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It matched the sapphire and diamond brooch that Albert gave to Victoria the day before their wedding.  Standing as the symbol of her royal status, the crown was worn around her chignon on the back of her head in 1842 in the first official portrait of the young Queen to be painted by Franz Xaver Winterhalter.  Multiplied in copies and engravings, the portrait became one of the defining images of the queen in Great Britain and overseas.\r\n\r\nThe design of the coronet, based on the Saxon Rautenkranz which is borne on Prince Albert’s coat of arms, is documented as being by the Prince.  The jeweller was Joseph Kitching.  Most of the stones came from jewellery given to Victoria by King William IV and Queen Adelaide.   \r\n\r\nThe use of the coronet in the portrait by Winterhalter is a brilliant device, an affirmation of Victoria’s authority as sovereign which does not detract from the charm and beauty of her as a young woman. The coronet is one of the most significant jewels of her reign, part of the story of the young Victoria, who before her widowhood delighted in coloured gemstones.  In 1866, just over four years after Albert’s death, she wore the coronet on top of her head at the first Opening of Parliament she felt able to attend since her loss.\r\n","physicalDescription":"Sapphire and diamond coronet in the form of the Saxon Rautenkranz (chaplet of rue).  Brilliant-cut and single-cut diamonds open-set in silver lined with gold.  Step-cut sapphires open-set in gold.  The coronet is articulated in 23 sections. The crest is  formed of a single line of diamonds arranged in festoons.  The points of the crests are mounted alternately with diamond-set trefoils and single diamonds which graduate in size from a high central trefoil towards the two ends.  The flaring band tapers  from the middle towards the rear of the coronet.  A single line of diamonds runs around the top and around the bottom of the  band.  The open frieze is mounted with eleven sapphires which alternate with diamond-set foliage.  At the back, the diamond frieze ends with a tie of St Andrew's-cross shape in diamonds, one half of the cross on one side, the other half of the cross  on the other.  Each terminal has a small gold elongated oval loop to enable the two sides to be tied with a ribbon.\r\n\r\nThe central sapphire is octagonal.  The colour is pale on part of the proper right side, and, probably for that reason, a band of dark blue enamel runs around the inside of the mount on the back.  The stone is flanked by sapphires of calf's head  shape, one on each side.  Thereafter octagonal stones, alternating with stones of calf's-head shape, are set in diminishing size down both sides of the coronet.\r\n\r\nIt appears that the band was formerly joined by pins to a supporting frame, perhaps similar to those used with tiaras which have a velvet- covered wire beneath them into which the wearer's hair can be woven.  The evidence for the structure beneath the coronet is that there are five holes (empty and filled) visible in the mounts of the lower line of diamonds of the band.  One is under the central octagonal sapphire.  Two are in the middle of the two sides of the band.  Two are in the terminal sections of the band.  The central  hole and two terminal holes are still filled with a short length of wire which runs up to the top of the mount for the lower line of diamonds on the frieze (see the photographs showing the backs of the terminals and the back of the setting for the central sapphire).  The two holes in the middle of the sides are now empty.  \r\n\r\nThese five holes would once have held wires which were struts attached to a horizontal frame.  For an example of a frame, see the Manchester Tiara (M.6-2007).  The articulation in the coronet would have allowed the jewel to be worn as a circular coronet or with an open back.  