Painting of the Day: The Misers, 1548-1551

The Misers
A Follower of Marinus can Reymerswaele
c. 1550
Acquired by Queen Anne
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Historians believe that Queen Anne (the second daughter of King James II) added this handsome and strange painting to the Royal Collection. The scene was painted between 1548 and 1551 by an unknown student artist who is believed to have been a follower of Marinus van Reymerswaele (c. 1490/95-c. 1567). Painted on board, the painting also mimics a 1440 work by Jan van Eyck which depicted a banker in conference with his client. While this painting by van Eyck is believed lost, it is credited as having launched a genre of works which showed businessmen in Fifteenth Century dress engaged in money matters. Of the sixty variations of the scene, most of them are composed in a style which hints at a strong Dutch influence. Most of these compositions can trace their stylistic roots to the works of van Eyck. Still, others are clearly inspired by the paintings of van Reymerswaele and, also, another Dutch master Quinten Massys.

Let’s take a closer look at this piece which is entitled, “The Misers.” This follower of van Reymerswael has taken great pains to show the nature of the men. Their faces are masks of avarice and greed and their claw-like hands nod at the common conception of those involved in the changing of money. The scene is meant to be amusing and the visages of the men purposefully lean toward caricature. Despite the piles of coins in front of them, we’re reminded that this wealth will not aid them for long. The brevity of life is suggested by the candle which burns near them—it is almost spent, just as their lives are. 

What I find most interesting about this work is that the ledger on the table has been inscribed in French, indicating that this piece was likely a copy by a student—commissioned by a French patron who much admired the original by van Reymerswaele.

Saturday Sparkle: The Thistle Badge of the Prince of Wales

Thistle Badge
Blue-Grey and White Onyx,
Diamonds, Gold, Silver, Enamel
Miniature on Ivory
1703-1807
Originally made for King James II
The Royal Collection

The onyx cameo of St. Andrew set into this badge dates to the early Eighteenth Century and was originally carved as a garter badge for King James II. Over the centuries, the badge was altered considerably. Its present condition owes to a redesign from around 1764 when the reverse of the cameo was layered with an enamel design of a thistle. In 1772, a locket was embedded into the enamel. The locket housed a portrait miniature of Princess Louise.


There’s some debate about the origin of the opulent diamond mounting. Some records indicate that this garter jewel was set in a frame of large diamonds as early as 1703 with its presentation to King James II. However, other records show that the diamond mounting was added with the enamel backing in the mid-Eighteenth Century. It could be that the badge has had several settings though the cut and quality of the diamonds suggests creation in the Eighteenth Century.

In 1807, the Cardinal of York, bequeathed the Thistle Badge to the Prince of Wales. Later, the Thistle Badge (having become symbolic of Scotland) was displayed by King William IV as part of the “Honours of Scotland.”

The Home Beautiful: A Mother-of-Pearl Spectacle Case and Spectacles, 1685-1688

Spectacle Case
The Victoria & Albert Museum

I think this is very pretty, and I’d never have guessed that it is as old as it is. Here, we see a French spectacle case of painted and gilded mother-of-pearl. The case was donated to the V&A still containing a pair of folding spectacles, of tortoise-shell and silver. The spectacles were actually made later in the Eighteenth Century.

The case itself was made in the shape of a pair of spectacles with a high, arched bridge. It is crafted of two sheets of mother-of-pearl, joined by a narrow, molded, strip of silver around the sides and base of the case. One surface of the mother-of-pearl is painted in red, green and yellow with a floral design springing from a trellised flower pot centered on each lens.

This case may have belonged to James II. The painted mother-of-pearl case is of the very highest quality and would have only been available to someone of Royal or noble birth. A letter that accompanied the spectacles, from the Eighteenth Century, describes how the case passed from James's son, the Old Pretender, through several hands, until it came into the possession of a Mr. Walker in 1770.

