Royal Subject: Portraits of Queen Charlotte

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But her good intentions were not received kindly by some in the royal court, particularly by her own mother-in-law, Princess Augusta, who continuously tried to overpower Queen Charlotte’s status as the queen mother. Anti-saccharrites, - or - John Bull and his family leaving off the use of sugar’ by James Gillray (1792) Wikimedia Commons Queen Charlotte with her two eldest children. Later, 13 out of the 15 children she birthed would survive into adulthood. 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.

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. Medal attributed to P. Kempson, with conjoined busts of the King and Queen (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, nos.643-45). Medal by Julien Colibert (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, no.27, as 1761, but Colibert came to England in 1769).

The debate over Charlotte’s Black ancestry

The queen died on Nov. 17, 1818, and was buried at St George’s Chapel in Windsor Castle. She was the longest-serving royal consort in British history, having served in that position for more than 50 years. 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.

For the distribution of versions paired with Gainsborough’s portrait of the King, see George III. Of the Queen alone there are versions in the Royal Collection by William Hopkins, attributed to Gainsborough Dupont (see also c.1794 below), and two reduced copies (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, nos.809-12), together with related miniatures attributed to J. H. Hurter and Richard Collins (R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, nos.242, 326); a miniature copy by Hurter is in the Gilbert Collection (illus. S. Coffin & B. Hofstetter, The Gilbert Collection, Portrait Miniatures in Enamel, 2000, no.30). A half-length copy is at Penshurst, and a derivation at Powis Castle. Painting by Benjamin West, with the Royal family, receiving the Duchess of York. Untraced (H. von Erffa & A. Staley, The Paintings of Benjamin West, 1986, no.576). Related to the painting attributed to Richard Livesay at Upton House, see 1787 above. Medals by John Kirk (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, nos.168, 184).

From Princess Sophia To Queen Charlotte

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. She was famously ugly," says Desmond Shawe-Taylor, surveyor of the Queen's pictures. "One courtier once said of Charlotte late in life: 'Her Majesty's ugliness has quite faded.' There was quite a miaow factor at court." Painting by Johann Zoffany, whole length seated, with her two brothers and Prince William and Princess Charlotte. Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.1207, pl.30). Exhibited RA 1773 (320). The figure of the Queen alone recurs in a painting attributed to Zoffany in the Tryon Palace, New Bern, North Carolina. She was greatly distraught when she heard the news that the King and Queen of France had been executed. The queen became an accomplished interior decorator, overseeing the design of the newly constructed Queen’s Lodge, a new addition on the royal Windsor estate, and Queen Charlotte’s Cottage in Kew Gardens (two favorite family retreats). She was also a keen botanist and a champion of a number of garden projects at Kew. In later life, once her husband’s physical and mental health was failing, she found solace in throwing herself into doing up a new residence for herself, Frogmore House (now of the Duke and Duchess of Sussex fame). A significant patron of the arts who loved going to concerts, she even hired Johann Christian Bach (son of the renowned composer) as her music master. Both Charlotte and the king were fond of German composers like Handel, and she is known to have helped nurture the career of a young Mozart, who performed for her when he was just eight years old.

Painting by Francis Cotes, whole length, the sleeping Princess Charlotte in her arms. Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.718). Engraved W. W. Ryland 1770. A half-length pastel version, signed and dated 1767, probably preceding the whole length, is in the Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.717), exhibited Society of Artists, London, 1767 (32), and another at Syon House. A miniature attributed to Samuel Cotes of the Queen's head, derived from the Francis Cotes’ composition, is in the Royal Collection (R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, no.207). Painting by Benjamin West, three-quarter length with Princess Charlotte. Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.1142, pl.114; H. von Erffa & A. Staley, The Paintings of Benjamin West, 1986, no.562). Exhibited RA 1777 (362). Engraved V. Green 1778. preparatory drawing by West for the figure of the Queen is in the Royal Collection (A. P. Oppé, English Drawings, Stuart and Georgian periods, in the Collection of His Majesty the King at Windsor Castle, 1950, no.640, pl.3). Unattributed painting, whole length in coronation robes, 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 134, no.75). The pose resembles the Ramsay pattern of 1762, but is reversed. The research notes / rough draft for this work can be found here. Addendum 2: Mistakes in Gregory (2016) 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."During the Regency [ edit ] Queen Charlotte in her later years, painted by Stroehling, 1807, Royal Collection As the King gradually became permanently insane, the queen's personality altered: she developed a terrible temper, sank into depression, and no longer enjoyed appearing in public, not even at the musical concerts she had so loved; and her relationships with her adult children became strained. [24] From 1792 she found some relief from her worry about her husband by planning the gardens and decoration of a new residence for herself, Frogmore House, in Windsor Home Park. [25] Despite this somewhat inauspicious start, Charlotte and George enjoyed an affectionate, fruitful partnership that endured until the king’s mental illness violently transformed his personality in the late 1780s. Now, a new spinoff of Netflix’s popular historical drama “ Bridgerton” is revisiting the royal couple’s love story. Titled “ Queen Charlotte: A Bridgerton Story,” the six-episode limited series stars India Amarteifio as the young queen and Corey Mylchreest as her husband.

In this work, Valdes claims Charlotte’s link to Margarita de Castro y Sousa, but does not mention the further distant link to Madragana (which appears later in the GEN-MEDIEVAL mailing list thread and makes its way into Wikipedia). Valdes uses Charlotte’s ancestor Margarita de Castro y Sousa as evidence, stating that there are “six different lines” of ancestry between them, even though there only three lines of ancestry between them. Margarita appears once in Charlotte’s 9th generation and twice in Charlotte’s 10th generation, accounting for 1/256th of Charlotte’s ancestry. A bust-length miniature in the Royal Collection, attributed to Richard Collins (R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, no.173), resembles the Meyer.

Painting by Nathaniel Dance, whole length in coronation robes with a distant view of Westminster Abbey. Hermitage Museum, St Petersburg (illus. B. Allen & L. Dukelskaya eds., British Art Treasures from Russian Imperial Collections in the Hermitage, 1997, p 38 as 1778). The composition relates closely to the Ramsay coronation portrait; the companion piece of the King was copied from the Dance portrait of 1776 (see George III). A half-length version was at Bayham Abbey (Sir George Scharf's Sketch Books, 91/11). Medals by Thomas Kettle, T. Wharton, and attributed to P. Kempson, marking the death of the Queen (see L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, nos.963-66, 1009). Alicia’s other areas of interest in Art History include the process of writing about Art History and how to analyze paintings. Some of her favorite art movements include Impressionism and German Expressionism. She is yet to complete her Masters in Art History (she would like to do this abroad in Europe) having given it some time to first develop more professional experience with the interest to one day lecture it too. 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. Allan Ramsay was born on October 13, 1713, in Edinburgh, Scotland, and died on August 10, 1784 and died in Dover, Kent in the United Kingdom. His studies included institutions like the Academy of Saint Luke in Edinburgh and in Italy in Rome.