Showing posts with label Royal. Show all posts
Showing posts with label Royal. Show all posts

Wednesday, May 28, 2014

Mastery of Design: The Imperial State Crown




The Imperial State Crown. Courtesy of The British Monarchy.
One of the most stunning achievements of the jeweler’s art, the British Imperial State Crown, is, perhaps, the most famous piece in the Crown Jewels. Based on the crown worn by St. Edward, the crown is an architectural marvel. From a base of four crosses pattée which alternates with four fleurs-de-lis, four half-arches support an orb and cross—symbols of the monarchy. The crown itself is lined in velvet and ermine. 

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

Click image to enlarge.




A glittering mosaic of 2,868 diamonds, 273 pearls, 17 sapphires, 11 emeralds, and 5 rubies, the crown also boasts some of the most famous gems in the world including The Black Prince’s “Ruby” (a red spinel, actually), a sapphire from the ring of Edward the Confessor, the Stuart Sapphire and the magnificent Cullinan II Diamond which alone weighs 317.4 carats. 

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.



The current version of the crown was designed and manufactured in 1937 for the coronation of King George VI and was altered for the coronation of Queen Elizabeth II. Worn annually by the Queen for the State Opening of Parliament, the crown usually resides in The Jewel House in the Tower of London with the other crown jewels. 
Crown Copyright
The Royal Collection
Image courtesy of Her Majesty Queen Elizabeth II

Click image to enlarge.


Wednesday, April 30, 2014

Gifts of Grandeur: The Caroline of Naples Tiara, 1808


The Caroline of Naples Tiara
Italy, 1808
The Victoria & Albert Museum
This gold tiara set with four lapis lazuli plaques inset with shells and pearls in pietre dure mosaic is believed to have belonged to Caroline Murat (1782-1839), Queen of Naples. Part of an impressive parure, the tiara shows the fine workmanship of its maker, Real Laboratorio of Naples, known for impressive suites of jewelry such as this. The parure is still kept in its original leather box which is stamped with a crowned “C” in gold. 


Some historians contend that the pietre dire panels were produced by the Opificio delle Pietre Dure in Florence while the gold work was finished in Naples. The Grand Ducal Workshop, Opificio delle Pietre Dure, was founded in 1588 and still operates today under the Italian Ministry for Cultural Heritage.

The suite consists of a matching necklace, earrings and comb in addition to the magnificent tiara.


Sunday, February 23, 2014

Unusual Artifacts: The Lucknow Throne, 1820




Lucknow Throne
1820
Robert Home
The Victoria & Albert Museum


Here, we see an Indian throne chair of wood, gilt brass and gilt gesso mounts, painted decoration and blue velvet upholstery. The chair dates to about 1820.

Known as the “Lucknow Throne Chair,” this chair is a rare surviving example of palace furniture from Lucknow in northern India. This opulent piece of furniture was a gift from Ghazi-ud-din Haidar, Nawab and King of Oudh (ruled 1814 to 1827), to Lord Amherst, the Governor-General of India which was given during Amherst's visit to Lucknow in 1827.

Though it was built to be used by an Indian ruler, the chair was actually designed by the celebrated Scottish artist Robert Home who was court painter at Lucknow. There, Home designed regalia, royal carriages, howdahs, barges and palace furnishings in the popular European fashions of the day. The typical British design of this piece is further adorned with the twin-fish badge of the rulers of Lucknow.



Wednesday, May 8, 2013

Unusual Artifacts: The Lucknow Throne, 1820



Lucknow Throne
1820
Robert Home
The Victoria & Albert Museum


Here, we see an Indian throne chair of wood, gilt brass and gilt gesso mounts, painted decoration and blue velvet upholstery. The chair dates to about 1820.

Known as the “Lucknow Throne Chair,” this chair is a rare surviving example of palace furniture from Lucknow in northern India. This opulent piece of furniture was a gift from Ghazi-ud-din Haidar, Nawab and King of Oudh (ruled 1814 to 1827), to Lord Amherst, the Governor-General of India which was given during Amherst's visit to Lucknow in 1827.

