Object of the Day, Museum Edition: An Admission Ticket for the Coronation of King George IV, 1821

Admission Ticket to the Coronation of King George IV
1821
The Victoria & Albert Museum

Today, we're looking at women named Caroline.  Let's start with Queen Caroline,  the contentious consort of King George IV.


What was happening in 1821? Well, the eldest son of mad King George III was about to ascend the throne as King George IV, formerly the Prince Regent. George IV was not a popular King. Most people thought he was a debaucher and was far too quick to spend the empire’s money. Both of these assertions were true. His brother, William IV was a little bit better. And, certainly, his niece, Queen Victoria was a lot better.

Still, upon his coronation in 1821, the public was hopeful that George IV might mend his lavish ways when he ascended the throne. He didn’t. In fact, his coronation was one of the most expensive and ridiculous in history. Of course, the event took place at Westminster Abbey with a very posh banquet to follow at Westminster Hall—the last of its kind to be held there.

This invitation card was for the ceremony in the Abbey itself. The entrance to the Abbey was carefully guarded. It was so guarded, in fact, that admission was refused to Queen Caroline—the King’s “Consort.” You see, the new King and his wife had been separated for many, many years. They had separated after the birth of their daughter, the ill-fated Princess Charlotte (named for the Prince Regent's mama). And, there was certainly no love lost. The soldiers at the entrance refused to allow Caroline to enter. She had definitely not been invited, and did not have a ticket. Much drama ensued.

Most of the blocks used for printing this card were also employed to print the invitation to the banquet in Westminster Hall afterwards, however, on that card, a different stamped border pattern and slightly differing lettering were used.

You’ll notice that the border of the invitation was stamped with the name, “Dobbs.” This was H. Dobbs whose firm (founded in 1803) developed the use of decorative blind stamping for decorating invitation cards.

To Serve and Project: A Souvenir of the Great Exhibition, 1851

This beautiful transfer-printed plate comes alive from the use of underglaze colors, depicting an interior view of the sculpture court of the 1851 Exhibition Building.  The top of the plate is inscribed “INTERIOR VIEW OF THE CRYSTAL PALACE."  The border is painted green with a gilt edge and scrolling adornment.

The Exhibition of the Works of Industry of All Nations-- known more commonly as the Great Exhibition--took place in London from May 1 to October11, 1851 and served as a regal spectacle showcasing the manufactures wares of more than thirty British Colonies, allowing a celebration of the commercial and artistic wealth of Britain.  The location itself was a triumph of British skill  and ingenuity--Joseph Paxton’s revolutionary glass building; the Crystal Palace.

This plate was one of many items produced for the months-long event, intended as an affordable souvenir which could be purchased by any of the millions of visitors to the Exhibition.   It has been preserved in the Victoria & Albert Museum along with a good many of the actual items displayed in the Crystal Palace.  

Mastery of Design: The Tiger Claw Necklace, c. 1865

Tiger Claw Necklace
India, c. 1865
The Victoria & Albert Museum

In Nineteenth Century India, a tiger’s claws were considered to be powerful charms against evil. They were frequently used as amulets. Visitors to India, especially the British, found this custom charming and started to bring tiger claw amulets back to Britain as souvenirs. By the middle of the century, with a growing market, makers of tiger claw charms branched out into more elaborate pieces such as this one.

It was clearly made for the British market. The design is very similar to the shape and form of European jewelry. This particular necklace was exhibited at the Paris International Exhibition in 1867. Ten tiger claws of graded size have been set in engraved gold. The claws are linked by chains and the whole piece hangs from a gold snake. 

It’s quite ghastly, no?

The Art of Play: A Jigsaw Puzzle, "His Majesty the King and TRH Princess Elizabeth and Princess Margaret Rose," 1938

Puzzle by Chad Valley depicting
King George VI with Princesses Margaret and Elizabeth, 1938
The Victoria & Albert Museum

In the 1930s, as today, games were designed to suit the age and ability of children.  One of the most popular “games” was the traditional jigsaw puzzle. These color-printed cardboard puzzles often featured images of the Royal Family.  After the Abdication Kerfuffle ™, as King George VI ascended the throne, he was a figure to whom the children of Britain could relate since he was the father of two young girls—Princess Elizabeth (now Her Majesty Queen Elizabeth II) and Princess Margaret Rose.  

