in the Salisbury Museum and appears to be wearing the same hat, not a particularly fashionable one for the period. I’ve haven’t seen the 1595 Jane Ayres shoehorn, it hasn’t been noted since 1921 but may feature another picture of Jane. I’ll owe an ale to anyone who can produce a picture of the later one.
Crackpot theory time: let’s assume for the moment that this is Mindum’s own shoe horn. He’s done a picture of his sweetheart on it, arguably Jane Ayres. We know he married a woman called Jane some time prior to 1613 as he made (another?) shoe horn for her then. This is pure supposition drawn from idle speculation, but I would like it to have been true.
The second horn escaped my attention mainly because the sale predated on-line catalogue distribution. It last sold in 1986 at Christie’s Important European Sculpture and Works of Art sale NINI-3357.
This has all the features you’d expect to see on a later Mindum shoe horn. The design is the same as Iohn Gybson’s 1597 with the addition of a small tree at the base near the arches. The catalogue notes that it is “A late 16th century English white oxhorn shoe-horn by Robart Mindum.” The inscription is:
THIS IS ANTHONIE VIOLETS SHOING HO / HANDES OF ROBART MINDUM 1599
I’ve attempted to contact Christies for more details or a better image but am yet to get a response.
Thanks to Matthew Barton for bringing both these to my attention.