Showing posts with label Prince of Wales. Show all posts
Showing posts with label Prince of Wales. Show all posts

Thursday, February 5, 2015

Card of the Day: HRH The Prince of Wales

When you're bored with yourself, marry and be bored with someone else

King Edward VIII 

I’ve often written of my dislike for the briefly-reigning King Edward VIII, the one-time Prince of Wales, and later Duke of Windsor. I tend to side with Queen Mary in matters regarding the Royal Family (not that my opinion really matters at all) and tend to keenly feel her disappointment in her eldest son.

But, to be fair, just for a moment, let’s examine the Prince of Wales who is seen here in this 1935 Silver Jubilee card by the Godfrey Phillips Company.

“David,” as he was known within the family was always restless. This was a state of mind which never made sense to his parents—King George V and Queen Mary. The King and Queen were anything but restless. They had their duties, they had each other, they had the empire and they had their family and that was quite enough. Sure, the King and Queen each had their hobbies, shooting and shopping respectively, but at the end of the day, it was a quiet supper en famille which most appealed to them. Prince Edward, on the other hand, yearned for adventure. He was considered quite good looking. Though Mary wasn’t eager to share this with her son, she often wrote to King George just how handsome she thought her fair-haired eldest boy was and that she was pleased that he physically favored, “The old Royal Family.” 


Young Prince Edward
The Royal Collection
David didn’t need his mother to tell him that he was attractive. Everyone else told him. He liked to be told. He liked praise and attention and enjoyed going places where he’d be get both. Sitting at home while his mother sat cataloging her jewels (and truly, this was how Queen Mary spent her evenings) and his father sat smoking and growling to himself about the Empire (which, indeed, is how George spent his evenings), was not appealing. The King was often very vocal (quite violently at times) about his displeasure with his hard-living eldest boy. And, the more the King ranted, the more Prince Edward wanted to be out of the house—typical teenager stuff, but heartily magnified when you’re the Prince of Wales and your dad is the King. What Edward didn’t know was that his mother—though she never said it aloud—often wrote long letters to her husband pleasing with him to be gentler with their son. It didn’t work, but she tried.

Mary, for her part, had no ability to communicate on a personal level with anyone. She was quite shy and inhibited. While she was able to make small talk at parties and while she had no trouble running her myriad charities and talking with her subjects, when it came to talking with her family, she was crippled. This owed a lot to her tumultuous childhood with her egotistical mother and her father, the Duke of Teck, who was, at best, something of a nut. The Queen was very sensitive and loving, but had no means of communicating that. And, so, he children were often left wondering what she was thinking and, when alone with her, would despair that they only talked about vague subjects. Mary’s few attempts to have real conversations with her children were such failures that they would leave her rooms wondering just what had happened.
After the close of the Great War, Mary hoped that “David” would settle down. She had planned to find a way to start to mold him into a proper heir presumptive, but then, her youngest son—Prince John—died during an epileptic seizure. The Queen sank into a private depression. She never spoke of her son’s death. In fact, she rarely ever mentioned him again, but she privately wrote of her secret, deep despair and how it prevented further closeness to her other children.

Meanwhile, the King and Queen couldn’t understand why Britain was so uneasy when they finally had achieved peace. The Prince of Wales began to represent the new sensibilities of the 1920’s—glamour, adventure and excitement. George V and Mary never could understand their son’s sense of boredom. The Queen was the first to point out that she was “never bored.” Yet, “David” was always bored. Always. And, much of the Empire was bored, too.
And so, disappointment built on disappointment. The more the King ranted, the more “David” became bored. He kept questionable company—company which ultimately led to his abdication, and he was, notably, Queen Mary’s deepest disappointment of all.

Wednesday, May 14, 2014

Mastery of Design: Edward VII's Match Case, 1896




Match Case by Michael Perchin, c. 1896
Crown Copyright
The Royal Collection
Image Courtesy of:
Her Majesty Queen Elizabeth II



This match case of gunmetal, two-color gold and cord was made by Michael Perchin for Fabergé before 1896.  The case was purchased by the Prince of Wales (later Edward VII).  The case is a rare example of the use of non-precious metals by Fabergé.  This choice was due to the rough treatment the match case would receive during use.  The gunmetal has been made elegant with the application of rococo scrolls in two-color gold. 

A matching cigarette case is in the State Hermitage Museum in St Petersburg.

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

Click Image to Enlarge.

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

Click Image to Enlarge.

