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Later Stuart Portraits Catalogue

Queen Anne (1665-1714), Reigned 1702-14

The earliest portraits of Anne show her with light brown hair, while her elder sister Mary’s hair was very dark (see the Lely and Gennari portrait in the Royal Collection, under 1668-74 below, showing the sisters aged approximately five and eight). The state portraits of Anne as Queen show black hair and it has been supposed that she was then wearing a wig (D. Green, Queen Anne, 1970, p 95). As Piper noted (D. Piper, Catalogue of the Seventeenth Century Portraits in the National Portrait Gallery 1625-1714, 1963, p 9n1) confusion persists between the sisters’ portraits in their maturity.
In 1698 at Chippenham Celia Fiennes found ‘pictures att full proportion of the Royal family, all in their coronation robes from Charles the First ... and at the end is Prince George and Princess Ann, in their robes of crimson velvet and Dukel coronet as Duke and Dutchess of Cumberland’. Admiral Edward Russell, 1st Earl of Orford (1653-1727) of Chippenham, Cambs., entertained William III in 1698 and was to receive Anne in 1705 (The Journeys of Celia Fiennes, ed. C. Morris, 1949, p 153).
A study of the medals showing Queen Anne was made by H. Farquhar, The British Numismatic Journal, X, 1914, pp 199-266, and XI, 1915, pp 219-87. See also Medallic Illustrations of The History of Great Britain and Ireland, British Museum, between CXV and CXXXV.

As Princess Anne 1665-1683
c.1667-68
Painting by Peter Lely, whole-length seated as a child, holding a great tit on a string. Royal Collection (R. B. Beckett, Lely, 1951, no.13, pl.105; O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.251, pl.118).

1668-70
Painting by an unknown French artist, half-length with a spaniel. Royal Collection (O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.306; illus. D. Green, Queen Anne, 1970, f.p.24; E. Gregg, Queen Anne, 1980, f.p.244). The Princess was in France from July 1668 to July 1670 and ‘The Present Queen drawn in France when She was a Child’ was listed in the Kensington Store c.1712 (Millar, loc. cit.).

c.1668-74
Painting by Peter Lely completed by Benedetto Gennari, with her parents and sister. Royal Collection (illus. D. Green, Queen Anne, 1970, f.p.25). See James II.

1677
Painting by Adriaen Hennin, three-quarter-length standing to right, light brown hair, pointing to an orange plant, dated. Callaly Castle sale, Christie’s, 22-24 September 1986, lot 419 as Mary II. A replica at Het Loo.

c.1678
Painting by Peter Lely, three-quarter-length seated by an urn, an orange wreath in her left hand. Private collection (R. B. Beckett, Lely, 1951, no.13A; illus. Burlington Magazine, CXLV, 2003, p 503). Engravings published by R. Tompson (J. Chaloner Smith, British Mezzotinto Portraits, 1; C. Blackett-Ord, ‘Richard Tompson’, Wal. Soc., LXX, 2008, T.17, fig.11) and a bust-length oval by A. Blooteling 1678 (F. W. H. Hollstein, Dutch & Flemish Etchings Engravings and Woodcuts 1450-1700, 145).

c.1680
Painting by Godfrey Kneller, three-quarter-length seated, her left hand on her thigh, her right caressing a dog, as engraved R. White c.1680-83 (J. Chaloner Smith, British Mezzotinto Portraits, 1; J. D. Stewart, Godfrey Kneller, 1983, no.41, pl.82a). A version without the dog in the Clarendon collection (R. Gibson, Catalogue of Portraits in the collection of the Earl of Clarendon, 1977, no.6; J. D. Stewart, Godfrey Kneller, 1983, no.42).

As Princess of Denmark 1683-1702
c.1683
Miniature by an unknown artist, small bust-length oval set alongside another of her husband, George, Prince of Denmark. Royal Collection (G. Reynolds, The sixteenth and seventeenth-century Miniatures in the Collection of Her Majesty The Queen, 1999, no.174).