Though it was built to be used by an Indian ruler, the chair was actually designed by the celebrated Scottish artist Robert Home who was court painter at Lucknow. There, Home designed regalia, royal carriages, howdahs, barges and palace furnishings in the popular European fashions of the day. The typical British design of this piece is further adorned with the twin-fish badge of the rulers of Lucknow.


Wednesday, August 1, 2012

Object of the Day: A News Photograph of King George V and Queen Mary at the Lyric Theatre

Click Image to Enlarge.





This candid photo of Queen Mary and King George V in the Royal Box at the Lyric Theatre doesn’t list a year, however, since they’re seeing the play “Murder on the Second Floor,” and it’s dated December 20, we can conclude this photo must have been taken in 1929.

Caught in motion, the King and Queen and their unnamed companion seem to be quite intently watching the play. Such photos of the Crown would have appeared in “Society” pages of major newspapers. This particular image was supplied by London’s Fox Photos. I particularly enjoy the frankness of this image. The King and Queen, in this elegant setting, seem especially at ease—enjoying their moment of relaxation at the theatre. I was quite glad to add this to my collection of Royal ephemera.
 


Click Image to Enlarge.

Saturday, November 19, 2011

Objects of the Day: A Royal Commemorative Coffee Service


This is, I think, the newest of all my Royal memorabilia, but it fits right in with the themes of coronations and jubilees. Here, we see a lovely china coffee service commemorating the Golden Jubilee (fifty years on the throne) of Her Majesty, Queen Elizabeth II. This is actually a portion of a larger set which included cups and saucers. I’ve got the coffee pot, creamer and sugar.


Each item is trimmed in gold with Her Majesty’s cipher and the dates 1952-2002.




Monday, September 26, 2011

Card of the Day: St. George’s Spurs and the Bracelets

The thirtieth card of the 1935 Silver Jubilee series by the Churchman Cigarette Company depicts two important parts of the coronation regalia—St. George’s Spurs and the Armills (or bracelets).


The Spurs of St. George serve as emblems of knighthood and chivalry. These golden spurs were made for the 1661 coronation of King Charles II as ordered by Sir Robert Dyner. It is believed that they were modeled after a pair of pre-Thirteenth century spurs. The fabric straps are fashioned of crimson velvet which has been embroidered in gold.

Initially, the spurs were buckled to the feet of the Sovereign during the coronation ceremony, but this proved to be cumbersome. Most recently, they’ve only been touched to the Sovereign's heels.

As for the bracelets, there are actually two sets of armills in the Jewel House at the Tower of London. One enameled set was made for King Charles II but was never used until later coronations. These were also made by Sir Robert Dyner, from an ancient pattern. This set of armills bears enameled emblems and are lined with crimson velvet, fastening with a clasp in the shape of a Tudor Rose.

A second set of engraved gold was made in 1953 for Queen Elizabeth II. These were a gift from the nations of the Commonwealth. Regardless of which set is used, they are meant to symbolize sincerity and wisdom.

Saturday, September 24, 2011

Object of the Day, Museum Edition: An Electrotype of the Mace of the City of Gloucester

Mace of the City of Gloucester
Reproduction, c. 1860
The Victoria & Albert Museum
A mace is essentially a ceremonial club. In many countries maces are symbolic of governmental power, and specifically in the U.K., a mace represents the presence of the Sovereign at a meeting or gathering. In fact, some meetings—such as those of parliament—are only valid if the mace is present.

This is a Nineteenth Century reproduction of a mace which was originally made in the Seventeenth Century. The original mace is one from City of Gloucester which was made in 1652 (and altered in 1660) of silver-gilt.

The process of reproduction employed here is called, “electrotype” which was described thusly in the “Art Journal” of February, 1844:

The electrotypes are perfect; the finest lines, the most minute dots are as faithfully copied as the boldest objections.


Electrotypes are exact copies of metal objects and was a process which was discovered as a by-product of the invention of electroplating (silver plating by electrolysis), which Elkington and Company patented in the 1840s.

The process—which was undeniably mysterious and confusing to the public at large—was further described by “Penny Magazine,” also in 1844. “Early experiments, often by amateur scientists using Elkington’s home electroplating kits, involved coating fruit, flowers and animals in silver or gold 'with the most perfect accuracy'. They 'retained all the characteristics of the specimens before their immersion.” And, so, a lucrative market for recreations of famous works of art in metal arose, however, to avoid breaking English hallmarking laws, all marks were to be deleted from copies of silver objects.

