Regency Portraits Catalogue
Caroline Amelia Elizabeth of Brunswick (1768-1821), Queen of George IV
As Princess of Brunswick
Miniature engraved by J. Chapman published 2 March 1795, wearing a miniature of the Prince of Wales.
Miniature by Hansch, miniature painter to the Duke of Brunswick, engraved by Tomkins, 27 January 1795, as 'Princess of Wales Elect'.
Miniature engraved and published in The Ladies' Magazine, January 1795, as 'Princess Caroline of Brunswick'.
Profile 'Drawn from Life' and published by P. Wurmser as 'Princess Caroline Amelia Elizabeth' and re-issued by Laurie & Whittle 1 December 1796.
Miniature by Schroeder of Brunswick engraved by Tookey in Universal Magazine, January 1795, as 'Intended Princess of Wales' wearing a Britannia brooch.
Oil by Daniel Orme of the Princess landing at Greenwich in April 1795, Stanton Harcourt.
As Princess of Wales
Miniature by Cosway in Pierpont Morgan collection, reproduced Burlington Fine Arts Club, Miniatures, 1889, plate XVI.
Oil by Gainsborough Dupont in Royal Collection, whole-length in her wedding-dress (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, 1969, 768, plate 106).
Oil sketch by William Hamilton in Royal Collection, 'The Marriage of the Prince of Wales and Princess Caroline in the Chapel Royal 8 April 1795' (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, 1969, 827, plate 172).
Oil by J. Graham engraved in mezzotint by J. Daniell as 'The Marriage of their Royal Highnesses the Prince and Princess of Wales'.
An oil by Hoppner of the Princess in her wedding dress was cancelled because of a difference with George III and the commission was given to Dupont (Farington, Diary, 17 April 1795). Hoppner exhibited a portrait of the Princess RA 1800 (135); an oil by him is in the Montreal Museum of Fine Arts and a miniature copy in the Philadelphia Museum of Art; a chalk drawing called Princess Caroline and attributed to Hoppner was at Christie's 5 June 5935 (10).
Drawing by C. Hoyer engraved by P. Sintzenich 1795 (example in British Museum).
Miniature by Philip Jean in Royal Collection exhibited 'George III', Queen's Gallery, 1974-5 (148).
Miniature engraved by Schiavonetti published by Colnaghi June 1795.
Drawing by Edmund Scott engraved by T. Barrow published 8 July 1795 and made into a Wedgwood oval relief possibly by Flaxman (Robin Reilly & George Savage, Wedgwood: the Portrait Medallions, 1973, p 83).
Oil by Stothard engraved in mezzotint by J. Murphy published 21 May 1795 (John Chaloner Smith, British Mezzotint Portraits, 17).
Miniature by H. de Janvry in Burlington Fine Arts Club Miniatures Exhibition 1889 lent by H. H. Gibbs.
Pastel by J. Russell in Lord Doverdale's sale Sotheby's 8 November 1950 (90), three-quarter-length with her daughter; Farington noted the Princess was not pleased with Russell's portrait which Henry Bone thought a true one (Diary, 19 September 1799).
Miniature by William Hincks exhibited RA 1797 (887).
Miniature by Cosway noted in Farington, Diary, 10 November 1797; Farington later mentions Henry Bone's comment on Princess Caroline's pleasure 'with Cosway's flattering likeness' (Diary, 19 September 1799).
Pencil and watercolour drawing by Cosway in Royal Collection (A. P. Oppé, English Drawings … at Windsor Castle, 1950, 151) engraved by Bartolozzi 15 June 1799, whole-length standing on a balustrade holding her infant daughter; a version was at Sotheby's 15 July 1937 (27); a different type, with Britannia and Lion, was in the Earl of Malmesbury's collection.
Oil by Lawrence in V&A Museum, reproduced in colour in Connoisseur, December 1912 (Kenneth Garlick, ‘Catalogue of Paintings, Drawings and Pastels of Sir Thomas Lawrence’, in Walpole Society Journal, XXXIX, 1964, pp 50-1).
