Painting of the Day: The Prince’s Dressing and Writing Room at Osborne House, 1851

Osborne House: The Prince's Dressing and Writing Room
James Roberts, 1851
The Royal Collection

Upon the completion of the new Osborne House in 1851, along with many photographs, Queen Victoria and Prince Albert commissioned various painters to record the carefully planned interiors of their new home.

Painter James Roberts rendered this replica of Prince Albert’s pale blue Dressing and Writing Room in the Prince’s suite in the new mansion. The artist has faithfully copied Prince Albert’s ever-increasing collection of Italian art.

These paintings proved helpful when the house was restored in the late 1990’s—allowing a clean, accurate look at the original color schemes.

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

Click Image to Enlarge

Building of the Week: Osborne House, The Isle of Wight

Osborne House

Queen Victoria and Prince Albert longed for an informal family home away from the stresses of court life. Their private residence at Balmoral was, apparently, rather chilly in the winter. They wanted a comfortable residence by the seaside. Victoria recalled visits to the Isle of Wight which she had taken with her family as a girl. She and Prince Albert visited the Isle of Wight and found a lovely plot of land with a cozy house which afforded beautiful views of the sea which reminded Prince Albert of his time in Naples, Italy.

The only trouble was that the house, though appropriately cozy, was too small. And, so, in 1845, a massive building project began—removing the original structure and replacing it with a grand Italianate villa of Prince Albert’s design. Prince Albert employed architect Thomas Cubitt to oversee the project. Cubitt was also working on another project with Prince Albert--adding the massive monumental façade to Buckingham Palace. Cubitt and Prince Albert worked closely together for six years—making sure every detail was exactly as the prince had envisioned it.

The rambling pastel palazzo with its twin belvedere towers was built in phases until 1851. The first phase of construction was on the square wing known as “The Pavilion” which was to house the Royal apartments and entertainment areas. The queen and prince were adamant that the mansion not have the fairgrounds feel of George IV’s indo-chinese “extravaganza” at Brighton. Their vision for a more sedate residence included soft colors and little ornamentation. Now, I suppose that they met their goal—in their eyes. While Osborne House does not have the ornate circus-tent appearance of the seaside residence at Brighton, it can hardly be called austere or plain. It is, however, dignified, and certainly marginally less formal than Buckingham Palace and quite a bit lighter and cheerier than Windsor Castle and Balmoral.

Interiors of Osborne House, 1880-1890

Prince Albert was very particular about the interiors of the house and used the Italianate theme as an opportunity to add to his growing collection of Italian Renaissance and Baroque art. The Queen found the house to be “heavenly” and when at Buckingham Palace was to known to comment, “I long for our cheerful and unpalacelike rooms at Osborne.” Again, I wouldn’t call the place “unpalacelike,” but I suppose that’s relative.

Forty years after the mansion was completed, in 1890-1891, another wing was added. This wing was to include a more formal “court” room to be used for state dinners and grand functions. Nicknamed the “Durbar Room” (an Anglicized version of the word “Darbar” meaning “court” in Indian), the room was outfitted in a highly ornate Indian style.

 

The Royal Family at Osborne House

 

Queen Victoria died at Osborne House in January, 1901. Though she’d stipulated that Osborne House should remain in the family, her children had little use for it. They considered it to be something of a useless eyesore and equated it with memories of tending their own private patches of vegetables which they would “sell” to their father, Prince Albert, as his way of teaching them about economics. King Edward VII gifted the house to the State upon his mother’s death.

The Durbar Room

The Royal Apartments were maintained as a private museum dedicated to Queen Victoria while the rest of the house was used for other purposes. Over the course of the coming decades, Osborne House was used as a training college for The Royal Navy, a hospital and, later, a convalescent home.

In the late 1990’s, the house was taken under the care of English Heritage and returned to its original state—relying on the many photographs taken their during Queen Victoria’s residency as well as the multiple paintings commissioned of the interiors. Today, the house and its museum are open to the public.

