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Daily Mirror
06-05-2025
- Entertainment
- Daily Mirror
King Charles and Queen Camilla give revealing verdicts on official Coronation portraits
The historic paintings of King Charles and Queen Camilla will be displayed at the National Gallery before being moved to their permanent home at Buckingham Palace, as part of the Royal Collection in time for the summer opening King Charles and Queen Camilla have unveiled their official Coronation portraits in the National Gallery, on the second anniversary of their crowning at Westminster Abbey. Unveiling the works by the artists Peter Kuhfeld who painted Charles, and Paul S. Benney who depicted Camilla, the King praised the "wonderful composition" of his portrait while Camilla said of hers: "I just love it." The pictures will be exhibited in the gallery's central hall for the next six weeks, before being installed in Buckingham Palace 's Throne Room as part of the Royal Collection, where they will be on display for the palace's annual summer opening. They will form part of a long tradition of Coronation portraits dating back centuries, with the earliest known example being a painting of James VI and I by Paul van Somer which hangs at Windsor Castle. After unveiling the paintings in the central hall and posing for pictures with the artists, Charles and Camilla spoke with Kuhfeld and Benney, who were personally chosen by the King and Queen being previously known to them from former royal commissions. "Hello Paul, lovely to see you," said Camilla, before beckoning over her daughter, Laura Lopes, who joined the King and Queen for the visit. Camilla recalled how Laura, a gallerist, had seen the early stages of the portrait during her sittings with Benney at Clarence House. "It's so incredible. It's very flattering," Laura said. Hitting her daughter playfully on the arm, Camilla joked: "Don't say it's very flattering! I just love it." The portrait shows Camilla wearing her Coronation dress by Bruce Oldfield, draped with her robe of state, alongside " Queen Camilla 's crown", formerly known as Queen Mary's Crown. She told Benney: "It was so nice not having to wear it all the time [for the sittings], it was very heavy." While speaking with Kuhfeld, Charles, who is royal patron of the National Gallery, praised the "wonderful composition" of his portrait, where he is depicted in uniform with the Imperial State Crown and his robe of state. Charles is a longstanding patron of Kuhfeld, a graduate of the Royal Academy of Arts. In 2012, he commissioned the artist to paint the wedding of Prince William to the then Kate Middleton and he also painted portraits of young Princes William and Harry in 1986. Benney rose to prominence as a contemporary artist in New York in the 1980s and 1990s. His portrait subjects include Queen Elizabeth II, Sir Mick Jagger and John Paul Getty III. In 2015, Charles also commissioned him to paint the Second World War veteran Brian Stewart, for the Royal Collection. Kuhfeld said of his commission, which was completed during sittings at Windsor and St James's Palace: "I have known His Majesty The King for over forty years, since he was the Prince of Wales. We first met when I had left the Royal Academy Schools where I had completed the postgraduate course in Painting. "He asked me to paint the Princes, William and Harry, who were then 5½ and 3½ years old. Unbeknown to me, this was the first of what were to be many commissions from His Royal Highness, as I subsequently accompanied him on many of his foreign tours (as the Tour Artist). "When he became King in 2022, I was delighted and honoured to be commissioned by him to paint his official Coronation State Portrait. It has taken over a year and a half to complete. I have tried to produce a painting that is both human and regal, continuing the tradition of royal portraiture. His Majesty gave of his time with his usual graciousness and attention to detail, and we discussed certain aspects of the painting. He gave me five sittings in total, not including the painting of the Imperial State Crown. The State Crown had its own sittings! "I usually start with drawings to develop my ideas and then move on to several oil studies to work out problems of composition. During this time, nobody was allowed in my studio while I was working, but one evening my eldest granddaughter forgot, when coming to tell me supper was ready; she burst through the door and came to a standstill and exclaimed, 'Oh! It's the King!'" Benney, who painted Camilla at Clarence House, said: "It was an honour, privilege and total pleasure to undertake the first official portrait of Her Majesty since The Coronation and it is with some regret that the sittings for this important commission have come to end. After nearly a year of being installed in a temporary studio at Clarence House, I have deep and abiding memories of many hours of fascinating and sometime hilarious conversation with Her Majesty on countless varied subjects. I shall miss the quiet and relaxed atmosphere while I was working there even when Their Majesties were engaged elsewhere. "My guiding principles in this commission were to both acknowledge the grand and historic nature of The Coronation iconography with all the equipage of the Monarchy and at the same time reveal the humanity and empathy of such an extraordinary person taking on an extraordinary role." Charles and Camilla, wearing a scarlet crepe dress by Fiona Clare with the late Queen's raspberry pip brooch, had arrived at the gallery's newly refurbished Sainsbury Wing to a fanfare by Household Cavalry state trumpeters, as