Showing posts with label Balmoral. Show all posts
Showing posts with label Balmoral. Show all posts

Saturday, March 29, 2014

Mastery of Design: The Plaid Brooch, 1848



The Plaid Brooch
Commissioned by Prince Albert
Scotland, 1848
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II



A work of cairngorm (a form of quartz native to Scotland), gold, enamel, seed pearls and garnets, this handsome brooch is called “The Plaid Brooch.” It dates to about 1848 and was commissioned by Prince Albert for Queen Victoria. The Prince Consort presented the brooch to his Royal wife in November 21, 1848. The cairngorm had been collected by Prince Albert himself while on a walk with the Queen at Lochnagar, the highest mountain near Balmoral, in September 1848.

The brooch was intended to record their bravery in attempting to climb the mountain, even in the most inclement weather and fog. Furthermore, it was meant as a gift to the Queen from Prince Albert to celebrate the birthday of Princess Victoria.





Saturday, February 15, 2014

Painting of the Day: Queen Victoria at Osborne, 1867



Queen Victoria at Osborne
"Shadow"
Sir Edwin Landseer, 1867
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II



Queen Victoria’s “Go-to” painter for many reasons was Sir Edwin Landseer (1803-1873). Her Majesty admired Landseer’s work for its monumentality and sense of historical accuracy as well as his sensitive and accurate depictions of children and animals. After the 1861 pre-mature death of Prince Albert, Victoria commissioned Landseer to create a pair of paintings which she called “Sunshine and Shadow.” She wrote in her journal that she was “seized with a great wish” to see illustrated the contrast between those dear, joyful times which she had shared with Prince Albert on the Highlands at Balmoral and at their vacation home, Osborne House, and the overwhelming grief she felt since the Prince Consort’s death.

Her Majesty asked, for the “Shadow” portion of the pair that she be painted, “as I am now, sad & lonely, seated on my pony, led by Brown, with a representation of Osborne.”

And, that’s just what Landseer did.

Here, we see the Queen in the mourning attire she donned for the remainder of her life. Landseer pictures Her Majesty seated upon Flora, the royal pony. Flora is being led by John Brown. Behind them, we can see the grand terraces of Osborne, the clock stopped at 3 p.m. Her Majesty reads a letter while, on the ground, her gloves and other letters have been cast aside. As I’ve mentioned before, imagery of cast-off gloves often symbolized a woman alone.

Landseer has also carefully painted two of the Queen’s dogs, a Border Collie (most likely the one called Sharp) and a Skye Terrier whom we know as “Prince.” Princesses Louise and Helena are seen in the background.

That Victoria asked for Brown to be included in the painting speaks of her affection for the servant who had originally been a ghillie (an outdoor servant) at Balmoral. Upon the passing of Prince Albert, Queen Victoria and Brown enjoyed a close friendship. John Brown was deeply protective of the Queen, and she was fiercely loyal to him despite the opposition of her advisors and family, especially the future King Edward VII.

The Queen’s grief was compounded when Brown died in 1883. She wrote:

Perhaps never in history was there so strong and true an attachment, so warm and loving a friendship between the sovereign and servant…Strength of character as well as power of frame – the most fearless uprightness, kindness, sense of justice, honesty, independence and unselfishness combined with a tender, warm heart…the most remarkable of men.

Landseer painted the portrait based on many live sittings as well as a variety of photographs of the Queen on horseback, the dogs, and the princesses. He began the work on “Shadow” in 1865—creating sketches, but didn’t begin actual painting until 1867. Landseer claimed to have been unsettled by the fog and suggested that his failing eyesight had delayed him. The painting was exhibited at the Royal Academy in 1867, at the end of the year. He wrote, upon the opening of the exhibit:
If there is any merit in my treatment of the composition it is in the truthful and unaffected representation of Her Majesty’s unceasing grief – The story should be told by the Picture.

