Royal Subject: Portraits of Queen Charlotte

£9.9
FREE Shipping

Royal Subject: Portraits of Queen Charlotte

Royal Subject: Portraits of Queen Charlotte

RRP: £99
Price: £9.9
£9.9 FREE Shipping

In stock

We accept the following payment methods

Description

Although the queen dutifully carried out her obligation to bear heirs to the royal throne, being constantly pregnant for almost 20 years of her life did take its toll. She kept mum about her feelings in public but shared them privately with her closest confidants.

Wax model by Samuel Percy. Royal Collection. Another wax of the Queen on a sofa with a dog, also dated 1795, is in an American private collection. An unspecified wax bust of Charlotte by Percy sold Christie’s, 10 June 1993, lot 235 from Stanton Harcourt. Painting by Henry Morland, three-quarter length holding an architectural engraving, apparently the ground plan and east and north elevations of Halton’s Library in Queen’s College (see J. R. Magrath, The Queen’s College, 1921, II, f.p.68). Queen’s College, Oxford (Mrs R. L. Poole, Catalogue of Portraits in the possession of the University, Colleges and City and County of Oxford, II, p 133; illus. Connoisseur, CXIV, 1944, p 103). Presented in 1765 as ‘by Moreland’, somewhat resembling the portrait by Ziesenis of 1761.Lawrence painted Queen Charlotte in Windsor Castle, possibly at the suggestion of one of her ladies-in-waiting, Lady Cremorne, who Lawrence had portrayed the previous year (Tate, London). The Queen was troubled by her husband’s protracted mental illness and by political events unfolding in France and was in no mood to sit for the young painter. The sitting on 28 September was probably the only one she gave him. She is not tall nor a beauty; pale, and very thin; but looks sensible, and is genteel. Her hair is darkish and fine; her forehead low, her nose very well, except the nostrils spreading too wide; her mouth has the same fault, but her teeth are good. She talks a great deal, and French tolerably;… Scott is not describing Charlotte herself, as she had been dead for eight years at time of writing, but rather oil paintings of Charlotte’s ancestors. Scott is recounting walking through the “old apartments” in Windsor Castle in October 1826 (eight years after Charlotte’s death), while they are being renovated. Scott is clearly commenting on the near-comical-bad paintings. An undated MS account of ‘Portraits Painted for the King by Gainsborough Dupont’ (NPG archive, Autograph letter: D) lists whole-length portraits of the King and Queen painted for the Duke of York, the Commissioners House at Portsmouth, and Windsor Castle, and half lengths for Windsor Lodge.

Queen Charlotte's tastes were rather less plain than her husband's, and she had some very luxurious rooms in the new Queen's House. She assembled an impressive collection of furniture, Sèvres porcelain and oriental decorative arts, in ivory, porcelain, embroidered silk and lacquer and she also collected jewelled and gold boxes. Some of the most expensive furniture in the collection was made for Queen Charlotte, for example this Vile & Cobb jewel cabinet to house her extensive collection of diamonds and pearls. The king and queen shared a love of music, often playing duets together, with Charlotte on the harpsichord and George on the flute. While both preferred the informal, simple lives they led at home, the court they presided over—as seen in “Bridgerton”—was a fashionable, glittering one. Watercolour by John Downman, half-length oval, her crown beside her. Royal Collection ( Gainsborough & Reynolds, Contrasts in Royal Patronage, The Queen's Gallery, 1994, no.40). this German-born Queen has recently reached fever pitch with Netflix’s Bridgerton, in which she is portrayed with the perfect amount of

The queen's arms changed twice to mirror the changes in her husband's arms, once in 1801 and then again in 1816. A funerary hatchment displaying the queen's full coat of arms, painted in 1818, is on display at Kew Palace. [75] [76] Anon. engraving after Lucius Gahagan, bust length (illus. M. Levey, A Royal Subject, Portraits of Queen Charlotte, National Gallery, 1977, p 23). Gahagan had seen the Queen at Bath in December 1817. The French Revolution of 1789 probably added to the strain that Charlotte felt. [47] Queen Charlotte and Queen Marie Antoinette of France had maintained a close relationship. Charlotte was 11 years older than Marie Antoinette, yet they shared many interests, such as their love of music and the arts, about which they were both enthusiastic. Never meeting face to face, they confined their friendship to pen and paper. Marie Antoinette confided in Charlotte upon the outbreak of the French Revolution. Charlotte had organized apartments to be prepared and ready for the refugee royal family of France to occupy. [48]

Etching by J. Spilsbury, half length, ‘Printed for Thomas Simes - Captain in the Queen’s Royal Regiment of Foot’. But isn't her heritage too sketchy to be used to heal old wounds? "Hopefully, the sketchiness will inspire others to further research and documentation of our rich history. Knowing more about an old dead queen can play a part in reconciliation." When this portrait was exhibited at the Royal Academy in 1781, Sir Henry Bate-Dudley praised it as ‘the only happy likeness we ever saw pourtrayed of her Majesty’. Gainsborough had already received commissions from the King’s brothers but the exhibition of these major full lengths proved his pre-eminence as unofficial court painter, ‘the Apollo of the Palace’. A portrait of Prince William, painted in the same year, was followed by the set of 15 ovals of the royal family in 1782.Unfortunately, there are numerous instances in this work that inaccurately quote primary sources, describe the content of primary sources in a way that is not supported by their text, or make novel assertions that are not sourced. Painting by Thomas Gainsborough, bust-length painted oval. Royal Collection (E. K. Waterhouse, Gainsborough, 1958, no.132; Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.779, pl.50). Replica in the Metropolitan Museum of Art, New York, and a copy in the Victoria and Albert Museum (91.1879). In the Royal Collection an enamel miniature by Henry Bone 1804, and two miniature copies attributed to Richard Collins (R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, nos.749, 170-71); further miniature copies, by Robert Bowyer, Richard Crosse, William Grimaldi, and Anne Mee, are listed by Walker (R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, p 85).



  • Fruugo ID: 258392218-563234582
  • EAN: 764486781913
  • Sold by: Fruugo

Delivery & Returns

Fruugo

Address: UK
All products: Visit Fruugo Shop