Antique Image of the Day: The Staircase at Frogmore House, 1861

The Staircase at Frogmore House
Unknown Photographer, 1861
The Royal Collection

This is one of a series of images taken by an unknown photographer of the Royal Residence at Frogmore House. Frogmore House long served as the home of The Duchess of Kent who was kept there by Queen Victoria.


At first glance, this image doesn’t appear to be a photograph, but it is. It has been meticulously and painstakingly hand-tinted to preserve the memory of the house’s original color scheme. A century and a half later, it’s just as vivid an image as it was in 1861.

Mastery of Design: Queen Mary’s Seal, 1896

Seal
Michael Perchin for Fabergé
1896The Royal Collection

This attractive seal by Michael Perchin of Fabergé was a gift to Queen Mary on the occasion of her birthday, May 26, 1935 and also for her Silver Jubilee on the throne from Prince and Princess Nicholas of Greece. The Prince and Princess were the parents of Princess Marina who would marry the fourth son of King George V and Queen Mary and become the Duchess of Kent.

The seal’s unusual handle is formed of rutilated quartz-- rock crystal containing rutile, a mineral which occurs in columnar-shaped crystals. Queen Mary happily added this handsome item to her collection of Fabergé—a large grouping of objects which she kept in a series of vitrines.

Queen Mary adored her Fabergé collection. After the death of her husband, King George V, her Fabergé collection was one of the first things that she moved with her from Buckingham Palace to her new home at Marlborough house. When the danger of the Second World War forced the Queen Dowager to move from Marlborough House to Badminton House in the country she brought the collection with her, and when the war was over and the Queen set about rebuilding Marlborough House which had been badly bombed, she declared that the ruined house was looking “like home” again when her collection of Fabergé was in place. 

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

Object of the Day, Museum Edition: A Set of Five Platinum Eternity Bands or Guard Rings, 1920-40

Guard Rings
1920-1940
England
The Victoria & Albert Museum

Here, we see a set of five platinum guard rings set with diamonds, emeralds and rubies. Today, we’d refer to these rings as Eternity Bands and, they’re quite in fashion again. This set was made between 1920 and 1940.


These narrow rings are set with a continuous line of matching, single-color stones. Such rings initially became very fashionable during the 1930s. They were worn either next to or instead of a plain, gold or platinum wedding band. Of course, diamonds were the most popular choice, others were often set with emeralds, rubies or sapphires. One famous lover of such rings was Princess Marina, the Duchess of Kent. On her marriage in 1934 to Prince George, the Duke of Kent (son of George V and Mary of Teck), she selected three - one of rubies, one of diamonds and one of sapphires, the colors of the Union Jack.

Gifts of Grandeur: Prince Albert’s Bookmark, 1840

Book Mark of Gold and Gemstones
Given by the Duchess of Kent to Prince Albert at his 1840 Wedding to Queen Victoria
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

This handsome bookmark was made in 1840 and was given as a gift by the Duchess of Kent (Queen Victoria’s Mother) to Prince Albert on the day of his marriage to Queen Victoria—February 10.

The gold bookmark was inserted into the prayer book which Prince Albert held on his wedding day. The structure of gold hangs from green silk ribbons. It is set with eight gemstones which spell out the name, “Victoria.” Let’s take a look at it, beginning with the deep red stone at the top, center.

V – Vermillion. This deep red stone is actually a garnet. At the time, it was commonly called “Vermeil” for vermillion as a description of its color. In modern jewelry terms, this can be quite confusing since the term now refers to silver which has been plated in a metallic blend of gold and other alloys. 

I – Jargoon. Yeah, I know. That doesn’t begin with an “I.” However, in 1840, a “J” was often used in place of an “I.” 

C – Chrysolite. Wow. This one actually means what it is and starts with the right letter. 

T – Turquoise. 

O – Opal 

R – Ruby 

I – Jargoon, again. By the way, this is a reddish-amber colored natural zircon. 

A – Amethyst

Mastery of Design: Queen Victoria’s Portrait Bracelet, 1839

Gold Serpent Bracelet with Enamel Portrait of
Queen Victoria
Commissioned by the Queen, 1839
Rundell, Bridge & Rundell
Gold, Diamonds, Rubies, Enamel
The Royal Collection

Over a period of several years, Queen Victoria had commissioned a set of bracelets from the Royal Jewelers at Rundell, Bridge & Rundell. These bracelets—gold, set with rubies (for passion), diamonds (for eternity) and a serptentine design (to suggest “wisdom”)—all featured enamel portraits of Queen Victoria copied by hand by Henry Pierce Bone after the Coronation portrait by George Hayter. The only difference was that Victoria ordered that she not be wearing the Imperial Crown in the enamel portraits on the bracelets since they were to be given as personal gifts.