1684-85
Painting by Willem Wissing, three-quarter-length seated, her left hand in her lap, right elbow resting on a plinth with an ermine-lined cloak. The original version taken by Wissing to the sitter’s sister, Mary, in the Netherlands in August 1685 (see William III, 1685 Wissing) appears to be that now in the Neues Palais, Potsdam (P. E. R. Hall, ‘The Wissing Portraits of Mary II’, unpub. typescript, 1975, with some photographs, ff.13, 27). Replicas are in the Royal Collection (O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.325, pl.134) and at Cirencester (Earl Bathurst, Catalogue of the Bathurst Collection …, 1908, pp 20-21). Other versions include those from Fairfax Murray’s collection sold Christie’s, Como, 1 June 1971, lot 437 inscribed ... gift of Mrs Hanah Lowther age 103 [maid-of-honour to Mary II and Queen Anne] … 1756 to Mr Weston; from Luton Hoo, and Sotheby’s, 14 July 1993, lot 41 (bearing the date 1687). The type was engraved as a half-length by R. Williams (J. Chaloner Smith, British Mezzotinto Portraits, 1), and a miniature at Rosenborg Castle (1696.66.7) also relates closely.
The many variants painted by Wissing and by his pupil Jan Van der Vaart include the following:
whole-length, her left elbow resting on a plinth, her right hand holding drapery, a dog at her feet. Scottish NPG (PG 939; illus. Dynasty, Scottish NPG, 1990, p 93). Engraved J. Smith 1687 as by Wissing and Van der Vaart (J. Chaloner Smith, British Mezzotinto Portraits, 10). Later derivative half-length oval plates by J. Gole as Queen after Wissing (F. W. H. Hollstein, Dutch & Flemish Etchings Engravings and Woodcuts 1450-1700, 39, 40)
her left hand at her breast, right hand in her lap, a string of pearls between them, a castle in the right distance. Engraved I. Beckett 1687 (J. Chaloner Smith, British Mezzotinto Portraits, 2; illus. American Paintings, National Gallery Washington, 1995, p 105). A version from the Luttrellstown Castle sale, Christie’s, 26 September 1983, lot 501, shows the same castle but her left arm hugs a small black dog. Versions without the pearls and with differing backgrounds include those at Althorp (bearing the indistinct date of 1684; K. J. Garlick, ‘A Catalogue of Pictures at Althorp’, Wal. Soc., XLV, 1976, no.697), and, with an ermine-lined cloak, at Boughton, from Stowe, and sold Sotheby’s, 2 November 1949, lot 83, and 13 November 1996, lot 43
her right hand in her lap, left hand resting on the ermine-lined cloak. Christie’s South Kensington, 12 Nov. 1998, lot 23

1684
Engraving by P. Vandrebanc, whole-length, left hand at breast, right arm leaning on pedestal. Exhibited Painted Ladies 2001, no.92, illus., as possibly after Lely.

Painting by Willem Wissing, three-quarter-length seated, with light brown hair, an ermine-trimmed blue cloak, her left elbow on a plinth, holding a rose in her lap with her right hand, signed and dated. Gripsholm (1194). Half-length version also at Gripsholm (1412) and at Gavno Castle (with a pendant portrait of Prince George dated 1684; both exhibited De Stadhouder-Koning, Amsterdam, 1950, no.764). The other Wissing-type portraits (see below) show dark hair.

c.1685
Enamel miniature by Jean Petitot, bust-length oval, with blue ermine-lined cloak. Welbeck (R. W. Goulding, ‘The Welbeck Abbey Miniatures’, Wal. Soc., IV, 1916, no.99; illus. The Monarchy in Portrait Miniatures, exhibition catalogue, D. S. Lavender, London, 1993, no.64 as c.1680). On 7 January 1717 the 1st Earl of Oxford had lent his miniature of the Queen by ‘Petito’ to Zincke to copy, conceivably the miniature of the Queen as a young woman given, having removed diamonds from the frame, by Sarah, Duchess of Marlborough to a Mrs Huggins, who sold it to the Earl of Oxford (Goulding, loc.cit.; D. Green, Queen Anne, 1970, p 279).

