Royal Pets: Islay, Tilco, The Macaw and Two Lovebirds

Islay, Tilco, the Great Macaw
and Two Lovebirds
Sir Edwin Landseer, 1839
The Royal Collection

Islay, the terrier, was a favorite companion of Queen Victoria. The scruffy darling is shown here in this 1839 portrait by Sir Edwin Landseer—the great painter of animals. Islay is joined by his friend Tilco as well as some fowl sidekicks. The Great Macaw (not to be confused with The Lory) was known to have spent a great deal of time with Islay. With them are two love birds from the Royal Aviary.


Not to be outdone, Bertie and his friend, The Lory II, have posed for a picture of their own.

Painting of the Day: Princes Ernest and Edward of Leiningen, 1839

Princes Ernest and Edward of
Leiningen, 1839
Sir William Ross
Watercolor on Ivory
The Royal Collection

Queen Victoria’s step-nephews (the sons of Charles, Third Prince of Leiningen, Victoria’s half-brother) visited the Queen in 1839 and took great pleasure in tearing around the Royal residences. Queen Victoria wrote in her journal during their visit, “‘The two dear (though very naughty) boys came and stayed in my room till near 12, alas for the last time.”


Princes Ernest and Edward of Leiningen were quite taken with the Royal animals—particularly Victoria’s favorite Skye Terrier, Islay and a parrot known as The Great Macaw. The Queen commissioned artist Sir William Ross to paint a miniature on ivory of the two boys. They are forever captured in play with Islay and the macaw as Ernest offers the parrot a biscuit which seems to also be the object of Islay’s desire.

Though we don’t know exactly when the two boys sat for Ross, we do know that the miniature was completed by the end of 1839.

Royal Pets: Princes Ernest and Edward of Leiningen, 1839

Princes Ernest and Edward of

Leiningen, 1839

Sir William Ross

Watercolor on Ivory

The Royal Collection

Queen Victoria’s step-nephews (the sons of Charles, Third Prince of Leiningen, Victoria’s half-brother) visited the Queen in 1839 and took great pleasure in tearing around the Royal residences. Queen Victoria wrote in her journal during their visit, “‘The two dear (though very naughty) boys came and stayed in my room till near 12, alas for the last time.”

Princes Ernest and Edward of Leiningen were quite taken with the Royal animals—particularly Victoria’s favorite Skye Terrier, Islay and a parrot known as The Great Macaw. The Queen commissioned artist Sir William Ross to paint a miniature on ivory of the two boys. They are forever captured in play with Islay and the macaw as Ernest offers the parrot a biscuit which seems to also be the object of Islay’s desire.

Though we don’t know exactly when the two boys sat for Ross, we do know that the miniature was completed by the end of 1839.

Object of the Day: A Late Victorian Charity Donation Card

A few months ago, we took a look at a painting of the Royal pets by Sir Edwin Landseer—the painter who remains widely celebrated for his portrayals of animals. Entitled “Islay, Tilco, the Great Macaw and Two Lovebirds,” the painting is part of the Royal Collection and was a favorite of Queen Victoria. My Bertie even recreated this famous painting!

Landseer’s canvas has been reproduced often since 1839. The terrier, Islay, is not only showing interest in the Great Macaw, but also eyeing the bird’s dinner. This makes the scene the perfect image for a donation card. Here, we see such a card which was printed in the late Nineteenth Century, which reads, “Contributions Thankfully Received.” Just as Islay would have been pleased with a donation, so would the volunteers working for whatever charity this card was printed.

I happened upon this card in a Dallas antique shop and, being a fan of the painting, I couldn’t resist it. I only wish I knew for what charity this card was distributed.