Farington notes that the Princess had sat to Beechey twice but that she disliked her squint being portrayed (Diary, 19 September 1799).
Pencil and watercolour drawing by Cosway in W. A. Brandt collection, inscribed: Rdus Cosway RA et FSA Princarius Pictor Serenissimi Walliae Principis Fecit 1801, whole-length standing against rocks by the sea.
Oil by Lawrence in Royal Collection, whole-length tuning a harp with Princess Charlotte (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, 1969, 874, plate 187); a drawing possibly a study for this but with considerable variation is in a private collection Anglesey.
Watercolour drawing by Heaphy at Gosford House, possibly that exhibited RA 1803 (366), whole-length seated against a garden urn, identity doubtful.
Oil by Lawrence (NPG 244).
Oil by Beechey in private collection Somerset; another version in a slightly different dress was in Duke of Gloucester's sale Christie's 23 October 1970 (101), engraved by Scriven 28 March 1806; watercolour copy by Harding in Royal Collection (A. P. Oppé, English Drawings … at Windsor Castle, 1950, 293); a grey wash copy by W. M. Craig was at Sotheby's 24 November 1977 (146); a variation also by Craig but in reverse was engraved by Mackenzie. A later type by Beechey (1812-13) was at Sotheby's 2 March 1966 (200).
Drawing ascribed to Edridge, whole-length seated to right (reproduced Country Life, 13 June 1963, p 1402).
Medallion in enamel paste by Henning exhibited RA 1813 (570); an impression signed and dated 1813 at Christie's (South Kensington) 1 September 1978 (57); plaster replica in Scottish NPG (410); a drawing by Henning, 'taken from LIFE previous to her departure from England', engraved by Woolnoth February 1820.
Marble bust by Nollekens engraved by Blood, 1 May 1813.
Terracotta bust by Mrs Damer in Ranger's House, Blackheath.
Pink wax medallion perhaps by S. Percy at Sotheby's 30 November 1964 (94).
Miniature said to have been painted for Metternich was offered to the NPG in 1908.
As Queen Caroline
Drawing 'As she appeared at the home of Alderman Wood on the evening of her arrival in London when she received the most hearty Congratulations of many Thousand Persons', etched and published 25 June 1820 by S. & J. Fuller.
Drawing (not satire) by R. Cruikshank, 'A Sketch from Life', published 5 September 1820.
Drawing by Derby engraved and published Cooper 1820.
Oil by A. W. Devis known from Say's mezzotint 1820.
Oil sketch by Hayter (NPG 4940); drawings and sketches by Hayter in NPG 999, 1695a-b and 2662.
Oil by Samuel Lane in Scottish NPG.
Oil by Lonsdale (NPG 498).
Watercolour drawing by Stephanoff in the Palace of Westminster collection, 'View of the Interior of the House of Lords during the Important Investigation 1820' - a study for Murray's large stipple engraving.
Drawing by Wageman adapted by the addition of a large feather hat from Henning's drawing 1813 above, engraved by Woolnoth June 1820.
Oil or watercolour by A. Wivell painted in June 1820, engraved by Cooper, Wright and others and published by Kelly 'from a Painting in the Possession of the Publisher'; an oil on copper by Wivell was at Ashford Police Station in April 1980.
Transfer prints on glass by W. B. Walker, 'Queen Caroline Landing at Dover 5 June 1820', 'The Triumph of Innocence over Persecution', and 'Queen Caroline Crowned with Victory by Britannia' were at Christie's 30 June 1977 (25-7).
Staffordshire-ware beaker in Museum of London inscribed: Queen Caroline or the Royal Wanderer/Born May 17 1768/The Ale is good/So pray pour out;/As soon as full/Then drink about.
This extended catalogue entry is from the out-of-print National Portrait Gallery collection catalogue: Richard Walker, Regency Portraits, National Portrait Gallery, 1985, 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.