The Home Beautiful: King William III's Rock Crystal Chandelier, c. 1690

Rock Crystal Chandelier
Hampton Court Palace
c. 1690
Crown Copyright
The Royal Collection
via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II

Click on image for larger size.

King William III (most probably) acquired this chandelier during the renovation and redecoration of Hampton Court Palace in the 1690s.  The monumental fixture is built on a frame of silver which is entirely concealed by strings of rock crystal beads (affixed by lead), massive pendants and carved marigolds.  Pearls are interspersed amongst the crystals.  Surmounted by an enormous rock crystal crown, the twelve-candle chandelier is decidedly impressive.

Originally, it's thought, the chandelier was hung in the dining room of Hampton Court Palace.  According to the Royal Collection Trust, "It may possibly be that seen and recorded by Celia Fiennes on her visit to the palace in 1697, as a, 'Chrystal Branch for candles', hanging in the dining room."

Antique Image of the Day: A Mezzotint of Queen Mary II, 17th C.

Maria D.G. Angliae Scotiae Franciae et Hiberniae Regina & CT. 
Mezzotint, John Smith
The Victoria & Albert Museum

A mezzotint is a form of tonal engraving made when the surface of a metal plate is pitted with a serrated tool called a “rocker.” The plate is then scraped and smoothed so that different areas of the plate will hold varying quantities of ink depending on the relief. This technique creates a range of rich, textures and tones and white highlights when the image is printed onto the paper.

The print we see here is based on a portrait of Queen Mary II (Who ruled as Sovereign jointly with her cousin/husband King William III and II) which was painted in 1688 by the Dutch painter and engraver Jan van der Vaardt, who moved to England in 1674.

This is the work of one John Smith, a printmaker who is thought to be one of the most important mezzotinters of the Seventeenth Century.

Here, Queen Mary II is depicted as dressed in the height of fashion, in the style set by the French court, wearing a formal mantua of striped and figured silk. Her royal noggin is adorned with an elaborate lace headdress which was called a frelange, with ribbon-bows behind (known as fontanges). The whole ensemble was held up by a wire frame called a commode.

Painting of the Day: Bogdani's Birds and Fruit in a Landscape, c. 1708

Birds and Fruit in a Landscape
Jakob Bogdani, 1708-1710
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

Jakob Bogdani (c. 1660-1720) created this lovely and colorful painting between 1708 and 1710 either for King William III or Queen Anne. The piece is done in the Dutch style. In Holland, Melchior de Hondecoeter (1636-95) had established the fashion for large-scale paintings devoted to showcasing exotic birds in the setting of a formal garden. Soon, the fashion spread and was emulated by artists like Bogdani for important aristocratic or royal clientele.

Bogdani was born in Hungary and moved to Amsterdam in 1684. There, he saw first-hand the works of Melchior de Hondecoeter and learned from the artist. Soon Bogdani had perfected his own specialty-- the depiction of plants, birds and animals. By 1688, Bogdani settled in England, where, according to George Vertue, he was "much encouraged” by Queen Anne as well as hired to work as a court artist for William III.

This piece is actually one of a pair of bird scenes created at the same time by Bogdani. Some say they were for Queen Anne, but they could have easily been commissioned by William III. The existence of the paintings was first recorded in the “Painted Staircase” at Kensington Palace during the reign of George I. On the left of this canvas, a large cockatoo is perched on a stone near a large tree trunk. Meanwhile, to the right, parrots and passerines gather around a cluster of peaches, grapes and fruits.

The Home Beautiful: King William III's Rock Crystal Chandelier, c. 1690

Rock Crystal Chandelier
Hampton Court Palace
c. 1690
Crown Copyright
The Royal Collection
via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II

Click on image for larger size.

King William III (most probably) acquired this chandelier during the renovation and redecoration of Hampton Court Palace in the 1690s.  The monumental fixture is built on a frame of silver which is entirely concealed by strings of rock crystal beads (affixed by lead), massive pendants and carved marigolds.  Pearls are interspersed amongst the crystals.  Surmounted by an enormous rock crystal crown, the twelve-candle chandelier is decidedly impressive.

Originally, it's thought, the chandelier was hung in the dining room of Hampton Court Palace.  According to the Royal Collection Trust, "It may possibly be that seen and recorded by Celia Fiennes on her visit to the palace in 1697, as a, 'Chrystal Branch for candles', hanging in the dining room."