the late Queen had when opening the original wing in 1991. They then met supporters and donors to the gallery, including members of the Sainsbury family and the broadcaster, Andrew Marr. Today's royal visit also marked the official re-opening of the Sainsbury Wing after a two-year transformation for the gallery's 200th anniversary. In 1984, Charles controversially described a proposed extension to the gallery as a "monstrous carbuncle on the face of a much-loved and elegant friend". The extension, designed by architect Peter Ahrends, was scrapped and the final more traditional design, built in 1991, was created by the partnership Robert Venturi and Denise Scott Brown instead. The intervention incensed many architects who felt Charles's comments made him an enemy of modern design. Sir Gabriele Finaldi, the gallery's director, and John Booth, the chair, introduced Charles and Camilla to the gallery's architect, Annabelle Selldorf, and some of the project building and design team, including Hannah Lawson, the architect for the new Roden Centre for Creative Learning, which they briefly viewed at the end of the visit. After unveiling a plaque to mark the re-opening, Charles and Camilla also had a look at the gallery's new restaurant by Italian chef Giorgio Locatelli and his wife, Plaxy. They then took a tour of the gallery, seeing some of the works on loan from the Royal Collection including Andrea Mantegna's series 'The Triumphs of Caesar,' which Charles had personally asked to see, and a painting of Adam and Eve by Jan Gossaert. Other works which they saw on their tour of the gallery, which was closed to the public until they left at 11.35am, included the Arnolfini Portrait by Jan van Eyck and a 14th century crucifix by Segna di Bonaventura suspended in the air - the first time the gallery has hung a work from the ceiling. Before leaving the gallery, Camilla was presented with a posy by eight-year-old Maria Finaldi, the niece of the gallery's director. 'Thank you, they're my favourite flowers, and that's a very good curtsey,' Camilla told her. Before making their way into the State Bentley, Charles and Camilla quickly greeted a group of well-wishers and school pupils who had gathered outside the gallery's back entrance.
Daily Mail
06-05-2025
- Entertainment
- Daily Mail
King Charles and Queen Camilla pose with their official Coronation state portraits as artwork is unveiled at the National Gallery
King Charles and Queen Camilla have unveiled their official Coronation state portraits during a tour of the National Gallery in London today. The artwork, by Peter Kuhfeld and Paul S. Benney, was revealed this morning to mark the second anniversary of the crowning of His Majesty at Westminster Abbey on May 6 2023. Posing alongside the portraits, the King opted for a fun castle-themed patterned tie and a smart navy pinstriped suit, while the Queen put on a vibrant display in a bright red dress. Now part of The Royal Collection, the portraits were revealed in the Central Hall, followed by the reopening of the refurbished Sainsbury Wing. Their Majesties toured the space and met participants in the gallery's outreach education programme. Ahead of the unveiling of the official portraits, artwork commissioned by the King to capture key moments from the coronation weekend was shared for the first time. Paintings and monochrome images showing the Gold State Coach procession, heralds waiting to take part in events and the King and Queen during the Westminster Abbey coronation were revealed. Charles followed a long-held tradition and commissioned five artists to capture significant events from the coronation weekend, with four of the creatives being former students from his Royal Drawing School. Fraser Scarfe was outside Buckingham Palace and Gideon Summerfield at Trafalgar Square, Phoebe Stannard was inside Westminster Abbey, and artist and illustrator Shana Lohrey was invited to Windsor Castle to capture the atmosphere, crowds and ambience of the coronation concert. Eileen Hogan, an Emeritus Professor at the University of the Arts London and a Royal Drawing School trustee, was commissioned to paint the coronation service – the first woman to be given the role. Ms Hogan said: 'When I was appointed to paint the coronation from Westminster Abbey, I was very aware that I was the first woman to be appointed in this historical role, and then I thought "What details could a painting bring that modern-day TV cameras could not?". 'The more I thought about it, my conclusion was that the stillness of a painting really isolates and intensifies significant moments, and emphasises meaning; whether that be ritualistic, spiritual, or simply extremely human.' The coronation was held on May 6 2023, and Charles saw the finished pieces, now part of the Royal Collection, last September during a presentation at his Clarence House home. Mr Scarfe, who is the Royal Drawing School's head of education delivery, was commissioned by Charles to capture images from his recent state visit to Italy and became the first official tour artist to create images digitally alongside traditional methods. He said: 'There were so many incredible moments during the day. 'For me, the real standout moment was the moment when Their Majesties went out onto the balcony and the crowds were able to come and stand in front of Buckingham Palace and celebrate the coronation. 'And it was that moment that I thought really stood out to me; the joy of the people; the mass of people waving flags; and coming through to cheer and celebrate was such a special moment, and that's really the moment I felt I should focus my largest work on.'
