Showing posts with label Buckingham Palace. Show all posts
Showing posts with label Buckingham Palace. Show all posts

Sunday, January 26, 2014

Masterpiece of the Week: Charlotte, Princess Royal and Prince William, later Duke of Clarence



Charlotte, Princess Royal and Prince William
Johann Zoffany, circa 1770
Crown Copyright
The Royal Collection 
Image Courtesy of Queen Elizabeth II




Painted for King George III and his Consort, Queen Charlotte, this painting is the work of Johan Zoffany (1733-1810) and depicts Charlotte, the Princess Royal and Prince William (later, the Duke of Clarence and later King William IV)—two of their children.

This portrait is one of a pair depicting the four eldest children of George III. The other depicts Prince George (later King George IV) and Prince Frederick. The paintings were clearly created to be viewed from a low point-of-view, looking up. They were once displayed above twin doorways in the Throne Room at Buckingham Palace in 1841. According to the Royal Collection, “prior to this however they seemed to have moved around, without an obvious home.” So, it’s hard to say for where they were originally intended. 

Zoffany has created a scene with his usual sense of humor wherein the children and their dog seem to have climbed into a theatrical architectural setting. Their mischievous expression belies the grandeur of the setting and the seriousness of the drapery and floral arrangement.



Sunday, September 8, 2013

Precious Time: "The King’s Clock," 1770


The King's Clock
1770
Blue John, Gilt Bronze, Enamel,
Glass, Steel
The Royal Collection

This mantel clock was ordered around the same time as an ornate chimney garniture for Queen Charlotte’s bedroom at the newly repurposed Buckingham House (now Buckingham Palace) in 1770 and was made according to strict instructions by King George III.


William Chambers was instrumental in creating the design of the clock case which features gilt bronze sphinxes on either side of the base. The clock boasted an 8-day striking movement of a design by the horologist Tomas Wright.

Despite being made specifically for Queen Charlotte’s private chamber, the clock ended up on the chimneypiece of The Crimson Drawing Room where it remained for many years.

Unusual Artifacts: Buckingham Palace Between 1850 and 1870, Francis Firth



Buckingham Palace
Francis Firth
1850-1870
The Victoria & Albert Museum
I always like to see images of Buckingham Palace that were taken before the facade changed to its current form. This is how the palace looked when Prince Albert and Queen Victoria lived there together. This photo is the work of Francis Firth and was taken between 1850 and 1870. Francis Frith was one of the most successful commercial photographers of the era and established what was to become the largest photographic printing business in England.


This image is part of the V&A's Francis Frith “Universal Series” archive. The archive is made up of over 4000 whole-plate albumen prints (predominantly of historical and topographical sites).



Her Majesty's Furniture: A Piano Stool. 19th C.




Piano Stool
Mid-Nineteenth Century
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II



Made in England in the mid-Nineteenth Century specifically for use in Buckingham Palace, this piano stool was constructed of costly rosewood. Adjustable in height, the stool is upholstered in a hand-made floral needlework.

The stool stands on three turned supports which are joined by a triangular stretcher. The supports stand around a central column which was designed to conceal the threading mechanism which allows the height to be adjusted. The whole of it rests on outward splaying legs with block feet.




Antique Image of the Day: Princess Elizabeth and Princess Margaret, 20 December 1938



T.R.H. Princesses Elizabeth and Margaret Rose
Gilbert Adams, 1938
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II



Photographer Gilbert Adams (1906-96, the son of the famed photographer Marcus Adams) took this photograph of Princess Elizabeth (now Queen Elizabeth II) and her sister, Princess Margaret Rose, in 1938 on December 20. Adams processed a cellulose acetate film negative stuck onto glass plate to create the image. 

The photo-portrait was commissioned by Queen Elizabeth, The Queen Mother. The girls, photographed from behind, are pictured sitting at the piano in the Music Room of Buckingham Palace. The future Queen’s beloved dog, “Dookie” is by Margaret's feet.



The Home Beautiful: Vase Hollandois Nouvelle Forme



The Vases Hollandois
French, 1761
Purchased for King George IV for Carlton House
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II



A creation of the Sèvres Porcelain Factory, dating to 1761, this pair of soft-paste porcelain vases boast a petit verd ground and gilded decoration.

The pair were urchased in Paris for George IV by François Benois at a cost of £80. They were meant to be used in the now long-demolished Carlton House, George IV’s monumentally elegant palace.

