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Early Georgian Portraits Catalogue

Frederick Lewis, Prince of Wales (1707-1751), Son of George II; father of George III

The sitter is richly represented in the Royal collection and Millar, in a discussion of his patronage, gives a good account (O. Millar, 'Notes on the Royal Collection - I’, Burlington Magazine, CIII, 1961, pp 28-30). Portraits have sometimes been confused with those of the Young Pretender who has, however, a narrower chin and is usually shown wearing the Thistle as well as the Garter.
As a youth Frederick was frequently painted, in somewhat mechanical style, by German artists in Hanover. After his arrival in England, December 1728, portraits begin to reflect the livelier style of the artists he patronised which led, incidentally, to a genre new in royal portraiture, the conversation, and especially, the sporting group. In the latter, Wootton was his favourite. The main portraits are:

Hanoverian Period, before 1728, by:
(1) E. Paletta, signed, 1707, Gripsholm;
(2) Sir James Thornhill, Queen Anne's bedchamber, Hampton Court;
(3) R. A. Constantin, signed and dated 1716, Victoria and Albert Museum;
(4) Franken, [1] ad vivum, engraved by J. Faber junior from an Original Picture at St. James's (F. O'Donoghue and Sir Henry M. Hake, Catalogue of Engraved British Portraits ... in the British Museum, 1908-25, 10), probably c.1716;
(5) an unknown artist, engraved by J. Simon, 1718, as from an Original Picture lately Brought from Hanover - an oil corresponding with the engraving is at the Welsh Girls' School, Ashford, Mddx;
(6) Martin Maingaud, c.1720, with the Princess Amelia (?) - as Zephyrus and Flora (O. Millar, ‘Notes on the Royal Collection - I’, Burlington Magazine, CIII, 1961, 514);
(7) a portrait attributed to G. W. Fountain, 1723, Niedersächsisches Heimatsmuseum, Hanover, engraved by J. Smith, and a head very similar, Royal collection (O. Millar, ‘Notes on the Royal Collection - I’, Burlington Magazine, CIII, 1961, 624);
(8) an unknown artist, with C. Kauffmann of Paris, 1930, three-quarter length - a portrait of high quality, the handling of the eyes, for example, being comparable to known works by Pesne, conceivably the picture recorded by Vertue as painted in 1724; [2]
(9) C. Boit, probably an enamel since this was his medium, engraved Vertue 1725;
(10) G. Hansson (of Cologne ?), [3] engraved by Van Werdlen with English lettering (F. O'Donoghue and Sir Henry M. Hake, Catalogue of Engraved British Portraits ... in the British Museum, 1908-25, 13);
(11) Joachim Kayser, a Hanoverian painter, and Johan Anton Klyher, a Weimar court painter, 1727 (O. Millar, ‘Notes on the Royal Collection - I’, Burlington Magazine, CIII, 1961, 517, pl.202), an equestrian portrait.