Elkington and Co. launches a display of electrotypes at the 1867 Paris Exhibition which proved to be extremely popular. This mace was part of the display.

The original mace was made by Thomas Maundy for the City of Gloucester in 1652. Maundy, under the supervision of Oliver Cromwell, designed a new mace for the House of Commons which so pleased Cromwell that he ordered “all other great Maces to be used in this Commonwealth to be made according to the same forme and patern.” And, so they did. Versions of this mace crop up all over the U.K. in various places and are still in use.

Wednesday, September 14, 2011

Object of the Day: A Saucer Commemorating the Silver Jubilee of King George V and Queen Mary, 1935

This is a new addition to my collection. Here, we see a saucer which was manufactured for the 1935 Silver Jubilee of King George V and Queen Mary. The saucer is unmarked, so I can’t be sure who made it. Perhaps its long-gone matching cup had a mark.

Nevertheless, it’s an attractive piece with its fluted decoration and handsome portraits of George V and Mary of Teck as they looked at their 1911 coronation. The sides of the saucer are adorned with crossed flags—the flag of the empire and the Royal Standard.

King George V, as we know, passed away in 1936, shortly after the celebration of his Silver Jubilee. He and Queen Mary were much beloved by the people of Britain for their steadfast guidance during the First World War.






Tuesday, September 13, 2011

Gifts of Grandeur: The Caroline of Naples Tiara, 1808

The Caroline of Naples Tiara
Italy, 1808
The Victoria & Albert Museum
This gold tiara set with four lapis lazuli plaques inset with shells and pearls in pietre dure mosaic is believed to have belonged to Caroline Murat (1782-1839), Queen of Naples. Part of an impressive parure, the tiara shows the fine workmanship of its maker, Real Laboratorio of Naples, known for impressive suites of jewelry such as this. The parure is still kept in its original leather box which is stamped with a crowned “C” in gold.

Some historians contend that the pietre dire panels were produced by the Opificio delle Pietre Dure in Florence while the gold work was finished in Naples. The Grand Ducal Workshop, Opificio delle Pietre Dure, was founded in 1588 and still operates today under the Italian Ministry for Cultural Heritage.

The suite consists of a matching necklace, earrings and comb in addition to the magnificent tiara.

Object of the Day: A Unique Mug from the Coronation of King George VI, 1937

As you all know, I have a lot of mugs and other bits of Royal memorabilia commemorating coronations and jubilees. But, I’ve never seen a mug like this recent addition to my collection.

Made for the coronation of King George VI and Queen Elizabeth (the Queen Mother), this large mug features a bas relief portrait in profile of the King and Queen. The reverse of the mug shows a bas relief of the State Crown. This mug was produced by Crown Devon in 1937.

What I find interesting about this is the fact that all of the coronation souvenirs for the 1937 coronation were made in something of a hurry. Since the coronation was originally meant to be Edward VIII and not his brother, manufacturers spent a great deal of time and expense creating mementos with the likeness of Edward. But, Edward messed that up with the whole, as I like to call it, “Abdication Kerfuffle.” So, all of those items had to be scrapped. I think this is a very clever souvenir and was most likely time consuming to produce, especially considering that it had to be made in a hurry when it was learned George VI would be crowned and not Edward VIII. In light of that, I find it all the more exceptional.



Monday, September 12, 2011

Mastery of Design: The Lucknow Throne, 1820

Lucknow Throne
1820
Robert Home
The Victoria & Albert Museum
Since we looked at St. Edward’s chair earlier this morning, I thought we should examine a throne from another culture. Here, we see an Indian throne chair of wood, gilt brass and gilt gesso mounts, painted decoration and blue velvet upholstery. The chair dates to about 1820.

Known as the “Lucknow Throne Chair,” this chair is a rare surviving example of palace furniture from Lucknow in northern India. This opulent piece of furniture was a gift from Ghazi-ud-din Haidar, Nawab and King of Oudh (ruled 1814 to 1827), to Lord Amherst, the Governor-General of India which was given during Amherst's visit to Lucknow in 1827.

