Antique Image of the Day: Girl with a Fan, 1864

Girl with a Fan, 1864
William Dobson
Watercolor and gouache.
The Victoria & Albert Museum

Influenced by the tastes and styles of their Queen, the Victorian public preferred idealized portraits of young girls.  Such depictions arose beginning with Queen Victoria's reign as the fresh-faced young woman took the throne.  Since the queen was an attractive young lady, similarly innocent faces became the subject of oil paintings, watercolors and prints of all kinds.

This painting by William Charles Thomas Dobson (RA, RWS, 1817-1898) is rendered in watercolor and gouache.  It  was described in the words of a contemporary as having “a roundness and sweetness which is never sensual.”

William Dobson began his career as a prolific painter of religious themes.  His greatest hope was to revive popular interest religious art.  Nevertheless, the audience was limited and Dobson went on to paint less ponderous subjects like this attractive picture.  Dobson often peppered his works with a stylized orientalism which successfully increased their public appeal.  From 1842 until 1894 he exhibited many paintings in this style at the Royal Academy.

Here, we see Dobson’s rather inaccurate depiction of an Asian girl in a turban and a striped silk brocade robe.  It was painted in 1864, not from life, but in his studio, using props which Dobson thought would seem authentically Asian.

Painting of the Day: A Portrait of Mary Stuart, 1804

Mary Stuart
Denis Brownell Murphy, 1804
The Victoria & Albert Museum

Mary Stuart (1542-87) succeeded to the Scottish throne in 1542. She was only six days old at the time. Mary’s life wasn’t a whole lot of fun after that. She had some family issues, you could say. She had a rocky relationship with her cousin, Queen Elizabeth I, and, also had some troubles with her husband for the one year that she was Queen Consort of France. Battles for the Scottish throne forced Mary flee to England in 1568. She had asked Elizabeth I for sanctuary and Elizabeth said, “Sure, honey. Come on over.” But, you see, Mary had already claimed Elizabeth’s throne as her own, so by the time she asked to “crash on Elizabeth’s couch,” Elizabeth was thinking that perhaps her cousin was a threat. So, by the time Mary arrived in England, she was effectively a prisoner of the English Queen. This ended with Mary being was executed in 1587, having been found guilty of plotting to overthrow Elizabeth.

Good times. 

This attractive enamel miniature depicts Mary Stuart—centuries after her death. It was made during a time in the Nineteenth Century when artists and jewelers were combining their skills and remembering the Seventeenth Century notion that enamel lasted much longer, and without fading, than oil paint. It’s the work of Denis Brownell Murphy who painted a series of images illustrating the lineage of the House of Stuart, beginning with Mary Queen of Scots. Mary is shown wearing a red embroidered dress with a high ruff, a gold cap and a cross at her neck. The frame is papier-mâché with ormolu mounts formed to resemble shells and a crown.

Object of the Day, Museum Edition: Tombeau de Lipsius. Pyramide. Chefren. 1880-1890

Click on image to enlarge
"Tombeau de Lipsius"
Pierre Henri Theodore Tetar van Elven
1880-1890
The Victoria & Albert Museum

Painted in Egypt between 1880 and 1890 by the monumentally-named Pierre Henri Theodore Tetar van Elven (1828-1908), this work of watercolor over pencil is accented with white oil paint.

Titled, “Tombeau de Lipsius,” the image actually depicts a scene from Giza of the Pyramid of Khufu. Such a painting would have satisfied the growing desire for exotic images of Egypt which developed from late Nineteenth Century archaeological finds.

Painting of the Day: The Stray Kitten, 1835

Click Image to Enlarge
"The Stray Kitten"
William Collins, 1835
The Victoria & Albert Museum

William Collins (1788-1847) a student of the Royal Academy of Arts quickly became a celebrated and fashionable painter whose landscapes and rustic genre paintings (especially those of children—a favorite subject of Collins) were eagerly collected. The art-buying public gobbled up Collins’ scenes, drawn-in by his ability to convey emotion and feeling without being overtly sentimental. Prints created after Collins’ paintings were big sellers. Collins remained popular even after his death due, in large part, to the loving biography written by his equally famous son, author Wilkie Collins.

