Drawing of the Day: The Yellow-Breasted Chat and the Turk's Cap Lily, c. 1765

The Yellow-Breasted Chat and The Turk's Cap Lily, c. 1765
Mark Catesby
Purchased by King George III
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

From the Royal Collection, we have this handsome watercolor by Mark Catesby (1682-1749). Catesby created the painting of a small bird (known as a Yellow-Breasted Chat) with a Turk’s Cap Lily. To give emphasis to the bird, Catesby has only faintly sketched-in the plant with it’s maple-shaped leaves. 

The painting was created for one Thomas Cadell from whom it was purchased by King George III in 1768.

Painting of the Day: A View of Snow Hill, Windsor Great Park, 1799

Click image to enlarge.
View of Snow Hill, Windsor Great Park
Benjamin West, 1799
The Victoria & Albert Museum

Benjamin West (1738-1820) is notable as the first American-born artist to gain international renown. He famously was appointed as Historical Painter to King George III and was granted the position of the second President of the Royal Academy.

West was decidedly ambitious and, in many ways, ruthless in his pursuit of prestige. Later in life, both he and his work became affected by a melodramatic grandiosity which was both charming and repulsive.

Upon his death, he left behind a legacy of nearly 750 paintings of which only about thirty were landscapes. Therefore, this canvas from 1799 is particularly special. Entitled, “A View of Snow Hill, Windsor Great Park” depicts West himself, at the left, sketching. He is joined by his friend and companion, James Dyer, a former soldier in the Horse Guards who would later become a life model at the Royal Academy Schools. Furthermore, Dyer served as West's valet for fifty years. This painting is one of a group of seven views in and around Windsor which were created by West. West rented a house in Windsor, circa 1780, in large part because he had been commissioned for a series of paintings in the Royal Chapel in Windsor Castle.

Drawing of the Day: Children Watching a Puppet Show

Children Watching A Puppet Show
Stefano della Bella
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

Oddly enough, here’s another drawing which I’ve not seen before. This one is by an Italian artist with a sing-song name, Stefano della Bella (1610-1664). The work of black chalk, pen and ink was purchased by King George III from Consul Joseph Smith in 1762, and depicts a group of children watching a puppet show. A young mother holds her child on her lap so that the baby can see the show, too.

I am familiar with a similar drawing by Della Bella which is housed at the British Museum. While the subjects are similar, the example in the British Museum includes a bagpiper accompanying the show.

Given the age of the piece, the paper has deteriorated a bit and the other sketches on the verso are visible.

Obviously, the drawing is incomplete, and, is clearly a study for another work—perhaps a painting.

Gifts of Grandeur: Snuff box Set with a Miniature of Princess Amelia, 1811

Snuff Box, 1811
The Royal Collection
Via The Royal Collection Trust
Crown Copyright
Image Courtesy of Her Majesty Queen Elizabeth II

Princess Amelia (1783-1810), the youngest  of King George III's and Queen Charlotte's fifteen children, is popularly thought to have been the favorite of her royal father.  George was protective of all of his daughters, but especially Amelia whom he'd nick-named "Emily."  His illness and bouts of "madness" made talk of marriage, as she grew into adulthood quite difficult.  Despite this, and her own failing health, Amelia did fall in love with an equerry who was twenty-one years her senior--The Hon. Charles FitzRoy.  Though she knew she could not marry him because of the Royal Marriages Act, and knew that news of their affair would send the King into another fit of madness, Amelia pledged her love to FitzRoy and considered herself to be his.  She even privately took the initials "A.F.R." for "Amelia FitzRoy."  

Nonetheless, life didn't afford Amelia and Charles much time together.  Her health continued to fail her.  In 1808, she contracted a severe case of the measles, and, further conditions weakened her over the next year.  By August of 1810, she was constantly suffering, and by October, she knew she was dying, going so far as to commission a mourning ring for her father.  The ring of diamonds concealed a compartment of crystal which contained a lock of her hair.   

During this period, several miniature portraits were painted of the delicate princess.  These enamel portraits were used to make small items which could be used in daily life such as this handsome snuff box.  