Bracelet ReverseThe Royal Collection

This is one of those bracelets—one of the originals, in fact, which is housed in the Royal Collection. The reverse of the bracelet shows the queen’s insignia “V.R.” for Victoria Regina and the date of July, 1839. This bracelet, it is believed, was given as a special gift by the queen to her mother, The Duchess of Kent. 

Gifts of Grandeur: Queen Victoria's Engagement Bracelet, 1839

Queen Victoria's Engagement Bracelet
November, 1839
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

This gold bracelet is constructed of flat, tapering links—each engraved with tendrils and volutes. The centerpiece consists of a lovely amethyst which has been carved as a double heart. Behind this is a glass locket—now empty—which is engraved with a V monogram and the date: 23 Nov. 1939.

This attractive bauble was one of several elegant and costly engagement gifts given to Queen Victoria(1819-1901) upon the announcement to the Privy Council of her impending marriage to Prince Albert in 1839. The bracelet was given to the Queen by The Duchess of Kent, Her Majesty’s mother with whom she had, at best, a rather rocky relationship. 

Upon the Queen’s 1901 death, at her previous request, this bracelet was one of a group of jewels which was put on display in the “Albert Room” at Windsor Castle. This was the room in which Prince Albert had died in 1861. Victoria insisted that the room remain untouched and just as he left it—and, so it did until her own death. After Queen Victoria’s death, the group of jewels which she had specified be displayed in the Albert Room were to remain there and, she insisted, not passed on to her family. 

Royal Pets: Boz, Favourite Skye Terrier of the Duchess of Kent and afterwards the Queen, 1861

Boz, the Favourite Skye Terrier of the Duchess of Kent and Thereafter Queen Victoria
Study by Friedrich Wilhelm Keyl, 1861
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Though Queen Victoria and her mum didn’t get on so well all the time, they did share an appreciation for dogs. So, when the Duchess of Kent finally died, Queen Victoria adopted the Duchess’ Skye Terrier, Boz.

This sketch of colored chalks on gray paper is the work of Friedrich Wilhelm Keyl (1823-71) and is dated June 1861. The drawing was made as a study for an oil painting which was commissioned by Queen Victoria in 1861.

Keyl was Sir Edwin Landseer’s only pupil and mastered his teacher’s ability to create sensitive and accurate animal portraits.

Boz lived with Queen Victoria for another three years after the Duchess of Kent’s passing, and the Queen doted on him. In honor of the friendship between Boz and Queen Victoria, this sketch is proudly displayed in the Charles Dickens Reception Room at Buckingham Palace. Only fitting since the terrier was named for Mr. Dickens.

Object of the Day, Museum Edition: Victoria, Duchess of Kent, 1839

Victoria Duchess of Kent
The Royal Collection

Sir William Charles Ross (1794-1860) rendered this delicate miniature of watercolor on ivory in 1839—two years after Queen Victoria ascended the throne. The sitter, of course, is Victoria, the Duchess of Kent—mother of Queen Victoria.

Queen Victoria had a rocky relationship with her overbearing mother, and was quite pleased to leave the Duchess behind at Kensington Palace when she was created Queen. Nevertheless, Queen Victoria commissioned several paintings of her mama. This is but one of several miniatures and full-size paintings of the Duchess which reside in the Royal Collection.

Crown Copyright
The Royal Collection
via The Royal Collection Trust
Images Courtesy of Her Majesty Queen Elizabeth II

The Home Beautiful: Christmas Trees of the Duchess of Kent and the Royal Children at Windsor Castle, 1850

Queen Victoria's Christmas Tree
William Corden, the Younger
after James Roberts, 1851
The Royal Collection

Queen Victoria loved Christmas! She loved it. I think she loved it largely because she really liked to get presents. I mean, she really, really liked to get presents. And, Prince Albert liked to give her presents. So, the Queen had her own little tree on a table upon which she could show off the many opulent gifts she received, and she would admire them and make visitors do the same.  

The image to the left shows one such display of gifts at Windsor Castle in 1851.

So, as you can see, Her Majesty really enjoyed Christmas.  And, why not?  Look at what she was given.  Still...

