Mastery of Design: The Jeweled Ivory Cup of King George IV

Ivory, Silver Gilt and Jeweled Cup
Belonged to King George IV
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Here’s one of the stars of The Royal Collection. This jeweled ivory cup is known by the curators of the collection as “The Brain,” since…well, it looks a bit like a brain. This was one of the many treasure collected by the oddly opulent King George IV whose taste for just about everything drained the Royal coffers.

Made in South Germany (or, some say, Austria), when the ceremonial cup was first purchased by George IV, it was a work of carved ivory mounted in gilt silver. As grand as it was, it wasn’t special enough for Georgie who had the emeralds, rubies and turquoises added just to make it a little shinier.

The carved, lobed ivory cup and cover is surmounted by a finial carved with a figure of Diana Goddess of the Hunt. She’s holding a spear and has her trusty hunting hound beside her. Sleeping hunters and animals (hares, hounds and boars) surround her and the reeded silver band.

The applied ivy leaves were mounted with the rubies, emeralds and turquoises which reflect the carved, high relief scenes around the sides of the cup. The bowl is supported on a stem carved as Hercules on a domed rocky base—surrounded by a silver-gilt border and similar rim of jeweled ivy leaves.

When the cup first arrived in England—long before being purchased by George IV (it changed hands several times before George got a hold of it), its appearance was so astounding that it was mentioned in the “Morning Post and Daily Advertiser” which noted:

RECENTLY brought from Vienna, and added to the Museum, an inconceivably beautiful effort of art.... consisting of a cup or vessel carved in ivory; the figure of Hercules dressed in the skin of the Nemean lion forms the handle or stem.

Unusual Artifacts: The Double-Eye Agate Pendant, Early Seventeenth Century

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

Dating to the early Seventeenth Century, this German pendant of gold, enamel and double-eye agate was first recorded in the Royal Collection in 1872.

On the obverse, an oval cabochon double-eye agate is set in a gold mount with an enamel scrollwork of deep and light blue with white spots.  The double-eye agate set in this frame is not original to the piece.  A later owner of the pendant replaced the original stone which was likely a cameo.  

The pendant was found in a burial site, having been buried at some point after it's creation in the early Seventeenth Century.  It's possible that the original stone or cameo was damaged while being buried or that the original centerpiece was replaced with the double-eye agate as it was intended as an amulet to ward off "The Evil Eye" an to protect against various ailments.  Another later addition to the piece was the small loop at the bottom which would allow the suspension of another drop or pendant or to enable the piece to be sewn into a garment.

The reverse of the piece is likely unchanged from its original pre-burial form.  The back shows a central leaf-shape surrounded by scrolls in opaque dark-blue, light-blue and translucent green and red enamel.  These enamels are very weathered and pitted.  Here, the white spots on the surface aren't intentional decoration, but rather deposits of calcium carbonate which resulted from having been buried in the earth.

Despite its age and having been buried, the piece is in remarkably good condition.  The foil behind the enamels is still intact and the color of the remaining enamel is quite bright and lustrous.  

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

Mastery of Design: King Edward VII's Gaming Box

Gaming Box Belonging to King Edward VII

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

Click image to enlarge.

This rectangular double-hinged gold box with chased scroll and floral borders in high relief and central engine-turned panels was made between 1826 and 1836.  Though we're not quite sure how, the box ended up in the collection of King Edward VII.

The top contains four rectangular and four circular pierced gold games counters, each chased with flowers and scrolls, and each one marked as the ace of a different suit (hearts, diamonds, cubs and spades). The base of the box contains three spiral markers.

Unusual Artifacts: A Model of a Grocery Store, Circa 1870

Model Grocery Store
Crown Copyright
The Royal Collection
via The Royal Collection Trust
Image Courtesy of Her Majesty Queen ELizabeth II

Click image to enlarge.

I hate going to the grocery store.  I loathe it.  Frankly, I dislike going most fundamental places.  I enjoy going places wherein there are pretty things, sparkly things, and only then when there aren't many people about.  Still, a fella's gotta eat.  

But, here's a grocery store to which I wouldn't mind going.  Were it full-sized...or, if I were a little, tiny person.  Hmmm...that would be interesting, momentarily.