Painting of the Day: Queen Victoria at Osborne, 1867

Queen Victoria at Osborne
"Shadow"
Sir Edwin Landseer, 1867
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Queen Victoria’s “Go-to” painter for many reasons was Sir Edwin Landseer (1803-1873). Her Majesty admired Landseer’s work for its monumentality and sense of historical accuracy as well as his sensitive and accurate depictions of children and animals. After the 1861 pre-mature death of Prince Albert, Victoria commissioned Landseer to create a pair of paintings which she called “Sunshine and Shadow.” She wrote in her journal that she was “seized with a great wish” to see illustrated the contrast between those dear, joyful times which she had shared with Prince Albert on the Highlands at Balmoral and at their vacation home, Osborne House, and the overwhelming grief she felt since the Prince Consort’s death.

Her Majesty asked, for the “Shadow” portion of the pair that she be painted, “as I am now, sad & lonely, seated on my pony, led by Brown, with a representation of Osborne.”

And, that’s just what Landseer did.

Here, we see the Queen in the mourning attire she donned for the remainder of her life. Landseer pictures Her Majesty seated upon Flora, the royal pony. Flora is being led by John Brown. Behind them, we can see the grand terraces of Osborne, the clock stopped at 3 p.m. Her Majesty reads a letter while, on the ground, her gloves and other letters have been cast aside. As I’ve mentioned before, imagery of cast-off gloves often symbolized a woman alone.

Landseer has also carefully painted two of the Queen’s dogs, a Border Collie (most likely the one called Sharp) and a Skye Terrier whom we know as “Prince.” Princesses Louise and Helena are seen in the background.

That Victoria asked for Brown to be included in the painting speaks of her affection for the servant who had originally been a ghillie (an outdoor servant) at Balmoral. Upon the passing of Prince Albert, Queen Victoria and Brown enjoyed a close friendship. John Brown was deeply protective of the Queen, and she was fiercely loyal to him despite the opposition of her advisors and family, especially the future King Edward VII.

The Queen’s grief was compounded when Brown died in 1883. She wrote:

Perhaps never in history was there so strong and true an attachment, so warm and loving a friendship between the sovereign and servant…Strength of character as well as power of frame – the most fearless uprightness, kindness, sense of justice, honesty, independence and unselfishness combined with a tender, warm heart…the most remarkable of men.

Landseer painted the portrait based on many live sittings as well as a variety of photographs of the Queen on horseback, the dogs, and the princesses. He began the work on “Shadow” in 1865—creating sketches, but didn’t begin actual painting until 1867. Landseer claimed to have been unsettled by the fog and suggested that his failing eyesight had delayed him. The painting was exhibited at the Royal Academy in 1867, at the end of the year. He wrote, upon the opening of the exhibit:

If there is any merit in my treatment of the composition it is in the truthful and unaffected representation of Her Majesty’s unceasing grief – The story should be told by the Picture.

Object of the Day, Museum Edition: The Queen's Birthday Table at Osborne, 1859

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

On special occasions such as birthdays, anniversaries and Christmas, gifts to Her Majesty Queen Victoria would be presented for display within whichever of the palaces she happened to be occupying at the time so that the residents (not the public) could enjoy them and so that the Queen herself could take inventory of all that she'd raked in.

While. once photography came into vogue, photographs were often taken of these gift tables, Her Majesty preferred to have these gift tables recorded for posterity in watercolor.  James Roberts was her watercolorist of choice.  

Here, we see Mr. Roberts' rendition of the Queen's Birthday Table as it was presented at Osborne House on her birthday May 24, 1859.

This was Her Majesty's fortieth birthday.

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

Painting of the Day: Baby's First Outing, c. 1853

Baby's First Outing
c. 1853
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

The new little prince, along with two loving parents, and, eventually the throne of England, will have access to one of the most important collections of art and jewelry in the world.  Among the items in the Royal Collection is this adorable enamel and porcelain plaque entitled "Baby's First Outing."  I thought that this would be an appropriate object for today and is the first of several "Royal Baby" items I've found today to share with you throughout the rest of the week.

The only good thing about my recent absence (well, aside from being kept at my parents' house where I was provided with three hot meals a day--a rare treat indeed) was that I could lie about and anticipate the arrival of the new Prince.   As a historian whose main focus is the lives of the British monarchs from George III onward, I found this quite fascinating.

I'd like to take this moment to thank everyone for their wishes for a speedy recovery and understanding my sudden disappearance.  No one expects a careless driver to decide that she's going to turn into oncoming traffic.  On Friday, we're going to belatedly celebrate the fourth anniversary of Stalking the Belle Époque with dignified fanfare, some totally undignified goofiness, a tasty "Tale of Two Sundays" treat of the Week, and some Punchinello antics.