At a point, she also had nine children. I would assume that most of them enjoyed getting presents, too. But, they, naturally, didn’t get to put their gifts on the Queen’s gift table. They had their own. And their own tree.

Oh, yes, and the Duchess of Kent—Queen Victoria’s mum. Victoria didn’t like her mum too much most of the time. They had, after all, some rather strange history stemming back to the Kensington Palace days. But, Christmas meant that the Duchess of Kent would be hanging around Windsor Castle, and, since she was the mother of the Queen, she did deserve some cheer as well. So, she got to share the royal kiddies’ spot. She did, however, get her own tree. 

How nice. 

And, here’s a drawing of that phenomenon. Created by James Roberts (1800-1867), this beautiful watercolor shows a topographical view of a gorgeous, but unnamed, room in Windsor Castle. Painted in 1850, this image gives us a glimpse at the Christmas trees—dangerously aglow with candles--of the Duchess of Kent and the Royal children and a look at the gifts that they received that year.

Throughout the year, Victoria and Albert commissioned these watercolor drawings of the Royal residences to serve as records of their decor.  Their Majesties always made a point to have paintings created of their Christmas displays.  The Royal Collection contains several such scenes.

The Christmas Trees of the Duchess of Kent and the Royal Children
James Roberts, 1850
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Painting of the Day: Victoria, Duchess of Kent, 1839

Victoria Duchess of Kent
The Royal Collection

Sir William Charles Ross (1794-1860) rendered this delicate miniature of watercolor on ivory in 1839—two years after Queen Victoria ascended the throne. The sitter, of course, is Victoria, the Duchess of Kent—mother of Queen Victoria.

Queen Victoria had a rocky relationship with her overbearing mother, and was quite pleased to leave the Duchess behind at Kensington Palace when she was created Queen. Nevertheless, Queen Victoria commissioned several paintings of her mama. This is but one of several miniatures and full-size paintings of the Duchess which reside in the Royal Collection.

 

Object of the Day, Museum Edition: Frogmore House, 1857

Frogmore House:
The Duchess of Kent's Sitting Room
James Roberts, 1857
The Royal Collection

Long a Royal residence and one-time home of Queen Charlotte, Frogmore House is mostly remembered as being the home of Queen Victoria’s mother, The Duchess of Kent, who occupied the mansion for twenty-years.


Queen Victoria often employed favorite painters to render scenes of the interiors of the family homes. James Roberts was commissioned to capture The Duchess of Kent’s sitting room in Frogmore House. The Duchess can be seen in the picture, sitting with Victoria’s beloved dog, Boz. This painting was completed just after the Duchess of Kent had finished the redecoration of Frogmore House. Lilac walls and red carpets comprised her decoration of this, her favorite room. The Duchess retained many of Queen Charlotte’s antique furnishings, but chose to hang her own collection of paintings on the walls. Prominent in the scene are portraits of Queen Victoria and Prince Albert—without whose support the opulent décor would not have been possible.

Object of the Day, Museum Edition: A Set of Five Platinum Eternity Bands or Guard Rings, 1920-40

Guard Rings
1920-1940
England
The Victoria & Albert Museum

Here, we see a set of five platinum guard rings set with diamonds, emeralds and rubies. Today, we’d refer to these rings as Eternity Bands and, they’re quite in fashion again. This set was made between 1920 and 1940.


These narrow rings are set with a continuous line of matching, single-color stones. Such rings initially became very fashionable during the 1930s. They were worn either next to or instead of a plain, gold or platinum wedding band. Of course, diamonds were the most popular choice, others were often set with emeralds, rubies or sapphires. One famous lover of such rings was Princess Marina, the Duchess of Kent. On her marriage in 1934 to Prince George, the Duke of Kent (son of George V and Mary of Teck), she selected three - one of rubies, one of diamonds and one of sapphires, the colors of the Union Jack.

Mastery of Design: Queen Mary’s Seal, 1896

Seal
Michael Perchin for Fabergé
1896
The Royal Collection

This attractive seal by Michael Perchin of Fabergé was a gift to Queen Mary on the occasion of her birthday, May 26, 1935 and also for her Silver Jubilee on the throne from Prince and Princess Nicholas of Greece. The Prince and Princess were the parents of Princess Marina who would marry the fourth son of King George V and Queen Mary and become the Duchess of Kent.