We see here a model of a grocery store from unspecified origin and date.  Housed in The Royal Collection, the model is called, "Grocerie SPRATT Her Majesty."

It features a glazed door and windows through which are displaying miniature baskets, jars and bottles of food. Inside the model, a wooden counter precedes wooden drawers and metal jars which contain spices and groceries. 

The entire model is housed in a glass case.

Gifts of Grandeur: King George V's Tortoiseshell Box, c. 1910

Box of Tortoiseshell, silver gilt and a rose-cut diamond.
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

When we think about the Royal Collection, especially from the period after the reign of Edward VII, those familiar with the provenance of most of the pieces therein, immediately think of Queen Mary, the ultimate collector.  However, Mary wasn't the only crowned head from 1910-1936 with an eye for attractive objects.  Her husband, King George V also had a knack for collecting handsome antiquities, treasures, and contemporary works.

This masculine box of tortoiseshell, gilt silver and a single rose-cut diamond dates to the early Twentieth Century and was made specifically for His Majesty George V and fits perfectly with his personal collection of simple, elegant pieces.  The polished lid is rimmed with gilt mounts set with a relief of berried laurels.  When the lid is removed, the gilded interior shows an engraved, crowned cypher--GVR.

Mastery of Design: Brooch with a Miniature of a Child, 1894

Brooch with a hand-colored photograph
English, 1894
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

From the Nineteenth Century British School, this brooch of gold, diamonds, enamel and hair is set with a watercolor-ed photograph miniature of a child. The piece is engraved May 3rd 1894, but was first recorded in the inventory of the Royal Collection during the present reign.

This hand-colored photograph of a young child is set into a heart-shaped frame of gold and red guilloché enamel. An applied gold and diamond foliate wreath is inset with a lock of hair on the glazed reverse.

Mastery of Design: Queen Victoria's Anniversary Brooch, 1839

Brooch of Gold and Porcelain
Part of the Orange Blossom Parure
Commissioned by Prince Albert, 1845
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

This dear brooch of gold and white porcelain was a gift from Albert, the Prince Consort in 1845 for their wedding anniversary. Albert had appreciated the combination of white porcelain and gold, and had commissioned similar pieces for the Queen in this style.




This brooch takes the form of a sprig of orange blossoms—a flower usually associated with weddings. On the day of their wedding, Queen Victoria wore real sprays of orange blossoms on her bodice as well as in her hair. In commemoration of that, for their anniversaries, the Prince presented the Queen with jewels in the shape of orange blossoms—matching a pin he had made as an engagement gift. Eventually, Her Majesty amassed a beautiful orange blossom parure of which this piece became a part.

Upon the 1861 death of Prince Albert, Queen Victoria made a list of special jewels which were to be placed in “The Albert Room” at Windso Castle. This room was left untouched and none of its contents were allowed to be moved. Among the jewels displayed there were the pieces of the Orange Blossom Parure, including this brooch and its original presentation box.

Crown Copyright
The Royal Collection
Image Courtesy of Queen Elizabeth II

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

History's Runway with Miss Oscar: Her Majesty's Hardy Amies Poppy Gown, 1983

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

Not wanting to be left out, Oscar thought she'd offer the first of her fashion posts a bit early.

We begin with an attractive evening gown from The Royal Collection.

Hardy Amies designed this stunning gown for Her Majesty Queen Elizabeth II.  Featuring a cream chiffon skirt with an intricately embroidered bodice, the Queen wore the gown for  a reception in California during an Official Visit to Mexico and the United States of America, from February to March 1983. 

The bodice of the gown is embroidered with Californian poppies in shades of crimson, salmon and purple with stems of black and white.

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

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

Gratuitous Bertie Dog Picture: Faint of Heart

Getting ready for our relaunch next week, Bertie wanted to offer a new "Gratuitous Bertie Dog Picture" in advance.

"Oh, please.  Try waiting for your dinner until 10:00 in the morning, and then talk to me about feeling faint."

Original Image:

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

A Lady Fainting After Having Been Bled.