Engraving, published in Paris by J. Mariette, La Princesse de Dannemark, whole-length seated on a sofa, elaborately dressed with fontange, a folded fan to her lips (illus. D. Green, Queen Anne, 1970, f.p.50).

c.1687
Painting by John Riley, three-quarter-length seated, with ermine-lined cloak, resting her left elbow on a plinth. Althorp (K. J. Garlick, ‘A Catalogue of Pictures at Althorp’, Wal. Soc., XLV, 1976, no.552, pl.14). For the pendant, see George NPG 326.

1689
Painting by Godfrey Kneller, whole-length standing in blue satin by an orange tree, a white flower in her right hand. Blenheim (G. Scharf, Catalogue raisonné; or, A List of the Pictures in Blenheim Palace, 1862, p 136; J. D. Stewart, Godfrey Kneller, 1983, no.43; illus. D. Green, Queen Anne, 1970, f.p.72).

c.1690-95
Painting by Godfrey Kneller, three-quarter-length seated, her right hand in her lap, her left elbow on a ledge, a flower in her left hand; in the left distance a formal garden with statue. Chirk Castle (J. D. Stewart, Godfrey Kneller, 1983, no.45). The head closely resembles that of the 1689 Blenheim portrait.
A version showing a coronet on a table, a lock of hair falling over her right shoulder, and with an ermine-lined robe, engraved J. Smith 1692 (J. Chaloner Smith, British Mezzotinto Portraits, 4) and I. Beckett (J. Chaloner Smith, British Mezzotinto Portraits, 3). Another, without the garden prospect, in the Luttrellstown Castle sale, Christie’s, 26 September 1983, lot 506.

c.1690
Painting by Godfrey Kneller, see NPG 1616.

1694
Painting by Godfrey Kneller, see NPG 325 and 5227.

c.1695?
Painting by Michael Dahl, three-quarter-length seated with ermine-lined cloak, her right hand in her lap. Lord Plymouth (W. Nisser, Michael Dahl, 1927, p 111, cat. p 2, no.4b, pl.XXX as c.1706; illus. Kings and Queens, Liverpool, 1953, souvenir, p 24). An old label, verso, records the portrait as given by the Queen to ‘Mrs [H or L]owe, aunt to Mrs Lewis’, equated by Nisser with payments from the lord chamberlain’s accounts of 1707 for two whole-lengths by Dahl for Lady Hyde and Mrs How (but it appears to show Anne before she became Queen).
A three-quarter-length by Dahl was in the Oxford sale, 5th day, 12 March 1742, lot 38, paired with a portrait of Prince George of Denmark.