Alternative frames would have kept the jewel in whichever shape was desired.  For a jewel with small coronet and tiara frames, see the Girls of Great Britain and Ireland Tiara in Hugh Roberts, <i>The Queen's Diamonds</i>, Royal Collection Publications, 2012, pp. 136-141, 146.\r\n\r\nAt the terminals are two oval gold loops for a ribbon, as noted above.  They appear to be later additions.  Previously there was a three-part joint (or hinge) formed of three knuckles.  The top and bottom knuckles of the joint are on one side.  The middle knuckle of the joint is on the other.  A pin ran through the knuckles from top to bottom to hold the two sides together. \r\n\t\nThe original knuckles have been separated.  On side A (proper right: this appears on the left of the photograph of the terminals of the coronet: 2017KA9170) the middle knuckle has a short pin through it, which sufficiently extends above and  below the knuckle to allow it to pass through new small knuckles to which a loop is soldered. \r\n\r\nOn side B (proper left) the space previously occupied by the middle knuckle (which is still on side A) has been filled by a new knuckle to which a loop has been soldered. \r\n\r\nIn short,  the evidence appears to be that the coronet was made so that it could be a complete circle, which was symbolised by the tie at  the back formed of St. Andrew's cross of diamonds.  At some date the joint at the back was taken apart and a loop was  mounted on each of the two sides.\r\n\r\nIf the coronet had been made from the first to have the loops, they would have had identical fixtures on the terminals.  In the  present state of the coronet, one loop is attached to the old central knuckle and the other loop is attached using the old top  and bottom knuckles.\n\nCircular blue leather fitted case (made ca. 2011).\n\n","artistMakerPerson":[{"name":{"text":"Kitching, Joseph","id":"AUTH345456"},"association":{"text":"jeweller","id":"AAT25409"},"note":"coronet"}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"gold","id":"AAT11021"},{"text":"silver","id":"AAT11029"},{"text":"diamond","id":"AAT11084"},{"text":"sapphire","id":"AAT11083"}],"techniques":[{"text":"stone-cutting","id":"AAT54080"},{"text":"stone-setting","id":"x34787"}],"materialsAndTechniques":"Coronet: brilliant-cut and single-cut diamonds open-set in silver lined with gold.  Step-cut sapphires open-set in gold.","categories":[{"text":"Jewellery","id":"THES48930"},{"text":"Metalwork","id":"THES48920"},{"text":"Royalty","id":"THES48899"},{"text":"Secrets of the Museum","id":"THES290200"}],"styles":[],"collectionCode":{"text":"MET","id":"THES48599"},"images":["2017KE6779","2017KA9164","2017KA9165","2017KE6830","2017KA9163","2017KA9166","2017KA9167","2017KA9168","2017KA9169","2017KA9170","2017KA9171","2017KA9172","2017KE6776","2017KE6777","2017KE6778","2017KE6780","2017KE6782","2017KE6783","2017KE6784"],"imageResolution":"high","galleryLocations":[{"current":{"text":"91","id":"THES49703"},"free":"","case":"31L","shelf":"","box":""},{"current":{"text":"004","id":"THES410412"},"free":"","case":"","shelf":"","box":""}],"partTypes":[[{"text":"coronet","id":"AAT213701"}],[{"text":"case","id":"THES251008"}]],"contentWarnings":[{"apprise":"","note":""},{"apprise":"","note":""},{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"London","id":"x28980"},"association":{"text":"made","id":"x28654"},"note":"coronet"}],"productionDates":[{"date":{"text":"1840-2","earliest":"1840-01-01","latest":"1842-12-31"},"association":{"text":"made","id":"x28654"},"note":"coronet"}],"associatedObjects":[],"creditLine":"Purchased through the generosity of William & Judith, Douglas and James Bollinger as a gift to the Nation and the Commonwealth ","dimensions":[{"dimension":"Diameter","value":"115","unit":"mm","qualifier":"approximately","date":{"text":"17/07/2017","earliest":"2017-07-17","latest":"2017-07-17"},"part":"","note":"Approximate east-west measurement  when