Yahoo
30-04-2025
- Business
- Yahoo
Pottery firm goes bust after more than 100 years
The directors of Moorcroft Pottery have announced that the firm has stopped trading after more than 100 years. In a post on social media on Wednesday, bosses at the Stoke-on-Trent firm, based in Burslem, said they have told insolvency business Moore Recovery to help with voluntarily liquidating the company. They said Moore would contact creditors in due course but did not give an explanation for the firm's closure. Moorcroft had warned in March of possible redundancies and at the time cited rising costs and falling sales. The firm traces its roots back to 1897 and has been based at its current site in Sandbach Road since 1913. According to its website, the firm's founder William Moorcroft was able to produce pottery from its current site thanks to the support of London department store Liberty. After winning a number of prestigious international awards, Moorcroft was appointed as Potter to HM The Queen in 1928. The firm's royal patronage continued when the late Queen Elizabeth II added Moorcroft designs into the Royal Collection. The brand was also popular with US presidents and British prime ministers, according to the firm. The news of Moorcroft's collapse is the latest blow to the pottery industry in Stoke-on-Trent. In February, Royal Stafford, also based in Burslem, called in administrators. The firm's collapse followed the closure of Dudson in 2019, Wade in Longton two years ago and Johnsons Tiles in 2024. City council leader Jane Ashworth said Moorcroft had been a major part of Stoke-on-Trent's heritage in ceramics. "Our teams have been working closely and intensively with Moorcroft to try to find a solution but unfortunately this has not been possible," she said. "The fact is global and national headwinds - including high energy prices and a rash of cheap, illegal forgeries from overseas - have made life very difficult for manufacturers. "We have lobbied - and will continue to lobby - the government to provide specific support for this vital and valuable sector." She added the authority would provide support for affected employees to help them find new jobs. Follow BBC Stoke & Staffordshire on BBC Sounds, Facebook, X and Instagram. 'How many more blows can the pottery industry take?' Staff 'devastated' at pottery firm's collapse Tile factory set to close with 105 jobs at risk Pottery firm warns of redundancies Moorcroft
Malay Mail
21-04-2025
- Entertainment
- Malay Mail
Elegance of the Edwardians on display at Buckingham Palace
LONDON, April 21 — A rare exhibition is exploring the glamorous lives and fashions of two royal couples who reigned over Britain during the Edwardian period as the country tipped ever closer to World War I. The Edwardians: Age of Elegance, at the King's Gallery in Buckingham Palace, brings together more than 300 works from the Royal Collection that will be on display until November 23. The centrepiece is the coronation gown Queen Alexandra wore on August 9, 1902, made of silk embroidered with thousands of gold sequins and designed by the French house Morin Blossier. Alexandra, daughter of King Christian IX of Denmark and sister of King George I of Greece, married Edward, then Prince of Wales, on March 10, 1863, in the chapel of Windsor Castle. She was 18 years old. He was 22. Alexandra was to remain the princess of Wales for almost 40 years until Edward succeeded to the throne on the death of his mother, Queen Victoria, in 1901. Under Edward VII began the Edwardian period. The royal couple ushered in a new generation after the austere last years of Victoria's long reign, when she largely withdrew from public life, mourning the death of her beloved husband, Albert. 'Pure drama' For her coronation as the new queen, Alexandra decided against wearing the traditional white or cream robes, which had an ecclesiastical feel. 'She wanted that moment to be a moment of pure drama,' said curator Kathryn Jones. Realising that electric light was to be 'used for the first time in Westminster Abbey ... she chooses a gold fabric so that she shimmers with thousands of tiny spangles', Jones told AFP. The dress is fragile and has not been on public display for some 30 years. Conservators have spent more than 100 hours preparing it for the exhibition. 'It's a powerful example of Edward and Alexandra's attempts to balance tradition and modernity as they stood on the cusp of the 20th century—a shining moment of glamour before the world was at war,' Jones says on the exhibition's website. Edward's gold coronation mantle is also on display, along with two thrones commissioned for the event. Photography was still in its infancy but it allowed thousands of pictures of the new queen to be seen around the world, turning her into fashion icon and symbol of elegance of the times. Alexandra was a keen amateur photographer herself and some of her snapshots taken with a portable Kodak camera are on display. Two massive portraits of the couple greet visitors arriving at the King's Gallery. One room depicts their lavish lifestyle through paintings of opulent receptions, concerts, regattas on the Isle of Wight, lavish costume balls, garden parties and their residences at Marlborough House in