However, for now, let's get back to this dear enamel piece.

Created by Carl Meinelt (active 1852-86) between 1853-73, the enamel on porcelain plaque was first recorded at Queen Victoria's summer residence, Osborne House, in 1876.  This was just the sort of object which would have appealed to Victoria who liked babies (but loathed being pregnant).  

The plaque depicts a young woman in full-length standing on a grassy hillside with her new baby cradled in her arms.  Said baby is shielded from the sun by a gauze veil and protected by a striped green shawl.

Building of the Week: Osborne House, The Isle of Wight

Osborne House

Queen Victoria and Prince Albert longed for an informal family home away from the stresses of court life. Their private residence at Balmoral was, apparently, rather chilly in the winter. They wanted a comfortable residence by the seaside. Victoria recalled visits to the Isle of Wight which she had taken with her family as a girl. She and Prince Albert visited the Isle of Wight and found a lovely plot of land with a cozy house which afforded beautiful views of the sea which reminded Prince Albert of his time in Naples, Italy.

The only trouble was that the house, though appropriately cozy, was too small. And, so, in 1845, a massive building project began—removing the original structure and replacing it with a grand Italianate villa of Prince Albert’s design. Prince Albert employed architect Thomas Cubitt to oversee the project. Cubitt was also working on another project with Prince Albert--adding the massive monumental façade to Buckingham Palace. Cubitt and Prince Albert worked closely together for six years—making sure every detail was exactly as the prince had envisioned it.

The rambling pastel palazzo with its twin belvedere towers was built in phases until 1851. The first phase of construction was on the square wing known as “The Pavilion” which was to house the Royal apartments and entertainment areas. The queen and prince were adamant that the mansion not have the fairgrounds feel of George IV’s indo-chinese “extravaganza” at Brighton. Their vision for a more sedate residence included soft colors and little ornamentation. Now, I suppose that they met their goal—in their eyes. While Osborne House does not have the ornate circus-tent appearance of the seaside residence at Brighton, it can hardly be called austere or plain. It is, however, dignified, and certainly marginally less formal than Buckingham Palace and quite a bit lighter and cheerier than Windsor Castle and Balmoral.

Interiors of Osborne House, 1880-1890

Prince Albert was very particular about the interiors of the house and used the Italianate theme as an opportunity to add to his growing collection of Italian Renaissance and Baroque art. The Queen found the house to be “heavenly” and when at Buckingham Palace was to known to comment, “I long for our cheerful and unpalacelike rooms at Osborne.” Again, I wouldn’t call the place “unpalacelike,” but I suppose that’s relative.

Forty years after the mansion was completed, in 1890-1891, another wing was added. This wing was to include a more formal “court” room to be used for state dinners and grand functions. Nicknamed the “Durbar Room” (an Anglicized version of the word “Darbar” meaning “court” in Indian), the room was outfitted in a highly ornate Indian style.

 

The Royal Family at Osborne House



Queen Victoria died at Osborne House in January, 1901. Though she’d stipulated that Osborne House should remain in the family, her children had little use for it. They considered it to be something of a useless eyesore and equated it with memories of tending their own private patches of vegetables which they would “sell” to their father, Prince Albert, as his way of teaching them about economics. King Edward VII gifted the house to the State upon his mother’s death.

The Durbar Room

The Royal Apartments were maintained as a private museum dedicated to Queen Victoria while the rest of the house was used for other purposes. Over the course of the coming decades, Osborne House was used as a training college for The Royal Navy, a hospital and, later, a convalescent home.

In the late 1990’s, the house was taken under the care of English Heritage and returned to its original state—relying on the many photographs taken their during Queen Victoria’s residency as well as the multiple paintings commissioned of the interiors. Today, the house and its museum are open to the public.

Object of the Day, Museum Edition: Frogmore House, 1857

Frogmore House:
The Duchess of Kent's Sitting Room
James Roberts, 1857
The Royal Collection

Long a Royal residence and one-time home of Queen Charlotte, Frogmore House is mostly remembered as being the home of Queen Victoria’s mother, The Duchess of Kent, who occupied the mansion for twenty-years.


