Painting of the Day: Matthew Prior, c. 1700

Matthew Prior
Sir Godfrey Kneller, 1700
The Victoria & Albert Museum

Well, well, here’s a fella who looks like he’s trouble. He also looks like he’d benefit from a good sandwich. Mmmm…sandwich. But, I digress. Who is this impish bloke?

He’s Matthew Prior (1664-1721). You’ve heard the name, I’m sure. Or, not.  I don't know what you have heard and haven't.  Prior was a celebrated poet, diplomat and politician, as well as a fellow of St. John’s College Cambridge. Most likely, you know his name from reading his translations from Horace and Ovid, or, perhaps you’re familiar with his poetry. Prior is also known to museum-types like me for his collection of important paintings and prints.

A chum of King William and Queen Mary, Prior was considered a superb diplomat. He’s buried in Poet’s Corner in Westminster Abbey. I remember seeing his monument which features a rather startlingly descriptive inscription:

"Matthew Prior Esq. A fever, gradually creeping up on him, as he meditated upon the history of his times, broke together the thread of his life and of his labours on Sept.18th A.D.1721 in the 57th year of his age.”

This painting was executed in 1700 by Sir Godfrey Kneller (1646-1723) during a time when portraits of literary types were quite popular.

The painter, Sir Godfrey, was born in Germany where he studied mathematics and military fortification (yawn), and, then, at some point, for some unknown reason, he was apprenticed to Rembrandt and began to travel to Rome and Venice. By 1676, Kneller secured Royal patronage to King William III, and, of course, settled in England. He was knighted in 1692 and was considered one of the most fashionable of portrait painters. He was especially known for his series of portraits of ladies at the Royal Court which is known now as “The Hampton Court Beauties” (which for some reason reminds me of Kathie Lee Gifford who, early in her career was a Hee-Haw Honey). He’s also the artist of the “Kit-cat Portraits” of members of the famed “Kit-cat Club.” Lest you think that’s more portraits of “beauties,” I should tell you that they’re gents—none of whom are particularly attractive, sadly. The Kit-cat Club was a group of Eighteenth Century Whigs who gathered at Christopher Catling’s Inn and feasted on the innkeeper’s famous mutton pies which he had playfully called “Kit-Cats.”

And, now, you can say that you read about mutton pies today. I’ll bet it’s the only time.

Antique Image of the Day: The old goat and young kid- or the Queenborough-novelist, 1798

Click on the image like a spider on a fly.

"The Old Goat and the Young Kid"
Fores, 1798
The British Museum

This satirical print dates to 1798. Entitled “The Old Goat and Young Kid—or the Queenborough-Novelist,” the print was published by S W Fores though for a long time it was attributed to F. Sansom.

We see here a peer on the front steps of his Piccadilly house. He’s leering at a busty girl through a double spy glass. The girl, a country lass, is with her yokel father who is being solicited by a bawdy older gal. She says:

"It’s very lucky I met with you my honest Man if she behaves well she shall be promoted to the service of a Duke.”

He responds, "Very lucky indeed I'se Woundily Obliged to your Ladyship. My Dame always said as how Bet was cut out for Zarvice of your great Volkes."

A delivery man looks up at the leering Duke and says, "Ah! I knew he'd dart out like an Old Spider at a Fly.”

Object of the Day, Museum Edition: Blowing up the Pic Nic's, or, Harlequin Quixote attacking the Puppets, 1802

Blowing up the Pic Nic's, or, Harlequin Quixote attacking the Puppets
April, 1802
James Gillray
This version is in the Victoria & Albert Museum.