Thursday, November 21, 2013

History's Runway: The Tartan Dress, 1845



Tartan Dress
Britain, 1845
The Victoria & Albert Museum



This smart dress is indicative of women’s fashions of the mid-to-late-1840s. Why tartan? Well, by this point, not only had Queen Victoria and Prince Albert become enchanted with Scotland, they had, in 1848, purchased a Royal residence in Aberdeenshire. By 1853, work had commenced on a new castle at Balmoral and fashionable London Society had turned their attention to all things Scottish in order to emulate the Queen and Prince Consort. This interest turned to a passion for plaid, and women and men alike draped themselves in colorful tartans. Furthermore, Walter Scott’s popular novels added fuel to the fire of Scotch love, helping to keep the fashion alive well into the 1850s.

This dress, made around 1845, features long, tight sleeves, a high, round neck and the long, pointed waistline which defined the 40s. A bold silk-satin in a tartan pattern dominates the garment which is accentuated with a front lace fastening.

Relying on the textile for color, the only trimmings on the gown are its handsome agate stud buttons mounted on black velvet bows above the wrists. Agate was considered a wholly Scottish stone and, at the time, the majority of Scottish jewels included agate on silver. The dress’ bodice is piped on all the main seams and is entirely lined with cotton. The bodice is boned and the skirt is lined with yellow and white fabric. The lining could be removed for washing. The present lining may actually not be original. Yellow chamois dress preservers, original to the gown, were installed in the armpits to absorb perspiration and to protect the silk-satin from staining.




Tuesday, November 12, 2013

Her Majesty's Furniture: The Coburg Armchair, 1851




Armchair
Theodor Behrens
Coburg, Germany, 1851
The Victoria & Albert Museum
Donated from Holyrood Palace


Here we see one of a set of four ornate Gothic-style armchairs which match an impressive sideboard.
  The set was made in the German state of Coburg (the home of Queen Victoria’s husband, Prince Albert) and was sent specifically to Prince Albert’s 1851 Great Exhibition to represent Germany’s creative work. The chairs were not intended to be thrones (though that’s the overall look), but rather were meant to demonstrate the skill of the designers and carvers. Theodor Behrens, who was responsible for the carving, adorned each chair with slightly different motifs and carved an inscription, including his name, on the back of this one. The original wool tassels of the fringe were bright pink as opposed to the gold that we see today.

The set of furniture was praised by the Art-Journal Illustrated Catalogue in 1851 for the carving “in the German-Gothic style of the middle ages.”
  The chairs were especially praised while the sideboard received an “honourable mention” in the jury reports for the exhibition.

The sideboard and chairs were 
 installed in the Evening Drawing Room, part of the Royal Apartments on the first floor of Holyrood Palace, Edinburgh, in 1852. Victoria and Albert used Holyrood as a “stopping place” when they traveled to their Aberdeen estate, Balmoral. The  palace’s Evening Drawing Room was also furnished with a suite of furniture which was upholstered in crimson velvet. In 1863, Queen Victoria commissioned a watercolor of the room, showing two of these chairs flanking the sideboard, to record her happy memories of holidays in Scotland with Prince Albert.



Saturday, March 23, 2013

Object of the Day, Museum Edition: Bonbonnière with a view of Balmoral Castle, 1907



 Bonbonnière of gold, enamel and Diamonds
Henrik Emanuel Wigström, 1907
Showing the "Balmoral Side"
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II



Fabergé's brilliant workmaster Henrik Emanuel Wigström (1862-1923) created this bonbonnière of gold, enamel and rose-cut diamonds in 1907. With its lovely views of Balmoral and Windsor Castles, the wee candy box was destined to be a part of the Royal Collection, and, naturally, that’s where it ended up.

The bonbonnière was purchased by Sir Ernest Cassel from Fabergé's London branch, on November 4, 1907 for £81 5s. Sir Ernest presented the box to his friend Sir Philip Sassoon who held onto it for quite some time.

