Drawing of the Day: Homage to the Queen, 1953

Homage to the Queen
Design for the Coronation Ballet
Oliver Messel, 1953
The Victoria & Albert Museum

“Homage to the Queen” was choreographed by Frederick Ashton as the Sadler's Wells Ballet tribute for the coronation of Queen Elizabeth II on 2 June, 1953. The production was performed at the Royal Opera House. We can tell from production notes which were made at the time that it appears that the production designer, Oliver Hilary Sambourne Messel, (1904 - 1978 ) conceived the ballet opening with an extravagant procession, incorporating both English folk and mythological figures which would close with an Apotheosis showing Elizabeth I as Queen of the Past, handing the Imperial orb to Elizabeth II as Queen of the Present. At the end of the opening, the image of the Queen would be left, as Messel put it, “surrounded with all the virtues and gifts.”

Messel, one of Britain’s leading theatrical designers of the 1930s through 1950s, envisioned this spectacle to be something like a 17th century Jacobean court masque in the manner of Inigo Jones and produced “lavish, fantastical designs” which managers of the ballet noted, “would have cost more than his sets and costumes for the main ballet.” Because of the potential expense, the stage procession of the homage was reduced to a simple entry for the queens of the four elements - Earth, Water, Fire and Air - and their attendant. Messel still got his way—partially. After the ballet, an apotheosis is performed wherein the spirit of the first Elizabeth passes the orb to the second. Here we see one of the storyboard images which Messel produced for his original concept of the homage ballet. This image shows the lion and the unicorn of the Royal arms. The sketch shows the two figures, dancing, facing each other, and carrying flowers which were to be presented to the Queen.

Lord Snowdon, onetime husband of Princess Margaret, and Oliver Messel's nephew, inherited Messel's theatrical designs and other artifacts. According to the V&A, “The designs were briefly stored in a disused chapel in Kensington Palace before being housed at the V&A from 1981 on indefinite loan. The V&A Theatre Museum purchased the Oliver Messel collection from Lord Snowdon in 2005.”

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.

Painting of the Day: Queen Elizabeth II in Coronation Robes, 1953

Design for the Coronation Gown
Norman Hartnell, 1953
Crown Copyright
Courtesy of Her Majesty Queen Elizabeth II
The Royal Collection

Norman Hartnell, a favorite designer of Queen Elizabeth II, was the first couturier to be knighted when he received the honor during the Silver Jubilee of 1977. For decades, Hartnell served as couturier to senior members of the royal family and made both the wedding dress and Coronation Dress of Queen Elizabeth II. 
The design of the coronation dress was well-guarded, allowing considerable excitement to build in anticipation of the ceremony. This painting shows Hartnell’s final design which relied on his trademarks of extensive embroidery, pearls and other glittering adornment. 

The finished gown, 1953
The Royal Collection

Her Majesty in Her Coronation Robes
Oil Painting by 

Sir Herbert James Gunn (1893-1964) (artist)
Creation Date:
1953 - 1954

Crown Copyright

The Royal Collection

Image Courtesy of Her Majesty Queen Elizabeth II

Unusual Artifacts: A Horsehair Hat by Simone Mirman, 1953

Hat
Simone Mirman, 1953
The Victoria & Albert Museum

Paris-born milliner Simone Mirman began her career working with fashion designer Elsa Schiaparelli in Paris before coming to London in 1947. Mirman took an unusual approach to her millinery practice, preferring to think of her hats as ‘objects d’art’ as opposed to utilitarian objects. Her business began slowly, but from her attic workshop she soon gained momentum and was able to open a couture millinery salon in London. Of her many famous clients, she was most popular with the Royal family—making unusual hats for Princess Margaret Rose from 1953 and, later, for the Queen and the Queen Mother from the 1960s onward.

This hat made for the coronation of Queen Elizabeth II in 1953 shows Simone Mirman’s sense of play and artistry. Here, we see that she’s adorned this horsehair creation with diminutive rosebuds . Made in the “coolie-style,” this hat was meant to transition from summer to chillier seasons. Creations such as this brought a great deal of attention to Mirman, and her popularity soared during the 1953 coronation year when her work was considered the utmost of chic. 

A Recipe for Punch Will Finally Be Back

After an unintended week's hiatus, A Recipe for Punch will be back tomorrow with the next new chapter.*




*Provided there are no additional frustrating interruptions.

Obscure Book of the Day: The Official Program from the 1953 Coronation

This is just so neat. Here we see an actual official program from the 1953 Coronation of Queen Elizabeth II. We found this in an antique store in Texas of all places!


Entitled, “The Coronation of Her Majesty Queen Elizabeth II: Approved Souvenir Programme,” it is “Published by Gracious Permission of Her Majesty the Queen” by “King George’s Jubilee Trust.”

A verse by John Masefield, the Poet Laureate at the time begins the program alongside a beautiful portrait of the Queen. This is followed by a foreword by the Queen’s uncle, The Duke of Gloucester, photos of the Royal Family and a history of the Queen’s life.

The rest of the program includes maps, exact times and locations of events, the order of the ceremony, the participants, the celebrations to follow, and just about every other bit of information about the coronation that anyone could possibly want to know.

Let’s take a look inside…

Vintage Image of the Day: An Invitation to the Savoy Coronation Ball, 1953

Savoy Hotel Invitation to 1953 Coronation Ball
The Victoria & Albert Museum

In June of 1953, all of Britain was awash in celebrations in honor of the Coronation of Her Majesty Queen Elizabeth II. From modest gatherings to lavish balls, nowhere was more bustling with merriment than London.


The swankiest hotels hosted opulent affairs. Here’s an invitation to one of them. Here, we see an invitation to The Savoy Coronation Ball, of June, 1953, to be held on the night of The Coronation of Her Majesty Queen Elizabeth II.

This handsome card was designed by A. Games, and printed by Lund Humphries.