As Queen Anne 1702-14
1702-03
Painting by Godfrey Kneller, the coronation portrait, whole-length standing, crowned, in state robes, sceptre in her right hand, her left resting on the orb, dated 1703. Inner Temple (4; J. D. Stewart, Godfrey Kneller, 1983, no.47 and p 195). Pen and ink copies by Edward Byng are in the British Museum (E. Croft-Murray & P. Hulton, British Museum, Catalogue of British Drawings: XVI and XVII centuries, 1960, pp 214-15; 1897.8.13.3; Byng 2:f.68v-69r; and p 248; 1897.8.13.8; Byng 7:f.42v). Engraved as a bust-length oval by J. Smith 1702 (J. Chaloner Smith, British Mezzotinto Portraits, 5).
Versions abound; they include those in the Royal Collection (O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.368); at Kimbolton; Narford (illus. Family & Friends 1992, p 32); Guildhall Art Gallery, London (lent by the Weavers’ Company); Guildhall Museum, Rochester (presented in 1707); Guildhall, Lincoln; at Aske, Hardwick Hall, the Royal Hospital Chelsea (from Wentworth Castle); Kingston-upon-Thames Town Hall (Sir George Scharf's Sketch Books, 92a:40a); College of William and Mary, Williamsburg VA (1961.001; presented by the Drapers’ Company, to whom presented 1898 by J. R. Rutley); another sold Sotheby’s, 22 March 2000, lot 52.
Three-quarter-length versions are with the Apothecaries’ Company (presented in 1739), at Latimer (Sir George Scharf's Sketch Books, 96:41) and, in a painted oval, in Wokingham Town Hall.
Miniatures derived from the head were also produced in some quantity, showing minor variations in hair and dress. Some are by Boit, see NPG 6282; others by Bernard Lens III at Welbeck (R. W. Goulding, ‘The Welbeck Abbey Miniatures’, Wal. Soc., IV, 1916, no.126; illus. The Monarchy in Portrait Miniatures, exhibition catalogue, D. S. Lavender, London, 1993, no.67), and formerly at Cornbury Park (Sir George Scharf's Sketch Books, 105:34); by Peter Cross, sold Christie’s, Geneva, 30 April 1975, lot 25 (illus. Connoisseur, CXLV, 1960, p 127), or attributed to C. F. Zincke, sold Christie’s, 7 May 1974, lot 59. Unattributed versions are at Badminton, Barnsley Park, Drummuir Castle, and in the Dutch Royal Collection (K. Schaffers-Bodenhausen & M. Tiethoff-Spliethoff, The Portrait Miniatures in the Collections of the House of Orange-Nassau, 1993, no.188). Others sold Sotheby’s, 15 March 1984, lot 43, and Christie’s South Kensington, 1 November 1995, lot 185; a later enamel by H. P. Bone, dated 1844, was sold Bonham’s, 25 March 1997, lot 24.
In 1703 the Queen received a petition from Kneller, praying payment for £570 due to him for drawing several pictures of Her Majesty and the late King, the Queen replying that she did not care for the picture of £350, but the others would be paid for (D. Green, Queen Anne, 1970, p 115).
In 1704 Sarah, Duchess of Marlborough, bought ‘a very ill copy’ of the Queen’s portrait from the Kneller studio to send to the Electress Sophia at Hanover who received it rapturously (D. Green, Queen Anne, 1970, p 121).

1702-12
Ivory medallion by David Le Marchand. Lord Thomson, Toronto (from Sotheby’s, 2 July 1973, lot 112; C. Avery, David le Marchand 1674-1726, 1996, no.20, pl.13). A related oval wax sold Sotheby’s, 2 April 1979, lot 57.

1702
Painting by Godfrey Kneller, bust-length profile, used as a model for the coinage and for the accession and coronation medals. Royal Collection (O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.339; J. D. Stewart, Godfrey Kneller, 1983, no.46), particularly resembling that by John Croker (Medallic Illustrations of The History of Great Britain and Ireland, British Museum, 1910, CXV/1-3; O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, fig.44). Engraved J. Simon 1702 (J. Chaloner Smith, British Mezzotinto Portraits, 10). Versions in a private collection (from Patshull); Welbeck (R. W. Goulding, Catalogue of Pictures belonging to … the Duke of Portland …, C. K. Adams ed., 1936, no.372); and formerly in the collection of Matthew Prior (H. Bunker Wright & H. C. Montgomery, ‘The Art Collection of a Virtuoso in eighteenth-century England’, Art Bulletin, XXVII, 1945, p 200, no.48).

c.1702
Painting by John Closterman, see NPG 215.

Painting by Michael Dahl, see NPG 6187.

1703
Painting by Edmund Lilly, whole-length standing, wearing the Garter collar and George, enveloped in a blue ermine-lined robe, signed and dated. Blenheim (G. Scharf, Catalogue raisonné; or, A List of the Pictures in Blenheim Palace, 1862, p 18). Exhibited Manners & Morals, Tate Gallery, 1987, no.1, illus.). Engraved J. Simon (J. Chaloner Smith, British Mezzotinto Portraits, 9). A good version from Kedleston sold Christie’s, 20 July 1990, lot 317. Three-quarter-length versions listed in the collections of the Prince of Hanover, and at Leeswood Hall, Mold (J. Steegman, Portraits in Welsh Houses, I, p 187, no.12 as studio of Dahl); others at Charlecote, Pembroke College, Oxford (Mrs R. L. Poole, Catalogue of Portraits in the possession of the University, Colleges, City and County of Oxford, III, p 240, no.13), Thoresby Hall, and with the Corporation of Dover (DOVRM0.11030.DTH; illus. The Public Catalogue Foundation, Kent, 2004, p 67); further examples sold Christie’s, 12 July 1990, lot 48 (from Waldershare), and Christie’s, New York, 5 October 1995, lot 201.
A bust-length miniature version by Bernard Lens III is at Ickworth.