The seal’s unusual handle is formed of rutilated quartz-- rock crystal containing rutile, a mineral which occurs in columnar-shaped crystals. Queen Mary happily added this handsome item to her collection of Fabergé—a large grouping of objects which she kept in a series of vitrines.

Queen Mary adored her Fabergé collection. After the death of her husband, King George V, her Fabergé collection was one of the first things that she moved with her from Buckingham Palace to her new home at Marlborough house. When the danger of the Second World War forced the Queen Dowager to move from Marlborough House to Badminton House in the country she brought the collection with her, and when the war was over and the Queen set about rebuilding Marlborough House which had been badly bombed, she declared that the ruined house was looking “like home” again when her collection of Fabergé was in place. 

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

Mastery of Design: Queen Victoria’s Portrait Bracelet, 1839

Gold Serpent Bracelet with Enamel Portrait of
Queen Victoria
Commissioned by the Queen, 1839
Rundell, Bridge & Rundell
Gold, Diamonds, Rubies, Enamel
The Royal Collection

Over a period of several years, Queen Victoria had commissioned a set of bracelets from the Royal Jewelers at Rundell, Bridge & Rundell. These bracelets—gold, set with rubies (for passion), diamonds (for eternity) and a serptentine design (to suggest “wisdom”)—all featured enamel portraits of Queen Victoria copied by hand by Henry Pierce Bone after the Coronation portrait by George Hayter. The only difference was that Victoria ordered that she not be wearing the Imperial Crown in the enamel portraits on the bracelets since they were to be given as personal gifts.

Bracelet Reverse
The Royal Collection

This is one of those bracelets—one of the originals, in fact, which is housed in the Royal Collection. The reverse of the bracelet shows the queen’s insignia “V.R.” for Victoria Regina and the date of July, 1839. This bracelet, it is believed, was given as a special gift by the queen to her mother, The Duchess of Kent. 

Royal Pets: Boz, Favourite Skye Terrier of the Duchess of Kent and afterwards the Queen, 1861

Boz, the Favourite Skye Terrier of the Duchess of Kent and Thereafter Queen Victoria
Study by Friedrich Wilhelm Keyl, 1861
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Though Queen Victoria and her mum didn’t get on so well all the time, they did share an appreciation for dogs. So, when the Duchess of Kent finally died, Queen Victoria adopted the Duchess’ Skye Terrier, Boz.

This sketch of colored chalks on gray paper is the work of Friedrich Wilhelm Keyl (1823-71) and is dated June 1861. The drawing was made as a study for an oil painting which was commissioned by Queen Victoria in 1861.

Keyl was Sir Edwin Landseer’s only pupil and mastered his teacher’s ability to create sensitive and accurate animal portraits.

Boz lived with Queen Victoria for another three years after the Duchess of Kent’s passing, and the Queen doted on him. In honor of the friendship between Boz and Queen Victoria, this sketch is proudly displayed in the Charles Dickens Reception Room at Buckingham Palace. Only fitting since the terrier was named for Mr. Dickens.

The Home Beautiful: Christmas Trees of the Duchess of Kent and the Royal Children at Windsor Castle, 1850

Queen Victoria's Christmas Tree
William Corden, the Younger
after James Roberts, 1851
The Royal Collection

Queen Victoria loved Christmas! She loved it. I think she loved it largely because she really liked to get presents. I mean, she really, really liked to get presents. And, Prince Albert liked to give her presents. So, the Queen had her own little tree on a table upon which she could show off the many opulent gifts she received, and she would admire them and make visitors do the same.  

The image to the left shows one such display of gifts at Windsor Castle in 1851.

So, as you can see, Her Majesty really enjoyed Christmas.  And, why not?  Look at what she was given.  Still...

At a point, she also had nine children. I would assume that most of them enjoyed getting presents, too. But, they, naturally, didn’t get to put their gifts on the Queen’s gift table. They had their own. And their own tree.

Oh, yes, and the Duchess of Kent—Queen Victoria’s mum. Victoria didn’t like her mum too much most of the time. They had, after all, some rather strange history stemming back to the Kensington Palace days. But, Christmas meant that the Duchess of Kent would be hanging around Windsor Castle, and, since she was the mother of the Queen, she did deserve some cheer as well. So, she got to share the royal kiddies’ spot. She did, however, get her own tree. 

How nice. 

And, here’s a drawing of that phenomenon. Created by James Roberts (1800-1867), this beautiful watercolor shows a topographical view of a gorgeous, but unnamed, room in Windsor Castle. Painted in 1850, this image gives us a glimpse at the Christmas trees—dangerously aglow with candles--of the Duchess of Kent and the Royal children and a look at the gifts that they received that year.