In England, 1728 and after, by:
(12) Mercier, engraved Simon (J. Chaloner Smith, British Mezzotinto Portraits, 1878-83, 64), second state as painted for Lord Grantham; [4]
(13) J. Davison, engraved J. Faber junior (J. Chaloner Smith, British Mezzotinto Portraits, 1878-83, 144) as after a painting of 1730, the fourth state giving the year 1739;
(14) Mercier, half length, collection Lord Brownlow;
(15) Dandridge (NPG 1164) and an unrelated whole length, in robes of state, formerly at Woburn, Christie's, 19 June 1951, lot 90; a signed and dated Dandridge of 1732, Zetland collection, exhibited as Frederick at Bowes Museum, 1962, no.19, seems wrongly named on comparison with authentic portraits; [5]
(16) Zincke, a miniature of 1732 recorded by Vertue, [6] whereabouts now unknown, and a version at Christie's, 28 June 1966, lot 245, from the collection of the Princess Royal;
(17) Amigoni, payment received in 1736 for portraits painted the previous year - a three-quarter length, Buckingham Palace (O. Millar, ‘Notes on the Royal Collection - I’, Burlington Magazine, CIII, 1961, 526), and whole lengths at Easton Neston, Lord Hesketh, and Raby Castle, Lord Barnard;
(18) Herman Van der Myn, payment of £63 recorded September 1735 [7] and reference to a 'recent' sitting in a newspaper report of April 1734; [8]
(19) Mercier (NPG 2501) of c.1736-38;
(20) Ellys, c.1735-45, engraved by J. Faber junior (J. Chaloner Smith, British Mezzotinto Portraits, 1878-83, 145); this does not correspond with the painting at Windsor Castle (530) by Ellys which Millar associates with a payment made in 1744; the latter may represent Cumberland rather than Frederick; [9]
(21) Richardson, whole length, signed and dated 1736, Warwick Castle, and a drawing, dated 1736, in the British Museum;
(22) attributed to Hogarth, a pair with the Princess, Windsor Castle (O. Millar, ‘Notes on the Royal Collection - I’, Burlington Magazine, CIII, 1961, 562-63), painted soon after the Prince's marriage, April 1736; [10]
(23) Thomas Frye, half length (O. Millar, ‘Notes on the Royal Collection - I’, Burlington Magazine, CIII, 1961, 543), and a corresponding whole length formerly in the Saddlers' Hall, destroyed 1940, engraved by the artist, 1741, and lettered as painted in that year - the portrait may be earlier, dating from the Prince's visit to the Hall in 1736 when he gave permission to the Guild of Saddlers to 'have his picture'; [11]
(24) C. Philips, pair with the Princess, the latter signed and dated 1737 (O. Millar, ‘Notes on the Royal Collection - I’, Burlington Magazine, CIII, 1961, 531);
(25) Davison, whole length, pair with the Princess, sent to Richard Nash at Bath, 1740, [12] very close to the Richardson portrait of 1736;
(26) attributed to Largillière, a good pastel of c.1740 [13] perhaps by Knapton, a painter in favour with the Prince [14] (cp O. Millar, ‘Notes on the Royal Collection - I’, Burlington Magazine, CIII, 1961, 626, of c.1735);
(27) Vanloo, a pair with the Princess, signed and dated 1742 (O. Millar, ‘Notes on the Royal Collection - I’, Burlington Magazine, CIII, 1961, 535), and another version, also signed and dated 1742, at Boconnoc;
(28) Stephen Slaughter, a portrait begun in 1742 and mentioned by Vertue; [15]
(29) Highmore, who certainly painted a portrait in 1742, formerly attributed to Vanloo (O. Millar, ‘Notes on the Royal Collection - I’, Burlington Magazine, CIII, 1961, 519), and a version at Celle, Germany; [16]
(30) Rudolf Studer, payment of £64.2s received for a whole length in 1749; [17]
(31) Du Pan, sittings 1745, [18] possibly identical with the whole length attributed to Ramsay, in the Ulster Museum, formerly in the collection of Sir Cecil Stafford-King-Harman; [19] a half length version attributed to Du Pan was at Sotheby's, 13 July 1966, lot 295, and again 22 November 1967, lot 32;
(32) Hudson, a whole length, Trinity College, Dublin, signed and dated, offered as a gift from the Prince, 1745, received 1748, [20] and another, pair with the Princess, at Cliveden, engraved by J. Faber junior 1751 (J. Chaloner Smith, British Mezzotinto Portraits, 1878-83, 146) lettered as painted ad vivum 1750;
(33) attributed to Morier, c.1750, an equestrian portrait at Windsor Castle (O. Millar, ‘Notes on the Royal Collection - I’, Burlington Magazine, CIII, 1961, 595);
(34) ascribed to Reynolds, a half length formerly at Bramshill, collection Lord Brocket, Sotheby's 16 July 1952, lot 89, and although not by Reynolds, one probably by his hand said to have been painted for Sir George Lee and sent by him to Hartwell appeared in the Hartwell House sale, 26 April 1938, lot 58; the portrait attributed to Reynolds is closely related to:
(35) by Liotard, a posthumous pastel c.1754-55 (O. Millar, ‘Notes on the Royal Collection - I’, Burlington Magazine, CIII, 1961, 579) completing the set of Augusta and her family which, in turn, relates to:
(36) attributed to David Lüders (O. Millar, ‘Notes on the Royal Collection - I’, Burlington Magazine, CIII, 1961, 628) inscribed, or possibly signed, on the back Luders fecit. Lüders, born in Hamburg c.1710 (d. 1759), studied in Paris under Lemoyne and worked in Italy, England and Russia.