Painting of the Day: Victoria, Princess Royal, with Albert Edward, Prince of Wales, 1843

Victoria, Princess Royal with Albert Edward, Prince of Wales, and Islay the Dog
Thomas Musgrove, 1843
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Thomas Musgrove Joy (1812-66) painted this masterpiece in 1843. The piece was commissioned by Her Majesty Queen Victoria and is actually a newer version of a different painting which was originally created by Sir Francis Grant of Queen Victoria and Prince Albert’s two eldest children. 


Now, it may look like two little girls, but let's remember that, in the early Nineteenth Century--in fact, well into the late Nineteenth Century--little boys below a certain age wore dresses, too.

Here, we see Prince Albert Edward (“Bertie”—later King Edward VII) who is shown as a child with a rattle in his hand and his sister, Victoria the Princess Royal, is holding up a biscuit for which Islay the dog is begging. Islay was Queen Victoria’s favorite Skye terrier. The Queen described him as “my faithful little companion of more than 5 years ... always with me, & ... a great darling.”

Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Sculpture of the Day: “The Family Dog” Centerpiece, 1842

Centerpiece
With Figures of Eos, Cairnach, Islay
and Waldmann
R. & S. Garrard & Co., Manufacturer
Prince Albert, Designer
Edmund Cotterill, Modeler
Silver Gilt, 1842-43
The Royal Collection

Prince Albert and Queen Victoria, as we know, loved their dogs. Here at Stalking the Belle Époque, we’ve examined several of the paintings and sculptures that the Queen and her consort had commissioned of the Royal family’s beloved pets. This silver gilt centerpiece by Garrards takes the cake, or at least holds it.


In 1842, after having a silver figure of his favorite greyhound Eos created for him by the Royal Jewelers at R. & S. Garrard & Co., Prince Albert commissioned the silversmiths to create a massive centerpiece which featured figures of four of his and Victoria’s cherished dogs. Since Prince Albert rather enjoyed artistic pursuits and had already tried his hand at jewelry design, he collaborated with the sculptors and designers at Garrards, helping them come up with the final blueprint for this magnificent work of art. According to the Prince’s specifications, the centerpiece was to be a tazza in the style of the Italian Renaissance. Along the base, figures of four dogs were to be arranged.

The first was to be Eos, Albert’s greyhound. The next would be Islay, Victoria’s terrier whom she described as, “…a darling little fellow, yellow brindled, rough long hair, very short legs and a large, long, intelligent good face.” Third would be Cairnach, another terrier. The Queen said this of Cairnach, “‘he had such dear engaging ways.” Finally, a sculpture of a dachshund named Waldmann. The Queen, throughout her life owned several dachshunds. All of them were called Waldmann.

The finished centerpiece is quite large, standing 78 centimeters (30 inches) tall. It was displayed at the 1849 Exhibition of British Manufactures to mixed reviews. While some thought the influence of Italian Renaissance design introduced by Prince Albert made the whole piece look a bit too, “French” (which doesn’t make much sense, but there you are), overall, people applauded the piece for its artistry if not for the fact that it’s just so darn adorable.

Sculpture of the Day: “The Family Dog” Centerpiece, 1842

Centerpiece
With Figures of Eos, Cairnach, Islay
and Waldmann
R. & S. Garrard & Co., Manufacturer
Prince Albert, Designer
Edmund Cotterill, Modeler
Silver Gilt, 1842-43
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty
Queen Elizabeth II

Since I was plagued with weird technical issues yesterday--power was out, internet was out, cable was out...all in succession, we will catch up with our "Treat of the Week" tomorrow.  So, all you foodies, get ready.  

For now, let's look at a delicious table adornment of a different sort.

Prince Albert and Queen Victoria, as we know, loved their dogs. Here at Stalking the Belle Époque, we’ve examined several of the paintings and sculptures that the Queen and her consort had commissioned of the Royal family’s beloved pets. This silver gilt centerpiece by Garrards takes the cake, or at least holds it.