Gifts of Grandeur: Queen Mary II's Orb, 1689

Queen Mary II's Coronation Orb
Robert Viner, the Younger, 1689
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

Since Queen Mary II (1662-94) ruled as a joint sovereign with her consort William III, she required the creation of an additional orb and sceptre for the coronation ceremony of 1689. This is the orb which was made for Mary II. It looks quite grand, but there’s a story behind it.

The stones which were originally set in the orb were hired (as in rented) for the occasion of the coronation. These would originally have included diamonds, rubies, sapphires and emeralds. After the ceremony all of the stones were removed, returned to their supplier, and replaced with pastes. Huh…

Since this orb is basically a fancy costume piece now, it has not been used since the 1689 coronation, with one exception. On the occasion of Queen Victoria's funeral this was placed with the other, real, royal orb on Her Majesty’s coffin, to signify her two titles as Queen and Empress.

This orb was created by Robert Viner, the Younger—the Royal goldsmith at the time. It’s not without value. Aside from its historical significance, it is comprised of heavy gold, pearls, silver and rock crystal in addition to the glittering pastes. The orb, in general, was meant to symbolize the Christian world. To this end, it is surmounted with a cross and features bands of “jewels” and pearls dividing it up to represent the three continents known in medieval Europe.

The Orb in its Original Velvet Case
Crown Copyright
Image Courtesy of Her Majesty Queen Elizabeth II

Her Majesty’s Furniture: King William III’s Silver Table, 1699

Silver Table,
English, 1699
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Made in 1699 of silver and oak, this magnificent table is part of a suite of silver furnishings commissioned by William III for Kensington Palace in 1698. While the suite had been created expressly for Kensington Palace, it’s not certain whether or not they made it to their intended location. The records for this table are sketchy and aren’t well maintained until the reign of King George III.

On his accession in 1760 George III inherited three late seventeenth-century suites of silver tables, mirrors and stands. For decades, these pieces had been displayed in the State rooms at Windsor Castle where they had sat, at least, since the reign of Queen Anne. George III had the suite cleaned and repaired. This table was among those pieces of furniture.

However, by the reign of George III, the popularity of silver furnishings had diminished and in February 1764, records indicate that “three silver tables and six stands,” together with numerous old sconces, chandeliers and firedogs “which are not English Standard,” were “Delivered to be melted . . . to be reduced into English Sterling to complete his Majesty’s Gift of 8000oz of old Plate to the Duke of Gloucester.” This refers to a generous gift that the King was making to his third brother, Prince William, Duke of Gloucester.

At that point, no record of silver furnishings is shown in any of the collection archives nor in the records of the Jewel House. However, in February of 1805 an account of “their Majesties’ Fete at Windsor Castle” noted “the novel and grand appearance of four silver tables, between each window [in the Queen’s Ballroom]. The magnificent effect of the tables was considerably heightened by four most elegant pier glasses over each with silver frames.” Records also show that for this same ball, five silver chandeliers were hung in the Ballroom and the Queen’s Drawing Room next door.

Somehow, this table and three of its mates were spared from being melted down. This particular table was left in the Queen’s Ballroom on a more permanent basis after that night in 1805. It was recorded in a view of the Queen’s Ballroom in 1817 and remains as part of the Royal Collection in Buckingham Palace to this day.

Her Majesty’s Furniture: King William III’s Silver Table, 1699

Silver Table,
English, 1699
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Made in 1699 of silver and oak, this magnificent table is part of a suite of silver furnishings commissioned by William III for Kensington Palace in 1698. While the suite had been created expressly for Kensington Palace, it’s not certain whether or not they made it to their intended location. The records for this table are sketchy and aren’t well maintained until the reign of King George III.

On his accession in 1760 George III inherited three late seventeenth-century suites of silver tables, mirrors and stands. For decades, these pieces had been displayed in the State rooms at Windsor Castle where they had sat, at least, since the reign of Queen Anne. George III had the suite cleaned and repaired. This table was among those pieces of furniture.

However, by the reign of George III, the popularity of silver furnishings had diminished and in February 1764, records indicate that “three silver tables and six stands,” together with numerous old sconces, chandeliers and firedogs “which are not English Standard,” were “Delivered to be melted . . . to be reduced into English Sterling to complete his Majesty’s Gift of 8000oz of old Plate to the Duke of Gloucester.” This refers to a generous gift that the King was making to his third brother, Prince William, Duke of Gloucester.