This circular gold, ttortoiseshell and enamel snuff box in two color gold boasts an oak leaf and acorn molding.  The lid is adorned with a miniature of Princess Amelia; a half length portrait, facing slightly to left with her head half to right.  She's wearing a white dress with a drawstring at the neck, a blue sash and a gold necklace.

Object of the Day, Museum Edition: “Poetry” by Alessandro Turchi, 1606

Poetry
Alessandro Turchi, 1606
The Royal Collection

Dressed in blue to show the heavenly nature of her art, this painting of “Poetry” shows the muse crowned with a laurel wreath. In one hand, she holds a book, in the other; she holds a pen sharpened from a laurel branch. Poetry has wings on her head to show that she inspires “flights of fancy.”

This gem-like painting by Alessandro Turchi is inspired by the work of Cesare Ripa and was the back of one of two shutters which were created for the installation of the organ at the newly built Verona Accademia Filarmonica. When the shutters were opened, Poetry appeared on one side and Music on the other.

King George III added this painting to the Royal Collection during his reign. With its brilliant color and gilding, Poetry continues to inspire flights of fancy to this day.

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

Her Majesty’s Furniture: Queen Charlotte’s Reading Stand, 1780

Reading Stand
English, 1780
Created for Queen Charlotte
Tulipwood, Kingwood, Mahogany,
Ivory, Mother-of-Pearl, Tortoiseshell
The Royal Collection

It wouldn’t do to have the queen prop a book up on a pillow. This exquisite reading stand was made for and presented to Queen Charlotte, wife of King George III, in 1780. The stand features two hinged panels of tulipwood and mahogany which are opened to reveal an ornately and masterfully inlaid panel which features the cipher of Queen Charlotte in mother-of-pearl and tortoiseshell.


While we’re unsure of the maker, whoever he was knew Queen Charlotte’s tastes because this lovely object is a visual match to the other furnishings which the queen particularly favored.

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

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

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

Unusual Artifacts: Queen Charlotte’s Gaming Counters, 1780

A miniature on Ivory set with pearls
showing Queen Charlotte in an ideal
light.  She was widely described as
"Not a great beauty."
1762The Royal Collection

Queen Charlotte didn’t have what one would call the happiest of lives. As a young bride, her husband, King George III, as well as the rest of the Royal Household was very much under the often irrational control of the Dowager Princess Augusta of Saxe-Gotha, her mother-in-law. The King’s mother insisted that English ladies not speak directly to the German-born princess-turned-consort unless she was accompanied by one of her German handlers. It really was all quite a kerfuffle. So much of a kerfuffle, in fact, that Queen Charlotte—for a spell—had a home of her own, Buckingham House (known as “The Queen’s House”) which, as we know, grew into Buckingham Palace.


And, yet, despite these complications, Charlotte and George got along well enough to have fifteen children together (thirteen of whom survived to adulthood). Charlotte tried to remain cheerful and pursued the things which interested her—botany, music, making sure women were educated, and card games…lots and lots of card games. What else is a Queen to do when she’s stuck in one room for hours at a time while her husband goes increasingly mad? Besides, it seems she was almost constantly pregnant, so cards were a nice way to pass the time.

Gaming Counters with the Cipher of Queen Charlotte
Mother-of-Pearl
Chinese, 1780
Crown CopyrightThe Royal Collection
Image Courtesy of Her Majesty
Queen EIizabeth II

Queen Charlotte’s favorite games were “Whisk” and “Commerce.” She was known to spend hours at a time at these games. In 1780, she was presented with an elaborate gaming set which included these Chinese, mother-of-pearl gaming counters which were engraved with her cipher. Well-worn, it’s obvious that the Queen used these counters frequently.

After her death, her son sold all of her belongings (except her jewels) at an 1819 auction. Among the items sold, were these mother-of-pearl counters. Now, it’s difficult to say how they’ve come back to the Royal Collection. Some believe that they were purchased in 1819 by the Duke of Sussex who consequently auctioned them off again in 1845. Where they were after that, I’m not sure. However, I would guess that Mary of Teck picked these up sometime in the early Twentieth Century—as one does.