Here’s one of Collins’ typical works. This one is the second version of the same scene. The original was commissioned by one Mr. Holden and first exhibited at the Royal Academy in 1833. This 1835 version is nearly identical to the original painting. Since the original had been so well-received, Collins knew he had a hit. However, Mr. Holden was not keen on continuing to exhibit the original version, preferring to keep it in his own collection. And, so, Collin’s created this second canvas to display at the Royal Academy. I don’t think anyone really ever noticed the difference. 

Called “The Stray Kitten,” (happy kitty, sleepy kitty, purr, purr, purr)  both versions of the painting drew large crowds who were attracted to its easily-relatable theme and content. In May of 1833, “The Athenaeum” critic wrote of the original version of the painting that it was, “in his best manner; it is a picture that many will covet, for it cannot but be felt by all.”

Painting of the Day: A Portrait by Frederick Cruickshank

Portrait of a Lady Seated in an Armchair
Frederick Cruickshank
England, 1830
The Victoria & Albert Museum

Frederick Cruickshank (1800-1868) was an English painter who is often confused with the other notable Cruikshanks (George, Isaac and Isaac Robert), however, there’s no obvious relationship and the names are spelled differently.

While the “K with no C” Cruikshanks are best known for their sociopolitical, satirical and theatrical drawings, Cruickshank (with an extra C) was known for his portraiture. This portrait of an anonymous subject is an excellent example of Frederick Cruickshank’s work. Here, we see a rather morose woman in a room adorned with musical accoutrement. The sitter’s identity has never been deduced, but there are some curious clues in the composition which hint to her situation. There’s an abandoned pair of men’s gloves on the floor—perhaps a suggestion that she has been cast aside by a husband or lover. Furthermore, a prominent bust on a pedestal resembles any of a series of busts made by Sir Francis Chantrey of engineer and steam engine innovator, James Watt. Does this mean that this woman is a member of the Watt family? Is she a relative from the Campbell family?

We will never know who she is. We know only that she is surrounded by beautiful things arranged in an intentionally peculiar way. An expensive guitar and piano indicate wealth, while the cut flowers on the mantel are arranged in an ice-bucket—a signature of an individual style.

And, that’s the beauty of this Cruickshank’s work. He was known to be able to say quite a lot about his sitters without identifying them by name and by only including unique attributes.

This work of watercolor and body color was painted in 183o and exhibited at the Royal Academy in 1831 and Cruickshank was careful not to reveal the identity of the sitter by calling the picture simply, “Portrait of a Lady Seated in an Armchair.” 

Painting of the Day: A Jack in Office, 1833

A Jack in Office
Sir Edwin Landseer, 1833
The Victoria & Albert Museum

Ha!  Early Nineteenth political humor (humour).  You see, when this painting was finished, a slang expression for a pompous government official was "a jack in office." And, that’s what this painting is called.  But, it's not a governmental official...no, it's a doggie.  A Jack Russell Terrier!  Ha!  Oh, Edwin Landseer, you slay me with your canine antics.

All teasing aside, I do like this painting by the always wonderful Landseer and I think it's quite clever.  Completed in 1833, a critic at the time  described how "the well-fed and much caressed dog…keeps others from testing the food of which he has had too much." Sounds like a politician to me.

The painting was given to the V&A by John Sheepshanks in 1857

This is one of Sir Edwin's most clearly anthropomorphic treatments of human matters in canine terms.  A other critic said that the piece was "enormously popular, providing fable, parody, humour, and narrative in a single image." 

Painting of the Day: A Design for an Inn Sign, 1700

Design for a Sign for The Crown Inn
1700
The Victoria & Albert Museum

While, these days, we associate the look of a hanging sign with public houses (pubs), in the Eighteenth Century, in Britain, most businesses displayed them as a means of alerting customers to their location. The signs were designed with few, or often no, words and relied on colorful graphics and images which would have been easily comprehended by the public at large, most of whom could not read.


Not known for their subtlety, these signs left no question as to the name of the establishment. We can deduce that this design was intended to advertise The Crown Inn. This sketch shows a proposed look for the sig and includes preliminary pencil sketches of three different crowns, one of which is placed upon a cushion.


