Mid-Georgian Portraits Catalogue

The principal surveys of George III’s iconography are contained in the catalogues of the Royal Collection (Sir Oliver Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963 and Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969 and R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty the Queen, 1992). The following list includes the more important images of the King as well as those portraits which appeared in contemporary exhibitions, but cannot claim to be comprehensive; history pieces and satires are generally omitted, and the two hundred and fifty contemporary medals are treated with discrimination.

As Prince George 1739-51
1739
Painting by J. B. Van Loo, with his mother Augusta, Princess of Wales. Royal Collection (Sir Oliver Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.538, pl.191).

c.1742
Painting attributed to George Knapton, The Children of Frederick, Prince of Wales, including Prince George as Cupid. Royal Collection (Sir Oliver Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.577).

c.1744
Unattributed drawing, seated on the floor reading. Royal Collection (A. P. Oppé, English Drawings, Stuart and Georgian periods, in the Collection of His Majesty the King at Windsor Castle, 1950, no.713, fig.60).

1746
Painting by Barthélemy du Pan, with his brothers and sisters. Royal Collection (Sir Oliver Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.572, pl.213). Engraved J. Faber, T. Ryley.

c.1749
Painting by Richard Wilson, see NPG 1165.

c.1750
Unattributed painting, whole-length standing in rich blue costume with Garter ribbon. Schloss Greinburg.

As Prince of Wales 1751-59
1751
Painting by George Knapton, whole length with his mother, brothers and sisters. Royal Collection (Sir Oliver Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.573, pl.212). The figure of the Prince of Wales repeated in a separate painting, presumably by George Knapton, in the Victoria and Albert Museum (W.35.1972).

A drawing by Knapton in the Huntington Library, San Marino, Calif., shows the Prince with his brother Edward, Duke of York, and Simon, 1st Earl Harcourt (their tutor 1751-52).

1752
Wax by Isaac Gosset (G. Vertue, Note Books, III, Wal. Soc., XXII, 1934, p 160).

1753
Miniature by J-E. Liotard, in red coat with the ribbon and star of the Garter. Christie’s, 21 October 1997, lot 14.

1754
Engraving by J. McArdell after David Luders 1754, bust length with the ribbon and star of the Garter.

c.1754
Pastel by J-E. Liotard, half length. Royal Collection (Sir Oliver Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.581, pl.215). Miniature versions 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.729), the Dutch Royal Collection dated 1754 (illus. D. Foskett, A Dictionary of British Miniature Painters 1972, II, pl.212, no.533) and with the Prince of Hanover. A copy in enamel by Henry Bone dated 1818 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.743) and his preparatory drawing, dated 1811, is in the NPG Bone albums (R. Walker, 'Henry Bone's Pencil Drawings in the National Portrait Gallery', Wal. Soc., LXI, 1999, no.215, fig.130). Related versions include a pastel at Wykeham Abbey, and paintings at Cairnbulg Castle and the Royal Collection (a bust-length oval; Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.1216).

1755
Engravings by B. Baron and G. Bockman after J. A. Adolphe, on horseback with ribbon and star of the Garter. Drawing by Bernard Baron sold Sotheby’s, 16 November 1989, lot 35.

1757-58
Painting by Allan Ramsay, whole length in robes of state. Private collection, commissioned by the Earl of Bute (A. Smart, ed. J. Ingamells, Allan Ramsay, a complete catalogue of his Paintings, 1999, no.191). Engraved W. W. Ryland 1761. Versions at Marlborough House and, reduced, at Ickworth and the Bank of England. Miniature adaptations include one attributed to Jeremiah Meyer 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.249) and another attributed to Gervase Spencer, sold Christie’s, 3 July 1996, lot 60, and Sotheby’s, 28 April 1999, lot 313. A three-quarter length mezzotint by R. Houston also derives from this type.

1757-60
Engraving by H. J. Tyroff after Richard Wilson, half length, with ribbon and star of the Garter (illus. W. G. Constable, Richard Wilson, 1953, pl.7a).

1759
Painting by Joshua Reynolds, three-quarter length with ermine-trimmed cloak and the ribbon of the Garter. Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.1011, pl.89; D. Mannings, Sir Joshua Reynolds, I, 2000, no.715). The head appears to be derived from the Liotard of c.1754.

Drawn and engraved by Jonathan Spilsbury, bust length, from an original painting in the possession of Thos Jefferys, published June 1759. Reissued, with added ribbon and star of the Garter, as George III.

Medal by Thomas Pingo, celebrating the majority of the Prince of Wales (C. Eimer, The Pingo Family & Medal Making in 18th-century Britain, 1998, no.13). Exhibited Free Society of Artists, London, 1761 (153). Portrait re-used for further medals in 1760-62 (see L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, nos.1,3,30,71,82; C. Eimer, The Pingo Family & Medal Making in 18th-century Britain, 1998, nos.16-19, 27).

c.1760
Painting by Henry Morland, half length with Garter ribbon. Engraved by R. Houston as Prince of Wales, a later state as George III (also used for the King’s Address, 18 November 1760); a three-quarter length version engraved J. E. Nilson.