Now, it would be very easy to suggest that Queen Mary spied the box in Sassoon’s collection and suggested in her particular way that the object really should, since it does depict Balmoral and Windsor, belong in the Royal Collection. It would be easy to do so because it’s true. Sassoon’s records indicate that as early as 1908, the Princess of Wales (after 1910, Queen Mary) admired the object, noting that it was the first work by Wigström that she’d ever seen depicting one of the Royal residences. She kept at it for decades, I would guess though I have no proof of it. 


Nevertheless, we do know for certain that Sir Philip presented the bonbonnière to Queen Mary for her birthday on May 26, 1934. No doubt, Her Majesty was quite pleased. Queen Mary displayed the bonbonnière with great pride and marveled at its enameled views of Balmoral Castle on one side and Windsor Castle on the other as well as the edge of the box which is set with enameled roses and leaves interspersed with diamond-set crosses.

The Windsor Castle side
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Sunday, December 2, 2012

Sculpture of the Day: The Atholl Inkstand, 1844-45



The Atholl Inkstand
Commissioned by Prince Albert, 1844
Presented to Queen Victoria, Christmas, 1845
Silver, silver gilt, granite, marble, quartz,
stag teeth, cairngorm, amethystine quartz
Kitching & Abud
The Royal Collection

Prince Albert, consort of Queen Victoria, was a remarkably intelligent man with many varied interests and a keen appreciation for the arts. He was also, however, quite fond of shooting animals. This was pretty standard for a young nobleman in a culture which traditionally encouraged its lads to participate in “field sports” and hunting. But, ever the clever fellow, Albert found ways to combine all of his many interests while being attentive to his greatest love—Victoria herself.


The prince often enjoyed incorporating the teeth of the animals he killed (mostly stag) into works of art and jewelry. He delighted in presenting these trophies to friends and loved ones and enjoyed the permanence they offered in the commemoration of a special event or relationship.

In 1844, when Albert and Queen Victoria vacationed in the Scottish Highlands, Victoria called their visit was, “a little Arcadia for a few weeks” as the prince decried that the Highlands, “act as a tonic to the nerves and gladdens the heart of a lover like myself of field sports and of nature.” So enchanted with Scotland were the Royal couple (a love which led them to purchase Balmoral) that Prince commissioned this ornate inkstand to present to the Queen as a souvenir of their peaceful holiday.

A silver sculpture of a stag stands proudly atop an inkwell encased in a casket of silver gilt, granite, marble, quartz, stag teeth, cairngorm, amethystine quartz. Two silver plaques on the casket read, “In Remembrance of the Highlands 1844 and This inkstand, designed under the direction of His Royal Highness Prince Albert, as a memorial of the Highlands, is ornamented with pebbles picked up at Blair Athol by Her Majesty and His Royal Highness, and with teeth taken from the deer shot by His Royal Highness during their visit in the autumn of 1844. Executed by Kitching and Abud.”

Thursday, October 25, 2012

Mastery of Design: The Plaid Brooch, 1848

The Plaid Brooch
Commissioned by Prince Albert
Scotland, 1848
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II



A work of cairngorm (a form of quartz native to Scotland), gold, enamel, seed pearls and garnets, this handsome brooch is called “The Plaid Brooch.” It dates to about 1848 and was commissioned by Prince Albert for Queen Victoria. The Prince Consort presented the brooch to his Royal wife in November 21, 1848. The cairngorm had been collected by Prince Albert himself while on a walk with the Queen at Lochnagar, the highest mountain near Balmoral, in September 1848.

The brooch was intended to record their bravery in attempting to climb the mountain, even in the most inclement weather and fog. Furthermore, it was meant as a gift to the Queen from Prince Albert to celebrate the birthday of Princess Victoria.