At that point, no record of silver furnishings is shown in any of the collection archives nor in the records of the Jewel House. However, in February of 1805 an account of “their Majesties’ Fete at Windsor Castle” noted “the novel and grand appearance of four silver tables, between each window [in the Queen’s Ballroom]. The magnificent effect of the tables was considerably heightened by four most elegant pier glasses over each with silver frames.” Records also show that for this same ball, five silver chandeliers were hung in the Ballroom and the Queen’s Drawing Room next door.

Somehow, this table and three of its mates were spared from being melted down. This particular table was left in the Queen’s Ballroom on a more permanent basis after that night in 1805. It was recorded in a view of the Queen’s Ballroom in 1817 and remains as part of the Royal Collection in Buckingham Palace to this day.

Painting of the Day: Bogdani's Birds and Fruit in a Landscape, c. 1708

Birds and Fruit in a Landscape
Jakob Bogdani, 1708-1710
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Jakob Bogdani (c. 1660-1720) created this lovely and colorful painting between 1708 and 1710 either for King William III or Queen Anne. The piece is done in the Dutch style. In Holland, Melchior de Hondecoeter (1636-95) had established the fashion for large-scale paintings devoted to showcasing exotic birds in the setting of a formal garden. Soon, the fashion spread and was emulated by artists like Bogdani for important aristocratic or royal clientele.

Bogdani was born in Hungary and moved to Amsterdam in 1684. There, he saw first-hand the works of Melchior de Hondecoeter and learned from the artist. Soon Bogdani had perfected his own specialty-- the depiction of plants, birds and animals. By 1688, Bogdani settled in England, where, according to George Vertue, he was }much encouraged” by Queen Anne as well as hired to work as a court artist for William III.

This piece is actually one of a pair of bird scenes created at the same time by Bogdani. Some say they were for Queen Anne, but they could have easily been commissioned by William III. The existence of the paintings was first recorded in the “Painted Staircase” at Kensington Palace during the reign of George I. On the left of this canvas, a large cockatoo is perched on a stone near a large tree trunk. Meanwhile, to the right, parrots and passerines gather around a cluster of peaches, grapes and fruits.

Mastery of Design: Mary of Modena's Diadem, 1685

Mary of Modena's Diadem
Sir John Viner, 1685
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

The Royal Goldsmith during the reign of Queen Mary II and King William III, Sir Robert Viner, 1st Baronet (1631-88) created this diadem in 1685 of gold, silver, quartz crystal, pearls, velvet and ermine.

The diadem was purchased by Queen Mary of Modena, Consort of James II, King of Great Britain (1658-1718). It is comprised of a gold circlet which comes to a peak at the front. A border of pearls adorns the piece above foliated scrolls of rose-cut quartz crystal clusters and rosettes which are mounted with gold wire. A purple velvet cap and ermine band are fitted into the circlet.

The quartz crystals that we see today were installed as replacements to the diamonds which were originally rented from a supplier for the coronation of 1685. Queen Mary II wore this, her step-mother's diadem, at the procession leading up to her own coronation on April 11, 1689, and it was worn again by Queen Anne in 1702. Some believe that it was also worn by George II's consort, Queen Caroline, in 1727, but this can’t be confirmed. The piece fell into disuse by the reign of King George III, and the quartz has remained ever since. Previously, for important occasions, diamonds were again hired and worn in place of the quartz.

The Home Beautiful: A Delftware Tile from Hampton Court Palace, 1694

Delftware Tile
Lead-glazed Earthenware
Dutch, 1694
Made for the Water Gallery at Hampton Court Palace
The Victoria & Albert Museum

In the Seventeenth and Eighteenth Centuries, tin-glazed earthenware tiles like this one were produced in large quantities in the Netherlands. This example, however, is exceptional in both its unusually large size, the quality of its decoration and its subject matter.


This tile was one of a group produced for Mary II (ruled 1688-1694) by Adrianus Kocx's prestigious “Greek A” factory in Delft. Daniel Marot (1661-1752), a Huguenot émigré, painted this as well as the others in the series of panels which were each formed from four tiles. The set was made to flank a fireplace or, possibly, a doorway at The Water Gallery--a Tudor building at Hampton Court near London that had been remodeled by Sir Christopher Wren (1632-1723).

A contemporary writer Celia Fiennes (1662-1741), who visited The Water Gallery soon after the completion of the remodel in 1694, said Queen Mary II took great delight in the redesigned space. Fiennes continued that The Gallery “opened into a balcony on to the water and was decked with china and fine pictures.” At “The Gallery,” Queen Mary II is said by Fiennes to have, “indulged her passion for delftware, which was presumably in part displayed in the 'Delft-Ware Closett.’” 

