Gifts of Grandeur: Queen Mary's Fabergé Column, 1900

Column and Frame
Fabergé, 1900
Presented to Mary of Teck
by Queen Elizabeth,
The Queen Mother, 1946.
The Royal Collection

Everyone wants to make a good impression on her mother-in-law. Sometimes, that’s not an easy task. Sometimes, it’s downright daunting. Consider, if you will, if your mother-in-law is the Queen Consort and the wife of King George V. That was the situation Elizabeth Bowes-Lyon found herself in when she married “Bertie,” also known as The Duke of York (also the future King George VI).


The woman who would later be called, “The Queen Mother” wasn’t as meek and quiet as she appeared in public and was, in reality, quite sharp and savvy. She knew that Queen Mary had a great passion for jewels and art and they bonded over their mutual attraction to the work of Fabergé.

On May 26, 1946, Queen Elizabeth, the Queen Mother presented her mother-in-law, Queen Mary (the then-Queen Mother) with this magnificent Fabergé creation from 1901. The object of Nephrite, two-colour gold, guilloché enamel, rose diamonds, mother-of-pearl features a delicately carved green column which supports an elaborate frame of diamonds.

This remarkable piece was the perfect addition to Mary of Teck’s existing collection of Fabergé and was rumored to have been one of her favorites. Though part of the Royal Collection, this frame and stand still appears to be on display within the State rooms at Buckingham Palace. 

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

What a great way to make a good impression.

History’s Runway: The Flowers of the Fields of France Gown, 1957

The Flowers of the Fields of France Gown
Norman Hartnell, 1957
This and all related images:
The Victoria and Albert Museum

Queen Elizabeth II is not the first name that comes to mind when you think of a fashion style-setter. But, iyou go back and look at Her Majesty’s collection of gorgeous gowns, you will notice that they are quite extraordinary, and some of them, rather cutting-edge. For many years, Norman Hartnell was the Queen’s personal designer. Here, we see a creation by Hartnell which is anything but dull.


This full-skirted, full length evening gown in ivory silk satin with a princess-seamed bodice and draped fold at hips, extends into a large self-fabric bow positioned at 7/8ths length down the skirt. It is carefully embroidered with miniature bees, grasses, wheat and wild flowers worked in relief in faceted glass stones, gold beads, “brilliants” and variously shaped pearls, with flowers of mother-of-pearl and gold petals. The gown was designed for the Queen's state visit to Paris, April 8-11th, 1957 and, fittingly, refers to French motifs, including the "Flowers of the Fields of France" (traditionally, poppies, daisies and crossed wheat sheaves) and Napoleonic bees. These diplomatic motifs are worked in relief. And, here’s where the Queen is clever. The dress was intended to both compliment the French nation and draw attention to the Queen. Knowing that she was going to one of the fashion centers of the world, she knew she had to dazzle them. And, she certainly did.

“The Flowers of the Fields of France Gown” was worn to the state dinner on the first night pf the visit. The dinner hosted by President René Coty at the Elysée Palace, and was followed by a visit to the Opéra to see a ballet by Lifar from The Diaries of Cynthia Jebb.

When the dress was displayed at Kensington Palace in 2006-7. Maureen Markham, one of the embroiderers who worked on the dress, recalled that she and her team worked with blacked-out windows to avoid the peering-eyes of the press and that she hoped that the Queen would have “nice plush cushions to sit on so as not to crush the embroidery.”

This is just one bit of Norman Hartnell’s brilliance. He had been court dressmaker since 1938, working the Queen Elizabeth, the Queen Mother and continued to work with the Royal Family until his death in 1979. 

Gifts of Grandeur: The ‘Queen Anne’ and ‘Queen Caroline’ Pearl Necklaces

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

These two necklaces are part of the private collection of Her Majesty, Queen Elizabeth II. The first, a string of forty-six pearls once belonged to Queen Anne and, the next, a necklace of fifty pearls was owned by Queen Caroline.

They are always worn together and were given by King George VI and Queen Elizabeth (the Queen Mother) to Princess Elizabeth as a wedding present in 1947. Prior to the wedding, they were cleaned and serviced by Garrards who has looked after the pearls since 1896.

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.

Mastery of Design: Delhi Durbar Tiara, 1911

The Delhi Durbar Tiara
Made for H.M. Queen Mary
Garrard & Co., 1911
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

Queen Mary had decided that she and King George V needed different crowns when named Emperor and Empress of India than those they’d worn for their 1911 coronation.  She was told that the expense seemed unnecessary.  Her Majesty, then, went to her friends and asked them nicely to donate the diamonds and gemstones which were needed for these crowns.  She went back to the advisors and told them that the only cost would be the manufacture of the crowns, and, she got her way.