London and Sandringham in Norfolk. As collectors, they amassed textiles, artworks, tableware, paintings, furniture, sculptures, plants, and rare books. There is a copy of Oscar Wilde's Poems with a rare handwritten note by the author. Edward also discovered a passion for Faberge and ordered several miniature figures of his favourite animals. Visitors can admire paintings and water colours by such artists as Frederic Leighton, Lawrence Alma-Tadema and John Singer Sargent, as well as bronze sculptures by Alfred Gilbert. Several rooms are dedicated to the royal couple's travels across five continents. The exhibition also includes works collected by Alexandra and Edward's son, who became George V and was crowned in June 1911, with his wife Mary. By then, times were changing, and instability and political turmoil roiled Europe and the British Empire. The Age of the Edwardians was fast coming to an end. — AFP
Gulf Today
15-04-2025
- Entertainment
- Gulf Today
Elegance of the Edwardians on display at Buckingham Palace
A rare exhibition is exploring the glamorous lives and fashions of two royal couples who reigned over Britain during the Edwardian period as the country tipped ever closer to World War I. "The Edwardians: Age of Elegance", which opened on Friday at the King's Gallery in Buckingham Palace, brings together more than 300 works from the Royal Collection that will be on display until November 23. The centrepiece is the coronation gown Queen Alexandra wore on August 9, 1902, made of silk embroidered with thousands of gold sequins and designed by the French house Morin Blossier. Alexandra, daughter of King Christian IX of Denmark and sister of King George I of Greece, married Edward, then Prince of Wales, on March 10, 1863, in the chapel of Windsor Castle. She was 18 years old. He was 22. Alexandra was to remain the princess of Wales for almost 40 years until Edward succeeded to the throne on the death of his mother, Queen Victoria, in 1901. Museum staff looks at an artwork titled "Queen Alexandra" by British painter Samuel Luke Fildes during a press preview ahead of "The Edwardians: Age of Elegance" exhibition, at The King's Gallery at Buckingham Palace in central London. Under Edward VII began the Edwardian period. The royal couple ushered in a new generation after the austere last years of Victoria's long reign, when she largely withdrew from public life, mourning the death of her beloved husband, Albert. 'Pure drama' For her coronation as the new queen, Alexandra decided against wearing the traditional white or cream robes, which had an ecclesiastical feel. "She wanted that moment to be a moment of pure drama," said curator Kathryn Jones. A museum staff member dusts a throne chair by Carlhian and Baumetz at The King's Gallery at Buckingham Palace in central London. Realising that electric light was to be "used for the first time in Westminster Abbey ... she chooses a gold fabric so that she shimmers with thousands of tiny spangles", Jones told the media. The dress is fragile and has not been on public display for some 30 years. Conservators have spent more than 100 hours preparing it for the exhibition. "It's a powerful example of Edward and Alexandra's attempts to balance tradition and modernity as they stood on the cusp of the 20th century -- a shining moment of glamour before the world was at war," Jones says on the exhibition's website. Edward's gold coronation mantle is also on display, along with two thrones commissioned for the event. Museum staff hold an artwork titled "The Family of Queen Victoria in 1887" by Danish painter Laurits Regner Tuxen during a press preview. Photography was still in its infancy but it allowed thousands of pictures of the new queen to be seen around the world, turning her into fashion icon and symbol of elegance of the times. Alexandra was a keen amateur photographer herself and some of her snapshots taken with a portable Kodak camera are on display. Two massive portraits of the couple greet visitors arriving at the King's Gallery. One room depicts their lavish lifestyle through paintings of opulent receptions, concerts, regattas on the Isle of Wight, lavish costume balls, garden parties and their residences at Marlborough House in London and Sandringham in Norfolk. As collectors, they amassed textiles, artworks, tableware, paintings, furniture, sculptures, plants, and rare books. There is a copy of Oscar Wilde's "Poems" with a rare handwritten note by the author. Edward also discovered a passion for Faberge and ordered several miniature figures of his favourite animals. Museum staff dust a large Chinese vase during a press preview. Photos: Agence France-Presse Visitors can admire paintings and water colours by such artists as Frederic Leighton, Lawrence Alma-Tadema and John Singer Sargent, as well as bronze sculptures by Alfred Gilbert. Several rooms are dedicated to the royal couple's travels across five continents. The exhibition also includes works collected by Alexandra and Edward's son, who became George V and was crowned in June 1911, with his wife Mary. By then, times were changing, and instability and political turmoil roiled Europe and the British Empire. The Age of the Edwardians was fast coming to an end. Agence France-Presse