Painting by Thomas Murray, whole-length standing in state robes, the sceptre in her right hand, the orb held out in her left, signed and dated. Middle Temple (B. Williamson, Catalogue of Paintings and Engravings in the possession of The Hon. Society of the Middle Temple, 1931, p 18). Murray’s receipt is dated November 1703. Closely resembling Kneller’s Coronation portrait of 1702-03, but with an architectural background.

c.1703
Painting by Thomas Murray, whole-length seated in an elaborately carved chair, in state robes, the sceptre in her right hand, the orb in her left, her feet on a cushion; signed. Royal Hospital, Chelsea (from the Upton Hall sale, 8 May 1946, as Queen Mary II). The head identical to that in Murray’s Middle Temple portrait.

1705
Painting by Thomas Starling, whole-length standing, sceptre in her right hand. City of Norwich, presented by the St George’s Company 1705 (illus. Family & Friends 1992, p 202), with companion piece of Prince George.

Painting by Godfrey Kneller, whole-length seated in ermine-lined cloak, wearing the Star of the Garter and holding the George at her breast in her right hand. Royal Collection (O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.340). Engraved J. Houbraken 1744. Many versions are recorded. A later copy from the Royal Collection (O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.369) is now with the Government Art Collection (9124). Perhaps the best version, dated 1705, is at Wrest Park (lent from the Government Art Collection); other versions are in the Clarendon Building, Oxford (Mrs R. L. Poole, Catalogue of Portraits in the possession of the University, Colleges, City and County of Oxford, I, p 135, no.334), and Fulham Palace; three-quarter-length versions are at Dyrham Park and in the Palazzo Pitti, Florence (1890.2900; illus. Firenze e l’Inghilterra, Florence, 1971, no.23); a half-length from Wrest Park sold Christie’s, 16 November 1917, lot 74; another at Hatchlands. A bust-length in the Uffizi (IC33) was acquired in 1723.
Unattributed painting, seated half-length, in state robes, the orb in her left hand, the crown and sceptre to the right. Cirencester (Earl Bathurst, Catalogue of the Bathurst Collection …, 1908, pp 28-29, illus.).

c.1705
Painting by Godfrey Kneller, whole-length, holding the George with her right hand, her left pointing left. Petworth (cat. 1920, p 67, no.208; J. D. Stewart, Godfrey Kneller, 1983, no.49). A reduced studio version also at Petworth (cat. 1920, p 69, no.246).

Painting attributed to Michael Dahl, whole-length seated in white satin dress, the crown on a table at her left side. Private collection, Mexico City, 1972. Apparently earlier than the 1712 Dahl pattern. Version sold Sotheby’s, 13 July 1994, lot 32 (from the Earls of Sutherland).

Painting by Godfrey Kneller, whole-length, crowned, in state robes, holding sceptre in her right hand, the orb in her left held at her waist. Warwick Castle (J. D. Stewart, Godfrey Kneller, 1983, no.48). Another version at Blenheim (Sir George Scharf's Sketch Books, 59:22a; G. Scharf, Catalogue raisonné; or, A List of the Pictures in Blenheim Palace, 1862, p 80). A variant of the coronation portrait pattern.