Painting of the Day: Queen Victoria at Osborne, 1867

Queen Victoria at Osborne
"Shadow"
Sir Edwin Landseer, 1867
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II



Queen Victoria’s “Go-to” painter for many reasons was Sir Edwin Landseer (1803-1873). Her Majesty admired Landseer’s work for its monumentality and sense of historical accuracy as well as his sensitive and accurate depictions of children and animals. After the 1861 pre-mature death of Prince Albert, Victoria commissioned Landseer to create a pair of paintings which she called “Sunshine and Shadow.” She wrote in her journal that she was “seized with a great wish” to see illustrated the contrast between those dear, joyful times which she had shared with Prince Albert on the Highlands at Balmoral and at their vacation home, Osborne House, and the overwhelming grief she felt since the Prince Consort’s death.

Her Majesty asked, for the “Shadow” portion of the pair that she be painted, “as I am now, sad & lonely, seated on my pony, led by Brown, with a representation of Osborne.”

And, that’s just what Landseer did.

Here, we see the Queen in the mourning attire she donned for the remainder of her life. Landseer pictures Her Majesty seated upon Flora, the royal pony. Flora is being led by John Brown. Behind them, we can see the grand terraces of Osborne, the clock stopped at 3 p.m. Her Majesty reads a letter while, on the ground, her gloves and other letters have been cast aside. As I’ve mentioned before, imagery of cast-off gloves often symbolized a woman alone.

Landseer has also carefully painted two of the Queen’s dogs, a Border Collie (most likely the one called Sharp) and a Skye Terrier whom we know as “Prince.” Princesses Louise and Helena are seen in the background.

That Victoria asked for Brown to be included in the painting speaks of her affection for the servant who had originally been a ghillie (an outdoor servant) at Balmoral. Upon the passing of Prince Albert, Queen Victoria and Brown enjoyed a close friendship. John Brown was deeply protective of the Queen, and she was fiercely loyal to him despite the opposition of her advisors and family, especially the future King Edward VII.

The Queen’s grief was compounded when Brown died in 1883. She wrote:

Perhaps never in history was there so strong and true an attachment, so warm and loving a friendship between the sovereign and servant…Strength of character as well as power of frame – the most fearless uprightness, kindness, sense of justice, honesty, independence and unselfishness combined with a tender, warm heart…the most remarkable of men.

Landseer painted the portrait based on many live sittings as well as a variety of photographs of the Queen on horseback, the dogs, and the princesses. He began the work on “Shadow” in 1865—creating sketches, but didn’t begin actual painting until 1867. Landseer claimed to have been unsettled by the fog and suggested that his failing eyesight had delayed him. The painting was exhibited at the Royal Academy in 1867, at the end of the year. He wrote, upon the opening of the exhibit:

If there is any merit in my treatment of the composition it is in the truthful and unaffected representation of Her Majesty’s unceasing grief – The story should be told by the Picture.



Wednesday, July 25, 2012

Mastery of Design: Bonbonnière with a view of Balmoral Castle, 1907

 Bonbonnière of gold, enamel and Diamonds
Henrik Emanuel Wigström, 1907
Showing the "Balmoral Side"
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II



Fabergé's brilliant workmaster Henrik Emanuel Wigström (1862-1923) created this bonbonnière of gold, enamel and rose-cut diamonds in 1907. With its lovely views of Balmoral and Windsor Castles, the wee candy box was destined to be a part of the Royal Collection, and, naturally, that’s where it ended up.

The bonbonnière was purchased by Sir Ernest Cassel from Fabergé's London branch, on November 4, 1907 for £81 5s. Sir Ernest presented the box to his friend Sir Philip Sassoon who held onto it for quite some time.

Now, it would be very easy to suggest that Queen Mary spied the box in Sassoon’s collection and suggested in her particular way that the object really should, since it does depict Balmoral and Windsor, belong in the Royal Collection. It would be easy to do so because it’s true. Sassoon’s records indicate that as early as 1908, the Princess of Wales (after 1910, Queen Mary) admired the object, noting that it was the first work by Wigström that she’d ever seen depicting one of the Royal residences. She kept at it for decades, I would guess though I have no proof of it. 