SCULPTURE
Examples are rare. A fine bust at Windsor, attributed to Scheemakers was sold by the 5th Earl Temple, Sotheby's, 9 May 1941, lot 65; it was then accompanied by lot 66, a signed Scheemakers of Richard Temple, 1st Viscount Cobham. Both may have been from the Temple of Friendship at Stowe. [21] A later wax medallion by Gosset is in the Royal collection. [22] Dassier's fine medal dates from 1729 [23] and a wax c.1735 by J. S. Tanner, then working in the mint, was much commended by Vertue and others. [24]

GROUPS, by:
(1) Charles Philips, with the 'Knights of the Round Table', signed and dated 1732 (O. Millar, ‘Notes on the Royal Collection - I’, Burlington Magazine, CIII, 1961, 533);
(2) Mercier, 'The Music Party', 1733 (NPG 1556);
(3) Wootton, accompanied by Thomas Bloodworth, riding, probably 1731-35 when Bloodworth was groom of the bedchamber (see NPG 1164);
(4) Wootton and Hogarth, in the hunting field (Sir Oliver Millar, The Tudor Stuart and Early Georgian Pictures in the collection of Her Majesty The Queen, 1963, 555), signed and dated Wootton 1734 - a bill records: 'To Mr Hogarth for painting Six Faces in the Picture at 5 Guineas Each Face'; [25]
(5) Wootton, 'The Death of the Stag', signed and dated 1737 (O. Millar, ‘Notes on the Royal Collection - I’, Burlington Magazine, CIII, 1961, 545);
(6) Wootton, 'The Return from the Chase', also signed and dated 1737 (O. Millar, ‘Notes on the Royal Collection - I’, Burlington Magazine, CIII, 1961, 546);
(7) Wootton, the Prince with John Spencer and Charles Douglas, 3rd Duke of Queensberry in the Home Park at Windsor, versions in the Royal collection, signed and dated 1740 (O. Millar, ‘Notes on the Royal Collection - I’, Burlington Magazine, CIII, 1961, 547) and at Drumlanrig;
(8) Wootton, 'The Riding Lesson', probably painted 1750, depicting Sir Philip Medows with two Princes, traditionally Frederick and Cumberland but almost certainly Frederick's eldest son George, later George III, and Edward, Duke of York. [26]

1) Possibly C. A. V. Franken; see U. Thieme and F. Becker, Allgemeines Lexikon der Bildenden Künstler, 1907-50, XII, p 339.
2) G. Vertue, Vertue Note Books (edited by The Earl of Ilchester), Walpole Society, III, p 20, meaning perhaps that Pesne's was a whole length.
3) U. Thieme and F. Becker, Allgemeines Lexikon der Bildenden Künstler, 1907-50, XVI, p 14.
4) See discussion under NPG 2501.
5) Sir George Scharf's Sketchbooks, LXXVI, p 45a; LXXXIV, p 15.
6) G. Vertue, Vertue Note Books, III, p 58.
7) O. Millar, ‘Notes on the Royal Collection - I’, Burlington Magazine, CIII, 1961, p 28, note 84.
8) G. Vertue, Vertue Note Books, III, p 69.
9) O. Millar, ‘Notes on the Royal Collection - I’, Burlington Magazine, CIII, 1961, p 76.
10) Ibid, p 186.
11) J. W. Sherwell, The History of the Guild of Saddlers, 3rd edition, 1956, pp 93-94.
12) O. Millar, ‘Notes on the Royal Collection - I’, Burlington Magazine, CIII, 1961, p 29, note 85.
13) Connoisseur, 1905, reproduced p 52.
14) G. Vertue, Vertue Note Books, I, pp 12-13; p 154.
15) Ibid, III, pp 88, 111.
16) O. Millar, ‘Notes on the Royal Collection - I’, Burlington Magazine, CIII, 1961, p 174; Exhibited ‘Highmore', Kenwood, 1963 (13).
17) O. Millar, ‘Notes on the Royal Collection - I’, Burlington Magazine, CIII, 1961, p 28, note 84.
18) Ibid, p 29.
19) Exhibited 'Kings & Queens', RA, 1953 (235).
20) W. G. Strickland, A ... Catalogue of the Pictures ... in Trinity College, Dublin, Dublin, 1916, p 53.
21) G. Vertue, Vertue Note Books, III, p 133.
22) Ibid, p 160; exhibited 'Kings & Queens', RA, 1953 (236).
23) L. Forrer, Biographical Dictionary of English Medallists, 1904-30, p 517.
24) G. Vertue, Vertue Note Books, III, p 76.
25) O. Millar, ‘Notes on the Royal Collection - I’, Burlington Magazine, CIII, 1961, p 583.
26) Collection, Duke of Wellington; exhibited 'Pictures from Hampshire Houses', Winchester and Southampton, 1955 (78).


This extended catalogue entry is from the out-of-print National Portrait Gallery collection catalogue: John Kerslake, Early Georgian Portraits, Her Majesty's Stationery Office, 1977, 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.