The sheet has also been “squared up” to ensure that the design could easily be reproduced on the larger wooden signboard.

This drawing is one of 35 further designs by the same anonymous hand which have been collected by the V&A. It was completed in oil, bodycolor and pencil on paper and shows a gold crown with fleur-de-lys, gems, ermine and red velvet. It was finished in London around 1750.

Painting of the Day: “The Washington Family,” by Edward Savage 1789-1796

The Washington Family
Edward Savage, 1789-96
Andrew W. Mellon Collection
The National Gallery of Art, U.S.

American painter Edward Savage was known for his historical paintings and, sadly, the fact that his ambition outshone his talents. His paintings are often stiff and anatomically awkward due to his lack of formal training and natural artistic instincts. He did, however, manage to secure several well-known sitters, most notably George Washington and his family.

Washington, his wife Martha, and her children from her first marriage (she was widowed) sat for Savage in 1789-90 so that he could produce a series of sketches of the group. In 1790, Savage traveled to London where he sketched and was meant to study. He spent most of his time in England drawing and making a name for himself as a collector of art. Savage’s greatest achievement perhaps, is that of a curator more so than an artist. When he returned to New York, he opened the Columbian Gallery and is considered one of the first American museum proprietors.

In 1794, Savage began the actual painting of this nine-foot wide portrait of the Washington Family—four years after the initial sketches. Ever the master showman, he advertised this fact quite broadly and invited visitors (for a fee) to see a “life-sized” image of the first “first family.” In fact, Savage became quite wealthy from this painting—not only from the many engravings that he sold of the finished work, but by charging people to see it.

The portrait is meant to be set at Mount Vernon. However, Savage had never seen Mount Vernon and had no idea what it looked like. The background shows marble columns and a liveried footman in the English manner that Savage had learned to copy while abroad. The composition is rigid, flat and awkward, showing the artist’s lack of skill. He relied heavily on his assistants to do much of his painting for him.

Savage was quite pleased with himself for the “symbolism” of this work. He fancied that he had imbued the figure of Washington with a sense of military and presidential dignity by costuming him in his uniform and putting papers in his hand. Martha Custis Washington holds a map of the unfinished District of Columbia—pointing with her fan to what is now Pennsylvania Avenue.

It’s a curious painting indeed, but an important one as it is, as Savage would have been the first to tell you, one of the few looks we’ll ever get at the entire assembled Washington family.

Masterpiece of the Week: “The Fairytale,” by James Sant, 1845

The Fairytale
James Sant, 1845
The Walker Art Gallery, Liverpool

A favorite painter of Queen Victoria’s, James Sant enjoyed painting landscapes, but was better known as a portrait painter. This member of the Royal Academy was welcomed into the most prominent homes in England, including the Royal residences, where his prestigious sitters were delighted by his beautiful canvases and marveled at his exceptional work ethic. The collections of many of England’s stately homes include portraits and landscapes painted by Sant.

Every so often, Sant combined his two loves—landscape and portraiture—into genre paintings, domestic scenes and historical or literary groups with strong compositions and delicately painted figures. He especially thrilled in painting mothers and children. One of his more famous paintings is a portrait of a mother and child in a allegorical composition entitled “The Fairytale.” 

Now housed in the Walker Art Gallery, Liverpool, the painting is at once tranquil and tender as well as urgent and mysterious. On the surface, it is simply a scene of a mother telling her young child a fairytale, but look closer. This is a study of Victorian-era ideals. Examine the painting and see what it says to you. 

Click on the image below for a super big copy:

Painting of the Day: Matthew Prior, c. 1700

Matthew Prior
Sir Godfrey Kneller, 1700
The Victoria & Albert Museum

Well, well, here’s a fella who looks like he’s trouble. He also looks like he’d benefit from a good sandwich. Mmmm…sandwich. But, I digress. Who is this impish bloke?

He’s Matthew Prior (1664-1721). You’ve heard the name, I’m sure. Or, not.  I don't know what you have heard and haven't.  Prior was a celebrated poet, diplomat and politician, as well as a fellow of St. John’s College Cambridge. Most likely, you know his name from reading his translations from Horace and Ovid, or, perhaps you’re familiar with his poetry. Prior is also known to museum-types like me for his collection of important paintings and prints.