Throughout the year, Victoria and Albert commissioned these watercolor drawings of the Royal residences to serve as records of their decor.  Their Majesties always made a point to have paintings created of their Christmas displays.  The Royal Collection contains several such scenes.

The Christmas Trees of the Duchess of Kent and the Royal Children
James Roberts, 1850
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Gifts of Grandeur: Queen Victoria's Engagement Bracelet, 1839

Queen Victoria's Engagement Bracelet
November, 1839
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

This gold bracelet is constructed of flat, tapering links—each engraved with tendrils and volutes. The centerpiece consists of a lovely amethyst which has been carved as a double heart. Behind this is a glass locket—now empty—which is engraved with a V monogram and the date: 23 Nov. 1939.

This attractive bauble was one of several elegant and costly engagement gifts given to Queen Victoria(1819-1901) upon the announcement to the Privy Council of her impending marriage to Prince Albert in 1839. The bracelet was given to the Queen by The Duchess of Kent, Her Majesty’s mother with whom she had, at best, a rather rocky relationship. 

Upon the Queen’s 1901 death, at her previous request, this bracelet was one of a group of jewels which was put on display in the “Albert Room” at Windsor Castle. This was the room in which Prince Albert had died in 1861. Victoria insisted that the room remain untouched and just as he left it—and, so it did until her own death. After Queen Victoria’s death, the group of jewels which she had specified be displayed in the Albert Room were to remain there and, she insisted, not passed on to her family. 

Gifts of Grandeur: Prince Albert’s Bookmark, 1840

Book Mark of Gold and Gemstones
Given by the Duchess of Kent to Prince Albert at his 1840 Wedding to Queen Victoria
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

This handsome bookmark was made in 1840 and was given as a gift by the Duchess of Kent (Queen Victoria’s Mother) to Prince Albert on the day of his marriage to Queen Victoria—February 10.

The gold bookmark was inserted into the prayer book which Prince Albert held on his wedding day. The structure of gold hangs from green silk ribbons. It is set with eight gemstones which spell out the name, “Victoria.” Let’s take a look at it, beginning with the deep red stone at the top, center.

V – Vermillion. This deep red stone is actually a garnet. At the time, it was commonly called “Vermeil” for vermillion as a description of its color. In modern jewelry terms, this can be quite confusing since the term now refers to silver which has been plated in a metallic blend of gold and other alloys. 

I – Jargoon. Yeah, I know. That doesn’t begin with an “I.” However, in 1840, a “J” was often used in place of an “I.” 

C – Chrysolite. Wow. This one actually means what it is and starts with the right letter. 

T – Turquoise. 

O – Opal 

R – Ruby 

I – Jargoon, again. By the way, this is a reddish-amber colored natural zircon. 

A – Amethyst

Gifts of Grandeur: A Set of Five Platinum Eternity Bands or Guard Rings, 1920-40

Guard Rings
1920-1940
England
The Victoria & Albert Museum

Here, we see a set of five platinum guard rings set with diamonds, emeralds and rubies. Today, we’d refer to these rings as Eternity Bands and, they’re quite in fashion again. This set was made between 1920 and 1940.


These narrow rings are set with a continuous line of matching, single-color stones. Such rings initially became very fashionable during the 1930s. They were worn either next to or instead of a plain, gold or platinum wedding band. Of course, diamonds were the most popular choice, others were often set with emeralds, rubies or sapphires. One famous lover of such rings was Princess Marina, the Duchess of Kent. On her marriage in 1934 to Prince George, the Duke of Kent (son of George V and Mary of Teck), she selected three - one of rubies, one of diamonds and one of sapphires, the colors of the Union Jack.

Painting of the Day: Victoria, Duchess of Kent, 1839

Victoria Duchess of Kent
The Royal Collection

Sir William Charles Ross (1794-1860) rendered this delicate miniature of watercolor on ivory in 1839—two years after Queen Victoria ascended the throne. The sitter, of course, is Victoria, the Duchess of Kent—mother of Queen Victoria.

Queen Victoria had a rocky relationship with her overbearing mother, and was quite pleased to leave the Duchess behind at Kensington Palace when she was created Queen. Nevertheless, Queen Victoria commissioned several paintings of her mama. This is but one of several miniatures and full-size paintings of the Duchess which reside in the Royal Collection.