In 1842, after having a silver figure of his favorite greyhound Eos created for him by the Royal Jewelers at R. & S. Garrard & Co., Prince Albert commissioned the silversmiths to create a massive centerpiece which featured figures of four of his and Victoria’s cherished dogs. Since Prince Albert rather enjoyed artistic pursuits and had already tried his hand at jewelry design, he collaborated with the sculptors and designers at Garrards, helping them come up with the final blueprint for this magnificent work of art. According to the Prince’s specifications, the centerpiece was to be a tazza in the style of the Italian Renaissance. Along the base, figures of four dogs were to be arranged.

The first was to be Eos, Albert’s greyhound. The next would be Islay, Victoria’s terrier whom she described as, “…a darling little fellow, yellow brindled, rough long hair, very short legs and a large, long, intelligent good face.” Third would be Cairnach, another terrier. The Queen said this of Cairnach, “‘he had such dear engaging ways.” Finally, a sculpture of a dachshund named Waldmann. The Queen, throughout her life owned several dachshunds. All of them were called Waldmann.

The finished centerpiece is quite large, standing 78 centimeters (30 inches) tall. It was displayed at the 1849 Exhibition of British Manufactures to mixed reviews. While some thought the influence of Italian Renaissance design introduced by Prince Albert made the whole piece look a bit too, “French” (which doesn’t make much sense, but there you are), overall, people applauded the piece for its artistry if not for the fact that it’s just so darn adorable.

Painting of the Day: “Queen Victoria Riding Out,” Sir Francis Grant, 1838

Queen Victoria Riding Out
Sir Francis Grant, 1838-1839
Crown Copyright
The Royal Collection
Images Courtesy of
Her Majesty Queen Elizabeth II

During the 1830’s and 1840’s, a popular subject for paintings was a scene of a young, eligible heiress riding out on her horse, followed by potential suitors. When Queen Victoria inherited the crown from her uncle, King William IV, she was similarly depicted in this affectionate, tongue-in-cheek, painting by Sir Francis Grant.


The Queen was in on the joke and was quite amused by it, asking special and favored members of her court to pose as “suitors” for a position in the Royal favor. After the first sitting for the painting, she wrote in her journal of Lord Melbourne, “looking so funny, his white hat on, an umbrella, in lieu of a stick in one hand, & holding the reins, which were fastened to the steps, in the other . . . it is such a happiness for me to have that dear kind friend’s face, which I do like & admire so, so like . . . and Uxbridge, George Byng, & old Quintin ludicrously like.”

Also pictured are two of her favorite dogs, Dash and Islay, as well as her beloved horse, "Comus."

After her marriage to Prince Albert, this painting was reproduced with a figure of Prince Albert at the lead, giving this painting a whole new meaning, but one more in tune with the genre.

Painting of the Day: “Queen Victoria Riding Out,” Sir Francis Grant, 1838

Queen Victoria Riding Out
Sir Francis Grant, 1838-1839
The Royal Collection

During the 1830’s and 1840’s, a popular subject for paintings was a scene of a young, eligible heiress riding out on her horse, followed by potential suitors. When Queen Victoria inherited the crown from her uncle, King William IV, she was similarly depicted in this affectionate, tongue-in-cheek, painting by Sir Francis Grant.


The Queen was in on the joke and was quite amused by it, asking special and favored members of her court to pose as “suitors” for a position in the Royal favor. After the first sitting for the painting, she wrote in her journal of Lord Melbourne, “looking so funny, his white hat on, an umbrella, in lieu of a stick in one hand, & holding the reins, which were fastened to the steps, in the other . . . it is such a happiness for me to have that dear kind friend’s face, which I do like & admire so, so like . . . and Uxbridge, George Byng, & old Quintin ludicrously like.”

Also pictured are two of her favorite dogs, Dash and Islay, as well as her beloved horse, "Comus."

After her marriage to Prince Albert, this painting was reproduced with a figure of Prince Albert at the lead, giving this painting a whole new meaning, but one more in tune with the genre.