When the contents of Carlton House were removed before it was pulled down, all of its contents were inventoried. According to the Royal Collection, the pair was described in the ledgers thusly:
No 10. Two Flower Vases in 4 Parts, Painted Figures & Flowers, Turquoise Blue Ground & Gold Remarks: Delivered to Mr Watier April 24th 1829 to be placed in the Store Room at St James’s Cost £80’. 

After languishing in storage for many years, Queen Victoria had the pair moved to Buckingham Palace where they remain to this day.


Crown Copyright
The Royal Collection

Crown Copyright
The Royal Collection

Crown Copyright
The Royal Collection

Building of the Week: Buckingham Palace


Buckingham Palace Today
The British Monarchy

The official seat of the British Monarch since Queen Victoria’s ascension to the throne in 1837, Buckingham Palace is the core of London’s posh City of Westminster. The current palace is actually adapted from the London townhouse of The Duke of Buckingham. Originally called Buckingham House, it wasn’t the first structure to stand on that site. The land was initially part of the medieval Manor of Ebury. Later, in 1624, the first house on the land was built by Sir William Blake and was later purchased by Lord Goring in 1633. Goring is responsible for the first formal gardens at the site. The land was then sold Henry Bennett, The First Earl of Arlington. The mansion, then known as Goring House, burnt to the ground in 1674. Arlington House was erected in its place. The Land was sold to the Duke of Buckingham and Normanby is 1702, and Buckingham House was erected in 1703.


The palace as it looked during George III's reign.
The British Monarchy
The layout of Buckingham house was compromised of a large central section flanked by two wings which very much resembles the footprint (albeit smaller) of the current Palace. The house was purchased by King George III to be a private residence for his wife, Queen Charlotte, so that she might retreat from the day-to-day chaos of St. James Palace, the official seat of the monarch at that time. Fourteen of their fifteen children were born at the mansion which was renamed, “The Queen’s House.”


An 1850 Photograph Showing George IV's facade.
The British Monarchy
 In 1820, when George IV ascended to the throne, he continued the renovations started by his predecessor, however, being a lover of French design, he dictated that the new façade be styled in the manner of French architecture. Under the direction of architect John Nash, the palace took on a French Neoclassical look. Nash’s plans for the palace were costing far more than the monarchy could afford to spend. Upon the death of George IV, King William IV removed Nash from the project and replaced him with Edward Blore. With expenses soaring, the question of what to do with the palace arose. Some felt it should be the seat of the British Museum, others thought it should become the new home of the Houses of Parliament after a fire damaged the Palace of Westminster.


The Throne Room
The British Monarchy
 Queen Victoria was the first monarch to live in Buckingham Palace since William IV died during the period of renovation. She named the palace the official home of the monarch and was instrumental in dictating the decoration of the state rooms—most of which remain as they were at the time. Victoria soon found the palace to be as dysfunctional as it was beautiful. Poor air circulation, a lazy staff and faulty pipes made life in the palace uncomfortable. Her husband, Prince Albert, saw to it that Buckingham Palace was improved in every way. As their family grew, the palace seemed too small. In 1847, the palace was expanded, again, under the direction of Edward Blore. Upon the passing of her husband, Victoria retreated the palace for her other residences, feeling that being in Buckingham Palace reminded her too much of her much-beloved husband. Under pressure to return, she did make an effort to be more present at the palace in the final years of her life.

The Grand Staircase
Redecorated by Edward VII
The British Monarchy
Buckingham Palace—aside from being a political center—was also a major artistic and social center. During the reign of Victoria’s son, Edward VII, the palace saw many a lavish party, concert and event. Edward VII insisted that several of the state rooms should be redecorated in the fashionable cream and gold color scheme so popular during the Belle Époque. A good example of this is the Grand Staircase which retains the style of the Belle Époque to this day. Edward, however, was careful not to modernize too much. He made sure that the portraits that his mother had selected to be inset in the panels along the staircases remained unchanged.

In 1913, King George V, upon the installation of The Victoria Memorial outside the palace gates, ordered that the façade of the palace be changed to a more fitting (and less French) backdrop for the enormous sculpture of his grandmother. Blore’s façade was drastically changed—replacing the curvilinear French gables with massive classical pediments. His wife, Queen Mary, undertook major renovations inside the palace, furnishing the whole with antiques and art from The Royal Collection. Mary’s hand can still be seen in the unchanged Blue Drawing Room.