James Gillray (1757-1815), a popular British printmaker and satirist, was, perhaps, one of the most prolific in his field during the late Eighteenth and early Nineteenth Centuries. Here, we see one of his cartoons from 1802. The image depicts English theater manager Richard Brinsley as Harlequin. He is shown leading a group of professional actors including the famed performer David Garrick (who was, at the time dead), rising from the grave. Also pictured are the actors Mrs. Billington, P. Kemble and, of course the renowned Sarah Siddons. The troupe is protesting members of the Pic Nic Society—an amateur acting group which had been performing at London’s Tottenham Street Concert Rooms. Apparently, they were in the midst of performing the then-popular show, “Tom Thumb.”

Professional actors and theatre managers at the time considered this amateur gang to be a nuisance—taking away revenue from the professionals with their extravagant and decadent displays. Sheridan was among those who launched an aggressive campaign against them. Here, his mask and pen indicate that he has been writing anonymous complaints about the group.

Gillray has cleverly composed this scene to resemble a page from Migel de Cervantes’ “Don Quixote” wherein the famed title character attacks “Master Peter’s” puppet show because he is convinced that the performance is real. In doing so, he has cast his judgment on the futile actions of Sheridan and his band of protestors. The print was published in April of 1802. The version above is in the collection at the Victoria and Albert Museum. Another is in the British Museum.

Version in the British Museum.

Print of the Day: The Coronation of King Punch, 1821

The Coronation of King Punch
Satirical Print, hand-colored
1821
The British Museum

This hand-colored satirical print was featured in a July, 1821 pamphlet. It’s entitled “The Coronation of King Punch!!” and it was made by J. Lewis Marks.

Made for the coronation of King George IV, the image shows the former Prince Regent sitting before a huge bowl of punch which rests on a three-legged stool. King George IV has one famously gouty leg resting on a cushion and he jovially holds up goblet and ladle while an Archbishop places a chamber-pot on his head. Another archbishop pours dark liquid on to George’s face, saying, “With oil and Treacle—I anoint thee,—and King of jolly dogs—appoint thee.”

As we can guess, George IV, Queen Victoria’s uncle, was not well-liked. Considered debauched and, frankly, corrupt, he inspired many unflattering drawings like this when he ascended the throne.

This image has been nicknamed, “The history of the coronation of Punch, and the humours of his wife Judy.” This refers to George IV’s wife, Queen Caroline, from whom the adulterous king was famously separated. They enjoyed a rather Punch & Judy-like relationship. He refused to recognize her as Queen, and, in fact, barred her from his coronation. And, she, was rightfully bitter about it. That day, she fell ill, and died shortly after, declaring all the while that she believed she had been poisoned by her husband’s goons. 

Object of the Day, Museum Edition: John Bull Viewing Billy's Preparations for his Birthday, 1802

"Oh, my country! How I leave my country." 
--Wiliam Pitt the Younger’s last words, 1806

In 1783, William Pitt, at the age of 24, became the youngest Prime Minister of Britain. He kept the post until 1801 when he retired, but, came back again as Prince Minister in 1804 and stuck around until he died two years later.

Pitt, though considered a great, if not controversial, Politian by many, was thought of as a tad peculiar in his personal life. He was charming, but also shy and awkward. He made his lack of interest in social ambitions quite clear and vocally objected to any form of intimacy. After backing out of a high profile engagement, telling the girl’s father that, “I am compelled to say that I find the obstacles to it decisive and insurmountable, he preferred the company of handsome young men, but even grew weary of them after awhile and would make his desire to be alone was more important to him. His greatest love, it seems, was port wine and he was proud to call himself “a three bottle man.”

And, yet, because he was thought of as very attractive and because his wit made him appealing, Pitt found himself, uncomfortably, the center of attention. Many wished for his favor and strove to impress him. 

John Bull Viewing Billy's Preparations for his Birthday
Charles Williams, 1802
The Victoria & Albert Museum 

This print shows some of that spirit, depicting John Bull (a personification of Britain in much the way Uncle Sam personifies the U.S.) viewing preparations for William Pitt’s (referred to as Billy here) birthday celebration. The print, published May 18, 1802, is inscribed with the title. S.W. Fores published the print which was made by Charles “Angus” Williams (1775-1839). 