Gifts of Grandeur: Queen Mary II's Orb, 1689

Queen Mary II's Coronation Orb
Robert Viner, the Younger, 1689
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Since Queen Mary II (1662-94) ruled as a joint sovereign with her consort William III, she required the creation of an additional orb and sceptre for the coronation ceremony of 1689. This is the orb which was made for Mary II. It looks quite grand, but there’s a story behind it.

The stones which were originally set in the orb were hired (as in rented) for the occasion of the coronation. These would originally have included diamonds, rubies, sapphires and emeralds. After the ceremony all of the stones were removed, returned to their supplier, and replaced with pastes. Huh…

Since this orb is basically a fancy costume piece now, it has not been used since the 1689 coronation, with one exception. On the occasion of Queen Victoria's funeral this was placed with the other, real, royal orb on Her Majesty’s coffin, to signify her two titles as Queen and Empress.

This orb was created by Robert Viner, the Younger—the Royal goldsmith at the time. It’s not without value. Aside from its historical significance, it is comprised of heavy gold, pearls, silver and rock crystal in addition to the glittering pastes. The orb, in general, was meant to symbolize the Christian world. To this end, it is surmounted with a cross and features bands of “jewels” and pearls dividing it up to represent the three continents known in medieval Europe.

The Orb in its Original Velvet Case
Crown Copyright
Image Courtesy of Her Majesty Queen Elizabeth II

 

Antique Image of the Day: A Mezzotint of Queen Mary II, 17th C.

Maria D.G. Angliae Scotiae Franciae et Hiberniae Regina & CT. 
Mezzotint, John Smith
The Victoria & Albert Museum

A mezzotint is a form of tonal engraving made when the surface of a metal plate is pitted with a serrated tool called a “rocker.”  The plate is then scraped and smoothed so that different areas of the plate will hold varying quantities of ink depending on the relief. This technique creates a range of rich, textures and tones and white highlights when the image is printed onto the paper.

The print we see here is based on a portrait of Queen Mary II (Who ruled as Sovereign jointly with her cousin/husband King William III and II) which was painted in 1688 by the Dutch painter and engraver Jan van der Vaardt, who moved to England in 1674.

This is the work of one John Smith, a printmaker who is thought to be one of the most important mezzotinters of the Seventeenth Century.

Here, Queen Mary II is depicted as dressed in the height of fashion, in the style set by the French court, wearing a formal mantua of striped and figured silk. Her royal noggin is adorned with an elaborate lace headdress which was called a frelange, with ribbon-bows behind (known as fontanges). The whole ensemble was held up by a wire frame called a commode.

Her Majesty’s Furniture: King William III’s Silver Table, 1699

Silver Table,
English, 1699
The Royal Collection

Made in 1699 of silver and oak, this magnificent table is part of a suite of silver furnishings commissioned by William III for Kensington Palace in 1698. While the suite had been created expressly for Kensington Palace, it’s not certain whether or not they made it to their intended location. The records for this table are sketchy and aren’t well maintained until the reign of King George III.

On his accession in 1760 George III inherited three late seventeenth-century suites of silver tables, mirrors and stands. For decades, these pieces had been displayed in the State rooms at Windsor Castle where they had sat, at least, since the reign of Queen Anne. George III had the suite cleaned and repaired. This table was among those pieces of furniture.

However, by the reign of George III, the popularity of silver furnishings had diminished and in February 1764, records indicate that “three silver tables and six stands,” together with numerous old sconces, chandeliers and firedogs “which are not English Standard,” were “Delivered to be melted . . . to be reduced into English Sterling to complete his Majesty’s Gift of 8000oz of old Plate to the Duke of Gloucester.” This refers to a generous gift that the King was making to his third brother, Prince William, Duke of Gloucester.

At that point, no record of silver furnishings is shown in any of the collection archives nor in the records of the Jewel House. However, in February of 1805 an account of “their Majesties’ Fete at Windsor Castle” noted “the novel and grand appearance of four silver tables, between each window [in the Queen’s Ballroom]. The magnificent effect of the tables was considerably heightened by four most elegant pier glasses over each with silver frames.” Records also show that for this same ball, five silver chandeliers were hung in the Ballroom and the Queen’s Drawing Room next door.

Somehow, this table and three of its mates were spared from being melted down. This particular table was left in the Queen’s Ballroom on a more permanent basis after that night in 1805. It was recorded in a view of the Queen’s Ballroom in 1817 and remains as part of the Royal Collection in Buckingham Palace to this day.