Nevertheless, we do know for certain that Sir Philip presented the bonbonnière to Queen Mary for her birthday on May 26, 1934. No doubt, Her Majesty was quite pleased. Queen Mary displayed the bonbonnière with great pride and marveled at its enameled views of Balmoral Castle on one side and Windsor Castle on the other as well as the edge of the box which is set with enameled roses and leaves interspersed with diamond-set crosses.

The Windsor Castle side
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II



Her Majesty's Furniture: The Coburg Sideboard, 1851

Sideboard
Germany, 1850-1851
The Victoria & Albert Museum



Oh, Prince Albert…you can take the boy out of Germany, but you can’t take the Germany out of the boy. Though courtiers suggested to Queen Victoria that her Consort might want to tone down the whole, “I’m a foreign prince” schtick at various points, Prince Albert was unabashedly German in almost every way. Though Prince Albert’s pre-Victoria life was actually kind of terrible and sad, after his marriage he romanticized Germany and his boyhood and developed a rather peculiar tie to all of the things which he ignored when he actually lived in Germany.

So, by 1851, when the Prince’s baby, “The Great Exhibition” had launched, he was keen to make sure that Germany was represented. And, then, came this sideboard and its heavily carved brethren. Ferdinand Rothbart (1823-1899), a German furniture maker, presented a handsome suite of furniture at the Great Exhibition of 1851. Rothbart was assisted by one Th. Kolb whose history is all but lost now. The suite included four chairs among other objects which were all manufactured by Thomas Hoffmeister and Thomas Behrens in Coburg, Germany around 1850.

The entire lot was commissioned by the Duchy of Saxe-Coburg. Just for the record, let’s not forget that Albert was the Prince of Saxe-Coburg and Gotha (which was, by the way, the official name of the Royal Family from Victoria’s 1840 marriage until King George V changed it to “Windsor” on July 17, 1917 during the First World War when there was, understandably, some anti-German sentiment).

After the Exhibition, and after the sideboard—the most admired piece of the lot—was awarded an “Honourable Mention” by the juries there, Prince Albert bought the whole lot, intending to use the pieces in Balmoral Castle. However, during the construction of the new castle at Balmoral, the furnishings were taken to the Palace of Holyroodhouse in Edinburgh where it was used in the Evening Drawing Room. Evidently, Albert changed his mind and the suite never made it to Balmoral. It remained in Holyroodhouse until 1923 when Queen Mary donated the furnishings to the University of Edinburgh. I find this rather queer as it’s the first time I ever heard of Queen Mary donating anything to anyone. She much preferred having people donate things to her. I suspect, however, that these pieces weren’t really Mary’s cup of tea. She, too, at times tried to distance herself from her German roots. After all, aside from being related to Prince Albert as well, she was also the daughter of the uber-German Duke of Teck. Perhaps she just didn’t want these pieces around. The University grew tired of the suite as well, and, in 1967, donated the lot to the V&A which seems quite content to have it. 



This particular sideboard was described in the 1851 Exhibition catalog as being “in the German-Gothic style of the middle ages.” Well, yes, it is. It’s quite Gothic—complete with ogival arches and repeated motifs similar to Gothic window tracery. The door panels are deeply carved with hunting scenes and motifs. The central doors depict a group of deer in a woodland setting. These are flanked by figures of men with spears, knives and bugles. Boars and bears round out the theme. The whole of the reverse is covered in deep, plush, red velvet, which, where exposed, is faded to brown.

History's Runway: The Tartan Dress, 1845



Tartan Dress
Britain, 1845
The Victoria & Albert Museum



This smart dress is indicative of women’s fashions of the mid-to-late-1840s. Why tartan? Well, by this point, not only had Queen Victoria and Prince Albert become enchanted with Scotland, they had, in 1848, purchased a Royal residence in Aberdeenshire. By 1853, work had commenced on a new castle at Balmoral and fashionable London Society had turned their attention to all things Scottish in order to emulate the Queen and Prince Consort. This interest turned to a passion for plaid, and women and men alike draped themselves in colorful tartans. Furthermore, Walter Scott’s popular novels added fuel to the fire of Scotch love, helping to keep the fashion alive well into the 1850s.