Creator: Copy after Eglon van der Neer (Amsterdam 1634?-Düsseldorf 1703) (artist),  Creation Date: c.1680-1750,  Materials: Oil on panel,  Acquirer: George IV, King of the United Kingdom (1762-1830), when Prince of Wales (1762-1811),  Provenance:  Acquired by George IV before 1806.

Crown Copyright, The Royal Collection via The Royal Collection Trust.

The original image was provided courtesy of The Royal Collection and Her Majesty Queen Elizabeth II.

To learn more about this gorgeous masterpiece, visit its official entry in the online catalog of The Royal Collection.

You, too, could have a cup of tea with Bertie. Or, you could wear his picture proudly. Visit our online store to see our range of Gratuitous Bertie Dog products.

Painting of the Day: The Misers, 1548-1551

The Misers
A Follower of Marinus can Reymerswaele
c. 1550
Acquired by Queen Anne
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Historians believe that Queen Anne (the second daughter of King James II) added this handsome and strange painting to the Royal Collection. The scene was painted between 1548 and 1551 by an unknown student artist who is believed to have been a follower of Marinus van Reymerswaele (c. 1490/95-c. 1567). Painted on board, the painting also mimics a 1440 work by Jan van Eyck which depicted a banker in conference with his client. While this painting by van Eyck is believed lost, it is credited as having launched a genre of works which showed businessmen in Fifteenth Century dress engaged in money matters. Of the sixty variations of the scene, most of them are composed in a style which hints at a strong Dutch influence. Most of these compositions can trace their stylistic roots to the works of van Eyck. Still, others are clearly inspired by the paintings of van Reymerswaele and, also, another Dutch master Quinten Massys.

Let’s take a closer look at this piece which is entitled, “The Misers.” This follower of van Reymerswael has taken great pains to show the nature of the men. Their faces are masks of avarice and greed and their claw-like hands nod at the common conception of those involved in the changing of money. The scene is meant to be amusing and the visages of the men purposefully lean toward caricature. Despite the piles of coins in front of them, we’re reminded that this wealth will not aid them for long. The brevity of life is suggested by the candle which burns near them—it is almost spent, just as their lives are. 

What I find most interesting about this work is that the ledger on the table has been inscribed in French, indicating that this piece was likely a copy by a student—commissioned by a French patron who much admired the original by van Reymerswaele.

Object of the Day, Museum Edition: Pendant in the Form of a Non-Working Watch, 18th Century

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

This circular pendant is designed to look like a watch. Made by a now unknown Eighteenth-Century jeweler, the bezel is bordered by rubies spaced with white enamel spheres which simulate pearls. The obverse shows a false clock face set of gold and enamel behind glass. The reverse is adorned with a foliate pattern of green and gilt enamel. From the Collection of Lady Carnarvon, the pendant was given to the Royal Collection, I’d say, sometime in the 1930s.

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

Unfolding Pictures: The Reading Fan, 1870

The Reading Fan
Front
England, 1870
Presented to Queen Alexandra when Princess of Wales
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

Made in England in 1870, this attractive fan features a paper leaf with mother-of-pearl sticks and guards and a chased gold loop. This fan, from the Royal Collection, was once owned by Queen Alexandra (“Bertie, I can’t hear you”), Consort of fuzzy man-about-town King Edward VII.

The fan was presented to Alexandra (1844-1925) while she was still the Princess of Wales. She was, in fact, the Princess of Wales for a really long time since her mother-in-law, Queen Victoria, lived almost forever and Edward didn’t ascend the throne until 1901. The Mayor and Corporation of Reading presented the fan to the Princess of Wales one hundred forty-two years and one day ago on July 1, 1870, on the occasion of the laying of the foundation stone of Reading School by the Prince of Wales (later King Edward VII). The date is inscribed on the verso.

The new school at Reading was designed by Alfred Waterhouse (1830-1905). The structure replaced one that had been founded by Henry VII. Along with the presentation of the fan to the Princess to commemorate the occasion was to be an address by the Reading Mayor. However, much to the Princess’ relief—since she probably couldn’t have heard a word of it anyway—the address was not read aloud, but rather presented in a novel way.