Object of the Day, Museum Edition: The Misers, 1548-1551

The Misers
A Follower of Marinus can Reymerswaele
c. 1550
Acquired by Queen Anne
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Historians believe that Queen Anne (the second daughter of King James II) added this handsome and strange painting to the Royal Collection. The scene was painted between 1548 and 1551 by an unknown student artist who is believed to have been a follower of Marinus van Reymerswaele (c. 1490/95-c. 1567). Painted on board, the painting also mimics a 1440 work by Jan van Eyck which depicted a banker in conference with his client. While this painting by van Eyck is believed lost, it is credited as having launched a genre of works which showed businessmen in Fifteenth Century dress engaged in money matters. Of the sixty variations of the scene, most of them are composed in a style which hints at a strong Dutch influence. Most of these compositions can trace their stylistic roots to the works of van Eyck. Still, others are clearly inspired by the paintings of van Reymerswaele and, also, another Dutch master Quinten Massys.

Let’s take a closer look at this piece which is entitled, “The Misers.” This follower of van Reymerswael has taken great pains to show the nature of the men. Their faces are masks of avarice and greed and their claw-like hands nod at the common conception of those involved in the changing of money. The scene is meant to be amusing and the visages of the men purposefully lean toward caricature. Despite the piles of coins in front of them, we’re reminded that this wealth will not aid them for long. The brevity of life is suggested by the candle which burns near them—it is almost spent, just as their lives are. 

What I find most interesting about this work is that the ledger on the table has been inscribed in French, indicating that this piece was likely a copy by a student—commissioned by a French patron who much admired the original by van Reymerswaele.

Painting of the Day: Anne of Denmark, 1614

Anne of Denmark
Attributed to Marcus Gheeradts the Younger, 1614
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

This lovely portrait is attributed to Marcus Gheeradts the Younger (c.1561-1635). The work of oil on panel dates to 1614 and depicts Anne of Denmark in an interior. She’s adorned in her regal jewels and a beautifully embroidered dress. 

The painting was first recorded in the Royal Collection during the reign of King James II. 

Masterpiece of the Week: A Mother-of-Pearl Spectacle Case and Spectacles, 1685-1688

Spectacle Case
The Victoria & Albert Museum

I think this is very pretty, and I’d never have guessed that it is as old as it is. Here, we see a French spectacle case of painted and gilded mother-of-pearl. The case was donated to the V&A still containing a pair of folding spectacles, of tortoise-shell and silver. The spectacles were actually made later in the Eighteenth Century.


The case itself was made in the shape of a pair of spectacles with a high, arched bridge. It is crafted of two sheets of mother-of-pearl, joined by a narrow, molded, strip of silver around the sides and base of the case. One surface of the mother-of-pearl is painted in red, green and yellow with a floral design springing from a trellised flower pot centered on each lens.

This case may have belonged to James II. The painted mother-of-pearl case is of the very highest quality and would have only been available to someone of Royal or noble birth. A letter that accompanied the spectacles, from the Eighteenth Century, describes how the case passed from James's son, the Old Pretender, through several hands, until it came into the possession of a Mr. Walker in 1770.

Mastery of Design: The Thistle Badge of the Prince of Wales

Thistle Badge
Blue-Grey and White Onyx,
Diamonds, Gold, Silver, Enamel
Miniature on Ivory
1703-1807
Originally made for King James II
The Royal Collection

The onyx cameo of St. Andrew set into this badge dates to the early Eighteenth Century and was originally carved as a garter badge for King James II. Over the centuries, the badge was altered considerably. Its present condition owes to a redesign from around 1764 when the reverse of the cameo was layered with an enamel design of a thistle. In 1772, a locket was embedded into the enamel. The locket housed a portrait miniature of Princess Louise.


There’s some debate about the origin of the opulent diamond mounting. Some records indicate that this garter jewel was set in a frame of large diamonds as early as 1703 with its presentation to King James II. However, other records show that the diamond mounting was added with the enamel backing in the mid-Eighteenth Century. It could be that the badge has had several settings though the cut and quality of the diamonds suggests creation in the Eighteenth Century.

In 1807, the Cardinal of York, bequeathed the Thistle Badge to the Prince of Wales. Later, the Thistle Badge (having become symbolic of Scotland) was displayed by King William IV as part of the “Honours of Scotland.”

Painting of the Day: Anne of Denmark, 1614

Anne of Denmark
Attributed to Marcus Gheeradts the Younger, 1614
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

This lovely portrait is attributed to Marcus Gheeradts the Younger (c.1561-1635). The work of oil on panel dates to 1614 and depicts Anne of Denmark in an interior. She’s adorned in her regal jewels and a beautifully embroidered dress. 