Queen Victoria often employed favorite painters to render scenes of the interiors of the family homes. James Roberts was commissioned to capture The Duchess of Kent’s sitting room in Frogmore House. The Duchess can be seen in the picture, sitting with Victoria’s beloved dog, Boz. This painting was completed just after the Duchess of Kent had finished the redecoration of Frogmore House. Lilac walls and red carpets comprised her decoration of this, her favorite room. The Duchess retained many of Queen Charlotte’s antique furnishings, but chose to hang her own collection of paintings on the walls. Prominent in the scene are portraits of Queen Victoria and Prince Albert—without whose support the opulent décor would not have been possible.

Unfolding Pictures: The Lilies Fan, 1895

The Lilies Fan
French, 1895
Presented to Queen Mary
The Royal Collection

A beautiful example of the art of late Nineteenth Century fan-making, this delightful hand fan features a paper leaf backed with kid leather mounted à l’anglaise with blond tortoiseshell guards and sticks decorated in gold, enamel and diamonds.

Known as “The Lilies Fan” for its floral decoratio, it was a gift to Queen Mary (Mary of Teck, Consort of King George V) from Princess Hélène (1871-1951), the second daughter of the Comte de Paris and the younger sister of Princess Amélie.

Now, that might not seem too strange--one Princess giving another former Princess (then Queen at the time) a luxurious gift. But, let’s examine the history between these two women for a moment.

In August 1890 the Princess Hélène had become engaged to Prince Albert Victor, Duke of Clarence. Albert Victor (known as Prince “Eddie”) was the eldest son of the Prince of Wales (son of Queen Victoria and Prince Albert, later King Edward VII) and his wife, Princess Alexandra (later Queen Alexandra. Prince Eddie was obsessed with Princess Hélène. But, Eddie had a habit of becoming infatuated with pretty young ladies. In fact, that’s about all he was good for.

The Great Grandchildren of French King Louis-Philippe
That's Princess Hélène there on the left, sitting up in the
dark dress.
The Royal Collection

The engagement was called off. Some say that it was on the instruction of Princess Hélène’s father, but there’s strong evidence to suggest that Queen Victoria disapproved of her grandson’s choice of mates. Princess Hélène was, after all, a Catholic (gasp!) and that just wasn’t going to work. The Prince of Wales—as heir presumptive to the throne—was expected to be King one day, and therefore, head of the Church of England. For his consort to be Roman Catholic would have been problematic to say the least.

And, so, Eddie being the resilient chap that he was found himself, in December 1891, engaged to Princess Victoria Mary of Teck (later Queen Mary). We’ve discussed what happened next. After Eddie’s unexpected death in that coming January, both of his fiancées grieved his loss. Princess Victoria Mary (May) of Teck soon accepted the marriage proposal of Eddie’s younger brother, the Duke of York (later King George V). In June 1895, Princess Hélène married Prince Emanuele of Savoy (1869-1931), 2nd Duke of Aosta.

The Princes Albert Victor and George of Wales
The Royal Collection

This fan was given to her for her wedding. The guards are adorned with the arms of France and Savoy, set in diamonds. But, was Princess Hélène happy with her new husband or did she always mourn the death of Eddie who—even had he lived—would not have been her husband in the first place.

Queen Mary’s biographer, James Pope-Hennessy, wrote in 1953:

On the grandiose tomb erected to the Duke of Clarence’s (Eddie’s) memory [at Windsor] there hung until quite recently a wreath of immortelles inscribed simply, ‘Hélène’. And Princess Hélène it is who deserves to have the last word on the subject of the Duke. In November 1892 Queen Victoria had a conversation with this charming girl who had so faithfully loved her not very lovable grandson. Je l’aimais tant, said Princess Hélène, adding, somewhat surprisingly, Il était si bon.

So, it’s rather odd that Princess Hélène would present this fan to Queen Mary who had, in effect, taken her place as the bride-to-be to the Prince of Wales. But, good ol’ Mary had a way of getting things that she admired from people. We’ll never quite know how this fan came to rest in the Royal Collection.