A chum of King William and Queen Mary, Prior was considered a superb diplomat. He’s buried in Poet’s Corner in Westminster Abbey. I remember seeing his monument which features a rather startlingly descriptive inscription:

"Matthew Prior Esq. A fever, gradually creeping up on him, as he meditated upon the history of his times, broke together the thread of his life and of his labours on Sept.18th A.D.1721 in the 57th year of his age.”

This painting was executed in 1700 by Sir Godfrey Kneller (1646-1723) during a time when portraits of literary types were quite popular.

The painter, Sir Godfrey, was born in Germany where he studied mathematics and military fortification (yawn), and, then, at some point, for some unknown reason, he was apprenticed to Rembrandt and began to travel to Rome and Venice. By 1676, Kneller secured Royal patronage to King William III, and, of course, settled in England. He was knighted in 1692 and was considered one of the most fashionable of portrait painters. He was especially known for his series of portraits of ladies at the Royal Court which is known now as “The Hampton Court Beauties” (which for some reason reminds me of Kathie Lee Gifford who, early in her career was a Hee-Haw Honey). He’s also the artist of the “Kit-cat Portraits” of members of the famed “Kit-cat Club.” Lest you think that’s more portraits of “beauties,” I should tell you that they’re gents—none of whom are particularly attractive, sadly. The Kit-cat Club was a group of Eighteenth Century Whigs who gathered at Christopher Catling’s Inn and feasted on the innkeeper’s famous mutton pies which he had playfully called “Kit-Cats.”

And, now, you can say that you read about mutton pies today. I’ll bet it’s the only time.

Painting of the Day: A Garland of Flowers Surrounding a Cartouche

Still Life
Jan Pauwel Gillemans
Flanders (Stupid Flanders)
Mid-Seventeenth Century
The Victoria & Albert Museum

This lush painting is the work of the rather mysterious painter Jan Pauwel Gillemans the Elder (1618-1675). We don’t know too much about this son of a goldsmith who spent his entire life in his native Antwerp. Beyond those few sketchy details, we only can guess about his life based on his work and that of his son, Jan Pauwel Gillemans the Younger (1651-1704) who was also a still-life painter.

Gillemans the Elder was of the “Flemish Stuff on a Table” school of still-life painting. He excelled at depictions of fruit and flowers and used these as a way of hinting at Biblical subject matter. For instance, in the piece pictured above, the fruits and flowers that he has selected allude to the Passion of Christ and have overtones of the Eucharist. The blooms surround a cartouche containing a representation of an angel, and, an eagle sits above the entire composition.

Let’s see if we can read Gillemans’ message. He’s allowed the lower portion of the composition to be overtaken by spiky plants and those with thorns—roses, thistles, hawthorn, blackthorn, rose-hips and raspberries, all of which signify the Crown of Thorns. Above this, we have grapes, wheat stalks, corn, poppies, cornflowers and narcissus—bountiful symbols which work in conjunction with the chalice. The eagle, of course, is a representation of the Resurrection. The butterflies signify the same.

I’m not sure about the parrots. I think they’re just there because they’re groovy.

Besides, those Flemish…they’d put a bird on a table whenever they got a chance. I’m just happy to see these parrots are alive and not in a state of decay like most of the birds in Flemish paintings.

Painting of the Day: “Flowers in a Glass,” by Roelandt Savery, 1613

Flowers in a Glass
Roelandt Savery, 1613
On loan from a private collection
to the National Gallery, Britain

Though born in Flanders, painter Roelandt Savery (a fantastic name) lived in Amsterdam from an early age. There, he was responsible for a number of the brilliant still life paintings which defined Seventeenth-Century Flemish and Dutch art. Here, we see a still life of flowers which could not have been painted from life. The blossoms that Savery has combined are from flowers that bloom at different times of the year. The detail of each bloom is spot-on, indicating that he had drawn studies of several flowers throughout the year and combined those designs into this one canvas. The flowers are nestled into an ornate wine glass known as a roemer. Roemers were known for their uneven surface of raised drop-shaped masses of glass.

