The Home Beautiful: King James II’s Coronation Cup, 1685

Cup and Cover
Made from Silver from the Coronation of James II, 1685
The Victoria & Albert Museum

We’ve seen a lot of Coronation Cups here at Stalking the Belle Époque from the commemorative cups in my own collection of Royal memorabilia to the similar items which are housed in the Royal Collection and the V&A, but we’ve never seen one like this.

This magnificent silver-gilt cup and cover were made from silver that was reclaimed from the precious metal which originally decorated the canopies used during King James II's coronation in 1685. After the ceremony, the silver was divided amongst the barons who carried the canopies which covered James II during the coronation.

Two of the barons (from the same family)--Cresheld Draper, MP for Winchelsea and Gawden Draper--combined their share of the coronati0n silver to make this commemorative cup which has been chased and engraved with stylized scenes from the coronation depicting, especially, the barons carrying one of the canopies. This was a clever way to commemorate the participation of the Draper family in the event.

The four figures carrying the canopy are rendered in the fashionable chinoiserie style. These figures are flat-chased on one side and commemorate the original use of the silver. The family’s coat of arms and an inscription in Latin explain the scene.

The Latin inscription reads “Hoc obtinui Ex in aug: Iac: 2.d Et Mar: Ap:23.85” which translates as “I obtained this from the Coronation of James II and Mary, April 23 1685.”

Unfolding Pictures: The Reading Fan, 1870

The Reading Fan
Front
England, 1870
Presented to Queen Alexandra when Princess of Wales
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

Made in England in 1870, this attractive fan features a paper leaf with mother-of-pearl sticks and guards and a chased gold loop. This fan, from the Royal Collection, was once owned by Queen Alexandra (“Bertie, I can’t hear you”), Consort of fuzzy man-about-town King Edward VII.

The fan was presented to Alexandra (1844-1925) while she was still the Princess of Wales. She was, in fact, the Princess of Wales for a really long time since her mother-in-law, Queen Victoria, lived almost forever and Edward didn’t ascend the throne until 1901. The Mayor and Corporation of Reading presented the fan to the Princess of Wales one hundred forty-two years and one day ago on July 1, 1870, on the occasion of the laying of the foundation stone of Reading School by the Prince of Wales (later King Edward VII). The date is inscribed on the verso.

The new school at Reading was designed by Alfred Waterhouse (1830-1905). The structure replaced one that had been founded by Henry VII. Along with the presentation of the fan to the Princess to commemorate the occasion was to be an address by the Reading Mayor. However, much to the Princess’ relief—since she probably couldn’t have heard a word of it anyway—the address was not read aloud, but rather presented in a novel way.

The speech had been reduced by photography (a technology which very much fascinated Alexandra, a known shutterbug), and was mounted in a delicately carved mother-of-pearl and gold frame. This was tied by a ribbon terminating in a gold and blue enamel “A,” to the gold fan loop along with a solid gold vinaigrette adorned on one side with the coronet and monogram of the Princess, and, on the other an inscription commemorating the date.

The fan leaf, inscribed MARCUS WARD DELT. and HOWELL JAMES & CO. is painted, in the center with two intertwined letters—“A”—surmounted by the Prince of Wales’s coronet. Flanking this are views of Reading School and Reading Abbey, with the arms of Reading and of the Princess of Wales. All of this, as well as a miniature version of the fan—was presented in a fitted box. Sadly, only the large fan remains—the vinaigrette, frame, ribbon and miniature fan having since been divorced from the original set and, consequently, lost. I would guess they’re somewhere in Sandringham in a drawer along with a bunch of other things which Alexandra—when Queen—squirreled away. 

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

Painting of the Day: A Miniature of King Edward VII and Queen Alexandra, 1902

Miniature
Watercolor on Ivory Set in Gold with
Pearls and Diamonds
Meant to be worn as a Garter Badge
1902
The Royal Collection
Crown Copyright
Image Courtesy of Her Majesty
Queen Elizabeth II

Created in watercolor on ivory in 1902 to commemorate for the Coronation of King Edward VII and Queen Alexandra, this miniature by Johannes Zehngraf (1857-1908) is set in a pendant brooch with an intricate pearl and diamond Maltese cross border. The miniature was set this way so that it could be used as Queen Alexandra’s Family Order. It hangs from a red and white ribbon.

The miniature was first recorded in the Royal Collection during the brief reign of King Edward VIII who had a lot in common with his grandfather (Edward VII) as far as outlook and lifestyle were concerned (not as far as having a desire to serve his country is concerned). You can actually see the resmblence of the one-time Edward VIII to his grandmother, Prince Alexandra as she is depicted in profile on this miniature. 