The floral painting on the leaf is by Madeleine Jeanne Lemaire (née Colle; 1845-1928). She was a prominent French fan-painter and illustrator who was quite popular with the court, particularly amongst the descendants of Queen Victoria. A watercolor by Lemaire was listed in the catalogue of the contents of Queen Victoria’s summer home, Osbourne House in 1876. Said painting was a gift from the Prince de Joinville to Queen Victoria, but it seems to be missing. No trace of it can be found. However, a concert program designed by Lemaire from June 1898 remains in the Royal Collection—preserved in one of the Duchess of Connaught’s photograph albums.

Unfolding Pictures: Queen Victoria's Birthday Fan, 1858

Queen Victoria's Thirty-Ninth Birthday Fan
Crown Copyright
The Royal Collection
All Images Courtesy of Her Majesty Queen Elizabeth II

This gorgeous fan of cream silk leaves and guards and sticks of carved and pierced mother-of-pearl bears the incised date May 24 / 1858, and features a brass pin, silver loop and a tassel of silk and gold thread

fan was presented by Prince Albert to Queen Victoria on her thirty-ninth birthday, 24 May 1858.

The decoration includes the emblems of the British Isles – the rose, the shamrock and the thistle - with swags of lilies-of-the-valley and ribbons. Victoria’s monogram VR is painted in the center of the leaf, surmounted by a crown. The Queen’s cipher, employing the letters VR and A (for her first name, Alexandrina), with her crown and the date 24 May 1858 has been worked into the design.

The fan’s original box survives. The box is similarly decorated with flowers, Victoria’s monogram and crown and bears the trade label of Mme Rebours of 17 Rue Rousselet, Faubourg Saint-Germain, Paris.

Queen Victoria’s spent her thirty-ninth birthday at Osborne House, with her family. She is said to have long favored the fan and is shown holding it in a photograph taken in 1860.

The Home Beautiful: The Empress of India Gold Writing Desk, 1887

Writing Case
Presented to Queen Victoria, Empress of India
on the occasion of her Golden Jubilee, 1887
The Royal Collection
Crown Copyright
Image Courtesy of Her Majesty Queen Elizabeth II
On loan to the Victoria & Albert Museum since 1926

Gifts and declarations of loyalty, made by Queen Victoria’s subjects, were not unusual.  She was, after all, Queen as well as Empress of India.  But during her jubilee years—1887 (Golden) and 1897 (Diamond), the gifts were more than plentiful.

Gifts to the Queen from India often took the form of caskets constructed of precious materials. These items were usually only ornamental.  This one, however, is actually useful.  And, she did, in fact, use it as a writing box.

The lap desk of solid ivory contains a hand-written address relating the donor's intention to build a bridge over the river Kali Nandi at Sidpur.  It also includes an explanatory key useful in deciphering the 39 miniatures which  dorn  the casket.  The box was presented by the Rais, or nobleman, of Chhatari, a town formerly in the Bulandshahr District of the United Provinces.

The ivory miniatures mounted on the box are framed with silver.  The case also has silver corner pieces and mounts. The miniatures all depict famous Mughal monuments, scenes from Delhi, India-- such as the Clock Tower in Chandni Chowk--or monuments of the Muslim world outside the Mughal empire.

This magnificent piece has been on loan to the V&A from the Royal Collection since 1926 when it was removed from the Queen’s summer residence of Osborne House on the Isle of Wight.  

Unfolding Pictures: The Lilies Fan, 1895

The Lilies Fan
French, 1895
Presented to Queen Mary
The Royal Collection

A beautiful example of the art of late Nineteenth Century fan-making, this delightful hand fan features a paper leaf backed with kid leather mounted à l’anglaise with blond tortoiseshell guards and sticks decorated in gold, enamel and diamonds.

Known as “The Lilies Fan” for its floral decoratio, it was a gift to Queen Mary (Mary of Teck, Consort of King George V) from Princess Hélène (1871-1951), the second daughter of the Comte de Paris and the younger sister of Princess Amélie.

Now, that might not seem too strange--one Princess giving another former Princess (then Queen at the time) a luxurious gift. But, let’s examine the history between these two women for a moment.

In August 1890 the Princess Hélène had become engaged to Prince Albert Victor, Duke of Clarence. Albert Victor (known as Prince “Eddie”) was the eldest son of the Prince of Wales (son of Queen Victoria and Prince Albert, later King Edward VII) and his wife, Princess Alexandra (later Queen Alexandra. Prince Eddie was obsessed with Princess Hélène. But, Eddie had a habit of becoming infatuated with pretty young ladies. In fact, that’s about all he was good for.