Antique Image of the Day: The old goat and young kid- or the Queenborough-novelist, 1798

Click on the image like a spider on a fly.

"The Old Goat and the Young Kid"
Fores, 1798
The British Museum

This satirical print dates to 1798. Entitled “The Old Goat and Young Kid—or the Queenborough-Novelist,” the print was published by S W Fores though for a long time it was attributed to F. Sansom.

We see here a peer on the front steps of his Piccadilly house. He’s leering at a busty girl through a double spy glass. The girl, a country lass, is with her yokel father who is being solicited by a bawdy older gal. She says:

"It’s very lucky I met with you my honest Man if she behaves well she shall be promoted to the service of a Duke.”

He responds, "Very lucky indeed I'se Woundily Obliged to your Ladyship. My Dame always said as how Bet was cut out for Zarvice of your great Volkes."

A delivery man looks up at the leering Duke and says, "Ah! I knew he'd dart out like an Old Spider at a Fly.”

Print of the Day: Le Canard a Trois Becs, 1871

Le Canard a Trois Becs
H. Xiat, 1871
The Victoria & Albert Museum

Published in 1871 in Paris, France, this print features a satirical caricature by the artist H. Nérac (also known as H. Xiat) which depicts a duck with three heads. Each head is labeled, in order, “Comite Central,” “Internationale,” and “Commune.” The duck is saddled with a flaming torch which is tied to his body by a red sash.

The print is from a set of caricatures, broadsheets and illustrations in ten volumes printed in France by Jailly and Co. Many of them, like this one, are hand-colored.

An inscription reads:
COMMUNEUX PAR H. NÉRAC.
LE CANARD A TROIS BECS
TABLEAU DE FAMILLE 

The basis of the joke is a visual pun wherein the word “canard” takes a double meaning. It is French for “duck,” but can also refer to a hoax. Three conflicting political figures are uncomfortably crowded onto the body of one duck. 

Print of the Day: Aérostier; Souvenirs Du Siége De Paris, 1870-1871

Satirical Lithograph
France, 1870-1871
The Victoria & Albert Museum

This satirical print depicts two men in the basket of a hot air balloon. One of the two men thumbs his nose at a Prussian soldier who is attempting to shoot them down. The basket of the balloon is hung with a bird cage containing pigeons.

Printed in France between 1870 and 1871, this print is from a set of caricatures, broadsheets and illustrations by caricaturist Jules Renard (1833-?) which have been bound in ten volumes.  This one, like many of the others in these volumes, has been hand-colored with watercolors.  

Painting of the Day: A Miniature of an Elector, c. 1690

Miniature
Germany, c. 1690-1695
The Victoria & Albert Museum

In the German imperial court of the Seventeenth Century, the “Elector” was a German prince who was entitled to take part in the election of the emperor. Enamel miniatures of the elector, set in jeweled frames, would be worn by those who wished to show a loyalty to the prince. It was good politics if not good fashion.

Enamels like this one played an important role in court life. The image of the elector – a German prince entitled to take part in the election of the Emperor – is set into a jewelled frame so that the wearer, probably someone in his service, could demonstrate their relationship and loyalty to him.

Here, dating between 1690 and 1695, we see an enamel on gold miniature made by J.M. Khaetscher showing the Elector Prince of the era. He is depicted in armor adorned with red ribbons and he wears a long, curled blond wig—as one does when one is an Elector. The miniature is set into a silver gilt frame which has been studded with rose-cut diamonds. This hangs from a brooch in the shape of an Electoral crown which has been set with rose-cut diamonds and decorated with red enamel (now mostly missing).

It was made in Dusseldorf, Germany.