coronet is in closed coronet form"},{"dimension":"Height","value":"38","unit":"mm","qualifier":"","date":{"text":"17/07/2017","earliest":"2017-07-17","latest":"2017-07-17"},"part":"","note":"Height of coronet "},{"dimension":"Width","value":"185","unit":"mm","qualifier":"","date":{"text":"17/07/2017","earliest":"2017-07-17","latest":"2017-07-17"},"part":"","note":"Widest measurement when coronet is  opened wide"},{"dimension":"Depth","value":"120","unit":"mm","qualifier":"approximately","date":{"text":"17/07/2017","earliest":"2017-07-17","latest":"2017-07-17"},"part":"","note":"front of coronet to notional line between  two extended arms when they are in the open  position"}],"dimensionsNote":"","marksAndInscriptions":[],"objectHistory":"Coronet:\nQueen Victoria\r\nKing Edward VII and Queen Alexandra\r\nKing George V and Queen Mary\r\nGiven by King George V to Princess Mary (later The  Princess Royal), on her marriage in 1922 to  Viscount Lascelles (the Earl of Harewood from 1929)\r\nBy descent \r\nAcquired by a London dealer; subsequently sold  to another dealer who applied for an export  licence in 2015\r\nAcquired by the Victoria and Albert Museum, 2017, through the generosity of William & Judith, Douglas and James Bollinger as a gift to the Nation and the Commonwealth\r\n\r\n1.  The commissioning of the coronet\r\n\r\nResearch into the royal jewels has revealed that an inventory begun in 1837 and later kept by Mrs Tuck, Queen Victoria’s dresser, records that the coronet, ‘in the  shape of the Saxon Rautenkranz’, was ‘Designed by  H.R.H. Prince Albert’ and made by Joseph Kitching in 1840, and that most of the stones came from a gift of  jewellery to Victoria from King William IV and Queen  Adelaide (information generously communicated by Sir Hugh Roberts, Surveyor Emeritus of The Queen’s Works  of Art and author of <i>The Queen’s Diamonds</i>, Royal  Collection Publications, 2012).  This information is repeated in later records.  For example in Queen Victoria's Will the coronet is described as ‘Designed by H.R.H. Prince Albert and set by Kitching.  Most of the stones belonging to a former present of King William IV &amp; Queen Adelaide 1840’ (RA VIC/ADDT/263: folio numbered 73776, redacted; Royal Archives, Windsor Castle.  The permission of Her Majesty Queen Elizabeth II  to quote from documents in this entry is gratefully acknowledged)).  An inventory in 1896 states that the coronet was ‘in the shape of the Saxon Rautenkranz’ (RA VIC/ADDT/316/17 verso), \r\n\r\nPayment of £415 for the ‘Small Coronet’ is noted in  Victoria’s private account book in a list headed ‘1842 –  For Jewelry for myself’ (RA Add. T/231, fol 19, cited by Bury, 1991, p. 313).  There is no detail on what charge this may have included for stones additional to those 'belonging to a former present of King William IV &amp; Queen Adelaide'. Victoria's Journal records their gifts of jewellery in the 1830s, including a pair of sapphire and diamond earrings, but these are inadequate to account for the eleven sapphires in the coronet.\r\n\r\nJoseph Kitching was the former apprentice of the fashionable jeweller, Thomas Gray, who supplied the Prince of Wales.  He set up on his own account in 1817,  two years after his marriage to Jemima Euphemia  Vistirin.  From the first he had orders from the Prince  Regent, and by 1830 he was at 46 Conduit Street, where  the firm, which in due course became Collingwood, traded until1986.  His partnership, by then styled  Kitching and Abud, was named ‘Jewellers to the Queen’  in 1837 (John Culme, <i>Directory of Gold and  Silversmiths…1838-1914</i>, Woodbridge, 1987, vol.  1, pp. 89-90; Charlotte Gere and Judy Rudoe,  <i>Jewellery in the Age of Queen Victoria</i>  (London, 2010), p. 37; Patricia Oliver, (see references).\r\n\r\nThe fact that the coronet follows the form of the Saxon Rautenkranz, which runs diagonally across the shield in the coat of arms of Saxony borne by Prince Albert, underlines the  Prince’s documented involvement in the design.  