Queen Mary's Blue Drawing Room
The British Monarchy
During the First World War, the palace was remarkably unscathed. However, during World War II, Buckingham Palace was bombed seven times. The worst of which was a 1940 bombing which destroyed the Royal Chapel. Today, on the site of the chapel, stands The Queen’s Gallery—a venue in which the public can be admitted daily to see The Royal Collection.

Unlike Sandringham House, and Balmoral Castle, Buckingham Palace (and similarly Windsor Castle) are not the private property of the Queen. The palace belongs to the British state and is funded by the people who, in turn, are admitted yearly for tours. The palace is a ceremonial house—designed for political entertaining and business. It is meant to impart a sense of the British Empire. With its grand state rooms and bustling offices, it certainly does just that.



Friday, July 12, 2013

Object of the Day, Museum Edition: Triumphal Arch of the New Palace, 1829



The Victoria & Albert Museum


This hand-colored etching is entitled “An Appropriate Emblem for the Triumphal Arch of the New Palace” and has been dedicated to “the poor, penny-less, priest ridden and paralysed John Bull.” The image depicts a man (a rather Punch-like man) in a jester's motley, displaying the lining of his empty pockets. His left pocket reads “To Let” and, the right, “Empty.” He surmounts a series of classical arches and a speech bubble in which he is declaring:

"They denounce me a Fool, I acknowledge the fact
But Necessitas Legis 'twas drew the compact
By Estimated false and Contracts still worse
They have brought me to Want, having emptied my purse"

This image was meant as a visual companion to an article in the Morning Herald as a note beneath the image says “See Morning Herald of August 14th 1829.”

We can assume that the arch in question in the title was “The Marble Arch”, a triumphant arch constructed as the centerpiece of an enlarged courtyard at Buckingham Palace in commemoration of the British victories at Trafalgar and Waterloo. By 1829 the costs of this project had escalated to nearly half a million pounds—a fact that was criticized by those who thought the money would have been better spent improving the lives of the destitute.

It was published in London in August 1829 by S.W. Fores, 41 Piccadilly and is part of the George Speaight Punch & Judy Collection.



Monday, May 20, 2013

Precious Time: The “Kylin” Clock, Mid-18th Century



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


The "Kylin" Clock
Mid Eighteenth Century Case with
Mid Seventeenth Century Artifacts
Ormolu, Porcelain
Purchased by King George IV, 1820
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty
Queen Elizabeth II

Gilt bronze fruit, berries, stems, leaves and lotus flowers comprise the case of this highly ornamental clock which was initially constructed in the mid-Eighteenth Century by an unknown French clockmaker. This ornate construct was created to showcase Asian artifacts which include a pair of what is described as Chinese “Lions,” but which to me seem more likely to be Foo Dogs. These porcelain figures date to the mid-Seventeenth Century, and were incorrectly thought to be hybrid creatures of Chinese mythology called “Kylin,” hence the name of the clock. 

Other Seventeenth Century porcelain pieces included in the clock’s case are parts of a blue and white teapot, a Chinese bowl which has been inverted to accommodate the face of the clock and a Japanese Arita group of two boys which stand just above the dial.


King George IV purchased this clock in 1820 to add to his growing collection in his seaside monstrosity (which I say with affection and admiration)  at Brighton. As was often the case with George IV, he had the clock gutted, removing its works and replacing them with an updated French movement which ran for eight days between windings. In 1847, the clock was removed from the Brighton Pavilion and brought to the Pavilion Room at Buckingham Palace where it sits to this day on the mantle overlooking Royals as they eat their breakfast.

Recently, The Royal Collection, has released photos of this exceptional timepiece in its permanent home.






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

Tuesday, April 2, 2013

Painting of the Day: Charlotte, Princess Royal and Prince William, later Duke of Clarence



Charlotte, Princess Royal and Prince William
Johann Zoffany, circa 1770
Crown Copyright
The Royal Collection 
Image Courtesy of Queen Elizabeth II




Painted for King George III and his Consort, Queen Charlotte, this painting is the work of Johan Zoffany (1733-1810) and depicts Charlotte, the Princess Royal and Prince William (later, the Duke of Clarence and later King William IV)—two of their children.

This portrait is one of a pair depicting the four eldest children of George III. The other depicts Prince George (later King George IV) and Prince Frederick. The paintings were clearly created to be viewed from a low point-of-view, looking up. They were once displayed above twin doorways in the Throne Room at Buckingham Palace in 1841. According to the Royal Collection, “prior to this however they seemed to have moved around, without an obvious home.” So, it’s hard to say for where they were originally intended. 