The speech had been reduced by photography (a technology which very much fascinated Alexandra, a known shutterbug), and was mounted in a delicately carved mother-of-pearl and gold frame. This was tied by a ribbon terminating in a gold and blue enamel “A,” to the gold fan loop along with a solid gold vinaigrette adorned on one side with the coronet and monogram of the Princess, and, on the other an inscription commemorating the date.

The fan leaf, inscribed MARCUS WARD DELT. and HOWELL JAMES & CO. is painted, in the center with two intertwined letters—“A”—surmounted by the Prince of Wales’s coronet. Flanking this are views of Reading School and Reading Abbey, with the arms of Reading and of the Princess of Wales. All of this, as well as a miniature version of the fan—was presented in a fitted box. Sadly, only the large fan remains—the vinaigrette, frame, ribbon and miniature fan having since been divorced from the original set and, consequently, lost. I would guess they’re somewhere in Sandringham in a drawer along with a bunch of other things which Alexandra—when Queen—squirreled away. 

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

Masterpiece of the Week: A Garnet Ring with an Onyx Cameo of George IV

Ring with Miniature Cameo of George IV
Crown Copyright
The Royal Collection
via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II

Click on image for larger size.  

Made circa 1820, this handsome gold ring sports a miniature white on black onyx cameo which has been bezel-set into a faceted, foil-backed garnet.

While it was made during the Regency Period, the ring didn't come to the Royal Collection until it was acquired by Queen Mary in 1933.  

Throughout the Regency and the 1820s, Rundell, Bridge & Rundell, then the Royal Goldsmiths, supplied George IV with a variety of rings set with cameos and intaglios cut with his likeness. Georgie would give these rings as tokens of affection to his favorites.  

This ring, however, appears to be the only one of its kind, set with a miniature cameo into a garnet.  This cameo, in fact, is the smallest in The Royal Collection.

Mastery of Design: A Royal Scent Bottle

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

Little is known about this hardstone scent bottle from the Royal Collection.  Its date of creation is uncertain, and no one is quite sure from where it came.  It's likely, however, that Queen Mary added it to the Royal Collection since it's the sort of thing that was right up her alley.  

The bottle of carved blue-green agate is oval in section and meant to hold a fragrance.  It tapers to the gold base and the neck is mounted with four circle link chains from which it is meant to hand.  Gold mounts in floral arrangements are set with garnets, coral, a pearl and a diamond.  The stopper is fitted with garnet flower-heads.  

Mastery of Design: Diamond Ring with Cameos of George II and Caroline of Ansbach

Diamond Ring with Cameos of George II
and Caroline of Ansbach
Onyx Cameos: c. 1730
Mouting: Early Nineteenth Century
Gold, Silver, enamel, twenty-two European Cut
diamonds
The Royal Collection

Two large European Cut diamonds anchor frames of twenty smaller diamonds which surround onyx cameos of the profiles of King George II and Caroline of Ansbach. On the reverse, inscribed on a field of blue enamel is the garter motto: HONI SOIT QUI MAL Y PENSE (Evil to him who evil thinks).


The delicate onyx cameos were created in England around 1730 before the death of Caroline. In the early Nineteenth Century, they were mounted in this ring which was presented to the Prince of Wales (who would later become King Edward VII). Upon the death of Edward VII, his wife, Queen Alexandra, presented this magnificent ring to King George V and Mary of Teck.

Royal Icing: The Wedding Cake of King George VI and Queen Elizabeth

The Wedding Cake of the Duke
and Duchess of York
McVitie & Price, 1923
The Royal Collection

Royal weddings are historically lavish affairs. For example, let’s take a look at the principle cake from the marriage of the Duke and Duchess of York (later King George VI—of The King’s Speech fame—and Queen Elizabeth, the Queen Mother).

On April 26, 1923, Albert Frederick Arthur George, the Duke of York married Lady Elizabeth Bowes-Lyon at Westminster Abbey. The nation joined them in celebrating. While the guest list was as guarded as the one for Friday’s wedding, those in attendance were many in number. A variety of cakes were served to the guests, but, as is still the custom, one principle wedding cake served as the centerpiece.