She also got a nice tiara out of the deal.  This tiara was made by Garrard & Co. in 1911 for the December 12 Delhi Durbar.  The tiara was constructed so that it could be hung with the Cambridge Emeralds or with pearls should the Queen desire.  Therefore, the piece is considered part of  the Queen’s parure of emeralds and diamonds which also included a necklace, stomacher, brooch and earrings.

The tiara a designed as a tall circlet of lyres and S-scrolls which are linked by festoons of rose-cut and brilliant-cut diamonds.  In 1912, the tiara was altered so that it could accommodate both of the two Lesser Stars of Africa – Cullinan III and IV.

Queen Mary lent the tiara to Queen Elizabeth in 1946 so that the Queen Mother could wear it during the 1947 South African Tour.  Following Queen Mary’s 1953 death, the Queen Mother kept the Durbar tiara in her own collection until her death in 2002. In 2005, it was lent by Queen Elizabeth II to The Duchess of Cornwall, wife of Prince Charles.

Unusual Artifacts: A Horsehair Hat by Simone Mirman, 1953

Hat
Simone Mirman, 1953
The Victoria & Albert Museum

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

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

Gifts of Grandeur: Queen Mary's Fabergé Column, 1900

Column and Frame
Fabergé, 1900
Presented to Mary of Teck
by Queen Elizabeth,
The Queen Mother, 1946.
The Royal Collection

Everyone wants to make a good impression on her mother-in-law. Sometimes, that’s not an easy task. Sometimes, it’s downright daunting. Consider, if you will, if your mother-in-law is the Queen Consort and the wife of King George V. That was the situation Elizabeth Bowes-Lyon found herself in when she married “Bertie,” also known as The Duke of York (also the future King George VI).


The woman who would later be called, “The Queen Mother” wasn’t as meek and quiet as she appeared in public and was, in reality, quite sharp and savvy. She knew that Queen Mary had a great passion for jewels and art and they bonded over their mutual attraction to the work of Fabergé.

On May 26, 1946, Queen Elizabeth, the Queen Mother presented her mother-in-law, Queen Mary (the then-Queen Mother) with this magnificent Fabergé creation from 1901. The object of Nephrite, two-colour gold, guilloché enamel, rose diamonds, mother-of-pearl features a delicately carved green column which supports an elaborate frame of diamonds.

This remarkable piece was the perfect addition to Mary of Teck’s existing collection of Fabergé and was rumored to have been one of her favorites. Though part of the Royal Collection, this frame and stand still appears to be on display within the State rooms at Buckingham Palace. 

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

What a great way to make a good impression.

Mastery of Design: The Queen Mother’s Ruby Necklace, 1907

Necklace
Boucheron, 1907
Rubies, Diamonds, Gold
The Royal Collection

A close friend of Queen Elizabeth, the Queen Mother, and King George VI, the Honorable Mrs. Ronald Greville was known for her beauty, style and impeccable taste. Mrs. Greville was a keen collector of jewels, and during her life amassed an unprecedented assortment of diamond and gemstone pieces.


Upon her death in 1942, Mrs. Greville bequeathed her amazing collection to Queen Elizabeth, the Queen Mother. The Queen Mother presented her daughter (now Queen Elizabeth II) with many of the pieces from Mrs. Greville’s collection on the day of her wedding in 1947.

This magnificent necklace was among those jewels given to Her Majesty on her wedding day. Created specifically for Mrs. Greville by Boucheron in Paris in 1907, the necklace of diamonds and bold red rubies is the epitome of Edwardian style with its floral pattern and dense settings.

The only change to the necklace since being presented to the Queen in 1947 is that it has been shortened by the two smallest, uppermost, flower clusters.

Gifts of Grandeur: The Queen Mother’s Diamond Chandelier Earrings, 1918

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

Pair of Diamond Chandelier Earrings
Cartier, 1918 and 1922
Commissioned by The Hon. Mrs. R. Greville
Bequeathed to the Queen Mother, 1942
Presented to Queen Elizabeth II, 1947
The Royal Collection

The original owner of these magnificent earrings was the Honorable Mrs. Ronald Greville who asked Cartier to create the pair using every conceivable cut of diamond. In 1918, Cartier presented Mrs. Greville with the earring sans the six large pear-shaped drops. In 1922, the jewelers are Cartier added the drops, giving the finished product an astonishing variety of modern diamond cuts: half moon, trapeze, square, pear, baguette and emerald.

 

These were among the magnificent collection of jewelry which Mrs. Greville bequeathed to Queen Elizabeth, the Queen Mother, upon her passing in 1942. In 1947, the Queen Mother gifted the earrings to her daughter, the future Queen Elizabeth II, as a wedding gift.

