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.

Mastery of Design: The Dame Joan Evans Putti Locket, 1570-1600

Memorial Locket with Cameo and Enamel Painting
Cameo:  1570, Setting: 1600
Germany
The Victoria & Albert Museum

From the collection of Dame Joan Evans, we have this layered agate cameo which depicts two male busts. The cameo is set in gold and adorned with painted enamels and rubies. It’s believed that the cameo was made in Germany circa 1570 and was set into the gold mount around 1600. 

The reverse of the cameo has been painted with an enamel landscape which shows a skull and a putto blowing bubbles—a clear representation of the brevity of human life. Given this, it’s entirely possible that this was meant to serve as a memorial locket or, perhaps, a memento mori.

Figure of the Day: Two Putti with Grapes, 1762-1770

Figure Group
French, c. 1760
The Victoria & Albert Museum

The work of the French Crépy-en-Valois Porcelain Factory, this figure group depicts two blond puttis seated face-to-face. Each one is holding a bunch of grapes. Figures like this one were designed to represent the seasons. Typically, those holding grapes denoted Autumn.

The soft-paste group, painted in enamels, was made between 1760 and 1770.

The underside is marked “D.C.O.” Interestingly, the enamel that we see on this figure is a later addition. For years, the piece was attributed to Mennecy, however, that attribution was amended when it was noticed that the figures had been re-fired with newer enameling.

Unfolding Pictures: The Toilette Fan, 1670-80

Fan
French, 1670-80
The Victoria & Albert Museum

“The toilette,” the process of getting dressed, was a fashionable subject for a fan leaf in the late Seventeenth Century. Such scenes were often depicted on elegant fans. Here’s an example of such a fan showing an attractive, elegant room which opens on one side with a view of a distant landscape behind. Therein, putti are preparing Cupid’s bath and making his bed. The vellum leaf, painted in watercolors, is based on paintings by Jan Brueghel the Elder.

The reverse is painted with three bunches of roses within a broad border which repeats the shape of the fan leaf. The border is punctuated with a design of flowers and formal leaf patterns.

The sticks and guards are of pierced and carved tortoiseshell and have been decorated with hand-painted squiggles. The fan was made between 1670 and 1680 in France. Some feel that it was meant to celebrate the “Appartement des Bains” at Versailles—the sumptuous bathroom of Louis XIV's mother, Anne of Austria. 

 

A Recipe for Punch will continue tomorrow

It's another hectic start to a week, so, we'll have to pick up with "A Recipe for Punch" tomorrow.

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.

Her Majesty's Furniture: The Putti Cabinet, 1855

Cabinet
Jackson and Graham, 1855
This and all related images from:
The Victoria & Albert Museum

This handsome cabinet was not made for domestic use, but rather as a sample of the ingenuity and talents of the craftsmen and designers of the London furnishing firm of Jackson and Graham. Made in the Eighteenth Century style, the cabinet was presented at the Paris International Exhibition of 1855 where it was heralded for its fineness.

The 1855 catalog notes of the cabinet that “the interior is finished with as much care as the exterior, being of satin-wood inlaid with tulip-wood and the fronts of the drawers inlaid with ivory and panelled, the panels being fitted with finely-chased and gilded metal-work.”  

The stars of the show are the three porcelain mounts depicting putti representing the arts.  These panels are mounted in gilt moldings which echo the shape of the central mirror.

The piece was designed by Alexandre Prignot (born 1822) who had been the chief designer for Jackson and Graham from 1849 to 1855. This piece was one of his final triumphs. The ceramics were supplied by Minton & Co. while Elkington & Co, offered the electroplated mounts. Cope and Collinson provided the casters.

The marquetry, giltwood, and inlays of marble and porcelain drew much positive attention and praise at the 1855 exhibition as did the mirror which surmounted the cabinet.