The grand cake stood at three meters (almost 10 feet) tall and weighed over 350 kilograms (over 770 pounds). The four-tier cake was made by McVitie and Price with ingredients supplied by the Girl Guides of Australia. Full-faced, porcelain figures of winged putti holding rings decorated the massive confection. Two of these figurines survive in the Royal Collection.

Porcelain Putti, 1923The Royal Collection

“Bertie” (as he was known to family and friends) and Elizabeth enjoyed a long and happy marriage despite the troubles of the world around them. Their union brought about two daughter—Princesses Elizabeth and Margaret Rose. Of course, today, Princess Elizabeth is Queen Elizabeth II.

Masterpiece of the Week: Bannalist and Pandour, 'Freikorps Trenck', 1748

Bannalist and Pandour
David Morier, 1748
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

Created by David Morier (1705?-1770), this work of oil on canvas was commissioned by William Augustus, Duke of Cumberland (1721-1765). David Morier was a celebrated Swiss painter, known for his military and sporting scenes. 

Morier had a long association with the Duke of Cumberland, starting in 1747, when he painted a group of canvases of the troops under the Duke’s command. Until 1764, Morier was employed as “limner” (or painter) to the Duke of Cumberland on an annual salary of £100. The painting depicts two soldiers facing the viewer. They are posed in front of a flat, open landscape, holding rifles in their right hands. The one on the right is wearing a scarlet uniform, while the one on the left is clad in blue with red boots. 

Mastery of Design: King Edward VII's Gaming Box

Gaming Box Belonging to King Edward VII

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

Click image to enlarge.

This rectangular double-hinged gold box with chased scroll and floral borders in high relief and central engine-turned panels was made between 1826 and 1836.  Though we're not quite sure how, the box ended up in the collection of King Edward VII.

The top contains four rectangular and four circular pierced gold games counters, each chased with flowers and scrolls, and each one marked as the ace of a different suit (hearts, diamonds, cubs and spades). The base of the box contains three spiral markers.

Mastery of Design: Delhi Durbar Tiara, 1911

The Delhi Durbar Tiara
Made for H.M. Queen Mary
Garrard & Co., 1911
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

Queen Mary had decided that she and King George V needed different crowns when named Emperor and Empress of India than those they’d worn for their 1911 coronation.  She was told that the expense seemed unnecessary.  Her Majesty, then, went to her friends and asked them nicely to donate the diamonds and gemstones which were needed for these crowns.  She went back to the advisors and told them that the only cost would be the manufacture of the crowns, and, she got her way.

She also got a nice tiara out of the deal.  This tiara was made by Garrard & Co. in 1911 for the December 12 Delhi Durbar.  The tiara was constructed so that it could be hung with the Cambridge Emeralds or with pearls should the Queen desire.  Therefore, the piece is considered part of  the Queen’s parure of emeralds and diamonds which also included a necklace, stomacher, brooch and earrings.

The tiara a designed as a tall circlet of lyres and S-scrolls which are linked by festoons of rose-cut and brilliant-cut diamonds.  In 1912, the tiara was altered so that it could accommodate both of the two Lesser Stars of Africa – Cullinan III and IV.

Queen Mary lent the tiara to Queen Elizabeth in 1946 so that the Queen Mother could wear it during the 1947 South African Tour.  Following Queen Mary’s 1953 death, the Queen Mother kept the Durbar tiara in her own collection until her death in 2002. In 2005, it was lent by Queen Elizabeth II to The Duchess of Cornwall, wife of Prince Charles.

Drawing of the Day: Children Watching a Puppet Show

Children Watching A Puppet Show
Stefano della Bella
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

Oddly enough, here’s another drawing which I’ve not seen before. This one is by an Italian artist with a sing-song name, Stefano della Bella (1610-1664). The work of black chalk, pen and ink was purchased by King George III from Consul Joseph Smith in 1762, and depicts a group of children watching a puppet show. A young mother holds her child on her lap so that the baby can see the show, too.

I am familiar with a similar drawing by Della Bella which is housed at the British Museum. While the subjects are similar, the example in the British Museum includes a bagpiper accompanying the show.

Given the age of the piece, the paper has deteriorated a bit and the other sketches on the verso are visible.

Obviously, the drawing is incomplete, and, is clearly a study for another work—perhaps a painting.