Painting by Godfrey Kneller, whole-length seated in state robes, a jewelled George suspended on the Garter ribbon round her neck, her left hand resting on the orb. Drumlanrig (J. D. Stewart, Godfrey Kneller, 1983, no.50, pl.66a). Closely resembling the Coronation portrait, see 1702-03 above.
Versions show slight variations in the collar (which may be jewelled) and some show her feet resting on a cushion.
The many examples include those at Bramham Park; Grimsthorpe Castle; Corsham sale, Christie’s, 14 May 1920, lot 12 (Sir George Scharf's Trustees' Sketch Books, 8:11; Lord Methuen, Corsham Court, 1903, p 4, no.29, pendant to a portrait of Prince George); the Drapers’ Company (presented by Lord Luke 1958, from Raynham); Town Hall, Oxford (Mrs R. L. Poole, Catalogue of Portraits in the possession of the University, Colleges, City and County of Oxford, I, p 249, no.750); Worcester Corporation; College of William and Mary, Williamsburg VA (1935-298); Deene Park; Melbourne Hall, and Rousham. A crude whole-length in a fine carved frame is in the church of St Nicholas, Deptford.
Three-quarter-length versions/copies in the Bodleian Library (Mrs R. L. Poole, Catalogue of Portraits in the possession of the University, Colleges, City and County of Oxford, I, p 80, no.201; Catalogue of Portraits in the Bodleian Library by Mrs R. L. Poole completely revised and expanded by K. Garlick, 2004, p 9); sold Christie’s, 7 September 2000, lot 8 (as follower of Closterman), and with the Cutlers’ Company (presented by Henry Graves 1868). Another in Stratford Town Hall is signed and dated 1715 by Thomas Murray (Sir George Scharf's Sketch Books, 69:19a).
Half-length versions include those at Cirencester, the Scottish NPG (PG 184), and from Hinton St George, sold Sotheby’s, 19 February 1969, lot 2 inscribed T. Gibson. A bust-length in Queen’s College, Oxford (Mrs R. L. Poole, Catalogue of Portraits in the possession of the University, Colleges, City and County of Oxford, II, p 124, no.46).

Miniature by Charles Boit, see NPG 6282.

c.1705-10
Painting by Michael Dahl, whole-length seated in red dress, sceptre in her right hand, wearing the George, ermine cloak over her lap and spread on the table to her left bearing the crown and orb. Painter-Stainers’ Company (Sir George Scharf's Sketch Books, 59:118 and 70:29; W. Nisser, Michael Dahl, 1927, cat. p 3, no.4d as c.1712). A version in the Oxburgh Hall sale, Wood & Hawkins, 1 November 1951, lot 668, another sold Sotheby’s, 11 July 1990, lot 28. A miniature copy by Charles Boit, bust-length, signed and dated 1713, belongs to the Duke of Buccleuch (W. Nisser, Michael Dahl, 1927, cat. p 106, no.1b; illus. Connoisseur, XLVI, 1916, p 135).

1706
Painting by Edmund Lilly, whole-length standing, an ermine-lined robe round her shoulders tied with an ornate tasselled cord, her left hand resting on the orb, wearing the collar and George of the Garter. Clarendon collection (R. Gibson, Catalogue of Portraits in the collection of the Earl of Clarendon, 1977, no.7). The head closely comparable with the 1703 Lilly portrait, see above. Version at Woodbastwick Hall in 1907 (Prince Frederick Duleep Singh, Portraits in Norfolk Houses, II, p 396, no.1); another sold Sotheby’s, 16 December 1970, lot 1; a three-quarter-length version in a Cambridge private collection 1979, and bust-length versions at Chirk Castle and sold Sotheby’s, 10 June 1970, lot 23.

Enamel by Charles Boit, whole-length seated holding sceptre, with Prince George standing by her. Royal Collection (W. Nisser, Michael Dahl, 1927, pp 159-60, cat. p 107, no.2; Masterpieces in Little 1996-97, no.44; G. Reynolds, The sixteenth and seventeenth-century Miniatures in the Collection of Her Majesty The Queen, 1999, no.393). The Queen alone engraved J. Simon, bust-length oval, done after the last large Picture in Enamill for his Royal Highness by Mr Charles Boit - the plate altered from a head after Lilly (J. Chaloner Smith, British Mezzotinto Portraits, 9ii), see 1703 Lilly above. Large copies in oil at Melbourne Hall and sold Christie’s, 13 May 1948, lot 61, and 6 February 1953, lot 103.

Statue by Francis Bird. Market House, Kingston-upon-Thames.

1707
Statue, unattributed. Guildhall, Windsor (Sir George Scharf's Trustees' Sketch Books, 3:83).

by 1708
Statue, unattributed, at 13 Queen Anne’s Gate, Westminster, London (illus. M. Baker, London Statues and Monuments, 1995, p 44).

c.1708
Statue attributed to John Harvey the elder of Bath. Barnstaple.