This is  entirely in keeping with his close interest in Victoria’s  jewels.  Victoria wrote in her Journal on Christmas Eve, 1842, ’Splendid indeed were the presents my beloved one gave me, amongst them the rearrangement of some of my Jewels, to be worn in different ways'.   On 22 February 1843 she described the care Albert took over the jewels: ‘We were very busy looking over various  pieces of old jewelry of mine, settling to have some  reset, in order to add to my fine “parures”.  Albert has  such taste, and arranges everything for me about my  jewels’ (Bury, 1991, p. 311; RA VIC/MAIN/QVJ (W) (Princess Beatrice's copies).  \r\n\r\nThe Gothic design of the coronet is in the Romantic  spirit, an inspiration to both Victoria and Albert, who shared an admiration for Sir Walter Scott.  On 12 May,  only three weeks before she began sittings for the  Winterhalter portrait, Victoria and Albert, dressed as  Queen Philippa of Hainault and King Edward III, hosted a great costume ball for 2000 people.  Sittings for Sir Edwin Landseer’s record of the event, which took four years to complete, began on 18 May and continued while Winterhalter was painting the Queen and the Prince.\r\n\r\n2.  Winterhalter’s first portrait of Queen Victoria, 1842\r\n\r\nRecommended by Victoria’s aunt, Louise, Queen of the  Belgians, Franz Xaver Winterhalter arrived in London in May 1842, six months after the birth of Victoria’s second child.  By the end of July he had completed his first  portraits of Victoria and Albert. His portraits of younger women frequently do not emphasize their jewellery, and  this accords well with the use of the coronet around her  chignon, rather than a dominant crown, or the diamond  circlet of George IV, worn on the top of her head. \r\n\r\nBut, whether or not Winterhalter had a say in the  selection of the sapphire coronet for her portrait, it was, above all, Victoria’s new jewel.  It matched the sapphire  and diamond brooch which Albert had given her on the  day before their wedding.  \r\n\r\nSir Oliver Millar describes the portraits of Victoria and Albert as ‘an immediate success.  Replicas and copies were  commissioned without delay’.  By 4 December the  originals had been let into the walls of the White Drawing  Room at Windsor and, wrote Victoria, ‘look so well there’  (Millar, 1992, vol. I, xxiv, p. 286).\r\n\r\nWinterhalter was paid the same year for a copy of the Queen for Baroness Lehzen and Count  Mensdorff-Pouilly, and for copies of the Queen and the Prince for Louis Philippe, King of the French.  Millar’s list  of copies includes a pair at the Fürstenbau in Veste Coburg, copies made for the Duchess of Kent and Queen Adelaide, and those in the collection of the  Earl of Hardwicke, the Examination School at  Cambridge, Burghley, the National Gallery of Art  Washington, D.C., Government House, Sydney, as well as examples sold at auction.  In the copies the Queen wears the insignia of the Garter, as in a lithograph by F. C. Lewis and an engraving by François Forster, published in 1847 (NPG D35047).  A copy of the Garter  version was given in the mid-1850s to the recently founded Australian Colony of Victoria.  The Garter  version is used on the cover of the paperback edition of  A.N. Wilson, <i>Victoria: A Life</i> (2015; the portrait given to King Louis Philippe).\r\n\r\nThe paintings sent to the King of the French were copied on porcelain plaques at Sèvres which were presented to Victoria by Louis Philippe in 1846 and set into the walls  of the Council Room at Osborne. Millar notes that  already in 1842 copies in enamel were made for the Queen to insert into bracelets.  An enamel miniature copy by William Essex was given by Queen Victoria to Prince Albert on his birthday in 1843.\r\n\r\n3.  