Gifts of Grandeur: The Sèvres Vase Aubert No. 40, 1924-37

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

This is one of a pair of vases, called “Vase Aubert No. 40” which was made in hard-paste porcelain between 1924-37. One of the pair depicts “Africa” while the other depicts “India.” The vases were presented by the President of the French Republic to King George VI and Queen Elizabeth (the Queen Mother) on the occasion of their coronation, May 12, 1937

The vases themselves were produced by Sèvres as early as 1924, but were evidently left undecorated. One, seen here, was painted in 1928 by Henry-Joseph Lasserre with a tiger hunt in the Indian sub-continent. The scene depicts huntsmen seated in howdahs on the backs of elephants, shooting at tigers in a lush jungle.

The other was painted in 1930 by Louis-Jules Trager, depicting an African scene of antelopes, camels and native dancers amongst the pyramids. In May 1937, the English royal arms was added at a cost of 6,000 francs.

The two vases, each valued at 40,000 francs, were sent in 1937 to the Minister of Foreign Affairs for presentation to King George VI and Queen Elizabeth by the President of the French Republic, Monsieur Albert Lebrun. However, after the whole Abdication Keruffle ™ with his older brother the King had announced that, as a general rule, he would not accept coronation gifts. To avoid embarrassment, the French ambassador was informed that the gift would be treated as personal rather than as official.

Mastery of Design: Queen Mary's Christmas Egg, c. 1900

Egg of Enamel, Diamonds, Gold, Rubies and Emeralds
Crown Copyright
The Royal Collection
via The Royal COllection Trust
Image Courtesy of Her Majesty Queen Elizabeth II

This egg of cream guilloché enamel is set with a diamond band around the middle and features an upper section adorned with ribbon swags. The lower portion is set with heart trophies of rubies and emeralds. A gold ring allows for hanging from a gold stand with a circular base chased with a spiral pattern.

This beautiful object was a gift to Queen Mary, consort of King George V, for Christmas of 1927. It was given to her by Prince David (later, briefly, King Edward VIII, and, then Duke of Windsor); “Bertie,” a.k.a. Prince Albert George (later King George VI); Elizabeth, the Duchess of York (later, Queen Elizabeth, the Queen Mother); Princess Mary and Harry Lascelles and their children. Though it looks like Fabergé, it’s actually the work of Dreyfous of 128 Mount St., London.

The egg itself dates to about 1900.

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

The Art of Play: A Doll’s Fan with Blue Birds, 1938

Dolls Fan with Blue Birds
Duvelleroy, France, 1938
Painted by Marie Laurencin
Part of a suite presented to Princesses Elizabeth
and Margaret
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

In 1938, King George VI and Queen Elizabeth (the Queen Mother) took their first official State visit since the coronation in 1937 by visiting France. To commemorate their visit to Paris, a group of French couturiers and fashion designers banded together to create two magnificent dolls for Princesses Elizabeth (now Queen Elizabeth II) and Margaret Rose. The dolls, called France and Marianne, came with elaborate wardrobes complete with highly-detailed miniature accessories and jewels. Among the collection were four hand fans—two of silk and two of ostrich feathers. This is one of the silk fans.


This fan—as with the other three—still retains its original presentation box which is marked with the name of its maker—Duvelleroy. The fan was hand-painted by Marie Laurencin with a pattern of blue birds.

The princesses didn’t get to play with the dolls right away. They were put on display in St. James Palace and admission was charged to see them. Proceeds went to aid of The Princess Elizabeth of York Hospital for Children and a French charity. Today, France and Marianne are part of the permanent exhibit at Windsor Castle where they overlook Queen Mary’s dolls’ house.

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

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Unusual Artifacts: A Russian Kovsh, 1909-1913

Kovsh
Silver Gilt, Enamel
1909-1913
The Royal Collection

A kovsh is a Russian drinking vessel with a single handle and a boat-shaped body. These vessels were often presented by the tsars as gifts to followers and favored subjects. Often made of precious metals and adorned with enamel and gemstones, these valuable objects were more for display than they were practical.


This kovsh is enameled en plein and depcits a scene of the Zaporozhye Cossacks (suggested by a painting by Ilya Repin). Created in the Moscow workshop of Feodor Rückert, the kovsh utilizes brilliantly hued cloisonné enameling. The vessel was distributed by Fabergé for import to England in 1913 and was purchased in London by Queen Elizabeth, the Queen Mother.