Vintage Image of the Day: An Invitation to the Savoy Coronation Ball, 1953

Savoy Hotel Invitation to 1953 Coronation Ball
The Victoria & Albert Museum

In June of 1953, all of Britain was awash in celebrations in honor of the Coronation of Her Majesty Queen Elizabeth II. From modest gatherings to lavish balls, nowhere was more bustling with merriment than London.


The swankiest hotels hosted opulent affairs. Here’s an invitation to one of them. Here, we see an invitation to The Savoy Coronation Ball, of June, 1953, to be held on the night of The Coronation of Her Majesty Queen Elizabeth II.

This handsome card was designed by A. Games, and printed by Lund Humphries.

Gifts of Grandeur: The Prince Albert Tie Pin, 1865

Stickpin with Enamel Portrait of Prince Albert
England, 1865
Crown Copyright
The Royal Collection 
The Victoria & Albert Museum

The enamel portrait contained in this handsome tie-pin is based on a photograph by John Edwin Mayall which was taken within weeks of the Prince Consort's death in December of 1861.

The portrait by William Charles Bell (1831-1904) is set in a gold stick-pin with a chased Greek key design.

The pin was presented to one Nestor Tirard by Her Majesty Queen Victoria in 1865. On the pin’s reverse this gift has been inscribed: “Nestor Tirard/fromVR. Coburg Aug 26./1865.” The piece still retains its original blue velvet presentation case. After Prince Albert’s death, the Queen often made commemorative gifts in her beloved husband’s honor.

So, who was this Nestor Tirard. Jean Nestor Tirard (d. 1888) was the hairdresser to Queen Victoria from 1846 until 1867.

Gifts of Grandeur: The Union of England and Scotland Box, 1707

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

Click image to enlarge.

A circular box of tortoiseshell, this object boasts a cover with concave sides inset with a silver medal of Queen Anne in profile to the left.  Her Majesty wears regalia and a crown.  The medallion is inscribed, "Anna Dei Gratia Mag. Britan Fra. et Hib. Regina."  

The box and medal were made to commemorate the union of England and Scotland in May of 1707.  The reverse of the medal depicts a figure of Britannia engraved "Novae Palladium Troiae."

King Edward VII (1841-1910) was presented with this treasure by a now unknown party in 1907.

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

Click image to enlarge.

To Serve and Project: A Souvenir of the Great Exhibition, 1851

This beautiful transfer-printed plate comes alive from the use of underglaze colors, depicting an interior view of the sculpture court of the 1851 Exhibition Building.  The top of the plate is inscribed “INTERIOR VIEW OF THE CRYSTAL PALACE."  The border is painted green with a gilt edge and scrolling adornment.

The Exhibition of the Works of Industry of All Nations-- known more commonly as the Great Exhibition--took place in London from May 1 to October11, 1851 and served as a regal spectacle showcasing the manufactures wares of more than thirty British Colonies, allowing a celebration of the commercial and artistic wealth of Britain.  The location itself was a triumph of British skill  and ingenuity--Joseph Paxton’s revolutionary glass building; the Crystal Palace.

This plate was one of many items produced for the months-long event, intended as an affordable souvenir which could be purchased by any of the millions of visitors to the Exhibition.   It has been preserved in the Victoria & Albert Museum along with a good many of the actual items displayed in the Crystal Palace.  

Object of the Day, Museum Edition: Oxford Street for the 1953 Coronation

Click Image to Enlarge
Proposed Decoration Scheme for Oxford Street
Coronation, 1953
The Victoria & Albert Museum

This painting is by Edward Bawden (born Braintree 1903; died Saffron Walden, Essex 1989). The artist taught at the Royal College of Art from 1933. This design shows a perspective view of the Oxford Street frontage of the famed Selfridges department store and is meant to demonstrate the proposed decorations for the doorway and windows to celebrate the Coronation of Queen Elizabeth II in 1953.

This is one of three drawings which were made as proposals for the Coronation decoration of Selfridges' exterior. 

Mastery of Design: A Warriors’ “Bravery” Brooch of Diamonds, 1750

Brooch
Rose-cut Diamonds Set in Silver
Western Europe, 1750
Given as a trophy.
Victoria & Albert Museum

Extravagant diamond pieces were not reserved exclusively for ladies prior to the Nineteenth Century. Men often wore opulent jewels not only as adornment, but also as symbols of their station. Going into the Nineteenth Century, Royal gentlemen (such as Prince Albert) continued to wear gemstone badges and brooches, but the practice fell out of favor with people not associated with royalty. Pity.