The coronet in other portraits\r\n\r\nFurther portraits in which the sapphire coronet is worn  include (with thanks to the websites of the Royal  Collection, the National Portrait Gallery and the British  Museum):\r\n\r\nA.  1844-5.  Painting, watercolour on ivory, described in  the Royal Collection catalogue as a ‘major work’ by  Robert Thorburn (Royal Collection).  Queen Victoria is  depicted in a medieval-style robe with the coronet worn  on the back of her head.  ‘The Queen’s medieval  costume was intended to counterbalance Prince Albert’s  appearance in armour’ in the portrait of Albert with which  the painting is paired, (see references).\r\n\r\nThe portrait was engraved by Henry Thomas Ryall, about 1847.  It was copied a number of times on  porcelain, one of these being a Berlin porcelain (KPM)  plaque painted by Andreas Deckelmann which was incorporated into the royal jewel cabinet by Elkington commissioned by Prince Albert, one of the firm’s most  important exhibits at the Great Exhibition.  A Meissen  plaque on the back is painted with Prince Albert’s arms which the Rautenkranz (<i>Victoria and Albert Art & Love</i>, Royal Collection Publications, 2010, no. 176 - entry by Hugh Roberts).\r\n\r\nB.  1866.<i> Illustrated London News</i>, vol. 48, p. 141\r\nQueen Victoria drove into London from Windsor on 6  February 1866 for the Opening of Parliament:\r\n‘A fine morning - Terribly nervous & agitated…Great  crowds out, & so I had (for the 1st time since my great misfortune) an Escort. - Dressing after  luncheon, which I could hardly touch.  Wore my  ordinary evening dress, only trimmed with miniver & my cap with a long flowing tulle veil, a small diamond & sapphire coronet, rather at the  back & diamonds outlining the front of the cap…’. The coronet was probably worn again the next  year.  The Journal records that on 5 February 1867 for  the Opening of the Parliament which passed the Second Reform Act Victoria ‘Lunched earlier and then dressed.  Everything was the same as last year’ (RA VIC/MAIN/QVJ (W) (Princess Beatrice's copies).\r\n\r\nWithout Albert, Queen Victoria had found it impossible to  undergo the ordeal of the ceremonial Opening of  Parliament.  In 1864 she said that it was ‘totally out of the  question’, but in 1866, concerned that Parliament should  grant a dowry to her daughter, Princess Helena, about to  marry the impecunious Prince Christian of Schleswig-Holstein-Sonderburg-Augustenburg, as well as an annuity for Prince Alfred, she agreed to be present at the opening (Christopher Hibbert, <i>Queen Victoria, </i>paperback edition, London, 2001, pp. 310-12).\r\n\r\nWhile her State Crown, which she admitted had  hurt her a great deal at her Coronation, was  borne on a cushion, she wore the much lighter sapphire coronet, which had the added  significance of a direct association with her beloved husband. Its role was subsequently  taken over by the small diamond crown  commissioned from Garrard in 1870, worn at the  Opening of Parliament in 1871, and, since 1937,  part of the Regalia at the Tower of London  (Christopher Hibbert, <i>Queen Victoria</i>, paperback edition, London, 2001, pp. 310-12).  \r\n\r\nC.  1871.  Hand-coloured mezzotint by Samuel Cousins, after Lowes Cato Dickinson.\r\nThe coronet worn horizontally on top of the head over a veil (with the sapphires hand-coloured red).\r\n\r\nD. 1872. Wood engraving in <i>The Graphi</i>c.  The coronet  worn as in the 1871 mezzotint.\r\n\r\nE. 1874. Portrait, oil on canvas, by Henry Richard  Graves.\r\nQueen Victoria depicted facing right with the coronet  worn as in the 1871 mezzotint.\r\n\r\nF. An undated print of Victoria, wearing the coronet as if it were a tiara open at the back, and Albert, both facing right.  A  related image shows Victoria by herself.  Neither image is convincing evidence that  Victoria wore the coronet in this manner.\r\n\r\n4.   Gift to the Princess Royal, 1922\r\n\r\nThe sapphire coronet was given by King George V to Princess Mary on her marriage to  Viscount Lascelles in 1922.  