This dress, made around 1845, features long, tight sleeves, a high, round neck and the long, pointed waistline which defined the 40s. A bold silk-satin in a tartan pattern dominates the garment which is accentuated with a front lace fastening.

Relying on the textile for color, the only trimmings on the gown are its handsome agate stud buttons mounted on black velvet bows above the wrists. Agate was considered a wholly Scottish stone and, at the time, the majority of Scottish jewels included agate on silver. The dress’ bodice is piped on all the main seams and is entirely lined with cotton. The bodice is boned and the skirt is lined with yellow and white fabric. The lining could be removed for washing. The present lining may actually not be original. Yellow chamois dress preservers, original to the gown, were installed in the armpits to absorb perspiration and to protect the silk-satin from staining.

Flashback: Building of the Week: Balmoral Castle, Scotland


This post first appeared on December 1, 2010.  I thought that trotting it out again would be germane to our theme today.


The Old Castle at Balmoral, 1853
The Royal Collection
The private summer residence of the Royal Family, the estate at Balmoral covers an area of over sixty-four thousand acres in the Royal Deeside in Aberdeenshire, Scotland. The estate originally belonged to King Robert II who kept a hunting lodge on the property. In 1390, Sir William Drummond built the original castle on the site. The land would change hands three more times before the Nineteenth Century. In the 1840’s, the estate was owned by the Second Earl of Fife who leased the house and lands to wealthy patrons in search of a peaceful place to hunt and rejuvenate themselves. In 1848, the castle and lands were leased to Queen Victoria and Prince Albert who both fell in love with the beauty of the grounds and the elegant, but comfortable, castle. The queen and her husband petitioned for ownership of the property and achieved their goal in 1852.


The New Castle at Balmoral, 1856
The Royal Collection
In 1853, the corner stone for a new castle at Balmoral was set into the ground. Beneath the stone, Queen Victoria ordered that a letter in her own hand and coins of the realm (encased in glass) be set beneath the stone. While Victoria and Albert loved the original castle, they realized that it was too small and too old to comfortably house their growing family and rapidly enlarging staff. Prince Albert worked closely with the architects and designers of the new castle to ensure that it not only met their immediate needs, but also blended with the design of the original structure as well as the pristine landscape.

Balmoral, 1860
The Royal Collection
Balmoral has since remained in the Royal Family and, like Sandringham House, is privately owned as opposed to being a state residence. The estate has been the favorite spot of many a royal. Queen Elizabeth II and her family are particularly fond of the spot and spend as much time as they can there.

Over time, the size of the estate has grown incredibly. In 1878, Queen Victoria rescued a one thousand acre stretch of forest by purchasing it before it could be destroyed by timber merchants. The forest, known as Ballochbuie, was officially added to the estate at Balmoral. Later, an additional two thousand acres were added as a safe haven for red deer.

Queen Elizabeth II and her Children
at Balmoral, 1952
Balmoral is still a working estate, and while the staff has been considerably reduced lately, the Royal Family employs up to fifty full-time staffers throughout the year. Nearly one hundred thousand people visit Balmoral each year—wishing to tour the land and see its natural beauty first-hand. The tourist trade is quite a boon to the surrounding areas—producing upwards of four thousand jobs for local workers each year.

The site of many a historic occasion, Balmoral has seen its share of Royal triumph and tragedy. There, the coronation activities of King George IV were carried out. Queen Victoria Eugenie of Spain was born there. Most recently, it was at Balmoral where the Royal Family received word that Diana, Princess of Wales, had been killed in an automobile accident.

Princes William, Charles and Harry at Balmoral
1996
The Royal Collection
The Duke of Edinburgh, husband to Queen Elizabeth II, plays a large part in overseeing the workings of Balmoral and has taken a keen interest in preserving the trees and wildlife on the estate. As the land continues to be governed by its royal owners, we can be sure that it will continue to be one small stretch of untouched beauty for centuries to come.