Print of the Day: The National Punch and Judy Show, 1882

The National Punch & Judy Show
From "Truth," December, 1882
The Victoria & Albert Museum

From the George Speaight Punch & Judy Archive at the V&A, we see a double-sided cutting from the periodical “Truth.” In fact, it’s the “Christmas Number,” which was entitled “The National Punch and Judy Show.” The magazine was published on December 25, 1882.

Both sides of the cutting depict illustrations which are intended to “reproduce a series of the incidents which figured in the scenes profuse” of a Punch and Judy Show which the publication states was prepared at the wish of (Prime Minister) Mr. Gladstone.

The scenes feature caricatures of various contemporary political figures in the role of Punch, including Mr. William Gladstone himself. It uses these satirical scenes to comment on issues of the day such as the demand for Irish Home Rule, the fight for Civic Reform, the consequences of the 1878 Treaty of Berlin, and the negotiations between the Russian Count Schouvaloff and the Marquis of Salisbury (then Conservative leader in the House of Lords and previously Foreign Secretary). Many political figures are depicted including: William Gladstone (1809-1898), the Marquis of Salisbury, Robert Arthur Talbot Gascoyne-Cecil, (1830 -1903) and Sir Stafford H. Northcote (1818 -1887).

A short verse accompanies each illustration, referring to the events depicted, and written in a form which parodies the style of operetta which was famously popularized by Gilbert and Sullivan. 

Mr. Punch in the Arts: G. Hadfield’s Sheffield Champion Punch & Judy

G, Hadfield's Sheffield Champion Punch & Judy
The Victoria & Albert Museum

This print is a mid-Nineteenth Century reproduction of a pen and ink sketch titled “G. Hadfield's Sheffield Champion, Punch and Judy.” Depicted is a Punch and Judy fit-up (booth), within which are suspended a row of gentleman hanged from their necks--evidently unconscious or , worse, dead. Well, that’s not very cheerful. Is it?

No, but it is somehow fitting. After all, Punch was able to beat Jack Ketch, the hangman, as well as the Devil, but these gents seem to have not been so cunning. Oh, speaking of the Devil…

To the left of the chandelier of corpses is the Devil himself with his lovely pitchfork. Before the Devil, downstage, we see another figure. This bloke wears our Mr. Punch's cap and has affected the famous “punchinello hump” which has been marked “TELEGRAPH.”

Ah, we’re making a statement, are we? It seems we are. You see, this is also fitting. Despite his slapstick antics and anarchic glee, Mr. Punch has always been a way of communicating social issues and a need for reform of one sort or another. In fact, the basis of the show has always been something of a satire on current conditions.

So, let’s look at our faux-Punch a little more closely. This ersatz Punchinello carries a club marked 'Truth and Honesty under his left arm. He is depicted smoking a cigar as he states "We have settled them all, Tear'em.”

How odd. What could it mean? This comment is addressed to a dog-like who is meant to be Punch’s canine chum, Toby. But, he’s no more Toby than this fellow is Punch. This grotesque figure is smoking a pipe and wears a collar marked “TEAR'EM.”

The two figures perform for I a group of living gentlemen in top hats and caps who have gathered to watch. Some of them comment, "Look at Bobby Stainton and Little Nadin" and "It's all o'er lads".

So, what’s it all about, Punchy? The Punch-like figure marked TELEGRAPH is meant to resemble the editor of the “Daily Telegraph” newspaper, Edward Levy-Lawson, 1st Baron Burnham (28 December 1833 - 9 January 1916). Levy-Lawson acted together with Thornton Leigh Hunt, as editor of the paper from 1855-1873.

To be quite honest, I’m not sure to precisely what this is referring because it’s undated and by an unknown artist. My guess, however, is that it is an editorial cartoon which makes light of the change of the “Daily Telegraph” from a Liberal point of view to a Conservative point of view in 1879 under the leadership of Levy-Lawson and Thornton Hunt. I could be wrong. Similarly, this seems to involve the alignment of the Telegraph with radical politician George Hadfield who had a reputation for being a troublemaker. I don’t quite know about the reference to Bobby Stainton.

