In early modern Europe, diplomacy often relied on the exchange of gifts and material culture, which served as strategic tools to convey power, allegiance, and cultural sophistication. Far beyond formal negotiations, these objects symbolised political and cultural ties, fostering mutual understanding among the European elite.1 The volume “Courtly Gifts and Cultural Diplomacy”, edited by Louise Hardiman, an independent academic and lecturer specialising in Russian, Ukrainian, and Soviet art, explores the role of material culture and gift exchange in shaping diplomatic relations between Britain and Russia. This collection of essays, written by scholars and museum professionals from around the world, places particular emphasis on art and material culture as tools of diplomacy, showcasing how such objects were used to negotiate political relationships from the late 17th century to the early 20th century. The volume emerged from an academic event that accompanied the exhibition “Russia, Royalty, and the Romanovs” and aims at a scholarly audience, including historians of diplomacy, art historians, and specialists in British or Russian studies.2 However, the engaging writing style and richly illustrated content also make it accessible to museum professionals, curators, and others interested in the intersection of art and politics.

Hardiman’s volume contributes to the established field of diplomacy and gift-giving, recently explored in Paul Brummell’s “Diplomatic Gifts: A History in Fifty Presents”.3 While Brummell takes a broader, anecdotal approach, Hardiman offers a more focused, academically rigorous analysis of British-Russian relations. Building on Jan Hennings’ pioneering work on Russian diplomacy and aligning with “Practices of Diplomacy in the Early Modern World”, Hardiman’s volume narrows its focus to a bilateral context, offering a deeper exploration than broader studies like “Global Gifts”.4

“Courtly Gifts and Cultural Diplomacy” compiles scholarly insights into the pivotal role of art and material culture in British-Russian relations. The thematic focus is clear: material culture was not merely ornamental but central to the conduct of diplomacy. The British and Russian monarchies used art, precious objects, and ceremonial gifts to establish and solidify relationships, particularly during times of political tension. These exchanges were not merely symbolic; they functioned as vital tools of statecraft, reinforcing alliances and facilitating communication between courts. Divided into four parts, the book covers topics ranging from artistic diplomacy to royal gifts, international travel, and dynastic exchanges, revealing how culture and diplomacy were intertwined in forging political relationships between the two nations.

The book opens with an overview of how art, visual culture, and material exchange contributed to diplomatic relations between Britain and Russia. Hardiman introduces key themes of acculturation, identity, and the symbolic power of material objects, which resonate throughout the case studies in the following chapters. The first part, “Art and Diplomacy”, delves into key historical moments when British and Russian artists and diplomats engaged in cultural exchanges. Hardiman’s chapter on Sir Godfrey Kneller’s portraits of Russian figures, such as Peter the Great, demonstrates how art was used as a political tool in shaping cross-national relationships. Contributions by Anthony Cross and Elizaveta Renne further explore how Anglo-Russian art diplomacy flourished under Catherine the Great, with figures like Prince Grigorii Potemkin and Sir Joshua Reynolds playing central roles in fostering these ties. Anthony Cross’s chapter focuses on Catherine the Great’s strategic use of gifts to cultivate intellectual and diplomatic relationships with British elites. Cross argues that Catherine’s gifting practices were deeply calculated, intended to position Russia as a cultural and intellectual power. Through her patronage of British thinkers and scientists, she used gifts to bridge cultural divides and assert Russia’s prominence on the European stage, though often with limited success.

The second part, “The Agency of Gifts”, focuses on diplomatic gift-giving as a significant aspect of British-Russian relations. Ekaterina Heath’s chapter discusses British diplomatic gifts to Russia in the late 18th century, while Caroline de Guitaut and Olga Sobolev examine the symbolic meanings behind Russian imperial gifts to the British royal family and literary figures like Alfred Lord Tennyson. Cynthia Coleman Sparke rounds out this section with a study of Fabergé's hardstone objects, highlighting the opulence and strategic importance of Russian gifts to British elites. Heath’s chapter offers a fascinating analysis of how British gifts—ranging from scientific instruments like telescopes to exotic plants—were strategically chosen to appeal to Russian intellectual and cultural interests, thereby reinforcing political alliances. Heath’s close reading of gift inventories sheds light on how material exchanges reflected deeper political and cultural aspirations. The chapter also highlights the reciprocal nature of these exchanges, demonstrating how diplomatic gifts were often carefully chosen to reflect the recipient’s status and cultural preferences.

The final two sections, “Travels and Dialogues” and “Dynasties and Domesticities”, explore how travel, art exchanges, and dynastic marriages further reinforced British-Russian relations. Chapters by Zalina Tetermazova, Irina Marisina, and Allison Leigh examine encounters between British and Russian artists, printmakers, and royalty during the 18th and 19th centuries. Irina Marisina’s essay delves into the logistics of transporting paintings across vast distances, examining the role of travel in facilitating diplomatic exchanges. This chapter explores how the circulation of objects between Britain and Russia not only conveyed political messages but also allowed for the dissemination of cultural ideas. Marisina argues that these exchanges were part of a larger pattern of cultural diplomacy, where material culture acted as a mediator between different political and cultural systems, raising questions regarding imperial ideologies. The concluding chapters by Stephen Patterson and Wendy Slater focus on the personal and political dynamics of royal weddings and the representation of Nicholas II, offering insight into how images and visual commemorations shaped historical narratives in both countries.

In conclusion, the volume is a well-researched and thought-provoking collection that illuminates the role of material culture in shaping diplomatic relations between Britain and Russia. It includes several useful features to aid navigation, such as a detailed overview of British and Russian dynasties and key events, as well as a comprehensive index of names, places, and key terms. The thirteen essays are firmly grounded in extensive archival research, drawing on letters, inventories, and visual materials from both British and Russian sources.5 The evidence presented is compelling, particularly in its emphasis on the materiality of diplomacy. The visual analysis of gifts, including their design, craftsmanship, and iconography, strengthens the argument that material culture played a central role in diplomatic relations. By concentrating on material objects rather than solely on political treaties or written correspondence, the volume offers a fresh and innovative perspective on the practice of diplomacy in European history.

Notes:
1 A recent project “The Material Culture of Diplomacy in Transcultural Processes of Negotiation in the 18th Century” (2019–2023) lead by Harriet Rudolph and Volker Depkat at the University of Regensburg further explores these themes. Harriet Rudolph, Entangled Objects and Hybrid Practices? Material Culture as a New Approach to the History of Diplomacy, in: Harriet Rudolph / Gregor Metzig (eds.), Material Culture in Modern Diplomacy from the 15th to the 20th Century (European History Yearbook 17), Berlin 2016, pp. 1–28.
2 Royal Collection Trust, Russia. Art, Royalty and the Romanovs, London 2018.
3 Paul Brummell, Diplomatic Gifts. A History in Fifty Presents, London 2022.
4 Jan Hennings, Russia and Courtly Europe. Ritual and the Culture of Diplomacy, 1648–1725. Cambridge 2016; Jan Hennings / Tracey Sowerby (eds.), Practices of Diplomacy in the Early Modern World c. 1410–1800, Cambridge 2017; Zoltán Biedermann / Anne Gerritsen / Giorgio Riello (eds.), Global Gifts. The Material Culture of Diplomacy in Early Modern Eurasia, Cambridge 2017.
5 John Webley noted some minor shortcomings in his recently published review: John Webley, Review of Hardiman, Louise. Courtly Gifts and Cultural Diplomacy: Art, Material Culture, and British-Russian Relations. H-SHERA, H-Net Reviews. August 2024, https://www.h-net.org/reviews/showrev.php?id=60321 (17.09.2024).