This diamond brooch from 1750 is a good example of a gentleman’s piece of jewelry. Made in Western Europe, the brooch contains dozens of large rose-cut diamonds set in silver. The design is based on military weapons—a canon, pistol, arrows, axe, flag and plumed helmet. Such a piece was given to a man as a symbol of his bravery and as a trophy of battle. He would wear it proudly to remind himself and others of his accomplishments.

Mastery of Design: The Thirteen Miniatures Gold Box, 1850-61

God Box with Thirteen Miniatures
Commissioned by Queen Victoria
The Royal Collection

This glorious gold presentation box was set with thirteen miniature paintings by William Charles Bell (1831-1904), William Essex (1784-1869) between 1850 and 1861.
The miniatures show: Queen Victoria; Princess Victoria (×2); Prince Albert Edward; Princess Alice; Prince Alfred; Princess Helena (×2); Princess Louise (×2); Prince Arthur; Princess Beatrice; and Prince William of Prussia

Each is rendered in enamel. They are mounted on a rounded rectangular gold box with hinged lid. The whole of the box is covered with etched tendrils and Tudor roses on a trellis.

Each enamel miniature was given as a gift by Queen Victoria to Prince Albert in commemoration of their wedding anniversary, 10 February 1859. They were mounted on the box after the Prince Consort’s death in 1861.

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

Click on image to enlarge.

Antique Image of the Day: The Golden Jubilee of Queen Victoria, 1887

The Victoria & Albert Museum

This color-lithographed invitation card was designed for celebrations for the Golden Jubilee of Queen Victoria. The main image depicts Windsor Castle set in landscape, top right. Images of peoples of the Empire fill the lower left corner set against a backdrop of coconut palm-tree. In two roundels, top left and lower right, are portraits of Queen Victoria at the time of her accession in 1837 and in 1887, respectively.

Unusual Artifacts: The Prince of Wales Beaker, 17th Century

The Victoria & Albert Museum

Made in the early Seventeenth Century, this pewter beaker has been molded with ornamental horizontal bands of fruit and flowers. At the front, the Royal Arms of the House of Stuart have been modeled with a crowned Tudor Rose. The reverse bears the three feathers of the Prince of Wales.

Such a vessel, designed for drinking beer, was probably not made for the Prince of Wales, but rather as an homage to him.

The Art of Play: A Jigsaw Puzzle, "His Majesty the King and TRH Princess Elizabeth and Princess Margaret Rose," 1938

Puzzle by Chad Valley depicting
King George VI with Princesses Margaret and Elizabeth, 1938
The Victoria & Albert Museum

In the 1930s, as today, games were designed to suit the age and ability of children.  One of the most popular “games” was the traditional jigsaw puzzle. These color-printed cardboard puzzles often featured images of the Royal Family.  After the Abdication Kerfuffle ™, as King George VI ascended the throne, he was a figure to whom the children of Britain could relate since he was the father of two young girls—Princess Elizabeth (now Her Majesty Queen Elizabeth II) and Princess Margaret Rose.  

This puzzle shows the continuing interest in the British Royal Family with a picture of King George VI (ruled 1936–52) and his two daughters riding ponies in Windsor Park in April of 1938.  The puzzle was made by the Chad Valley Company Limited.

Mastery of Design: The Union of England and Scotland Box, 1707

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

Click image to enlarge.

A circular box of tortoiseshell, this object boasts a cover with concave sides inset with a silver medal of Queen Anne in profile to the left.  Her Majesty wears regalia and a crown.  The medallion is inscribed, "Anna Dei Gratia Mag. Britan Fra. et Hib. Regina."  

The box and medal were made to commemorate the union of England and Scotland in May of 1707.  The reverse of the medal depicts a figure of Britannia engraved "Novae Palladium Troiae."

King Edward VII (1841-1910) was presented with this treasure by a now unknown party in 1907.

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

Click image to enlarge.

Sculpture of the Day: The Tower Bridge Medal, 1894

Tower Bridge Medal
June, 1894
The Victoria & Albert Museum

This medal of bronze is one of a series which was issued by the Corporation of the City of London to commemorate the June, 1894 opening of the famous Tower Bridge by His Majesty Prince Albert, The Prince of Wales (this is Prince Albert Edward who would become King Edward VII following the death of his mother, Queen Victoria, in 1901).

The face of the medal shows busts of the Prince and Princess of Wales (later Queen Alexandra) superimposed with a crowned head of Queen Victoria.

On the reverse, it reads:

TOWER BRIDGE OPENED 30th JUNE 1894 ON BEHALF OF HER MAJESTY QUEEN VICTORIA BY H.R.H THE PRINCE OF WALES The bridge is pictured in perspective, and, above is the mark of the Bridge House Estates of the Corportion. The arms of the City of London are shown below. The medal is signed, “F. BOWCHER. FECIT.” Medalist Frank Bowcher (1864-1938) designed the piece. 

