Pair of ladies' leather boots, Anton Capek, Vienna, London, 1895-1915.

Pair of ladies' boots made from tan glacé kid leather and are high mid-calf length with a curving top, scalloped side button stand, a self-covered 'Louis' heel and pointed toe on which is a peaked toe cap, bordered with perforations.
The boots are lined with white sateen, the tops faced with yellow satin. Printed on the left boot is 'ANTON CAPEK THALIASTRASSE 28 WIEN' surmounted by a crest and with four medals at the bottom. On the right shoe, 'MADE IN AUSTRIA EXPRESSLY FOR C. W. Coulson, 15 Tottenham Court Road, London, W'.
On the stitched, welted brown leather sole is stamped on the right and left toes '35' '3' and, underneath in ink '35' '24' and under the instep '5'. On the right book in ink is written 'GR/R' 'A/X' ''4/X'.

Bequeathed by Lionel Ernest Bussey.

These boots formed part of the footwear collection of Lionel Ernest Bussey and were donated to the V&A after his death in 1970 by the executors of his estate. The accession register for these boots describes a bill that accompanied them, stating that they were bought in 1923 from CW Coulson. They were probably exhibited at the shop for a while beforehand, as their style is more typical of the late 19th/early 20th century.

From Madeleine Ginsburg's report on the collection at time of acquisition in 1970.

"Lionel Ernest Bussey collected shoes from about 1914 until his death in 1969. The shoes, all ladies, were bought from ordinary fairly good class shoe shops, like Dolcis and Lilley & Skinner, and represent almost all types of fashionable shoe throughout the period, even during the periods of scarcity between the two great wars. Mr Bussey seems to have liked ladies shoes in general, and not just one particular type. His taste seems good and not eccentric.By his death he had collected about 600 pairs, all new and unworn, many not even unwrapped, still boxed up with their (dated) bills. He was fairly well off and spent a considerable amount on his collection. He had an eye for quality.

He took his collection seriously and in his will left them to a museum. I was contacted by his executors, the Midland Bank.
I had to select quickly because the house was under offer, no doors would lock, and surveyors were wandering around. In the end I brought about 80 pairs back to the museum.

Disposal to other collections There were obvious repetitions of style and since I knew we would not want such a quantity I arranged for Northampton to collect the major part, after I had made my selection, direct by van. I suggested that they sent duplicate material to Miss Buck and Mrs Moore. We could offer our spares to the same collections. Mr Riley collected 37 pairs for Brooklyn (exchange I hope for the offer of a good Chanel suit). I checked with the Midland Bank that passing to non English museums was permitted.

Mr Bussey also collected papers: our library obtained back numbers of The Sketch, the London Library some books and the British Film Institute many old Film Journals.

Our Own Shoe Collection we get many enquiries from designers and students. We show our best examples in the Costume Court, but though we have several fine pairs our collection is very unrepresentative. We probably have more 18th century shoes than 19th, and almost no 20th century material except for Heather Firbanks' shoes, all 1910-20. We are rarely offered shoes, and if so usually evening shoes or black button boots. Old worn shoes are rarely aesthetic, in any case!

My Selection I chose about 85 pairs to go through in detail at the museum. Please could we consider acceptance of about 50 pairs of cover the period 1914-1965, about 10 a decade. I cannot, I think, that unless (heaven forbid) there are more collectors like Mr Bussey such an opportunity will occur again. Nobody but an eccentric, after all, would systematically collect wearable shoes, and then not wear them! His collection is all the richer because he was not restricted to what fitted and suited him.

The basis for my selection has been the quality and design of each individual pair of shoes or boots, and representation of the main style changes not as far existing in our collection."


The original bill of sale can be found in MA/1/b3690, the acquisition folder for these boots. The header reads:

15, TOTTENHAM COURT ROAD/ London N.W.1 ...............192 (pencilled in date, 1/3/23)
W. COULSON,
------------------------------------
FASHONABLE AND ARTISTIC
BOOT AND SHOE MAKER
-----------------------------------
LATEST CONTINENTAL DESIGNS. MAKERS OF EXTRA HIGH HEELS.
----------------SMART THEATRICAL FOOTWEAR---------------
REPAIRS AND ALTERATIONS DONE BY EXPERIENCED WORKMEN"

The price paid in 1923 was 8/6. This is the only extant bill in the folder.

Made for CW Coulson of 15 Tottenham Court Road, London. When acquired, were accompanied by a bill dated 1/3/1923. Style of boots is rather earlier.

Attribution note: Model boots probably made for display purposes.

This boot is one of a pair made in Vienna for display in a London shop. It shows European shoe-making at its finest. The slender ankle, curved Louis heel, and high, buttoned leg were very fashionable in 1900. The soft brown leather with its shiny glacé finish highlights the skillful stitching and high quality of construction.

Viennese and Belgian bootmakers produced some of the most striking footwear of the early 20th century. Their stylish boots made good display pieces for retailers. This example is elegantly restrained, but others were richly decorated and made in bright colours. These boots advertised that top-quality fashionable footwear could be had from the shops that displayed them.

When their style went out of fashion and they were no longer useful to shops, display shoes and boots were stored or sold. This pair was purchased in 1923 for 8 shillings and sixpence.

T.322&A-1970