Object of the Day: A Postcard from Balmoral Castle


Click image to enlarge.


This handsome photo postcard shows the stately front façade of the “new” castle at Balmoral. The private Scottish home of the Royal Family, Prince Albert commissioned this new castle to replace the previous home on the Aberdeenshire estate. The original castle was too small to suit the needs of the growing family of Queen Victoria and the Prince Consort.

Balmoral remains a favorite retreat for the Royals. Queen Elizabeth II, like her Great Great Grandmother, Victoria, is known to love the seclusion and natural beauty of the estate while Prince Philip relishes the wide open spaces and chances for sport shooting. 

This postcard dates to the present reign, likely between 1953 and 1960. While the reverse is eager to tell the buyer that the image is a “real photo,” the publisher wasn’t too keen on being identified and made no attempt to list their name. Nevertheless, it now seems quite content with its existence amongst all of my other Royalty-related ephemera.



Thursday, May 24, 2012

Her Majesty's Furniture: The Coburg Armchair, 1851



Armchair
Theodor Behrens
Coburg, Germany, 1851
The Victoria & Albert Museum
Donated from Holyrood Palace



Here we see one of a set of four ornate Gothic-style armchairs which match an impressive sideboard.  The set was made in the German state of Coburg (the home of Queen Victoria’s husband, Prince Albert) and was sent specifically to Prince Albert’s 1851 Great Exhibition to represent Germany’s creative work.  The chairs were not intended to be thrones (though that’s the overall look), but rather were meant to demonstrate the skill of the designers and carvers. Theodor Behrens, who was responsible for the carving, adorned each chair with slightly different motifs and carved an inscription, including his name, on the back of this one. The original wool tassels of the fringe were bright pink as opposed to the gold that we see today.

The set of furniture was praised by the Art-Journal Illustrated Catalogue in 1851 for the carving “in the German-Gothic style of the middle ages.”  The chairs were especially praised while the sideboard received an “honourable mention” in the jury reports for the exhibition.

The sideboard and chairs were  installed in the Evening Drawing Room, part of the Royal Apartments on the first floor of Holyrood Palace, Edinburgh, in 1852. Victoria and Albert used Holyrood as a “stopping place” when they traveled to their Aberdeen estate, Balmoral. The  palace’s Evening Drawing Room was also furnished with a suite of furniture which was upholstered in crimson velvet. In 1863, Queen Victoria commissioned a watercolor of the room, showing two of these chairs flanking the sideboard, to record her happy memories of holidays in Scotland with Prince Albert.


Sunday, December 4, 2011

Sunday Morning Special: The Story of Balmoral, Part I



Here’s a rare glimpse into one of the private homes of Britain’s Royal Family. Originally the favorite home of Queen Victoria and Prince Albert, Scotland’s Balmoral remains one of the most romantic and beautiful castles in the world.

Wednesday, December 1, 2010

Painting of the Day: “Balmoral: Lower Corridor and Staircase,” 1857

Balmoral: Lower Corridor and Staircase
James Roberts, 1857
The Royal Collection
Upon completion of the new castle at Balmoral in 1856, Queen Victoria commissioned a series of paintings of the interior of the house to commemorate their new home. Painter James Roberts completed several highly detailed watercolor studies of many different rooms in the castle. These paintings have served future generations well by providing an accurate account of how the castle was decorated and furnished. Maintenance and renovation of the estate has been aided by the presence of Roberts’ pictures.


We can see here that Prince Albert has lined the lower corridor with a row of his trophies—the heads of many of the stags that he so famously hunted. This also gives us a glimpse at Queen Victoria’s art collection—most notably the sculpture beneath the mirror. This sculpture—which remains as part of the Royal Collection—is bronze version of Le Lion Amoreux by Charles Geef which was created especially for the queen after she saw the life-size plaster original at the Great Exhibition in 1851.