Sunday, April 27, 2014

History's Runway: The Duke of Windsor’s Suit, 1940


Lounge Suit
1940
The Victoria & Albert Museum

I will say that the Duke of Windsor (once the Prince of Wales, and once, for a few months, King Edward VIII) was good for one thing—he did influence men’s fashions for the positive and reintroduced color and pattern to a gentleman’s style. Now, that’s not quite as important as what he should have been doing as King, but I’m glad he didn’t stay on the throne, because he had, or so I believe, some questionable allegiances which might have proven rather disastrous during the Second World War.

And, so, let’s ignore all of that for a moment and examine this nifty suit which is displayed on an appropriately creepy mannequin. This is an example of the sort of “lounge suit” which dominated men's fashion from the 1920s onwards.

The “lounge suit” was worn in lieu of the more formal attire which dominated events for decades. By the 1940s, men were wearing lounge suits with a v-neck pullover sweater in place of a waistcoat. This was a trend that was popularized by the pesky Duke of Windsor. And, actually, it’s a look of which I remain a proponent. Until that point, pullovers were mostly the stuff og informal events and sporting occasions.

This rather loud suit was worn by HRH The Duke of Windsor who chose Wallis Simpson over England (despite his protestations to the contrary) and who traded matters of state for matters of fashion—becoming known internationally as the leader of men's fashion. He had a lot of his grandfather, King Edward VII, in him. He liked a good time and preferred informal fashion over the stiff formality of dress that was considered proper during the reign of his great-grandmother, Queen Victoria. The Duke was a patron of the most celebrated London and New York tailors and showed his love of whimsy and adventure by wearing bright colors, strong textures and bold patterns.

This particular suit was only worn a few times by the Duke who eventually gave it to famed photographer and bon vivant Sir Cecil Beaton, who was amassing a collection of fashionable dress for his 1971 exhibition--Fashion: An Anthology. From there, the suit (and many others) came to the Victoria & Albert Museum. I don’t suspect the the Duke’s great-grandmother would have been amused.

Thursday, April 24, 2014

Painting of the Day, “The Music Party,” Philippe Mercier, 1733


The Music Party
Philippe Mercier, 1733
Crown Copyright
The Royal Collection
Image Courtesy of
Her Majesty Queen Elizabeth II
Philippe Mercier, painter and librarian to the Prince of Wales from 1728-1738, often sketched and painted scenes of daily life at the royal residences. This scene of a music party from 1733 shows a typical day in the life of the Royal Family of the Eighteenth Century. Here, we see Frederick, The Prince of Wales playing the cello. He is accompanied by his sister, Princess Anne, playing the harpsichord. Anne had been taught by Handel himself and by all accounts was just as skilled a player as he instructor. Also with them are Princess Caroline on the lute and Princess Amelia who reads aloud from a book of Milton’s poetry.

This painting was criticized for a number of reasons. First of all, Frederick’s love of playing the cello was considered unseemly and not appropriate for a man of his station. Similarly, the princesses are attired in costumes which were considered common and not the stuff of royalty. Still, Mercier argued that he depicted the scene as it actually happened.

One of three versions of this same scene, the other two, painted after this one, show the sitters in a more opulent outdoor setting and in costumes which were generally considered to be more fitting to their royal dignity.

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

Tuesday, February 25, 2014

Mastery of Design: The "Prince of Wales Feathers" Brooch, 1842



Brooch
1841-1842
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II



I've written at length about Prince Albert's fondness for showering his Royal wife with lavish gifts.  He especially enjoyed doing so after the births of their nine children.  Given to Queen Victoria by Prince Albert on February 10, 1842, this handsome brooch was meant to mark the occasion of the Prince of Wales's (later King Edward VII) birth, which had taken place on November 9. 1841.

The gold brooch takes the form of Prince of Wales feathers, symbol of the Prince, enamelled white above a base set with pearls emeralds and rubies.  Below the feathers is a ribbon with ICH DIEN in gold.  Meaning, "I Serve," these words typically adorn the heraldry of the Prince of Wales.

Speaking of "serving," tomorrow, I'm going to "serve" you a look at this week's "Treat of the Week."  So, make sure to stop by.



Her Majesty's Furniture: The Prince of Wales Chair, 1788



Armchair
1788, England
The Victoria & Albert Museum


This isn’t just a pretty chair. It’s a pretty chair with a message. The chair pattern, with a heart-shaped back incorporates the Prince of Wales’ emblem of three feathers. This was a very popular motif in the late 1780s and 1790s.