Though it was built to be used by an Indian ruler, the chair was actually designed by the celebrated Scottish artist Robert Home who was court painter at Lucknow. There, Home designed regalia, royal carriages, howdahs, barges and palace furnishings in the popular European fashions of the day. The typical British design of this piece is further adorned with the twin-fish badge of the rulers of Lucknow.

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.


Tuesday, September 28, 2010

The Belle Époque Today: The Art of John Wonnacott, RP

The Royal Family: A Centernary Portrait
John Wonnacott
The British National Portrait Gallery
“Formalist,” “expressive,” and “dramatic” are just three of the words used to describe the monumental works of John Wonnacott. While his first great love is landscape painting—particularly the mudflats of the Thames estuary—the artist said, quite plainly and without arrogance, in 2005, “I had to think of something I could do that was different, which was the grand portrait commissions. I'm the only one who can do those really." Wonnacott’s portrait of The Royal Family (painted in 2000) placed him in the world spotlight. Employing the same principals he would use in rendering a landscape, Wonnacott depicts four generations of Royals in Buckingham Palace’s White Drawing Room. The painting dances with light—just the way Wonnacott likes it.


His studio overlooking the Thames is walled with mirrors which create a constant light show in the space. Wonnacott admits that while most painters like a steady light, he much prefers the drama of shifting light sources. His love for that drama is evident in his works. His portraits make no attempt to find the soul of the sitter, but rather rely on the motion and color of nature to portray their personality. He says, "I paint appearances. I don't understand insight into people. I don't know what that means. My colleagues in portrait painting say that they can see beneath the skin. Well, I think they're jolly clever. I find it hard enough to see the skin." Clearly, seeing the skin is enough for Wonnacott. His works appear to wriggle with their own life.

Norwich Cathedral
John Wonnacott
Capable of a wide range of styles, his landscapes are sometimes as crisp as a photograph, and other times, shimmering with watery lines. The decision seems to be based on the location and time of day. Wonnacott is imbued with his own brand of cleverness, a vision and creativity that would be ponderous in the hands of other artists. In his hands, however, it is pure light.

For more information about John Wonnacott, visit his Web site.

Thursday, August 12, 2010

Mastery of Design: The Imperial State Crown

The Imperial State Crown. Courtesy of The British Monarchy.
One of the most stunning achievements of the jeweler’s art, the British Imperial State Crown, is, perhaps, the most famous piece in the Crown Jewels. Based on the crown worn by St. Edward, the crown is an architectural marvel. From a base of four crosses pattée which alternates with four fleurs-de-lis, four half-arches support an orb and cross—symbols of the monarchy. The crown itself is lined in velvet and ermine.


A glittering mosaic of 2,868 diamonds, 273 pearls, 17 sapphires, 11 emeralds, and 5 rubies, the crown also boasts some of the most famous gems in the world including The Black Prince’s “Ruby,” a sapphire from the ring of Edward the Confessor, the Stuart Sapphire and the magnificent Cullinan II Diamond which alone weighs 317.4 carats.

The current version of the crown was designed and manufactured in 1937 for the coronation of King George VI and was altered for the coronation of Queen Elizabeth II. Worn annuallyby the Queen for the State Opening of Parliament, the crown usually resides in The Jewel House in the Tower of London with the other crown jewels.

Tuesday, July 20, 2010

Recommended Reading: Royal Palaces

Thinking about Church’s monumental Hudson River Valley home, Olana, which is the quintessential American palace, reminded me of a book I was given a couple of Christmases ago. Royal Palaces, edited by Marcello Morelli, is a photographic journey through over thirty palaces around the world. With thoughtfully written historical articles to accompany each place, this book offers gorgeous photos of some of the most stunning castles and palaces ever built. Everything from Versailles and Buckingham palace to Het Loo Palace and The Castle of Prague is photographed in crisp, brilliant detail. Not only do you get your fill of exquisite architecture, but also of painting, sculpture and the decorative arts. The best part about this book is that it reminds us that our own homes—no matter how modest—are and should be our own palaces and must be treated accordingly.


Above painting: Esplanade at Versailles by Robert J. Inness, from my own collection.