Mastery of Design: A Finger Ring with a Portrait of Grand Duke Adolphus, 1746

Finger Ring with Miniature of
Adolphus Frederick IV
Presented to Queen Charlotte, 1746
The Royal Collection

Grand Duke of Mecklenburg-Sterlitz, Adolphus Frederick IV was the brother of Queen Charlotte, the wife of King George III. Adolphus was most beloved and Charlotte often showered her brother with expensive gifts.


In 1746, he returned the favor by presenting Queen Charlotte with this diamond finger ring set with a watercolor on ivory portrait of himself by an unknown German artist. Though he looks quite foppish to modern eyes in his elaborate wig, Adolphus was quite the height of fashion. The Queen loved the ring and wore it frequently. A similar portrait was also set into a matching snuff box.

Sculpture of the Day: A Group of Parian Figures of the Royal Family, 1773

The Royal Family of King George III
Parian, John Bacon, 1773
The Royal Collection

That Queen Mary felt compelled to rescue this delicate group of parian figures is not surprising. Not only is the group extremely rare, but it also represents her ancestors. Not only that, but it is in itself an example of the reproduction in porcelain of an elaborate painted composition portrait group from 1770 by Zoffany which the artist created of the Royal Family in “Van Dyck” costume.

The group was modeled by the sculptor John Bacon who adapted the arrangement of the figures to better present them on the base. More so than Zoffany’s portrait, Bacon focused the attention of the group more directly on the four Princes which includes the future King George IV .

To Serve and Project: The Elliot “King George III” Tobacco Jar

Tobacco Jar
Staffordshire Porcelain Factory
1780-1800
The Victoria & Albert Museum

Tobacco jars often were modeled as portrait busts.  This earthenware jar with a white, yellow, brown and green glaze is meant to represent King George III.  He looks rather potty, yes?

This was made between 1780 and 1800 in Staffordshire.  So, by then His Majesty was well on his way to Crazy Town.  I wonder if he ever tried to take off the top of his head and root around for tobacco in there.  I kid, of course.  Nice wig, too.  I think that whole Revolution Kerfuffle wasn't a beauty treatment.

The Home Beautiful: The Golden Jubilee of King George III Cover, 1810

Bed Cover
Made for the 1810 Golden Jubilee
The Victoria & Albert Museum

This quilted patchwork bedcover of printed cottons was made in 1810 for the Golden Jubilee of Queen Victoria’s grandfather, King George III. At the center of the bed cover is a printed basket of flowers which includes lilies, carnations and daffodil buds. This basket is flanked by the rose and thistle, with a cluster of shamrocks beneath –the symbols of the Empire.

The panel is inscribed “G 50 R.” We should note that the floral border is a later addition. The cover has been created with both appliqué and piecing techniques to create the patchwork design.

An X-ray of the bedcover reveals that this was built upon an earlier quilt at the center which has been used for the padding. This earlier, eighteenth century quilt shows an all-over design of chevrons. 

Precious Time: Queen Charlotte's Lever Watch and Pedestal, 1770

Watch, Pair Case and Plinth
Thomas Mudge, c. 1770
Purchased by King George III for Queen Charlotte
Crown Copyright
The Royal Collection

Image Courtesy of Her Majesty Queen Elizabeth II

This gold watch case with an enamel dial fits into a plinth of tortoiseshell and gilt bronze. Both were made around 1770 by Thomas Mudge (1715-1794). The set was purchased by King George III (1738-1820) as a gift for Queen Charlotte.

This unique timepiece has been called “Perhaps the most historically important watch in the world” because of the fact that it is the earliest known example of a “lever escapement.” This advancement in clock-making, next to the creation of the balance spring, is considered the single greatest improvement to the art of watch-making. Most historians consider this particular watch the “forerunner” of the modern wrist and pocket watch. The watch is also important because it contained the earliest known example of an automatic device designed to compensate for changes in temperature.