In typical Dutch fashion, the vase is flanked by a frog and a lizard. The Dutch frequently included animals in their still lifes, which, technically makes them not still lifes. Butterflies and dragonflies flit around the buds, with some alighting on the petals. While these sorts of paintings are often overwrought, this one—though still quite full—takes a less-crowded approach, making the composition appear to be quite realistic.

Painting of the Day: King George V with his Granddaughters, 1934-1935

King George V with His Granddaughters
Thomas Percy Earl, 1934-1935
The Royal Collection

King George V and Queen Mary loved, loved, loved their granddaughter Princess Elizabeth. Queen Mary often noted in her diary that she spent many happy hours with Princess Elizabeth. She never mentioned Margaret Rose. The king, too, adored his eldest granddaughter. And, he didn’t really like children too much. She called him, “Grandpa England,” and he often said that he hoped that nothing would come between “Bertie” (his son, the Duke of York) and “Lilibet” (his nickname for Bertie’s eldest daughter) and the throne. Not only was this a show of support for his second son and his granddaughter, but it was a clear statement that he didn’t think that his eldest boy, “David” would be a good king. “David” wasn’t a good king, and he wasn’t king long—thankfully. We all know about David’s abdication kerfuffle when, as King Edward VIII, he preferred Wallis Simpson over England.


After the abdication, Queen Mary was all the more involved with Elizabeth and often took comfort in the fact that her late husband adored the girl as well.

Before the King’s death in 193g, he sat for a portrait with the two young princesses. This painting by Thomas Percy Earl shows the King with his favorite horse and the two young girls on their ponies. They are guarded by a sturdy Scottie dog. This painting was created as a gift for Queen Mary. It was presented to Queen Mary by the wives and widows of members of the Jockey Club for the Silver Jubilee celebration on May 6, 1935.

Painting of the Day: “Miss Elizabeth Ingram,” Sir Joshua Reynolds, 1757

Miss Elizabeth Ingram
Sir Joshua Reynolds, 1757
The Walker Art Gallery
Liverpool

At first glance, this appears to be a typical Mid-Eighteenth Century painting. We have the sitter posed in a vaguely Classical background—as was the style of the day. Her intellectual and social status is made clear to us by the Greek-inspired column. Attired in her finest gown, she gazes out at the viewer in a gentle, yet resolute, manner.


However, on further inspection, we see what made Joshua Reynolds one of the most celebrated portrait painters of the era. Notice the details in her gown—the folds and sheen of the silk, the pinched rigidity of her stomacher. These are the qualities which set Reynolds’ work apart from his contemporaries.

Modern viewers—especially younger people who seem to enjoy being tan (or orange, in some cases), Miss Ingram will probably seem quite pale. While it’s true that a lady would not have had the leathery glow of our current “ideal beauty,” she wouldn’t have wanted to have quite such a pallid countenance either. Usually, Eighteenth Century ladies were painted with very rosy cheeks and skin. Thus was the case of Miss Ingram whose face and hands originally had a lovely pink-ish quality. Reynolds and his fellow artists of the Eighteenth Century often used pink pigments which proved to be unstable over time. Many portraits from this era feature pale subjects who were once quite healthy looking—having lost their natural blush to the fading of time. 

Painting of the Day: War and Victory: Model for a Title Page, 1645-1635

War and Victory
Rubens, 1634-1635
The Victoria & Albert Museum

This handsome work is a model for a title page  for a book which was published in Antwerp by Jan Cnobbaert in 1635.  The painting is from the masterful hand of Rubens (1577-1640).

This piece is one of only three known oil sketches in grisaille (monochrome painting) that Rubens designed for use as title pages. Rubens' work represents the finest hallmarks of  the Italian High Renaissance.  He wedded these ideals, with which he became acquainted during an extended visit to Italy, with northern realism. 

The oil sketch depicts, on the right, a male allegorical figure who is carrying the trophies of war, and, on the left, a winged female allegorical figure.  She offers upward a laurel wreath to a rather busy eagle who holds serpent in its talons.  At the top two Genii crown a coat of arms adorned with wreaths.  A blank cartouche anchors the bottom of the composition.