The chair is the work of the firm of Gillow & Company, of Lancaster and London who called the design, “Drapery and feather back” and produced it in numbers around 1788. So, what was with all the love for the Prince of Wales at the time?

In 1787, the Prince of Wales took power as Regent when his father, George III, suffered a “temporary” bout of insanity as an offshoot of the illness porphyria. Even before that, the Prince was a popular figure who took something of a prominent role in the court long before his father’s illness was made public. Funny that when he finally became King George IV, he was largely hated by courtier and commoner alike. 

The chair of carved mahogany still has its original black horse hair covering beneath the upholstery which is clearly modern.





Unusual Artifacts: The Prince of Wales Beaker, 17th Century



The Victoria & Albert Museum



Made in the early Seventeenth Century, this pewter beaker has been molded with ornamental horizontal bands of fruit and flowers. At the front, the Royal Arms of the House of Stuart have been modeled with a crowned Tudor Rose. The reverse bears the three feathers of the Prince of Wales.

Such a vessel, designed for drinking beer, was probably not made for the Prince of Wales, but rather as an homage to him.



Sunday, January 19, 2014

Object of the Day, Museum Edition: The Comet, 1789




A Return of the Comet is expected this Year and to be within our horizon from the month of Octr 1788 to Augt 1789 but is expected to be most -visible (if it forces itself upon our Notice).




"The Comet"
Aquatint by James Sayers, 1789
Version housed in the Victoria & Albert Museum
This aquatint (a printmaking technique like engraving wherein an acid is applied to a metal plate) is entitled “The Comet” and is the work of engraver James Sayers. A satirical piece, Sayers has placed in the composition the Prince of Wales at the time (later the Prince Regent, later still King George IV) at the head of the comet, notable contemporary characters make up its tail.

This piece was published in London by Thomas Cornell. Those pictured behind the future King George IV are: Edmund Burke, Sir Grey Cooper, Edward Stanley Smith the Twelfth Earl of Derby, Charles James Fox, Frederick North the Second Earl of Guilford, Thomas Powys the First Baron of Lilford, William John Kerr the Fifth Marquess of Lothian, David Murray the Second Earl of Mansfield, Charles Howard the Eleventh Duke of Norfolk, William Henry Cavendish Bentinck the Third Duke of Portland, William Douglas the Fourth Duke of Queensberry, Alexander Wedderburn the First Earl of Rosslyn (Lord Loughborough), John Montagu the Fourth Earl of Sandwich, John Sawbridge, Richard Brinsley Sheridan, John Warren, Richard Watson and Christopher Wilson.

To quote Homer Simpson, “Mmmmm…Fourth Earl of Sandwich.” As for the rest, well, they’re less delicious.

Another version of this piece, located at the V&A, is in the collection of The British Museum. So, what makes this so important that two major museums display it? What’s going on here?

The piece was produced during one of George III’s famous bouts of illness—leading to his famed madness. The King was not expected, at first, to recover and supporters of the randy Prince of Wales expected him to ascend the throne.  However, George III rallied and his eldest boy's followers found that they were no closer to the throne than ever.  Still, the Prince of Wales looked forward to surpassing his rickety father.  This is summed up visual in the drawing we see above.

A comet is cutting through the design diagonally and downwards from the right to the left. The comet’s head is that of the future King George IV surrounded by a star, while the tail contains the heads of his disappointed followers. Immediately after the Prince is the head of Richard Sheridan, with a gloomy expression. Behind him are James Fox, with a melancholy countenance, and an angry Duke of Portland.

After them comes the wig in back view of Lord Loughborough and a host of other disgruntled hangers-on. On the background is etched “A Return of the Comet” which appeared in 1761. The text reads:


A Return of the Comet is expected this Year and to be within our horizon from the month of Octr 1788 to Augt 1789 but is expected to be most -visible {if it forces itself upon our Notice) in the Winter months Febry & March ------ vide Dr Trusslers Almanack


By some of the ancient Astronomers Comets were deemed Meteors kindled in the Air and designed as Presages or unlucky Omens of some disastrous Catastrophe------


The Peripateticks deemed them not permanent Bodies but bodies newly produced and in a short Time to perish again, and affirmed that they were made up of Exhalations in the terrestrial Regions------


Sr Isaac Newton asserts That the Tail of a Comet is nothing else than a fine Vapour which the Head of the Comet emits by its heat that Heat the Comet receives from the Sun and the magnitude of the Tail is always proportional to the degree of heat which the Comet receives, and Comets which are nearest to the Sun have the longest Tails------' 18 February 1789


The version exhibited at The British Museum.