Building of the Week: Balmoral Castle, Scotland

The Old Castle at Balmoral, 1853
The Royal Collection
The private summer residence of the Royal Family, the estate at Balmoral covers an area of over sixty-four thousand acres in the Royal Deeside in Aberdeenshire, Scotland. The estate originally belonged to King Robert II who kept a hunting lodge on the property. In 1390, Sir William Drummond built the original castle on the site. The land would change hands three more times before the Nineteenth Century. In the 1840’s, the estate was owned by the Second Earl of Fife who leased the house and lands to wealthy patrons in search of a peaceful place to hunt and rejuvenate themselves. In 1848, the castle and lands were leased to Queen Victoria and Prince Albert who both fell in love with the beauty of the grounds and the elegant, but comfortable, castle. The queen and her husband petitioned for ownership of the property and achieved their goal in 1852.


The New Castle at Balmoral, 1856
The Royal Collection
In 1853, the corner stone for a new castle at Balmoral was set into the ground. Beneath the stone, Queen Victoria ordered that a letter in her own hand and coins of the realm (encased in glass) be set beneath the stone. While Victoria and Albert loved the original castle, they realized that it was too small and too old to comfortably house their growing family and rapidly enlarging staff. Prince Albert worked closely with the architects and designers of the new castle to ensure that it not only met their immediate needs, but also blended with the design of the original structure as well as the pristine landscape.

Balmoral, 1860
The Royal Collection
Balmoral has since remained in the Royal Family and, like Sandringham House, is privately owned as opposed to being a state residence. The estate has been the favorite spot of many a royal. Queen Elizabeth II and her family are particularly fond of the spot and spend as much time as they can there.

Over time, the size of the estate has grown incredibly. In 1878, Queen Victoria rescued a one thousand acre stretch of forest by purchasing it before it could be destroyed by timber merchants. The forest, known as Ballochbuie, was officially added to the estate at Balmoral. Later, an additional two thousand acres were added as a safe haven for red deer.

Queen Elizabeth II and her Children
at Balmoral, 1952
Balmoral is still a working estate, and while the staff has been considerably reduced lately, the Royal Family employs up to fifty full-time staffers throughout the year. Nearly one hundred thousand people visit Balmoral each year—wishing to tour the land and see its natural beauty first-hand. The tourist trade is quite a boon to the surrounding areas—producing upwards of four thousand jobs for local workers each year.

The site of many a historic occasion, Balmoral has seen its share of Royal triumph and tragedy. There, the coronation activities of King George IV were carried out. Queen Victoria Eugenie of Spain was born there. Most recently, it was at Balmoral where the Royal Family received word that Diana, Princess of Wales, had been killed in an automobile accident.

Princes William, Charles and Harry at Balmoral
1996
The Royal Collection
The Duke of Edinburgh, husband to Queen Elizabeth II, plays a large part in overseeing the workings of Balmoral and has taken a keen interest in preserving the trees and wildlife on the estate. As the land continues to be governed by its royal owners, we can be sure that it will continue to be one small stretch of untouched beauty for centuries to come.

Friday, October 22, 2010

Antique Image of the Day: “The New Castle at Balmoral,” 1854

The New Castle at Balmoral
June, 1854
Wilson and Hay
The Royal Collection
During the 1840’s Queen Victoria and Prince Albert greatly enjoyed their visits to Scotland and decided to make a permanent residence there.  In 1848, they acquired the lease on the estate at Balmoral and purchased the property outright in 1852.  They found the existing home on the grounds to be too small for their needs.  Prince Albert worked very closely with architects and designers to build a new castle nearer to the River Dee.  This rare photograph is one of only a few which shows Balmoral Castle under construction.  Taken in 1854, the image is an interesting look at a British Landmark during its “birth.” Balmoral Castle was completed in 1856 and was Queen Victoria’s preferred home.  The castle is still a favorite of The Royal Family.