Mastery of Design: The Honeycomb Brooch, 1969

Brooch-Pendant
Gold, Fire Opals, Diamonds
John Donald
The Victoria & Albert Museum

Though much quieter about it than her daughter, Princess Margaret (who, by all accounts, tended to be rather obnoxious about most things), but more out-going about it than her eldest daughter, Queen Elizabeth II, The Queen Mother was always interested in fashion and staying current.

Of course, she had her favorite designers. She even had her favorite jewelers and purchased a good many pieces of jewelry throughout her exceptionally long life. One of her favorite jewelry designers was John Donald.

Here’s an example of Donald’s work. Dating to 1969, this brooch-pendant of gold, diamonds and fire-opals depicts a bee on his honeycomb. This was made during a period when London jewelers were, in many ways, ahead of their time—experimenting with contemporary designs and materials and exploring new ways of interpreting natural elements. As shoppers began to embrace a variety of stones and shapes, Donald found himself eager to offer them unusual new designs.

John Donald's career soared in 1960, and in 1961, he presented his work at the International Exhibition of Modern Jewellery at Goldsmiths' Hall where he attracted the attention of Queen Elizabeth the Queen Mother, Queen Elizabeth II and Princess Margaret Rose. 

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.

Gifts of Grandeur: Queen Elizabeth’s Star of the Order of the Garter

Star of the Order of the Garter
English, 1923
Diamonds, Enamel
The Royal Collection

Traditionally, when a member of the Royal family of Britain marries, a new title or honor is bestowed on either one or both of the betrothed. We saw this most recently when Prince William of Wales and Katherine Middleton were created the Duke and Duchess of Cambridge respectively on the day of their wedding.


When the future King George VI married Elizabeth Bowes-Lyon (later known as “The Queen Mother”) in 1923, he was given this star upon his investiture with the Order of the Garter. George VI presented his daughter, Princess Elizabeth (now Queen Elizabeth II), with this star upon her investiture with the Order of the Garter prior to her 1947 wedding.

HM Queen Elizabeth II
Cecil Beaton, 1968The Royal Collection

A masterpiece of diamonds and enamel, the Queen often wears this garter star—as seen in this photograph by Cecil Beaton from 1968. 

Gifts of Grandeur: The Sèvres Vase Aubert No. 40, 1924-37

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

This is one of a pair of vases, called “Vase Aubert No. 40” which was made in hard-paste porcelain between 1924-37. One of the pair depicts “Africa” while the other depicts “India.” The vases were presented by the President of the French Republic to King George VI and Queen Elizabeth (the Queen Mother) on the occasion of their coronation, May 12, 1937

The vases themselves were produced by Sèvres as early as 1924, but were evidently left undecorated. One, seen here, was painted in 1928 by Henry-Joseph Lasserre with a tiger hunt in the Indian sub-continent. The scene depicts huntsmen seated in howdahs on the backs of elephants, shooting at tigers in a lush jungle.

The other was painted in 1930 by Louis-Jules Trager, depicting an African scene of antelopes, camels and native dancers amongst the pyramids. In May 1937, the English royal arms was added at a cost of 6,000 francs.

The two vases, each valued at 40,000 francs, were sent in 1937 to the Minister of Foreign Affairs for presentation to King George VI and Queen Elizabeth by the President of the French Republic, Monsieur Albert Lebrun. However, after the whole Abdication Keruffle ™ with his older brother the King had announced that, as a general rule, he would not accept coronation gifts. To avoid embarrassment, the French ambassador was informed that the gift would be treated as personal rather than as official.

Painting of the Day: The Wedding of the Duke and Duchess of York, a Symbolic Representation, 1923

The Wedding of the Duke and Duchess of York:
A Symbolic Representation
April, 1923
Ricciardo Meacci
The Royal Collection

Queen Elizabeth, the Queen Mother, was a lifelong fan of Florentine painting after being introduced to the work of the Italian masters as a young girl. The woman responsible for teaching young Elizabeth Bowes-Lyon about art was her mother’s unmarried sister, Violet Cavendish-Bentinck.


It was Cavendish-Bentinck who presented The Duke and Duchess of York (the future King George V I and Queen Elizabeth) with this symbolic painting on their wedding day in April of 1923.

The Duke and Duchess of York on their
wedding day in 1923.  Elizabeth is not holding her
bouquet.  In a touching, unrehearsed moment,
she paused to place her flowers on the
Tomb of the Unknown Solider upon entering
Westminster Abbey.

The painting is styled as a Renaissance altarpiece and is the work of Italian painter Ricciardo Meacci who was celebrated for his miniature watercolor allegorical paintings. Meacci often created miniature works in the style of Renaissance altarpieces and his work quickly found an audience with the elite of London.

This was one of two wedding gifts that were created by Meacci. The other was a painted headboard in a similar style.