Pair of ladies' leather shoes, Belgium, London, 1920-1930.

Pair of ladies' shoes made from highly varnished black leather trimmed with an openwork panel of blue suede, printed in gold. The heel is covered with a shiny black composition and the buttons, used to fasten the shoe straps, are flat and made from black composition.
The shoes are lined with white leather, the toes with canvas. Stamped on the insole is; 'Handmade in Belgium expressly for Durosa Ltd, London.'
The soles are stained black and '28' is incised on the instep. The box, of which the lid is missing, is made from white paper covered card with a label at one end with a trademark of a cock facing left, standing on a motif in which 'P C D' with below '3 Medailles D'argent' and on the right, '15 Medailles d'Or' 'HORS CONCOURS 1913 MEMBRE DU JURY' and printed at the side 'Made in Belgium'. On the other end of the box is scribbled 'Gin: swede Bon punched 6^1/2 LXV.'

Bequeathed by Lionel Ernest Bussey.

These shoes form part of the Lionel Ernest Bussey collection acquired in 1970 following his death on 5th December 1969.

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."

T.318 & A & C-1970