1709
Statue by Francis Bird. Minehead (Burlington Magazine, LXXXIX, 1947, p 257).

by 1709
Statue, unattributed, crowned, sceptre in right hand. University College, Oxford (west gate; Mrs R. L. Poole, Catalogue of Portraits in the possession of the University, Colleges, City and County of Oxford, II, p 5, no.14).

c.1709
Statue by Thomas White. Guildhall, Worcester.

c.1710-11
A large unfinished enamel by Charles Boit, including the Dukes of Marlborough and Ormonde, belonged to a Mr Peterson c.1726 (G. Vertue, Notebooks, Wal. Soc., XX, 1932, pp 20-21). Prince George had encouraged Boit to produce a large enamel of Anne with Marlborough and Prince Eugene, her nobles and ladies in waiting, but it was never completed (ibid., and cf. W. Nisser, Michael Dahl, 1927, pp 149-51, cat. p 121, no.2c).

c.1710
Miniature by Bernard Lens III, bust-length in state robes. Private collection (illus. The Monarchy in Portrait Miniatures, exhibition catalogue, D. S. Lavender, London, 1993, no.67).

Wax medallion by John Obrisset. Lady Lever Art Gallery. A 19th-century wax by J. S. Jorden was in the Harcourt sale, Sotheby’s, 10 June 1993, lot 249. Further unattributed waxes listed in E. J. Pyke, A Biographical Dictionary of Wax Modellers, 1973.

1711
Statue by John Ricketts the elder. College Green, Gloucester.

1712
Painting by Michael Dahl, whole-length in state robes, sceptre in right hand. Oriel College, Oxford, presented by Mrs Robinson, widow of John, Bishop of Bristol; on 16 May 1712 the lord chamberlain paid Dahl £50 for a whole-length for Bishop Robinson (Mrs R. L. Poole, Catalogue of Portraits in the possession of the University, Colleges, City and County of Oxford, II, p 85, no.20; W. Nisser, Michael Dahl, 1927, p 115, cat. p 3, no.4c).
Painting described as style of Dahl, whole-length standing in state robes, sceptre in right hand, crown and orb on table to right, in an architectural setting (including the dome of St Paul’s). National Maritime Museum (BHC 2515), acquired 1875 from the church of St Alfege, Greenwich (consecrated in 1718).
Other portraits of the Queen called Dahl include a whole-length bought in 1738 for the Council House, Salisbury (C. Haskins, Salisbury Corp. Pictures, 1910, p 31), and three-quarter-lengths, holding the orb and sceptre, in the Abbot’s Hospital, Guildford (Pictures in Guildford, 1888, p 41), and from the Newnham Paddox sale, Christie’s, July 1938, lot 37 (with a pendant of Prince George).
W. Nisser, Michael Dahl, 1927 listed further untraced portraits called Dahl, cat. p 52, no.1a,c-d,f.

Enamel miniature by Charles Boit, three-quarter-length in purple dress with red drape, wearing the George, the crown to the left. London art market 1993 (illus. The Monarchy in Portrait Miniatures, exhibition catalogue, D. S. Lavender, London, 1993, no.63).
W. Nisser, Michael Dahl, 1927 listed further unverified miniatures by Boit called Queen Anne, cat. p 106, no.1d (Wicander collection), and p 121, no.2a,b,d-g.

Statue by Francis Bird. St Paul’s, London. Replaced in 1886 with a replica by R. C. Belt. The original, which had been repaired by John Henning, now in the gardens of Holmhurst, near Hastings.

c.1712
Statue attributed to Francis Bird. Christ Church, Oxford (Tom Tower; Mrs R. L. Poole, Catalogue of Portraits in the possession of the University, Colleges, City and County of Oxford, III, p 45, no.113), given by Robert Harley, Earl of Oxford.

1713
Marble statue by Andries Carpentière. Leeds City Art Gallery (T. F. Friedman, Leeds Arts Calendar, LXXII, 1973, pp 5-13). Installed in the Moot Hall, Leeds, 1713.