This puzzle shows the continuing interest in the British Royal Family with a picture of King George VI (ruled 1936–52) and his two daughters riding ponies in Windsor Park in April of 1938.  The puzzle was made by the Chad Valley Company Limited.

Object of the Day, Museum Edition: An Invitation to the Coronation of King Edward VII and Queen Alexandra

Invitation to the Coronation of King Edward VII and Queen Alexandra
1902
The Victoria & Albert Museum

Today, we’ll  have a look at an invitation to the coronation of King Edward VII and Queen Alexandra. Given the fact that it was more recent, a few more of these invitations survive than from earlier coronations, but they’re still incredibly rare. An invitation to a coronation was not sent to just anyone. Of course, Edward invited his wife since it was her coronation, too. And, although he was just as much of a cad as his great-uncle, George IV, Edward VII was, at least, much nicer to his wife, the former Alexandra of Denmark, while he was cheating on her.

Edward VII was not quite sixty years old when he ascended the throne. He was Prince of Wales forever since his mother, Queen Victoria, reigned from 1837 to 1901. By the time Edward took the throne, he was already quite set in his ways and there was no hope he’d begin to walk the straight and narrow. He reigned nine years and was succeeded by his second son, who became King George V.

Unusual Artifacts: A Souvenir from Windsor Castle, 1886-1897

Souvenir Brooch
1886-1887
The Victoria & Albert Museum

Here’s a nifty little souvenir that I wouldn’t mind having. I’m sure that they were made by the dozens. I wonder how many are left. This one is in the collection of the Victoria and Albert Museum. 

This brooch is in the form of a painter's palette with a view of Windsor Castle. It is crafted of electroplated nickel silver painted in enamel colors.

This was just the sort of thing that a visitor to Windsor could afford to purchase as a trinket. While most women would probably have not worn it, it would have served as a pretty reminder of a fun afternoon.

To Serve and Project: A Souvenir of the Great Exhibition, 1851

This beautiful transfer-printed plate comes alive from the use of underglaze colors, depicting an interior view of the sculpture court of the 1851 Exhibition Building.  The top of the plate is inscribed “INTERIOR VIEW OF THE CRYSTAL PALACE."  The border is painted green with a gilt edge and scrolling adornment.

The Exhibition of the Works of Industry of All Nations-- known more commonly as the Great Exhibition--took place in London from May 1 to October11, 1851 and served as a regal spectacle showcasing the manufactures wares of more than thirty British Colonies, allowing a celebration of the commercial and artistic wealth of Britain.  The location itself was a triumph of British skill  and ingenuity--Joseph Paxton’s revolutionary glass building; the Crystal Palace.

This plate was one of many items produced for the months-long event, intended as an affordable souvenir which could be purchased by any of the millions of visitors to the Exhibition.   It has been preserved in the Victoria & Albert Museum along with a good many of the actual items displayed in the Crystal Palace.  

Object of the Day, Museum Edition: An Admission Ticket for the Coronation of King George IV, 1821

Admission Ticket to the Coronation of King George IV
1821
The Victoria & Albert Museum

Today, we're looking at Queens Caroline.  The first was the consort of King George II, the second was the contentious consort of King George IV.  Let's begin with  the latter.


What was happening in 1821? Well, the eldest son of mad King George III was about to ascend the throne as King George IV, formerly the Prince Regent. George IV was not a popular King. Most people thought he was a debaucher and was far too quick to spend the empire’s money. Both of these assertions were true. His brother, William IV was a little bit better. And, certainly, his niece, Queen Victoria was a lot better.

Still, upon his coronation in 1821, the public was hopeful that George IV might mend his lavish ways when he ascended the throne. He didn’t. In fact, his coronation was one of the most expensive and ridiculous in history. Of course, the event took place at Westminster Abbey with a very posh banquet to follow at Westminster Hall—the last of its kind to be held there.