It is recorded, as a wedding  present, in a photograph displayed in its own case in a  manner which shows that it was open at the back.  It is possible that the small loops at the back were added at this point.  Princess Mary wore the tiara low on her brow to suit  the style of the 1920s, as well as slightly higher in later life.  The coronet’s connection with the Princess Royal, an outstanding servant to many institutions and  causes, is an important further chapter in its history.   Members of the family continued to wear the tiara.  It  served as a wedding tiara in 1992 (see references).\n\nCase: made for the coronet, ca. 2011.","historicalContext":"","briefDescription":"Queen Victoria's sapphire and diamond coronet, designed by Prince Albert, made by Joseph Kitching, London, 1840-2, and case, ca. 2011","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"Leslie Field, The Queen’s Jewels (New York, 1987), pp.  145-6."},{"reference":{"text":"","id":""},"details":"","free":"Shirley Bury, Jewellery 1789-1910 (Woodbridge,  1991), vol. 1, pp. 313-14.\r\n"},{"reference":{"text":"","id":""},"details":"","free":"Oliver Millar, The Victorian Pictures in the  Collection of Her Majesty The Queen,  (Cambridge, 1992). Volume 1 (Text; portrait by  Winterhalter, 1842), pp. 284-7. Volume 2  (Plates), plate 711."},{"reference":{"text":"","id":""},"details":"","free":"One Hundred Tiaras: An Evolution of Style 1800-1990, exhibition at Wartski, London, 5 March – 19 March 1997 (no.8; and cover illustration of portrait by Winterhalter,  1842).  The exhibition of the coronet at Wartski followed an approach by Geoffrey Munn to the Earl of Harewood."},{"reference":{"text":"","id":""},"details":"","free":"Geoffrey C. Munn, Tiaras: A History of Splendour  (Woodbridge, 2001), pp. 86-8. "},{"reference":{"text":"","id":""},"details":"","free":"Victoria & Albert Art & Love, ed. Jonathan  Marsden (Royal Collection Publications, 2010),  no. 12 (Winterhalter portrait, 1842, which is also  illustrated on the back flap of the dust jacket)."},{"reference":{"text":"","id":""},"details":"","free":"Edgcumbe, Richard. ''My beautiful sapphires': Queen Victoria's sapphire and diamond coronet by Kitching and Abud'. In: <u>Liber amicorum in honour of Diana Scarisbrick: A life in jewels</u>. Ed. by Beatriz Chadour-Sampson, Sandra Hindman and Carla van de Puttelaar, assisted by Gaia Grizzi. London: Ad Ilissvm / Paul Holberton Publishing, 2022). ISBN 978-1-915401-02-1"},{"reference":{"text":"","id":""},"details":"","free":"<i>Jewellery in the Age of Queen Victoria </i>(London,  2010), p. 37; Patricia Oliver:\n\nhttp://web.archive.org/web/20230118195356/http://archiver.rootsweb.ancestry.com/th/read/LONDON/2005-12/1135431523"},{"reference":{"text":"","id":""},"details":"","free":"Painting, watercolour on ivory, described in  the Royal Collection catalogue as a ‘major work’ by  Robert Thorburn (Royal Collection).  Queen Victoria is  depicted in a medieval-style robe with the coronet worn  on the back of her head:\n\nhttp://web.archive.org/web/20230118195703/https://www.rct.uk/%20collection/search"},{"reference":{"text":"","id":""},"details":"","free":"The sapphire coronet was given by King George V to Princess Mary on her marriage to  Viscount Lascelles in 1922:\n\nhttp://web.archive.org/web/20230118200330/http://orderofsplendor.blogspot.com/2011/12/readers-top-15-%20tiaras-15-queen.html\n\nhttp://web.archive.org/web/20230118200606/https://royal-magazin.de/england/mary-lascelles-harewood/princess-royal-mary-sapphire.html"}],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["M.20:1-2017","M.20:2-2017"],"accessionNumberNum":"20","accessionNumberPrefix":"M","accessionYear":2017,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE","Coronet","Case"],"assets":[],"recordModificationDate":"2026-05-12","recordCreationDate":"2017-04-05","availableToBook":false}}