This print, like most of the Punch & Judy ephemera at the V&A, is part of the George Speaight Punch & Judy Collection.

History's Runway: Lady Gladwyn's 1957 State Visit Gown

Gown by Pierre Balmain
French, 1957
The Cecil Beaton Collection at
The Victoria & Albert Museum

Lady Gladwyn’s name is synonymous with “high fashion.” She was the wife of the British Ambassador to Paris from 1954 to 1960. Lady Gladwyn famously hosted the state visit of Queen Elizabeth and Prince Philip at the French Embassy on Tuesday April 9, 1957, at which this dress was worn.

This floral masterpiece was designed by Parisian couturier Pierre Balmain (1914-82), and showcases, on the bodice, the appliqué technique which was characteristic of his work. The full-length evening dress of cream warp printed silk is emblazoned with an oversized pink rose pattern. The strapless, boned bodice, scalloped at the waist, is trimmed with appliqué roses below the bust line and to the waist.

Lady Gladwyn wrote in her diary that night:

The supper was, I think, just right for the occasion: cold salmon, chaudfroid of chicken, a salad, oranges and lemons filled with sorbet, and a wonderful Bollinger... The difficulty was to get rid of all the guests. They lingered on, and at half past one in the morning Cecil Beaton was still sketching Diana Cooper in the Ionian Room.

Speaking of Cecil Beaton, the celebrated society photographer and bon vivant collected several of the dresses worn during this state visit so that he could donate them to the V&A. Among the gowns which Beaton managed to add to his collection from this 1957 state visit are the Queen's embroidered ivory gown by Norman Hartnell (1901-79), Lady Gladwyn's lilac lace gown by Jacques Fath, and Baroness Alain de Rothschild's spotted tulle gown by Christian Dior (1905-57).

Print of the Day: The Plum Pudding in Danger, c. 1800

Click to enlarge.
The Plum Pudding in Danger
James Gillray
c. 1800
The Victoria & Albert Museum

Illustrated by James Gillray (1757-1815), this satirical drawing was printed around 1800. We see who I believe to be King George III and Napoleon Bonaparte seated at a dining table, carving up the earth which is portrayed as a plum pudding. The meaning is rather obvious.

The piece is really rather attractive, but, then, I like this sort of thing. It is inscribed: 

The Plumb-pudding [sic.] in danger--or--State Epicures taking un Petit Souper.

"the great Globe itself and all which it inherit" is too small to satisfy such insatiable appetites."

Antique Image of the Day: St Stephen's Review Presentation Cartoon December 22nd 1888

St. Stephen's Review Presentation Cartoon
December, 1888
The Victoria & Albert Museum

This colored lithograph is entitled “St Stephen's Review Presentation Cartoon December 22nd 1888,” It was both engraved and drawn by one Tom Merry and depicts a stage on which a group of puppets perform an elaborately choreographed dance routine. The puppets resemble key figures of the day, dressed in vibrant costumes, most of whom are depicted as characters from the Punch and Judy tradition (the policeman, Mr. Punch and Judy). Some of the others are stock theatrical figures.


The identities of the performers are shown on name plates which are attached to a set of strings being manipulated by two black-suited figures seated under the stage. One of the puppeteers wears a black half mask and is shown next to a dagger and pistol (both discarded on the ground beside him). Two additional puppets wait in a box beside the mysterious puppeteers whose names are marked as O'Shea and O'Donnell. The names of the puppets appear to be Labby, Granville, Trevelyan, Gladstone, Harcourt, Herbert, Sir W Lawson, Bradlaugh and Morley—contemporary Members of Parliament.


The caption below the image, “Parnell's Puppets,” is best explained as a reference to Charles Stewart Parnell (1846-1891), an Irish Protestant landowner, nationalist political leader, land reform agitator, and the founder and leader of the Irish Parliamentary Party.