Unattributed statue, installed in the Guildhall, Winchester, 1713 (illus. Country Life, CLV, 16 May 1974, p 1204).

c.1713
Statue by John Tillson. Chester Exchange.

1714
Wax head, probably from a death mask, incorporated in the seated effigy in Westminster Abbey (A. Harvey & R. Mortimer eds., The Funeral Effigies of Westminster Abbey, 2003, no.XV, pl.XIII).

Posthumous
1715-17
Gilt-bronze statue by G. B. Foggini made in Florence. Untraced, intended for St Mary-le-Strand, then Lincoln’s Inn Fields (T. F. Friedman, Kunst des Barock in der Toskana, 1976, pp 39-56).

1738
Marble statue by J.M. Rysbrack. Blenheim (long library; G. Scharf, Catalogue raisonné; or, A List of the Pictures in Blenheim Palace, 1862, pp 77, 213; illus. M. I. Webb, Michael Rysbrack, 1954, p 165).

c.1738
Marble bust by J. M. Rysbrack. Sotheby’s NY, 11 January 1995, lot 157. A bust of Queen Anne was in Rysbrack’s sale, 20 April 1765, lot 31.
Amongst later posthumous statuary: a marble medallion by John Moore jun., exhibited Free Society of Artists, London, 1773, no.124; a bust by William Theed the younger c.1850 at Windsor; two marble busts by J. E. Boehm, exhibited RA 1874, nos.1534, 1548 - one sold Sotheby’s, 25 March 1981, lot 606 - and a statue by Henry Fehr 1898 on the façade of the Russell Hotel, Russell Square, London.

Histories
Queen Anne appears in a number of historical compositions (see NPG 624), most notably in the painted ceiling of the Greenwich Hospital by James Thornhill, and the ceiling of Hampton Court Palace by Verrio (illus. D. Green, Queen Anne, 1970, f.p.137), who also included her in a design for the Inner Temple, London, now destroyed. Laguerre made three monochrome sketches for unexecuted tapestries (E. Croft-Murray, Decorative Painting in England, I, Early Tudor to Sir James Thornhill, 1962, p 250b).
Other historical compositions include Presenting the plans of Blenheim Palace to Military Merit 1708 by Kneller (Blenheim; described by Scharf, (G. Scharf, Catalogue raisonné; or, A List of the Pictures in Blenheim Palace, 1863, p 176) as ‘the whole design ... somewhat absurd’; J. D. Stewart, Godfrey Kneller, 1983, p 61, no.51, pl.58); the Procession to the Houses of Parliament attributed to Alexander Gaelen (Royal Collection; O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.488); Queen Anne in the House of Lords by Peter Tillemans (Royal Collection; O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.489, pl.206), and the Articles of the Union by Gerard Huck, engraved V. Green 1786 (illus. Palace of History, Glasgow, 1911, I, p 376).
A painted allegory by unknown Italian artists of Queen Anne and Queen Mary was one of a series of ‘monuments’ to recent ‘British Worthies, who were bright and shining Ornaments, to their Country’, commissioned by Owen MacSwinny c.1725-29. Untraced (E. Croft-Murray, Decorative Painting in England, II, The Eighteenth and Nineteenth Centuries, 1970, pp 239-40, no.2).

Doubtful Portraits
Unattributed painting c.1680, whole-length seated in a landscape, dark hair, holding the Garter medal round her neck, inscribed. From Hinton St George, sold Sotheby’s, 19 February 1969, lot 7, and 30 January 1985, lot 19 as A Lady from the circle of Lely.

Painting attributed to Wissing and Van der Vaart c.1690, three-quarter-length seated with ermine-lined cloak, light brown hair, picking berries with her left hand, her right holding blossom in her lap. Christie’s, 14 July 1989, lot 86 as Mary II (with sale room notice identifying Mary of Modena) from Malahide Castle.



This extended catalogue entry is from the National Portrait Gallery collection catalogue: John Ingamells, National Portrait Gallery: Later Stuart Portraits 1685-1714, National Portrait Gallery, 2009, and is as published then. For the most up-to-date details on individual Collection works, we recommend reading the information provided in the Search the Collection results on this website in parallel with this text.