Zoffany has created a scene with his usual sense of humor wherein the children and their dog seem to have climbed into a theatrical architectural setting. Their mischievous expression belies the grandeur of the setting and the seriousness of the drapery and floral arrangement.



Monday, February 18, 2013

Sculpture of the Day: A Bust of the Duchess of Teck, c. 1857



Bust of Princess Mary Adelaide of Cambridge, Duchess of Teck
Baron Carlo Marochetti, 1857
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II



Sculpted in 1857 by the Baron Carlo Marochetti (1805-1868), this marble bust depicts Princess Mary Adelaide of Cambridge, the Duchess of Teck (1833-97).

The bust was commissioned as a gift from the Duchess of Teck to her friend Lady Marian Alford. As was often the case with objects related to the Royal Family, many decades later, Queen Mary managed to get the Alford family to return the bust to the Royal Collection. Her Majesty wrote of the bust thusly when entering it into her catalog: 



Marble bust of the Duchess of Teck, as a young woman with roses in her hair and double string of pearls around her neck.  She looks to her right.



The catalog also contains a notation copied from the memoirs of the Duchess of Teck wherein Princess Mary Adelaide describes her delight at her visits to Marochetti’s studio in June of 1857 to sit for the bust. Queen Mary, after being introduced to the sculptor by her mother, had long been an admirer of Marochetti who had been one of Queen Victoria and Prince Albert’s favorite sculptors and from whom they commissioned fifteen works.

Years after this bust was created and, then, returned to the Royal Family, when Marochetti’s grandson visited Buckingham Palace, Queen Mary took delight in showing off this bust—her favorite—to the young man, making sure that he knew how much his grandfather’s work was appreciated and that the bust was one of the highlights of her monumental collection.
 






Thursday, January 10, 2013

Object of the Day: Changing of the Guard


Click image to enlarge.



Here we have another postcard. This one was published by Lansdowne Publishing Co., Ltd. of London who wants us to know that “THIS IS A REAL PHOTOGRAPH.”

Real photograph notwithstanding, this photo could have been taken at any point from the later reign of King George VI to the coronation of his daughter, the present Queen. I’m guessing it’s from somewhere in the middle, but it’s difficult to tell. First of all the horse-guard’s uniforms are unchanged to this day. Secondly, this was published during that odd period in British history when few publisher’s ever put a copyright date on anything.

I especially like the over-painting which was done to the “real photograph” before it was duplicated. Although a tad sloppy when viewed in the enlarged scan, it’s quite festive in that spirit of the 40s-50s.

The Horse Guards’ parade still looks like this. And, that’s why I love British History! Tradition is a grand thing sometimes.




Monday, July 16, 2012

A List of Your 15 Favorite Posts from the Last Two Years


Over the past two years, thus far, I’ve posted just shy of 4900 articles to Stalking the Belle Époque including the 588 Chapters of Mr. Punch of Belgrave Square and Punch’s Cousin. There’s a little something for everyone here from discussions of antiques to the television programs which Bertie most enjoys.

Regular readers know that the ten most popular posts of “all time” are always listed on the right side of the page. However, here are fifteen more of your favorite posts. These posts are the among those which you have read the most.


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



1. Queen Mary’s Dolls’ House 

This magnificent work of art, housed in Windsor Castle, was made for Queen Mary, consort of King George V as a means of showcasing the finest in British craftsmanship. It remains a gorgeous testament to a brilliant period.



The Victoria & Albert Museum


2. The Diamond and Ruby Tiara 

Made in 1835, this tiara doubles as a necklace. Housed in the V&A, it’s indicative of the magnificent naturalistic jewelry which dominated Britain in the 1830s. 



The Winchester Mystery House


3. The Winchester Mystery House 

Sarah Winchester’s Sprawling Queen Anne mansion in San Jose California may appear, from the exterior, to be just another of America’s Victorian castles, but it holds a series of odd secrets and features no shortage of weirdness.


Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II
Queen Mary managed to return many lost treasures to the Royal Collection, but she took special delight in her acquisition of her grandmother’s magnificent emeralds.








5. Buckingham Palace 

The primary official residence of the British monarch, Buckingham Palace began its long life as a country house. Centuries of expansion and alteration have made it into one of the grandest homes in the world.

Known to fans of the dearly departed daytime drama, “All My Children,” know this fine Tudor-style estate as Cortlandt Manor, but Waveny House remains one of the most elegant historic homes in the U.S.