This invitation card was for the ceremony in the Abbey itself. The entrance to the Abbey was carefully guarded. It was so guarded, in fact, that admission was refused to Queen Caroline—the King’s “Consort.” You see, the new King and his wife had been separated for many, many years. They had separated after the birth of their daughter, the ill-fated Princess Charlotte (named for the Prince Regent's mama). And, there was certainly no love lost. The soldiers at the entrance refused to allow Caroline to enter. She had definitely not been invited, and did not have a ticket. Much drama ensued.

Most of the blocks used for printing this card were also employed to print the invitation to the banquet in Westminster Hall afterwards, however, on that card, a different stamped border pattern and slightly differing lettering were used.

You’ll notice that the border of the invitation was stamped with the name, “Dobbs.” This was H. Dobbs whose firm (founded in 1803) developed the use of decorative blind stamping for decorating invitation cards.

Mastery of Design: A Carnelian Ring with an Intaglio of George IV, 1821

Intaglio Ring
Made for George IV, 1821
The Royal Collection

An intaglio (carving in hardstone) of carnelian is set in a gold ring with an open bezel, and a shaped lobed border. The shoulders of the ring are mounted at each side with two cabochon turquoises and a seed pearl forming a trefoil with, each with an applied gold stem. This ring was acquired by Her Majesty Queen Elizabeth, The Queen Mother, around 1958.

The intaglio depicts a laureate bust of King George IV (1762-1830) in profile to the right, wearing a tunic. The reverse of the intaglio is inscribed: GEORGIUS IV DEI GRATIA BRITT REX MDCCCXXI and the band is engraved: GEORGIUS HANOV: REX. SEPR. 1821. Clearly, this was made shortly after George IV’s coronation in 1821 and was most likely intended as a souvenir of the coronation which took place on 19 July 1821. The inscription on the band is curious in that it appears to commemorate George IV’s visit to Hanover that same year. There, he enjoyed a second coronation ceremony and was crowned King of Hanover—traditional for a male monarch at the time--to much celebration. After his brother, William the IV was King, their niece, Queen Victoria was crowned, but was not the Queen of Hanover since the throne of Hanover could not be held by a woman.

George IV enjoyed being depicted as a Roman emperor, and such images were often produced in a variety of media He also enjoyed jewelry and spent heavily at the Royal goldsmiths of the era, Rundell, Bridge & Rundell, on numerous rings, lockets and medallions for presentation to his family and courtiers as souvenirs.

Object of the Day, Museum Edition: A Carnelian Ring with an Intaglio of George IV, 1821

Intaglio Ring
Made for George IV, 1821
Crown Copyright
The Royal Collection
Images Courtesy of Her Majesty Queen Elizabeth II

An intaglio (carving in hardstone) of carnelian is set in a gold ring with an open bezel, and a shaped lobed border. The shoulders of the ring are mounted at each side with two cabochon turquoises and a seed pearl forming a trefoil with, each with an applied gold stem. This ring was acquired by Her Majesty Queen Elizabeth, The Queen Mother, around 1958.

The intaglio depicts a laureate bust of King George IV (1762-1830) in profile to the right, wearing a tunic. The reverse of the intaglio is inscribed: GEORGIUS IV DEI GRATIA BRITT REX MDCCCXXI and the band is engraved: GEORGIUS HANOV: REX. SEPR. 1821. Clearly, this was made shortly after George IV’s coronation in 1821 and was most likely intended as a souvenir of the coronation which took place on 19 July 1821. The inscription on the band is curious in that it appears to commemorate George IV’s visit to Hanover that same year. There, he enjoyed a second coronation ceremony and was crowned King of Hanover—traditional for a male monarch at the time--to much celebration. After his brother, William the IV was King, their niece, Queen Victoria was crowned, but was not the Queen of Hanover since the throne of Hanover could not be held by a woman. 

George IV enjoyed being depicted as a Roman emperor, and such images were often produced in a variety of media He also enjoyed jewelry and spent heavily at the Royal goldsmiths of the era, Rundell, Bridge & Rundell, on numerous rings, lockets and medallions for presentation to his family and courtiers as souvenirs.

