Royal Coat Of Arms Collection

8 June 1946 A message to sent to the schoolchildren of Britain to celebrate victory and the end of the war from King George VI TO-DAY, AS WE CELEBRATE VICTORY

Drawing Room, Brereton Hall (b/w photo)
CLF294304 Drawing Room, Brereton Hall (b/w photo) by Evans, Frederick Henry (1853-1943); (add.info.: built by Sir William Brereton (1550-1631) in 1586;); © Country Life

The Giant Factotum amusing hinself, pub. 1797 (hand coloured engraving)
2966812 The Giant Factotum amusing hinself, pub. 1797 (hand coloured engraving) by Gillray, James (1757-1815); Private Collection; (add.info)

Light Expelling Darkness - Evaporation of Stygian Exhalations
NCO190434 Light Expelling Darkness - Evaporation of Stygian Exhalations, or The Sun of the Constitution rising superior to the Clouds of Opposition, published by Hannah Humphrey in 1795 (etching)

Portrait of Sir Nicholas Bacon (1509-79) 1579 (oil on panel)
BAC155168 Portrait of Sir Nicholas Bacon (1509-79) 1579 (oil on panel) by English School, (16th century); 61x48.3 cm; Private Collection; (add.info)

The Royal Quadrille (colour litho)
981947 The Royal Quadrille (colour litho) by English School, (19th century); Private Collection; (add.info.: The Royal Quadrille)

The Devil to Pay: The Wife Metamorphos d, or Neptune Reposing after Fording
NCO190129 The Devil to Pay: The Wife Metamorphos d, or Neptune Reposing after Fording the Jordan, published by Hannah Humphrey in 1791 (hand-coloured etching) by Gillray

Glorious Reception of the Ambassador of Peace on his Entry into Paris
NCO193118 Glorious Reception of the Ambassador of Peace on his Entry into Paris, published by Hannah Humphrey in 1796 (hand-coloured etching) by Gillray

Glorious Reception of the Ambassador of Peace on his Entry into Paris, pub
2966809 Glorious Reception of the Ambassador of Peace on his Entry into Paris, pub. 1796 (hand coloured engraving) by Gillray

Royal coats-of-arms from 46 Baldwin Street (w / c on paper)
2831716 Royal coats-of-arms from 46 Baldwin Street (w/c on paper) by Rowbotham, Thomas Leeson the Elder (1783-1853); Bristol Museum and Art Gallery, UK; eBristol Museums

Facade of John Burgess & Son, Warehousemen to the Duchess of Gloucester (w / c on paper)
CWA93329 Facade of John Burgess & Son, Warehousemen to the Duchess of Gloucester (w/c on paper) by English School, (19th century); City of Westminster Archive Centre, London

Map of the New England coastline in 1614, engraved by Simon de Passe (1595-1647) 1616
XJF103759 Map of the New England coastline in 1614, engraved by Simon de Passe (1595-1647) 1616 (engraving) (b&w photo) by Smith, John (1580-1631) (after); Private Collection; English

Royal Coat of Arms on the gates at Buckingham Palace, London, England, United Kingdom, Europe

Re-enactment; Knight in armour with shield

Portugals royal coat of arms outside the 15th century Convent of St. Antonio church in Ponte de Lima, Minho, Portugal, Europe

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"The Royal Coat of Arms: A Symbol of History, Victory, and Majesty" On 8 June 1946, a message was sent to the schoolchildren of Britain, celebrating their victory. As they looked upon the portrait of Elizabeth I in The Hampden Portrait, they were reminded of the strength and resilience that had brought them triumph. In workshops across the land, sword cutters diligently worked on crafting ceremonial swords for officers or restoring old ones. Their skilled hands breathed life into these weapons of honor and tradition. Within the elegant Drawing Room at Brereton Hall, captured in a timeless black-and-white photograph, one could almost hear whispers from bygone eras echoing through its walls. It stood as a testament to grandeur and refinement. Yet amidst all this splendor, Britannia wept for her country's state in an engraving from 1682. Her tears mirrored the nation's struggles but also served as a reminder that even during dark times, hope remained steadfast. The Giant Factotum amused himself in a hand-colored engraving published in 1797. This whimsical figure symbolized both power and entertainment - two elements often intertwined within royal courts throughout history. "Light Expelling Darkness - Evaporation of Stygian Exhalations" depicted an allegorical battle between light and darkness. Just like this eternal struggle played out on canvas or paper, so too did it manifest itself within society's fabric. Sir Nicholas Bacon gazed confidently from his portrait painted in 1579. His presence evoked authority and wisdom – qualities befitting those who bore responsibility under the royal coat of arms. In "The Royal Quadrille, " vibrant colors burst forth from lithographic prints capturing moments filled with grace and elegance. These scenes transported viewers into opulent ballrooms where royalty danced with poise and sophistication. "The Devil to Pay.