 

Tuesday, November 19, 2013

Sculpture of the Day: The Tower Bridge Medal, 1894



Tower Bridge Medal
June, 1894
The Victoria & Albert Museum



This medal of bronze is one of a series which was issued by the Corporation of the City of London to commemorate the June, 1894 opening of the famous Tower Bridge by His Majesty Prince Albert, The Prince of Wales (this is Prince Albert Edward who would become King Edward VII following the death of his mother, Queen Victoria, in 1901).

The face of the medal shows busts of the Prince and Princess of Wales (later Queen Alexandra) superimposed with a crowned head of Queen Victoria.

On the reverse, it reads:

TOWER BRIDGE OPENED 30th JUNE 1894 ON BEHALF OF HER MAJESTY QUEEN VICTORIA BY H.R.H THE PRINCE OF WALES The bridge is pictured in perspective, and, above is the mark of the Bridge House Estates of the Corportion. The arms of the City of London are shown below. The medal is signed, “F. BOWCHER. FECIT.” Medalist Frank Bowcher (1864-1938) designed the piece. 



Monday, October 21, 2013

Painting of the Day: George IV, when Prince of Wales, with Frederick, Duke of York, when Prince Frederick

The Prince of Wales and Duke of York
Benjamin West, 1777
Crown Copyright
The Royal Collection
via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II




The famed Benjamin West (1738-1820) finished this double portrait in 1777 at the request of King George III and Queen Charlotte.  


George III was a keen supporter of Benjamin West who settled in England after leaving Italy in 1763.  At the time, English artists were laboring to create a national school of history painting, a goal to which George III offered his patronage.  This movement and the King's loyalty to West led to the foundation of the Royal Academy in 1768.

Between 1768 and 1801, Benjamin West painted about sixty works for King George III and by 1772 had earned the title, "Historical Painter to the King," a position for which, by 1780, West was  receiving an annual stipend from the King of £100. 

Among the many works commissioned of West by King George III was a set of five double or group portraits of the Royal Family which were intended to hang as a group  in the King’s Closet at St James’s Palace.

This is one of a pair of double portraits within this series depicting the four eldest princes.  The Prince of Wales, later King George IV, is depicted wearing a state robe with the collar and star of the Order of the Garter.  He has been posed with his left arm on the right shoulder of his brother, who is wearing the robes of the Garter with the collars of the the Garter and the Bath.



Thursday, October 3, 2013

Mastery of Design: The Prince of Wales Pendant, 1814



Pendant of blue enameled gold, 1814
J. Barber for Rundell, Bridge & Rundell
The Victoria & Albert Museum



This pendant was created as a gift for Sir William Knighton, one of the Prince of Wales's (the Prince Regent, later King George IIV) physicians. Knighton was created a baronet in 1813 and from 1822, he served George IV as private secretary and keeper of the privy purse.

The inclusion of the attributes of peace (olive) and victory (palm) in the design (marking the successful outcome of the wars against Napoleon) suggest an 1814 creation for the pendant which also features a portrait head of the Prince of Wales with a laurel wreath.

J. Barber, a medalist associated with Rundell, Bridge & Rundell, the Royal Goldsmiths, created the medallion of gold and blue enamel. The head was modeled by Peter Rouw (1771-1852).



Monday, September 16, 2013

Gifts of Grandeur: The Rose Glynn Bracelet, 1876



Bracelet, 1876
The Victoria & Albert Museum

Here, we see a half-hoop bangle set with a rectangle of cabochon turquoises and a line of half-pearls. A glazed compartment on the inside of the hoop contains the remnants of a brown textile--obviously a souvenir of some significance which has been lost over time. 


This bangle was given by Edward, Prince of Wales (later King Edward VII) to Rose Riversdale Glyn on board HMS Serapis while on a royal tour of India. Edward had a taste for ladies and was known to offer extravagant gifts to win their (sometimes temporary) favor.

Besides, Miss Glynn was fortunate to receive this bracelet. Bracelets were the height of fashion starting in 1850 and bangles such as this were worn in stacks on both arms. A bangle of this nature was the perfect accessory for daytime wear. 