Object of the Day, Museum Edition: A Papier-Mâché Folder from The Crystal Palace, 1851

Click image to enlarge.

Souvenir of the Great Exhibition
Jennens and Bettridge, 1851
The Victoria & Albert Museum

A folder like this one, made of papier-mâché, would have been made as a decorative way to contain note or blotting paper. Items such as these folder perfectly lent themselves to being made as souvenirs or commemorative objects which would have been both affordable and useful.

This one dates to 1851 and was made as a souvenir of the Great Exhibition. The front of the notebook is set with a view of the Crystal Palace which has been reverse-painted under glass. The reverse of the painting has been silvered which serves to turn the painting into a mirror and affords a certain sparkle to the Crystal Palace—replicating how the massive glass structure must have really looked when reflected in the sunlight.

The folder itself is crafted of japanned papier-mâché which has been decorated with mother-of-pearl roses—a technique popularized around 1772 when Henry Clay of Birmingham invented a new method of manufacturing japanned items in the Chinoiserie style. Clay’s method involved the pressing of sheets of heat-resisting paper into wooden moulds. The resulting object was smoothed, providing a warp-free surface ideal for japanning—a decorating technique wherein pigment is suspended in a varnish medium in an imitation of oriental lacquer. Inlay of mother-of-pearl had long been the favored adornment for these pieces. By 1825, the firm had patented this inlay technique. And, soon, the Asian-inspired scenes gave way to decidedly Western themes of flowers, castles, landscapes, animals and naturalistic patterns.

This is just one of the many different papier-mâché articles which were offered as souvenirs of the Crystal Palace. It was made by Jennens and Bettridge, who had bought Clay's factory in 1816. The duo also had one of the main displays at the Great Exhibition—showcasing their wares and directing people to their souvenirs. 

Object of the Day, Museum Edition: The Dan Leno Inkwell, 1901

The Victoria & Albert Museum

In some ways, this painted metal souvenir inkwell is a little disturbing. It has been made in the form of the head and shoulders of the music-hall and pantomime star, Dan Leno (born George Galvin 1860-1904), who is dressed for the Dame role of “Sister Anne.” Pantomime often involved men dressing up as women. It was the Nineteenth Century version of “Little Britain.”
The figure of Leno is placed behind an open book of the same base metal used for the sculpture. This book makes the base of the ink well. Upon the seemingly open pages of the book are painted the name “Dan Leno” in copperplate lettering. His hair is modeled and painted as if decorated with a green ribbon around a lady’s bun,. Behind this, there is a hinge, allowing the head section to tip backwards, revealing a chamber in which houses the small clear glass inkwell.

Leno played “Sister Anne” in the pantomime “Blue Beard” by J. Hickory Wood and Arthur Collins at Drury Lane Theatre in 1901. He was enormously popular as evidenced by this souvenir.

Aside from his great success in Pantomime, Leno was a popular fixture of the music halls where he delighted audiences with long, rambling anecdotes from his own life. Also in 1901 he performed for King Edward VII at Sandringham—much to the King’s amusement. After this, Leno was dubbed “the King's Jester.”

Unusual Artifacts: A Silk Program from a Coronation Concert, 1911

Silk Programme
English, 1911
The Victoria & Albert Museum

British coronations are always days-long events marked by much celebration and a series of events, both formal and otherwise, in honor of the new monarch. The 1911 coronation of King George and Queen Mary was no exception. Parties, festivals and even command performances aided in the celebration of the coronation. Some souvenirs of these still exist.

In the late Nineteenth Century, the tradition of producing programs for special occasions on silk rose in popularity. These items were thought to be more elegant and longer lasting than their more ephemeral paper counterparts.

Here, we see a program (programme) of cream silk with medium-blue typography, surrounded with an elaborate border of yellow, pink, green, brown and blue, surmounted by a lion and unicorn crest at top. To the whole, a cream was fringe applied. Oval portraits of King George V and Queen Mary are nestled at each top corner. The program states that it was produced for “A State Performance in Honour of the Coronation of King George V and Queen Mary' with Acts from 'Aida', 'Romeo et Juliette', 'Il Barbiere di Siviglia' and 'Le Pavillon D'Armide', Royal Opera Covent Garden, 26th June 1911.”