Painting of the Day: A Masquerade at the King's Theatre, Haymarket, 1724

Click image to enlarge.
Masquerade at the King's Theatre, Haymarket
Giuseppe Grisoni, 1724
The Victoria & Albert Museum

Flanders-born* Giuseppe Grisoni (1699-1769) studied in Florence under the artist Tommaso Redi (1665-1726). After a brief sojourn to London with the painter John Talmann (1677-1726), Grisoni returned to Florence where he remained until 1740, working as a teacher at the Academy and turning out portraits and historical paintings. After 1740, Grisoni lived in Rome until the end of his life.

Though this painting is not as finely painted as most of Grisoni's work, it has been attributed to him nonetheless on the basis of a recorded remark, dated May of 1724, by George Vertue which suggests, "Mr Grisoni painter of Florence… has made a fine picture representing the masquerade with various habits."

The canvas depicts a masquerade on the stage of the King's Theatre in Haymarket. This was an opera house which was built by Sir John Vanbrught in 1704-05. The masquerades at the King's Theatre, often emulating the Venetian Carnival, became a tradition after a popular debut in 1711. This work achieves its primary goal of preserving the opulence of the event--showing the luxurious cakes and foods, the gleaming chandeliers and the sumptuous fancy dress.

*

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.

Painting of the Day: Two Turks, with a Servant, 1828-1840

Two Turks, with a Servant, Smoking on a Terrace Overlooking a Lake or Sea in Turkey or Greece
William Page
British, 1828-1840
The Victoria & Albert Museum

This graceful painting has been saddled with a very cumbersome title, “Two Turks, with a Servant, Smoking on a Terrace Overlooking a Lake or Sea in Turkey or Greece.”  It is the work of William Page (1794-1872). This William Page is a British painter, not to be confused with the American artist of the same name who lived roughly during the same period.  Page demonstrates his delicate skill with watercolors in this work on rough paper.  Highlights and details are accentuated in pencils.

Painted between 1828-1840, the work is inscribed on the back, probably partly erroneously, “Turks. Village of Scutari.”  Later notes by the artist suggest that the scene may be in or near Ioannina.

Page’s style went through two distinct stages.  This painting represents Page's later, more picturesque, style.  Previously, during the 1810s and early/mid 1820s, Page focused mainly on costume studies.  During the late 1820s and  early 1830s, he mainly depicted graceful landscapes.  Here, he appears to have combined the two.

Painting of the Day: A Miniature of King Edward VII and Queen Alexandra, 1902

Miniature
Watercolor on Ivory Set in Gold with
Pearls and Diamonds
Meant to be worn as a Garter Badge
1902
The Royal Collection
Crown Copyright
Image Courtesy of Her Majesty
Queen Elizabeth II

Created in watercolor on ivory in 1902 to commemorate for the Coronation of King Edward VII and Queen Alexandra, this miniature by Johannes Zehngraf (1857-1908) is set in a pendant brooch with an intricate pearl and diamond Maltese cross border. The miniature was set this way so that it could be used as Queen Alexandra’s Family Order. It hangs from a red and white ribbon.

The miniature was first recorded in the Royal Collection during the brief reign of King Edward VIII who had a lot in common with his grandfather (Edward VII) as far as outlook and lifestyle were concerned (not as far as having a desire to serve his country is concerned). You can actually see the resmblence of the one-time Edward VIII to his grandmother, Prince Alexandra as she is depicted in profile on this miniature. 

Object of the Day, Museum Edition: A Theatrical Miniature, 1837

Scene from Goethe's Torquato Tasso:
The Meeting of Tasso and Leonora d'Este
Wilhelm Hensel, 1837
Oil on Card, Gold Frame
Presented by the artist to Prince Albert, 1843
The Royal Collection

Prince Albert and Queen Victoria both enjoyed the theater. Victoria particularly favored “foreign” productions—a trait for which she was often criticized by those who thought she should be more visibly supportive of English theater.


Among the many objects they collected, Victoria and Albert often obtained images which reminded them of their love of the theatrical. Prince Albert acquired this miniature painting in 1843. Painted in 1837, the painting depicts a crucial scene from Goethe’s Torquato Tasso—a drama about the life of one of Italy’s most important Renaissance poets.

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