The Great Grandchildren of French King Louis-Philippe
That's Princess Hélène there on the left, sitting up in the
dark dress.
The Royal Collection

The engagement was called off. Some say that it was on the instruction of Princess Hélène’s father, but there’s strong evidence to suggest that Queen Victoria disapproved of her grandson’s choice of mates. Princess Hélène was, after all, a Catholic (gasp!) and that just wasn’t going to work. The Prince of Wales—as heir presumptive to the throne—was expected to be King one day, and therefore, head of the Church of England. For his consort to be Roman Catholic would have been problematic to say the least.

And, so, Eddie being the resilient chap that he was found himself, in December 1891, engaged to Princess Victoria Mary of Teck (later Queen Mary). We’ve discussed what happened next. After Eddie’s unexpected death in that coming January, both of his fiancées grieved his loss. Princess Victoria Mary (May) of Teck soon accepted the marriage proposal of Eddie’s younger brother, the Duke of York (later King George V). In June 1895, Princess Hélène married Prince Emanuele of Savoy (1869-1931), 2nd Duke of Aosta.

The Princes Albert Victor and George of Wales
The Royal Collection

This fan was given to her for her wedding. The guards are adorned with the arms of France and Savoy, set in diamonds. But, was Princess Hélène happy with her new husband or did she always mourn the death of Eddie who—even had he lived—would not have been her husband in the first place.

Queen Mary’s biographer, James Pope-Hennessy, wrote in 1953:

On the grandiose tomb erected to the Duke of Clarence’s (Eddie’s) memory [at Windsor] there hung until quite recently a wreath of immortelles inscribed simply, ‘Hélène’. And Princess Hélène it is who deserves to have the last word on the subject of the Duke. In November 1892 Queen Victoria had a conversation with this charming girl who had so faithfully loved her not very lovable grandson. Je l’aimais tant, said Princess Hélène, adding, somewhat surprisingly, Il était si bon.

So, it’s rather odd that Princess Hélène would present this fan to Queen Mary who had, in effect, taken her place as the bride-to-be to the Prince of Wales. But, good ol’ Mary had a way of getting things that she admired from people. We’ll never quite know how this fan came to rest in the Royal Collection.

The floral painting on the leaf is by Madeleine Jeanne Lemaire (née Colle; 1845-1928). She was a prominent French fan-painter and illustrator who was quite popular with the court, particularly amongst the descendants of Queen Victoria. A watercolor by Lemaire was listed in the catalogue of the contents of Queen Victoria’s summer home, Osbourne House in 1876. Said painting was a gift from the Prince de Joinville to Queen Victoria, but it seems to be missing. No trace of it can be found. However, a concert program designed by Lemaire from June 1898 remains in the Royal Collection—preserved in one of the Duchess of Connaught’s photograph albums.

Painting of the Day: Queen Victoria at Osborne, 1867

Queen Victoria at Osborne
"Shadow"
Sir Edwin Landseer, 1867
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Queen Victoria’s “Go-to” painter for many reasons was Sir Edwin Landseer (1803-1873). Her Majesty admired Landseer’s work for its monumentality and sense of historical accuracy as well as his sensitive and accurate depictions of children and animals. After the 1861 pre-mature death of Prince Albert, Victoria commissioned Landseer to create a pair of paintings which she called “Sunshine and Shadow.” She wrote in her journal that she was “seized with a great wish” to see illustrated the contrast between those dear, joyful times which she had shared with Prince Albert on the Highlands at Balmoral and at their vacation home, Osborne House, and the overwhelming grief she felt since the Prince Consort’s death.

Her Majesty asked, for the “Shadow” portion of the pair that she be painted, “as I am now, sad & lonely, seated on my pony, led by Brown, with a representation of Osborne.”

And, that’s just what Landseer did.

Here, we see the Queen in the mourning attire she donned for the remainder of her life. Landseer pictures Her Majesty seated upon Flora, the royal pony. Flora is being led by John Brown. Behind them, we can see the grand terraces of Osborne, the clock stopped at 3 p.m. Her Majesty reads a letter while, on the ground, her gloves and other letters have been cast aside. As I’ve mentioned before, imagery of cast-off gloves often symbolized a woman alone.