Such items were meant to be preserved. Luckily, the recipient of this program understood that. A rare piece, it is housed in the Victoria & Albert Museum.

Speaking of rare...here's a glimpse at the coronation procession brought to us compliments of British Pathe.  No film has, obviously for 1911, no sound.

CORONATION OF KING GEORGE V

Mastery of Design: The Tiger Claw Necklace, c. 1865

Tiger Claw Necklace
India, c. 1865
The Victoria & Albert Museum

In Nineteenth Century India, a tiger’s claws were considered to be powerful charms against evil. They were frequently used as amulets. Visitors to India, especially the British, found this custom charming and started to bring tiger claw amulets back to Britain as souvenirs. By the middle of the century, with a growing market, makers of tiger claw charms branched out into more elaborate pieces such as this one.

It was clearly made for the British market. The design is very similar to the shape and form of European jewelry. This particular necklace was exhibited at the Paris International Exhibition in 1867. Ten tiger claws of graded size have been set in engraved gold. The claws are linked by chains and the whole piece hangs from a gold snake. 

It’s quite ghastly, no?

The Home Beautiful: A Papier-Mâché Folder from The Crystal Palace, 1851

Click image to enlarge.

Souvenir of the Great Exhibition
Jennens and Bettridge, 1851
The Victoria & Albert Museum

A folder like this one, made of papier-mâché, would have been made as a decorative way to contain note or blotting paper. Items such as these folder perfectly lent themselves to being made as souvenirs or commemorative objects which would have been both affordable and useful.

This one dates to 1851 and was made as a souvenir of the Great Exhibition. The front of the notebook is set with a view of the Crystal Palace which has been reverse-painted under glass. The reverse of the painting has been silvered which serves to turn the painting into a mirror and affords a certain sparkle to the Crystal Palace—replicating how the massive glass structure must have really looked when reflected in the sunlight.

The folder itself is crafted of japanned papier-mâché which has been decorated with mother-of-pearl roses—a technique popularized around 1772 when Henry Clay of Birmingham invented a new method of manufacturing japanned items in the Chinoiserie style. Clay’s method involved the pressing of sheets of heat-resisting paper into wooden moulds. The resulting object was smoothed, providing a warp-free surface ideal for japanning—a decorating technique wherein pigment is suspended in a varnish medium in an imitation of oriental lacquer. Inlay of mother-of-pearl had long been the favored adornment for these pieces. By 1825, the firm had patented this inlay technique. And, soon, the Asian-inspired scenes gave way to decidedly Western themes of flowers, castles, landscapes, animals and naturalistic patterns.

This is just one of the many different papier-mâché articles which were offered as souvenirs of the Crystal Palace. It was made by Jennens and Bettridge, who had bought Clay's factory in 1816. The duo also had one of the main displays at the Great Exhibition—showcasing their wares and directing people to their souvenirs. 

Object of the Day: A Souvenir of the Coronation of King George V

I pray God that my eldest son will never marry and that nothing will come between Bertie and Lilibet and the throne. 
--King George V




I recently acquired this handsome, but, curious souvenir from the 1911 coronation of King George V. Oddly enough, this pennant was not made in the U.K., but according to the text on the reverse was made in Boyerton, Pennsylvania. I’m not quite sure why. 

The pennant is machine sewn of red, white and blue felt which has been adorned with glittered gold paint and an applied photograph roundel of His Majesty King George V. The date of George’s coronation, June 22, 1911, is emblazoned on the bottom of the front.

I thought this was a fitting “Object of the Day” as we begin the Central Weekend of the festivities of Queen Elizabeth II’s Diamond Jubilee (June 2-5) in honor of her sixty years on the thrones of the Empire. Her Majesty was the favorite grandchild of King George V and Queen Mary. She referred to her paternal grandfather as “Grandfather England,” and the King—until his death in 1936—was concerned that the accession of his eldest son, “David,” the Prince of Wales (later, briefly, King Edward VIII, and, later still the Duke of Windsor—to me “The Great Kerfuffler” ™) would prevent “Lilibet,” as he called his eldest granddaughter, from one day becoming Queen. Thanks, however, to the abdication, Princess Elizabeth ascended as Queen Elizabeth II following the death of her father, “Bertie,” King George VI, in 1952 (coronation on June 2, 1953). In the end, King George V and Queen Mary got their wish—their granddaughter was Queen, and remains so to this day. 