Mudge invented the lever escapement in 1754, but didn’t employ one in a watch until this one was built in 1770. Mudge referred to the timepiece in correspondence with his patron, Count von Bruhl as “The Queen’s Watch,” suggesting that it was always intended for Queen Charlotte. There’s some debate as to the origin of the plinth upon which the watch is displayed. Some feel it’s original to the piece. Others think it was certainly altered over time. Others still believe it may be a replacement for the original presentation box. The first reference to the plinth comes in 1825 when both watch and plinth were restored. However, obviously, it existed long enough to need to be restored. Earlier records are spotty at best.

Masterpiece of the Week: The Libyan Sybil, 1651

The Libyan Sybil
Guercino, 1651
The Royal Collection

King George III was one of the most prolific art collectors of the Royal Family. Later, Queen Victoria would add to his collection as well as continue to purchase paintings by Baroque Italian painters.


This work by the Italian Painter Guercino (known as “The Squinter” for the way in which he studied his compositions through clenched eyes) was painted in 1651 for Ippolito Cattani of Bologna from whose estate King George later purchased the piece. It depicts the Libyan Sybil—the woman who prophesied the coming of the Messiah to the Gentiles. Guercino was known for his paintings of the twelve sybils. This Sybil was painted later in his life. By this point in his career, he had cast aside his usual Baroque tendencies of heavy chiaroscuro and instead, shown us a figure painted in half-shadow in regal, rich colors. The artist has also broken tradition by identifying the Sybil by a simple inscription in the book she’s reading as opposed to her usual artistic attribute of a lighted lamp.

For many centuries, the more Pagan symbol of the Sybil was used as a stand-in for Old Testament prophets. This device of communication was often employed in Italian art by Renaissance and Baroque artists. George III was fascinated by this sort of metaphor and eagerly added such paintings to his collection. 

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

Gifts of Grandeur: A Pendant with Tassie Cameos of George III and Charlotte, 1780

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

This delicate pendant gold, enamel, glass cameo and pearls bears the likenesses of King George III and Queen Charlotte. The cameos are referred to as “Tassie Cameos” because they are made in the style of William Tassie who perfected a means of crafting sparkling silhouettes in glass of famous people.

Pendant with Tassie Cameos
of King George III and
Queen Charlotte
1780The Royal Collection
Image Courtesy of Her Majesty
Queen Elizabeth II

The pendant, created in 1780, was given by King George III and Queen Charlotte to the Honorable Georgiana Townsend, daughter of the 1st Viscount Sydney—the Leader of the House of Commons who was largely responsible for reaching terms of peace with the United States in 1783 following the American Revolution. It was interesting the Sydney was so instrumental in smoothing things over with the Colonies considering that the whole kerfuffle started with the Stamp Act of 1765—an act passed by Sydney’s cousin, Charles Townsend.

Georgiana had spent most of her life in the favor of the Royal Court and was a favorite of Queen Charlotte. Later in her life, Georgiana was appointed to the sinecure of State Housekeeper at Windsor, a position she held until the end of her life. She lived in the Norman Tower at Windsor Castle until her death.

In 1915, most of the items in the Sydney collection were auctioned off. Mary of Teck purchased this pendant at that auction as part of her quest to return as many Royal objects as possible to the Royal Collection.

Precious Time: King George III’s Barometrical Clock, 1763-5

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

Barometrical Clock
1763-1765
Scot Alexander Cumming
For King George III
The Royal Collection

George III’s keen interest in science led him to amass an impressive collection of scientific instruments and clocks in the early part of his reign. The barometrical clock from 1763 to 1765 was made for the King by Scot Alexander Cumming who included an exquisite clock mechanism, a month-long calendar and a barometer in the design.


The gorgeous case is of unknown origin, but features inlaid shell and exceptionally sculpted ormolu mounts of flowers, volutes and a figural group of “Time” assisted by Cupid. King George III kept the clock along with several of his favorite devices in his private suite at Buckingham House (now Buckingham Palace).