Landseer has also carefully painted two of the Queen’s dogs, a Border Collie (most likely the one called Sharp) and a Skye Terrier whom we know as “Prince.” Princesses Louise and Helena are seen in the background.

That Victoria asked for Brown to be included in the painting speaks of her affection for the servant who had originally been a ghillie (an outdoor servant) at Balmoral. Upon the passing of Prince Albert, Queen Victoria and Brown enjoyed a close friendship. John Brown was deeply protective of the Queen, and she was fiercely loyal to him despite the opposition of her advisors and family, especially the future King Edward VII.

The Queen’s grief was compounded when Brown died in 1883. She wrote:

Perhaps never in history was there so strong and true an attachment, so warm and loving a friendship between the sovereign and servant…Strength of character as well as power of frame – the most fearless uprightness, kindness, sense of justice, honesty, independence and unselfishness combined with a tender, warm heart…the most remarkable of men.

Landseer painted the portrait based on many live sittings as well as a variety of photographs of the Queen on horseback, the dogs, and the princesses. He began the work on “Shadow” in 1865—creating sketches, but didn’t begin actual painting until 1867. Landseer claimed to have been unsettled by the fog and suggested that his failing eyesight had delayed him. The painting was exhibited at the Royal Academy in 1867, at the end of the year. He wrote, upon the opening of the exhibit:

If there is any merit in my treatment of the composition it is in the truthful and unaffected representation of Her Majesty’s unceasing grief – The story should be told by the Picture.

Gifts of Grandeur: The Empress of India Gold Writing Desk, 1887

Writing Case
Presented to Queen Victoria, Empress of India
on the occasion of her Golden Jubilee, 1887
The Royal Collection
Crown Copyright
Image Courtesy of Her Majesty Queen Elizabeth II
On loan to the Victoria & Albert Museum since 1926

Gifts and declarations of loyalty, made by Queen Victoria’s subjects, were not unusual.  She was, after all, Queen as well as Empress of India.  But during her jubilee years—1887 (Golden) and 1897 (Diamond), the gifts were more than plentiful.

Gifts to the Queen from India often took the form of caskets constructed of precious materials. These items were usually only ornamental.  This one, however, is actually useful.  And, she did, in fact, use it as a writing box.

The lap desk of solid ivory contains a hand-written address relating the donor's intention to build a bridge over the river Kali Nandi at Sidpur.  It also includes an explanatory key useful in deciphering the 39 miniatures which  dorn  the casket.  The box was presented by the Rais, or nobleman, of Chhatari, a town formerly in the Bulandshahr District of the United Provinces.

The ivory miniatures mounted on the box are framed with silver.  The case also has silver corner pieces and mounts. The miniatures all depict famous Mughal monuments, scenes from Delhi, India-- such as the Clock Tower in Chandni Chowk--or monuments of the Muslim world outside the Mughal empire.

This magnificent piece has been on loan to the V&A from the Royal Collection since 1926 when it was removed from the Queen’s summer residence of Osborne House on the Isle of Wight.  

Unfolding Pictures: Queen Victoria's Birthday Fan, 1858

Queen Victoria's Thirty-Ninth Birthday Fan
Crown Copyright
The Royal Collection
Courtesy of Her Majesty Queen Elizabeth II

This gorgeous fan of cream silk leaves and guards and sticks of carved and pierced mother-of-pearl bears the incised date May 24 / 1858, and features a brass pin, silver loop and a tassel of silk and gold thread

The fan was presented by Prince Albert to Queen Victoria on her thirty-ninth birthday, 24 May 1858.

The decoration includes the emblems of the British Isles – the rose, the shamrock and the thistle - with swags of lilies-of-the-valley and ribbons. Victoria’s monogram VR is painted in the center of the leaf, surmounted by a crown. The Queen’s cipher, employing the letters VR and A (for her first name, Alexandrina), with her crown and the date 24 May 1858 has been worked into the design.

The fan’s original box survives. The box is similarly decorated with flowers, Victoria’s monogram and crown and bears the trade label of Mme Rebours of 17 Rue Rousselet, Faubourg Saint-Germain, Paris.