Wednesday, August 21, 2013

The Home Beautiful: The Ladle from the Grand Punch Bowl, 1841



Ladel from the Grand Punch Bowl
Crown Copyright
The Royal Collection
This and all related images
Courtesy of Her Majesty Queen Elizabeth II




Edward, John & William Barnard served as the silversmiths for this handsome ladle of ivory and silver gilt. The piece was made between 1841 and 1842 for The Grand Punch Bowl that has presided over many a soiree at the Royal Residences. The bowl, originally a wine cooler, was changed into its present form for the christening of Prince Albert Edward (later King Edward VII) at Windsor Castle. Queen Victoria and Prince Albert commissioned the Barnards to create this ladle for the event.

The bowl of the ladle is formed of silver gilt in the shape of a large, matted shell with a relief of coral. The ivory shaft is joined by a foliate spray of silver gilt. Since the piece was made for the christening of Prince Albert Edward, the shaft terminates in the Prince of Wales’ feathers.




Wednesday, August 7, 2013

Sculpture of the Day: The Prince and Princess, 1845-1850



Princess Victoria and Prince Edward
Staffordshire, 1845-1850
The Victoria & Albert Museum



Staffordshire figures often depicted popular people of the era. As we know, when these figures were first produced in 1840, the first subjects were Queen Victoria and Prince Albert, so it’s only fitting that their children would also find themselves to be the subjects of these colorful porcelain sculptures.

Here we see a figure group of lead-glazed earthenware depicting Edward, Prince of Wales and his sister, Victoria, the Princess Royal—the first two children of the Queen and her consort. The Princess Victoria was the first born and was heiress presumptive to throne until the birth of her brother who, being male, took precedent in his place in the line of accession—later becoming King Edward VII.

Princess Victoria is riding in a carriage drawn by a horse on which the Prince ridden by the Prince. The oblong base is decorated by a scrolled front picked out in gilding, and inscribed “PRINCE AND PRINCESS” in black.



Wednesday, July 24, 2013

Mastery of Design: The "Prince of Wales Feathers" Brooch, 1842

Brooch
1841-1842
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II





I've written at length about Prince Albert's fondness for showering his Royal wife with lavish gifts.  He especially enjoyed doing so after the births of their nine children.  Given to Queen Victoria by Prince Albert on February 10, 1842, this handsome brooch was meant to mark the occasion of the Prince of Wales's (later King Edward VII) birth, which had taken place on November 9. 1841.

The gold brooch takes the form of Prince of Wales feathers, symbol of the Prince, enamelled white above a base set with pearls emeralds and rubies.  Below the feathers is a ribbon with ICH DIEN in gold.  Meaning, "I Serve," these words typically adorn the heraldry of the Prince of Wales.



Saturday, June 8, 2013

Unusual Artifacts: Left hand of Albert Edward, Prince of Wales



Left hand of Albert Edward, Prince of Wales
Later King Edward VII
1862-1876
Sir Joseph Edgar Boehm
The Victoria & Albert Museum


This curious object is a plaster cast of the left hand of Albert Edward, Prince of Wales (later Edward VII, r. 1901-1910), the eldest son of Queen Victoria and Prince Albert. It was made in England between 1862-1876 by Sir Joseph Edgar Boehm (1834-1890). This item was given to the V&A by executors of the sculptor’s estate in 1892 along with a series of casts of hands of notable persons.

Boehm created a number of works associated with the Prince of Wales, perhaps most notably the monumental sculpture of the Prince on horseback which was erected in 1879 in Bombay, India. This casting shows exact detail of the Prince’s left hand, including a ring on the third finger.


At the Music Hall: I've Danced With a Man Who Danced With a Girl who Danced with the Prince of Wales, 1927



He danced with a girl who danced with a man who married the Prince of Wales.

I've danced with a man, who's danced with a girl, who's danced with the Prince of Wales.
It was simply grand, he said "Topping band" and she said "Delightful, Sir"

Glory, Glory, Alleluia! I'm the luckiest of females
For I've danced with a man, who's danced with a girl, who's danced with the Prince of Wales.
My word I've had a party, my word I've had a spree
Believe me or believe me not, it's all the same to me!
I'm wild with exultation, I'm dizzy with success
For I've danced with a man, I've danced with a man-
Who
Well, you'll never guess
I've danced with a man, who's danced with a girl, who's danced with the Prince of Wales.
I'm crazy with excitement, completely off the rails
And when he said to me what she said to him -the Prince remarked to her
It was simply grand, he said "Topping band" and she said "Delightful, Sir"
Glory, Glory, Alleluia! I'm the luckiest of females;
For I've danced with a man, who's danced with a girl, who's danced with the Prince of Wales.