If you’re as much of a Royal history buff as I, or, if you would like to join the world in commemorating Her Majesty’s Diamond Jubilee, I’d like to suggest that you visit our online store and browse the host of Diamond Jubilee items available there amongst a wealth of other fun Royal stuff.

The Art of Play: A Jigsaw Puzzle, "His Majesty the King and TRH Princess Elizabeth and Princess Margaret Rose," 1938

Puzzle by Chad Valley depicting
King George VI with Princesses Margaret and Elizabeth, 1938
The Victoria & Albert Museum

 

In the 1930s, as today, games were designed to suit the age and ability of children.  One of the most popular “games” was the traditional jigsaw puzzle.  These color-printed cardboard puzzles often featured images of the Royal Family.  After the Abdication Kerfuffle ™, as King George VI ascended the throne, he was a figure to whom the children of Britain could relate since he was the father of two young girls—Princess Elizabeth (now Her Majesty Queen Elizabeth II) and Princess Margaret Rose. 

This puzzle shows the continuing interest in the British Royal Family with a picture of King George VI (ruled 1936–52) and his two daughters riding ponies in Windsor Park in April of 1938.  The puzzle was made by the Chad Valley Company Limited.

Object of the Day: George and Mary Post Card Album

 

I recently purchased this beautiful leather album to add to my collection of souvenirs from the 1911 coronation of King George V and Queen Mary.  The album of red leather was made to hold postcards and contains many stiff, green pages with a series of various slits to hold the cards.

The cover is embossed with the symbols of the Empire—shamrocks, roses and thistles—which have been gilt, along with the Royal arms.  Actual photographs of the King and Queen have been pasted in oval indentations.  It’s really quite handsome and will be an appropriate home for my many George and Mary themed post cards.

Do you have an affection for Queen Mary.  If so, our exclusive “Teck Support” designs would be perfect for you.  

Object of the Day: A Souvenir of the Abdication Kerfuffle

I’ve made my thoughts about King Edward VIII, the Great Kerfuffler ™, quite clear. On one hand, I’m very glad that his tenure as King was very, very brief since he had political and social affiliations which would have proven disastrous for the entire globe, but I can’t seem to forgive him for the whole Abdication Kerfuffle.

Nevertheless, as a collector of Royal memorabilia, I’m always eager to snatch up souvenirs which were produced for King Edward VIII’s 1937 coronation because it never happened and, therefore, these items are quite rare.

The designs for “David’s” coronation souvenirs were undoubtedly handsome—masculine and dignified, yet stylized in a very 1937 way whereas the replacement items made when it was known that “Bertie” would take his brothers place are delightfully more traditional and family-oriented.

Take this beaker which I recently added to my collection, for example. It is, truly, stylized, but also very bold in its design and color. Had Edward remained King, his reign would have been dangerous failure, but these reminders of the coronation which never happened are very pleasing indeed.

Interested in the "Abdication Kerfuffle?"  Show your own opinion of the late Duke of Windsor with our unique, exclusive "Abdication Kerfuffle" ™ designs. 

Object of the Day: A Souvenir of the Silver Jubilee of Queen Elizabeth II

Again, it’s because I needed more Royal souvenirs!

This attractive mug was commissioned by Britain’s National Trust for the 1977 Silver Jubilee of Queen Elizabeth II. I was four years old when this mug came out. It’s hard to imagine that Her Majesty was already on the throne for twenty-five years at that point. Now, as she celebrates her Diamond Jubilee, she ties with Queen Victoria as Britain’s longest reigning monarch.

The mug is adorned with a pattern of Tudor roses, and is accented by silver trim.

Looking for souvenirs of Her Majesty's Diamond Jubilee?  Why not try one of Stalking the Belle Époque’s exclusive designs?