Unfolding Pictures: A Fan Depicting King George III and His Family Visiting the Royal Academy, 1789

Fan Depicting King George III and his Family
Visiting The Royal Academy
English, 1789
The Royal Collection

In 1768, King George III established the Royal Academy, and, in 1780 provided the Academy with a permanent home in Somerset House. Before his first major illness in 1788, King George III and his family visited the Royal Academy in their new home. The famous visit was recorded in drawings and paintings. A favorite painting of event was one created by J.H. Ramberg in 1788. An engraving of this painting by P. Martini became a popularly purchased print.


In 1780, the Martini engraving was incorporated into the leaf of this fan. The image had to be somewhat altered in printing so that it would fit neatly on the paper fan leaf. Supported by japanned bamboo sticks and guards, the finished fan became a model for several reproductions—some of which survive in the Victoria & Albert Museum.

The original fan ended up in the collection of Queen Mary who had, by the time of her death, amassed a tremendous collection of antique fans—most of which had significance to the Royal Family. 

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

Click image to enlarge.

Object of the Day, Museum Edition: Statuette of Gustavus II Adolphus of Sweden, 1625

Equestrian Statuette of
Gustavus II Adolphus of Sweden,
Daniel Lang, 1625-1635
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

King George III seemed to enjoy collecting things.  He amassed a rather substantial collection of unusual and attractive artifacts during his lifetime.  This equestrian statuette is a lovely example of King George’s love of fine art.  Constructed of twenty-nine individual pieces of silver which have been chased, cut or wrought depending on the texture it’s trying to duplicate, this partially gilt sculpture was made in Augsburg between 1625 and 1635 by Daniel Lang and depicts Hapsburg leader Gustavus II Adolphus of Sweden. 

What’s most intriguing about this piece is that the horse’s head is removable. Without its head, an interior cask serves as a drinking vessel, albeit an awkward one. Though no one’s drinking out of it these days, this sculpture is certainly an attractive piece of art and an interesting glimpse into the kinds of things that King George III liked to have around him.

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

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

Object of the Day, Museum Edition: Peppermill with Cipher of George III, 1761

Peppermill with Cipher of
George III
1761-62
Tortoiseshell, Silver, Steel
The Royal Collection

King George III had a distinct distaste for opulent dining and did not enjoy public banquets and dinners. He much preferred sharing a simple supper of mutton, cold turkey, fried oysters and custard with Queen Charlotte in his bedchamber. Toward the end of his life, as he became slightly more--shall we say—peculiar, he liked to eat alone at 2:00.

However, just because he preferred a simple meal at a small table, didn’t mean he wanted to just use any old china or service. Between 1761 and 1762, George commissioned a new, magnificent set of silver (partially gilt) for use at his private table. Part of the order was this peppermill. The vessel is crafted of tortoiseshell and silver with a silver inset of George III’s cipher. The blades of the grinder are made of steel. Though slightly worn from use, the peppermill is in excellent condition and is a nifty little reminder of George III and what probably amounts to hundreds upon hundreds of fried oysters.

Object of the Day, Museum Edition: George III’s Astronomical Clock, 1765

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

Astronomical Clock
1765
Made for King George III
Mahogany, Brass, Silver, Enamel
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty
Queen Elizabeth II

King George III had a keen passion for clocks, horology and science in general. Items such as this clock were infinitely attractive to him. This astronomical clock cost the then-astronomical sum of £1042. The cost was well worth it. The end result is a magnificent creation with a shining mahogany case, brass palm-frond columns and silver plaques with bas relief figures of the Royal lion and unicorn.


In June of 1765, this bracket clock was installed in Buckingham House (now Buckingham Palace), and George III was fascinated by it and its many functions. It features a complex quarter-striking movement which displays the time of day on the front clock face on a 24-hour dial with hands for mean and solar time. The central portion of the clock features a painted landscape which shows the passage of the sun across the sky as well as a small dial which records the time at thirty locations around the world. A dial at the top of the bracket records the date and month with the year being recorded to the left and the location of the planets on the right. A silver sphere at the reverse, shows the phases of the moon as well as high and low tide at thirty-two seaports across the world.

It’s an extremely complicated device, and frankly does as much as any modern creation, but in a much more elegant and attractive way.

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

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

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

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

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