John Henry Frederick Bacon was commissioned to paint the official picture of the Coronation, whilst the Danish artist, Laurits Tuxen was to complete a more private view of the event (see RCINs 404478, 407287). The Coronation took place on Thursday, June 22nd 1911. As King George V recounted in his diary: 'It was overcast & cloudy with some showers & a strongish cool breeze, but better for the people than great heat…. The Service in the Abbey was most beautiful, but it was a terrible ordeal. It was grand, yet simple & most dignified and went without a hitch. I nearly broke down when dear David came to do homage to me, as it reminded me so much when I did the same thing to beloved Papa, he did it so well. Darling May looked lovely & it was indeed a comfort to me to have her by my side…. We left Westminster Abbey at 2.15 … with our Crowns on and sceptres in our hands.'

Bacon was allocated a special place in Westminster Abbey, behind the tombs of Aymer de Valence and Aveline of Lancaster on the north side of the Sacrarium facing the Royal Box and depicts a wide panoramic view of the event. King George V is seated in profile facing left holding two sceptres. Seated on the left is Queen Mary, with the Archbishop of Canterbury, standing, paying homage at the front of a procession of bishops and peers. Beyond are the standing congregation and Westminster Abbey. Interestingly, Bacon places Queen Mary almost at the centre of the composition, unlike Tuxen's scene, where she appears removed from the main event (see RCIN 404478).

King George V and Queen Mary record sittings to Bacon at his studio during February and March 1912 and the painting was exhibited at the Royal Academy that year (no. 149). A letter from Queen Mary to the Prince of Wales of 4 May reported; 'I went to the Royal Academy on Thursday, there are some good pictures but not many. The Coronation picture is excellent … '

Bacon made copious portrait and interior sketches for the commission, many of which were sold by Christie's following the artist's sudden death in 1914. These included two interior views now in the Museum of London. Messrs William Doig and Co. were entrusted to engrave the painting and numerous copies were printed (for example RCIN 751198). They also published the key to the painting (RCIN 813074).

Bacon, the son of the lithographer, JC Bacon, showed an aptitude for drawing and modelling and in 1887 he entered the Royal Academy schools. His early works are mostly genre scenes and show the influence of the Newlyn School; but by 1900 he had turned to portraiture. By 1911 he had already completed a number of large scale commissions: The Homage-Giving at the Coronation of Edward VII, dated 1903 (National Portrait Gallery) and The Reception of the City of London Volunteers at the Guildhall, 1902 (Guildhall Art Gallery).