Queen Victoria’s spent her thirty-ninth birthday at Osborne House, with her family. She is said to have long favored the fan and is shown holding it in a photograph taken in 1860.

Unfolding Pictures: The Lilies Fan, 1895

The Lilies Fan
French, 1895
Presented to Queen Mary
The Royal Collection

A beautiful example of the art of late Nineteenth Century fan-making, this delightful hand fan features a paper leaf backed with kid leather mounted à l’anglaise with blond tortoiseshell guards and sticks decorated in gold, enamel and diamonds.

Known as “The Lilies Fan” for its floral decoratio, it was a gift to Queen Mary (Mary of Teck, Consort of King George V) from Princess Hélène (1871-1951), the second daughter of the Comte de Paris and the younger sister of Princess Amélie.

Now, that might not seem too strange--one Princess giving another former Princess (then Queen at the time) a luxurious gift. But, let’s examine the history between these two women for a moment.

In August 1890 the Princess Hélène had become engaged to Prince Albert Victor, Duke of Clarence. Albert Victor (known as Prince “Eddie”) was the eldest son of the Prince of Wales (son of Queen Victoria and Prince Albert, later King Edward VII) and his wife, Princess Alexandra (later Queen Alexandra. Prince Eddie was obsessed with Princess Hélène. But, Eddie had a habit of becoming infatuated with pretty young ladies. In fact, that’s about all he was good for.

The Great Grandchildren of French King Louis-Philippe
That's Princess Hélène there on the left, sitting up in the
dark dress.
The Royal Collection

The engagement was called off. Some say that it was on the instruction of Princess Hélène’s father, but there’s strong evidence to suggest that Queen Victoria disapproved of her grandson’s choice of mates. Princess Hélène was, after all, a Catholic (gasp!) and that just wasn’t going to work. The Prince of Wales—as heir presumptive to the throne—was expected to be King one day, and therefore, head of the Church of England. For his consort to be Roman Catholic would have been problematic to say the least.

And, so, Eddie being the resilient chap that he was found himself, in December 1891, engaged to Princess Victoria Mary of Teck (later Queen Mary). We’ve discussed what happened next. After Eddie’s unexpected death in that coming January, both of his fiancées grieved his loss. Princess Victoria Mary (May) of Teck soon accepted the marriage proposal of Eddie’s younger brother, the Duke of York (later King George V). In June 1895, Princess Hélène married Prince Emanuele of Savoy (1869-1931), 2nd Duke of Aosta.

The Princes Albert Victor and George of Wales
The Royal Collection

This fan was given to her for her wedding. The guards are adorned with the arms of France and Savoy, set in diamonds. But, was Princess Hélène happy with her new husband or did she always mourn the death of Eddie who—even had he lived—would not have been her husband in the first place.

Queen Mary’s biographer, James Pope-Hennessy, wrote in 1953:

On the grandiose tomb erected to the Duke of Clarence’s (Eddie’s) memory [at Windsor] there hung until quite recently a wreath of immortelles inscribed simply, ‘Hélène’. And Princess Hélène it is who deserves to have the last word on the subject of the Duke. In November 1892 Queen Victoria had a conversation with this charming girl who had so faithfully loved her not very lovable grandson. Je l’aimais tant, said Princess Hélène, adding, somewhat surprisingly, Il était si bon.

So, it’s rather odd that Princess Hélène would present this fan to Queen Mary who had, in effect, taken her place as the bride-to-be to the Prince of Wales. But, good ol’ Mary had a way of getting things that she admired from people. We’ll never quite know how this fan came to rest in the Royal Collection.

The floral painting on the leaf is by Madeleine Jeanne Lemaire (née Colle; 1845-1928). She was a prominent French fan-painter and illustrator who was quite popular with the court, particularly amongst the descendants of Queen Victoria. A watercolor by Lemaire was listed in the catalogue of the contents of Queen Victoria’s summer home, Osbourne House in 1876. Said painting was a gift from the Prince de Joinville to Queen Victoria, but it seems to be missing. No trace of it can be found. However, a concert program designed by Lemaire from June 1898 remains in the Royal Collection—preserved in one of the Duchess of Connaught’s photograph albums.*

*(See what I did there? I managed to talk about Mary of Teck—a favorite subject--and still got in a connection to the Duke of Connaught—today’s theme. That was exhausting!)