The piece was published on December 22nd 1888 and now resides in the George Speaight Punch & Judy Collection.

Antique Image of the Day: "Into the Abyss," 1919

Click on the image to dance with the devil.
Into the Abyss
German, 1919
The Victoria & Albert Museum

After the Great War, Germany became a republic—an idea which was not embraced by some nationalists as well as communists. This poster from 1919 serves to vilify political extremists as well as make a middle-of-the-road democracy seem appealing. The communists are depicted as devils and pied pipers. The rotund clergyman acts as a symbol of those who wished for a return to Imperial Germany.

This is the work of artist Theo Matejko (1893-1946) who produced propaganda posters for the German Democratic Party until 1933. Then he went on to work wholly for the National Socialist [Nazi] Party. Boo! The text “IN DEN ABGRUND” translates to “Into the Abyss.”

Print of the Day: The Coronation of King Punch, 1821

The Coronation of King Punch
Satirical Print, hand-colored
1821
The British Museum

This hand-colored satirical print was featured in a July, 1821 pamphlet. It’s entitled “The Coronation of King Punch!!” and it was made by J. Lewis Marks.

Made for the coronation of King George IV, the image shows the former Prince Regent sitting before a huge bowl of punch which rests on a three-legged stool. King George IV has one famously gouty leg resting on a cushion and he jovially holds up goblet and ladle while an Archbishop places a chamber-pot on his head. Another archbishop pours dark liquid on to George’s face, saying, “With oil and Treacle—I anoint thee,—and King of jolly dogs—appoint thee.”

As we can guess, George IV, Queen Victoria’s uncle, was not well-liked. Considered debauched and, frankly, corrupt, he inspired many unflattering drawings like this when he ascended the throne.

This image has been nicknamed, “The history of the coronation of Punch, and the humours of his wife Judy.” This refers to George IV’s wife, Queen Caroline, from whom the adulterous king was famously separated. They enjoyed a rather Punch & Judy-like relationship. He refused to recognize her as Queen, and, in fact, barred her from his coronation. And, she, was rightfully bitter about it. That day, she fell ill, and died shortly after, declaring all the while that she believed she had been poisoned by her husband’s goons. 

Object of the Day, Museum Edition: Le Canard a Trois Becs, 1871

Le Canard a Trois Becs
H. Xiat, 1871
The Victoria & Albert Museum

Published in 1871 in Paris, France, this print features a satirical caricature by the artist H. Nérac (also known as H. Xiat) which depicts a duck with three heads. Each head is labeled, in order, “Comite Central,” “Internationale,” and “Commune.” The duck is saddled with a flaming torch which is tied to his body by a red sash.

The print is from a set of caricatures, broadsheets and illustrations in ten volumes printed in France by Jailly and Co. Many of them, like this one, are hand-colored.

An inscription reads:

COMMUNEUX PAR H. NÉRAC.
LE CANARD A TROIS BECS
TABLEAU DE FAMILLE 

The basis of the joke is a visual pun wherein the word “canard” takes a double meaning. It is French for “duck,” but can also refer to a hoax. Three conflicting political figures are uncomfortably crowded onto the body of one duck. 

Object of the Day, Museum Edition: The Wire Master & His Puppets, c. 1740

The Wire Master and His Puppets
English, c. 1740
The George Speaight Archive at
The Victoria & Albert Museum

"The Puppets blindly led away
Are made to act for ends unknown."
                                                                     -- a variation on Swift

Printed in about 1740, “The Wire Master & His Puppets” depicts a wooden platform upon which a variety of men from differing professions are standing. We have clergy, we have a judge, we have tradesmen, among others. Each of them appears to be manipulated by a guide wire attached to his head. Above them, a larger man in a Harlequin-like coat controls the wires. Near his left, the puppet master is pleaded by a bizarre mammal of unknown species who asks, “A little more to the left, my lord.” Meanwhile, the figure of Britannia weeps, “It is sport to you, but Death to me.”