The painting was first recorded in the Royal Collection during the reign of King James II. 

Painting of the Day: The Misers, 1548-1551

The Misers
A Follower of Marinus can Reymerswaele
c. 1550
Acquired by Queen Anne
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Historians believe that Queen Anne (the second daughter of King James II) added this handsome and strange painting to the Royal Collection. The scene was painted between 1548 and 1551 by an unknown student artist who is believed to have been a follower of Marinus van Reymerswaele (c. 1490/95-c. 1567). Painted on board, the painting also mimics a 1440 work by Jan van Eyck which depicted a banker in conference with his client. While this painting by van Eyck is believed lost, it is credited as having launched a genre of works which showed businessmen in Fifteenth Century dress engaged in money matters. Of the sixty variations of the scene, most of them are composed in a style which hints at a strong Dutch influence. Most of these compositions can trace their stylistic roots to the works of van Eyck. Still, others are clearly inspired by the paintings of van Reymerswaele and, also, another Dutch master Quinten Massys.

Let’s take a closer look at this piece which is entitled, “The Misers.” This follower of van Reymerswael has taken great pains to show the nature of the men. Their faces are masks of avarice and greed and their claw-like hands nod at the common conception of those involved in the changing of money. The scene is meant to be amusing and the visages of the men purposefully lean toward caricature. Despite the piles of coins in front of them, we’re reminded that this wealth will not aid them for long. The brevity of life is suggested by the candle which burns near them—it is almost spent, just as their lives are. 

What I find most interesting about this work is that the ledger on the table has been inscribed in French, indicating that this piece was likely a copy by a student—commissioned by a French patron who much admired the original by van Reymerswaele.

Masterpiece of the Week: A Mother-of-Pearl Spectacle Case and Spectacles, 1685-1688

Spectacle Case
The Victoria & Albert Museum

I think this is very pretty, and I’d never have guessed that it is as old as it is. Here, we see a French spectacle case of painted and gilded mother-of-pearl. The case was donated to the V&A still containing a pair of folding spectacles, of tortoise-shell and silver. The spectacles were actually made later in the Eighteenth Century.


The case itself was made in the shape of a pair of spectacles with a high, arched bridge. It is crafted of two sheets of mother-of-pearl, joined by a narrow, molded, strip of silver around the sides and base of the case. One surface of the mother-of-pearl is painted in red, green and yellow with a floral design springing from a trellised flower pot centered on each lens.

This case may have belonged to James II. The painted mother-of-pearl case is of the very highest quality and would have only been available to someone of Royal or noble birth. A letter that accompanied the spectacles, from the Eighteenth Century, describes how the case passed from James's son, the Old Pretender, through several hands, until it came into the possession of a Mr. Walker in 1770.

Her Majesty’s Furniture: A "Turkey Work" Chair, 1685

Turkey Work Chair
Wool, 1685
Purchased by James II
The Royal Collection

I confess that I selected this chair as Stalking the Belle Époque’s weekly furniture highlight for the simple fact that I like the phrase, “turkey work.” Say it out loud. Go on. See, it’s fun. Not only that, but it’s a nice looking chair with an important lineage.


To begin with, let’s talk about what “turkey work” is. Now, I’m biting my tongue because I want to make jokes. But, I won’t. Turkey work refers to a type of upholstery fabric which features a thick, knotted pile and a highly intricate floral pattern on a dark ground. Why is it called “turkey work?” Because it was meant to imitate the look of Turkish carpets.

This particular chair is one of the few survivors of an impressive set of chairs purchased for use in the Privy Council Chamber at Holyroodhouse (Holyrood Palace) in Scotland. The first lot of chairs was purchased in 1668 and was of the same style, but featured simple green upholstery. In 1685 the chamber was redecorated and additional chairs were purchased. These featured the “turkey work” we see today. It is said that King James II selected them himself. He just had his hand in everything, didn’t he?

Over time, this collection of chairs was shuttled from palace to palace, and to the occasional cathedral. So, it’s fair to say that most of them gave up the ghost due to use and natural causes. Therefore, it’s rather remarkable that this survivor is in such remarkably good condition. It must have been in the back corner of the room.