“I've Danced with a Man, who's Danced with a Girl, who's Danced with the Prince of Wales” was written in 1927 by Herbert Farjeon at the height of the popularity of Edward, Prince of Wales – eldest son of King George V and Queen Mary. Such celebrity for a Prince of Wales was unprecedented to that date and “David” (as he was known to the family) loved every minute of it. Of course, he went on to be one of the greatest disappointments in Royal history when he chose American two-time divorcee and rumored lady-boy Wallis Simpson over the throne, breaking his mother’s heart in what I call “The Abdication Kerfuffle” ™ and what is more normally called, “The Abdication Crisis.”

The girl that inspired the song is thought to be one Edna Deane--a ballroom dancing champion of the era. The song, notably, was used as the theme for the 1978 ITV television series “Edward & Mrs. Simpson” which is a lot of fun to watch, but frustrating because it is so very pro-David. Nonetheless, thank God for the while Kerfuffle because without it, World War II would have had quite a different end.

Speaking of the Abdication Kerfuffle ™, we’ve commemorated the whole mess with a rather charming line of products available exclusively in our online store.

Monday, April 8, 2013

Unusual Artifacts: The Princess Alexandra Pocket Knife, 1863


Click on image for larger size.

The Princess Alexandra Pocket Knife
Denmark, 1863
The Victoria & Albert Museum




We know at once by the monogram that this belonged to Queen Alexandra. She was known as Princess of Alexandra of Denmark until she married Queen Victoria’s eldest son—the Prince of Wales. As the Princess of Wales, Alexandra captured the affection of Britain with her beauty and her devotion to a variety of causes. When the Princes of Wales ascended the throne as King Edward VII, Alexandra became the Queen Consort and—despite her increasing deafness, frequent inability to walk and her husband’s very public infidelities—served the Empire to the best of her abilities.

This penknife of etched, blued and gilded steel was made to commemorate the marriage of the Prince of Wales to Princess Alexandra. On one side of the knife is adorned with the letter A, set between the arms of England and Sweden and Norway. The other side’s decoration is a little more peculiar. It shows to images of interlacing monsters between which is a seated figure of a Norseman playing a harp—as one does when seated between two monsters.

The penknife was made in Denmark for the Princess of Wales in 1863. 





Monday, January 14, 2013

Gifts of Grandeur: The Greyhound Box, c. 1888

Micromosaic, gold and agate box
England, 1888
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II



This handsome circular agate box and cover boasts gold rims and an intricate micromosaic of a greyhound set against a background of brilliant sky blue. The inside of the cover is engraved with the Prince of Wales’ feathers, his motto and the cipher “AE.” 

This box has a rather interesting history within the Royal Family. It was made for Edward VII when still Prince of Wales. The box was a gift from Mr. Percy Doyle who’d asked that the interior be engraved with the prince’s cipher for his birth name, Albert Edward. 

After King Edward VII’s death in 1910, the box was passed to his sister, Princess Victoria (daughter of Queen Victoria and Prince Albert, who lived FOREVER) who would later give the box to her nephew, the new King George V on his birthday in 1932. Of course, George’s consort, Mary, was quick to get her hands on it, and, in doing so, preserved this masterpiece in the Royal Collection. 


Sunday, December 30, 2012

Painting of the Day, “The Music Party,” Philippe Mercier, 1733


The Music Party
Philippe Mercier, 1733
Crown Copyright
The Royal Collection
Image Courtesy of
Her Majesty Queen Elizabeth II

Philippe Mercier, painter and librarian to the Prince of Wales from 1728-1738, often sketched and painted scenes of daily life at the royal residences. This scene of a music party from 1733 shows a typical day in the life of the Royal Family of the Eighteenth Century. Here, we see Frederick, The Prince of Wales playing the cello. He is accompanied by his sister, Princess Anne, playing the harpsichord. Anne had been taught by Handel himself and by all accounts was just as skilled a player as he instructor. Also with them are Princess Caroline on the lute and Princess Amelia who reads aloud from a book of Milton’s poetry.


This painting was criticized for a number of reasons. First of all, Frederick’s love of playing the cello was considered unseemly and not appropriate for a man of his station. Similarly, the princesses are attired in costumes which were considered common and not the stuff of royalty. Still, Mercier argued that he depicted the scene as it actually happened.

One of three versions of this same scene, the other two, painted after this one, show the sitters in a more opulent outdoor setting and in costumes which were generally considered to be more fitting to their royal dignity.