Ah, but it gets worse-or better, depending on your point of view. Beneath the platform, a winged devil clutches a pole. Others mill about around the devil, but seem not to notice him.

Below this image is an excerpt from Johnathan Swift's (1667-1745) poem, “The Puppet Master.”

I should point out that the original verse from Swift’s work reads thusly:

"Others are blindly led away,
And made to act for ends unknown,
By the mere spring of wires they play,
And speak in language not their own."

However, the engraving intentionally misquotes the verse: 

"The Puppets blindly led away
Are made to act for ends unknown."

Print of the Day: Blowing up the Pic Nic's, or, Harlequin Quixote attacking the Puppets, 1802

Blowing up the Pic Nic's, or, Harlequin Quixote attacking the Puppets
April, 1802
James Gillray
This version is in the Victoria & Albert Museum.

James Gillray (1757-1815), a popular British printmaker and satirist, was, perhaps, one of the most prolific in his field during the late Eighteenth and early Nineteenth Centuries. Here, we see one of his cartoons from 1802. The image depicts English theater manager Richard Brinsley as Harlequin. He is shown leading a group of professional actors including the famed performer David Garrick (who was, at the time dead), rising from the grave. Also pictured are the actors Mrs. Billington, P. Kemble and, of course the renowned Sarah Siddons. The troupe is protesting members of the Pic Nic Society—an amateur acting group which had been performing at London’s Tottenham Street Concert Rooms. Apparently, they were in the midst of performing the then-popular show, “Tom Thumb.”

Professional actors and theatre managers at the time considered this amateur gang to be a nuisance—taking away revenue from the professionals with their extravagant and decadent displays. Sheridan was among those who launched an aggressive campaign against them. Here, his mask and pen indicate that he has been writing anonymous complaints about the group.

Gillray has cleverly composed this scene to resemble a page from Migel de Cervantes’ “Don Quixote” wherein the famed title character attacks “Master Peter’s” puppet show because he is convinced that the performance is real. In doing so, he has cast his judgment on the futile actions of Sheridan and his band of protestors. The print was published in April of 1802. The version above is in the collection at the Victoria and Albert Museum. Another is in the British Museum.

Version in the British Museum.

History's Runway: Lady Gladwyn's 1957 State Visit Gown

Gown by Pierre Balmain
French, 1957
The Cecil Beaton Collection at
The Victoria & Albert Museum

Lady Gladwyn’s name is synonymous with “high fashion.” She was the wife of the British Ambassador to Paris from 1954 to 1960. Lady Gladwyn famously hosted the state visit of Queen Elizabeth and Prince Philip at the French Embassy on Tuesday April 9, 1957, at which this dress was worn.

This floral masterpiece was designed by Parisian couturier Pierre Balmain (1914-82), and showcases, on the bodice, the appliqué technique which was characteristic of his work. The full-length evening dress of cream warp printed silk is emblazoned with an oversized pink rose pattern. The strapless, boned bodice, scalloped at the waist, is trimmed with appliqué roses below the bust line and to the waist.

Lady Gladwyn wrote in her diary that night:

The supper was, I think, just right for the occasion: cold salmon, chaudfroid of chicken, a salad, oranges and lemons filled with sorbet, and a wonderful Bollinger... The difficulty was to get rid of all the guests. They lingered on, and at half past one in the morning Cecil Beaton was still sketching Diana Cooper in the Ionian Room.

Speaking of Cecil Beaton, the celebrated society photographer and bon vivant collected several of the dresses worn during this state visit so that he could donate them to the V&A. Among the gowns which Beaton managed to add to his collection from this 1957 state visit are the Queen's embroidered ivory gown by Norman Hartnell (1901-79), Lady Gladwyn's lilac lace gown by Jacques Fath, and Baroness Alain de Rothschild's spotted tulle gown by Christian Dior (1905-57).