Masterpiece of the Week: The Thirteen Miniatures Gold Box, 1850-61

God Box with Thirteen Miniatures
Commissioned by Queen Victoria
The Royal Collection

This glorious gold presentation box was set with thirteen miniature paintings by William Charles Bell (1831-1904), William Essex (1784-1869) between 1850 and 1861.
The miniatures show: Queen Victoria; Princess Victoria (×2); Prince Albert Edward; Princess Alice; Prince Alfred; Princess Helena (×2); Princess Louise (×2); Prince Arthur; Princess Beatrice; and Prince William of Prussia

Each is rendered in enamel. They are mounted on a rounded rectangular gold box with hinged lid. The whole of the box is covered with etched tendrils and Tudor roses on a trellis.

Each enamel miniature was given as a gift by Queen Victoria to Prince Albert in commemoration of their wedding anniversary, 10 February 1859. They were mounted on the box after the Prince Consort’s death in 1861.

Object of the Day, Museum Edition: The Wedding Anniversary Plaque, 1785-90

Plaque
Silver, 1785-1790
The Victoria & Albert Museum

This plaque, in the form of a neo-classical temple, is surmounted by an urn and laurel wreaths and encloses two figures. The figural group shows Victory about to crown a woman with a laurel wreath. Above the figures, we see the coat of arms of the city of Leiden, flanked by the arms of two unidentified families.

The work of Christoffel Mittscherlich, a German goldsmith and artist from Amsterdam, in the fashionable Neoclassical style of the Late Eighteenth Century, this magnificent creation of silver in ornate openwork was made to adorn a book cover.

The numerals XXV (25) are engraved in the center. Given this and the appearance of two family arms, we can deduce that this plaque may commemorate a twenty-fifth wedding anniversary.

Mastery of Design: A Bracelet Commemorating the Marriage of King George V and Queen Mary, 1893

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

Made in 1893 to commemorate the marriage of the future King George V to the future Queen Mary (on July 6, 1893), this handsome open loop bracelet terminates in jeweled letters V and M.  The "V" was meant to signify that George would be George V, and, the M for Mary is obvious.

The letters are surmounted by a pink tourmaline and blue sapphire respectively.

To Serve and Project: A Souvenir of the Great Exhibition, 1851

This beautiful transfer-printed plate comes alive from the use of underglaze colors, depicting an interior view of the sculpture court of the 1851 Exhibition Building.  The top of the plate is inscribed “INTERIOR VIEW OF THE CRYSTAL PALACE."  The border is painted green with a gilt edge and scrolling adornment.

The Exhibition of the Works of Industry of All Nations-- known more commonly as the Great Exhibition--took place in London from May 1 to October11, 1851 and served as a regal spectacle showcasing the manufactures wares of more than thirty British Colonies, allowing a celebration of the commercial and artistic wealth of Britain.  The location itself was a triumph of British skill  and ingenuity--Joseph Paxton’s revolutionary glass building; the Crystal Palace.

This plate was one of many items produced for the months-long event, intended as an affordable souvenir which could be purchased by any of the millions of visitors to the Exhibition.   It has been preserved in the Victoria & Albert Museum along with a good many of the actual items displayed in the Crystal Palace.  

Painting of the Day: A “Company” Portrait of King George V, 1911

Company Painting
King George V, 1911
Indian
The Victoria & Albert Museum

I like this painting. It’s probably because I have a particular affinity for King George V, but nevertheless, it’s a charming, if not rough, portrait. We see King George V sans crown, wearing a red tunic with gold epaulettes, a blue sash and many stars and garter badges, his left hand rests on his sword hilt.

This is a “Company Painting” created around the time of the 1911 Coronation. The painting is based on an illustration in a magazine, probably one issued to commemorate George’s Coronation on 22 June, 1911 or, perhaps, the Delhi durbar, which took place during the official State Visit of George V and Queen Mary, in the following December

“Company Paintings” were produced by Indian artists for Europeans living and working in the Indian subcontinent, and especially for British employees of the East India Company. Such paintings show a fusion of traditional Indian artistic styles with the sensibilities of Western art. Some Company paintings were specially commissioned, while others were made to be sold at bazaars. That accounts for the slightly rough nature of the portrait. It’s more iconographic than it is photographic, owing to the style of Indian painters of the time. But, somehow, that makes it charming as it is truly a representation of the amassed ingenuity of the British Empire of the early Twentieth Century.