7. Pauline Collins and John Alderton 

They were Thomas and Sarah from the original “Upstairs, Downstairs,” and this real-life couple continue to be one of Britain’s premier acting families.








8. Belgrave Square 

At the heart of London’s posh City of Westminster, Belgrave Square has been the home of Britain’s elite for centuries.

BBC News

9. The Halo Tiara 

The world watched with pride as Prince William of Wales married his longtime love Katherine Middleton. The newly created Duchess of Cambridge was the focus of global attention as she appeared at Westminster Abbey on her wedding day. Wearing the “Halo Tiara,” the Duchess’ beauty was not outshined by the jewels, but rather, only heightened.




10. Queen Elizabeth II's Wedding Dress 

Sir Norman Hartnell designed this magnificent gown for the 1947 marriage of the future Queen Elizabeth II to Prince Philip.









The Victoria & Albert Museum


11. The Coral Tiara 

Tiaras seem to be popular. This unique creation of coral is one of the most unusual of the jeweled headpieces we’ve examined.





12. King Edward VII’s Dog Caesar 

While not a faithful husband, King Edward VII was loyal to his pets, and they to him. No dog was closer to the King than Caesar who famously followed his master’s coffin during his funeral procession.








The Victoria & Albert Museum


13. The Mrs. Roy Hudson Circle Gown 

This gown by the famous House of Worth is the epitome of 1950s glamour.


The Victoria & Albert Museum



14. The Janey Morris Brooch 

The wife of the celebrated designer William Morris, Jane Morris was also a favorite of the Pre-Raphaelite painter Dante Gabriel Rossetti who famously gifted her with many jewels including this stunning brooch. 


USA Network



15. Matt Bomer 

We are fans of Mr. Matt Bomer and, it seems, you are too. The talented star of USA’s “White Collar” has become quite the film star of late. However, more so than his celebrity and incredible good looks, it’s his spirit and humble charm which afford him limitless appeal.

Thursday, July 12, 2012

Sculpture of the Day: A Bust of the Duchess of Teck, c. 1857

Bust of Princess Mary Adelaide of Cambridge, Duchess of Teck
Baron Carlo Marochetti, 1857
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II



Sculpted in 1857 by the Baron Carlo Marochetti (1805-1868), this marble bust depicts Princess Mary Adelaide of Cambridge, the Duchess of Teck (1833-97).

The bust was commissioned as a gift from the Duchess of Teck to her friend Lady Marian Alford. As was often the case with objects related to the Royal Family, many decades later, Queen Mary managed to get the Alford family to return the bust to the Royal Collection. Her Majesty wrote of the bust thusly when entering it into her catalog:


Marble bust of the Duchess of Teck, as a young woman with roses in her hair and double string of pearls around her neck.  She looks to her right.



The catalog also contains a notation copied from the memoirs of the Duchess of Teck wherein Princess Mary Adelaide describes her delight at her visits to Marochetti’s studio in June of 1857 to sit for the bust. Queen Mary, after being introduced to the sculptor by her mother, had long been an admirer of Marochetti who had been one of Queen Victoria and Prince Albert’s favorite sculptors and from whom they commissioned fifteen works.

Years after this bust was created and, then, returned to the Royal Family, when Marochetti’s grandson visited Buckingham Palace, Queen Mary took delight in showing off this bust—her favorite—to the young man, making sure that he knew how much his grandfather’s work was appreciated and that the bust was one of the highlights of her monumental collection.
 


Sunday, July 8, 2012

The Home Beautiful: Vase Hollandois Nouvelle Forme

The Vases Hollandois
French, 1761
Purchased for King George IV for Carlton House
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II



A creation of the Sèvres Porcelain Factory, dating to 1761, this pair of soft-paste porcelain vases boast a petit verd ground and gilded decoration.

The pair were urchased in Paris for George IV by François Benois at a cost of £80. They were meant to be used in the now long-demolished Carlton House, George IV’s monumentally elegant palace.

When the contents of Carlton House were removed before it was pulled down, all of its contents were inventoried. According to the Royal Collection, the pair was described in the ledgers thusly:

No 10. Two Flower Vases in 4 Parts, Painted Figures & Flowers, Turquoise Blue Ground & Gold Remarks: Delivered to Mr Watier April 24th 1829 to be placed in the Store Room at St James’s Cost £80’. 

After languishing in storage for many years, Queen Victoria had the pair moved to Buckingham Palace where they remain to this day.


Crown Copyright
The Royal Collection

Crown Copyright
The Royal Collection

Crown Copyright
The Royal Collection