As King 1760-1820
George succeeded to the throne on 25 October 1760; he married Princess Charlotte of Mecklenberg-Strelitz [see Charlotte] on 8 September 1761 and they were crowned on 22 September. Over fifty medals were struck celebrating the Royal marriage and the coronation, including those by John Kirk, J. Abraham, J. U. Hans, J. L. Natter, E. Thomason and T. Ward (see L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, nos.10-19, 21-26, 28, 29, 31-64).

c.1760-62
Unattributed pastel, profile bust to right. S. K. H. Prince Ernst August of Hanover. A pair of unattributed pastels of the King and Queen, the latter resembling the Ramsay type, is in the same collection.

c.1760-65
Paintings by David Morier, equestrian portraits of the King attending military reviews, of slight iconographic worth.

Morier exhibited Society of Artists, London, 1762 (71) a portrait of the King on a brown horse attended by the Marquess of Granby and other Officers; four of his portraits are in the Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, nos.952-955) and others include those sold Christie’s, 12 July 1991, lot 11; Bonham’s, Knightsbridge, 6 July 1995, lot 182, and Sotheby’s, 25 November 1998, lot 34.

1760
Miniature profile bust by Jeremiah Meyer, believed to have been drawn from memory, set in a pearl bracelet and sent to Princess Charlotte in Strelitz as an engagement present (R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, fig.20). Queen Charlotte wears this miniature in her portraits by Matthieu 1762, attributed to Zoffany c.1766, Zoffany 1771, West 1776, Lawrence 1789 and Beechey 1796 (see Charlotte). Two other versions by Meyer are in the Royal Collection, one dated 1767 (R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, nos.250-51) and another, also set in a ring, is in the British Museum (H. Tait ed., The Art of the Jeweller, a Catalogue of the Hill Grundy Gift to the British Museum, 1984, no.311). A comparable profile by Meyer, resembling the Pingo medal of 1759, engraved in 1761 by J. McArdell, I. Simson, and as C. Spooner delint. et fecit.

Studies by Meyer for a portrait of the King are in the Meyer Album in the Ashmolean Museum, Oxford (1361; D. B. Brown, Ashmolean Museum, Oxford, Catalogue of the Collection of Drawings, IV, The Earlier British Drawings, 1982, p 461). In 1761 Meyer was awarded a Gold Medal by the Society for the Encouragement of Arts for the best drawing of a profile of the King, for the purpose of having a dye cast from it (E. Edwards, Anecdotes of Painters, 1808, p 159; R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, p XV).

Medals celebrating the King’s accession 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, no.4) and see 1759 Thomas Pingo.

1761-62
Painting by Allan Ramsay, whole length in coronation robes, see NPG 223.

1761
‘A profile drawn from Memory’ by Henry Morland, exhibited Society of Artists, London, 1761 (72).

Model in wax by Spang, exhibited Society of Artists, London, 1761 (161).

Models in wax by Isaac Gosset exhibited Society of Artists, London, 1761 (147) and Free Society of Artists, London, 1761 (100). A Wedgwood medallion after Gosset (illus. R. Reilly and G. Savage, Wedgwood the Portrait Medallions, 1973, p 163) was probably taken from one of these. Undated wax by Gosset in the Victoria and Albert Museum (A.57.1970). See also under 1774 and 1776.

c.1761
Painting by Francis Hayman, whole length in coronation robes, painted for the annexe to the Rotunda at Vauxhall Gardens; listed in the proposed Vauxhall sale, 15-16 June 1840 (B. Allen, Francis Hayman, 1987, p 172).

Enamel miniature attributed to Francis Sykes, with ribbon of the Garter. Royal Collection (R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, no.312). Engraved J. Basire; J. Miller (reversed) 1761. Derived from a mezzotint medallion by J. J. Haid, published shortly after the coronation.

c.1761-62
Painting by Allan Ramsay, half length profile with the star of the Garter. Mount Stuart, commissioned by the Earl of Bute (A. Smart, ed. J. Ingamells, Allan Ramsay, a complete catalogue of his Paintings, 1999, no.193).

A similar half-length by Ramsay painted c.1762-63, differing in having a richly-embroidered red coat, is in a private collection (A. Smart, ed. J. Ingamells, Allan Ramsay, a complete catalogue of his Paintings, 1999, no.194). Engraved R. Houston, J. Watson and W. Woollett. Versions include examples at St John’s College, Oxford (Mrs R. L. Poole, Catalogue of Portraits in the possession of the University, Colleges and City and County of Oxford, III, p 184), the Salisbury Guildhall, and a miniature derivation 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.319).

1762
Painting by Andrea Casali, as Augustus, exhibited Free Society of Artists, London, 1762 (45).

Engraving by W. Pether after an ad vivum drawing by Thomas Frye, see Charlotte (J. C. Smith, British Mezzotint Portraits, 1878-84, 17-18), bust length, with quilted coat and the collar of the Garter. The companion plate of the Queen engraved by Frye himself. Half-length portraits which may be ascribed to Frye, sold Christie’s, 19 December 1975, lot 136, and Sotheby’s, 8 November 1978, lot 215.

‘A head in crayons’, by Henry Morland, exhibited Society of Artists, London, 1762 (72).

Painting by John Miller, ‘a head’, exhibited Society of Artists, London, 1762 (190).

Miniature by Henry Millington, with ribbon and star of the Garter. Royal Collection (R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, no.284). Presumably that exhibited by Millington Free Society of Artists, London, 1762 (114).

Medal by Thomas Pingo, celebrating the birth of the Prince of Wales, with facing bust of the Queen (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, no.77; C. Eimer, The Pingo Family & Medal Making in 18th-century Britain, 1998, no.26).

1763
Model in profile by Lewis Pingo, ‘from the life’, exhibited Free Society of Artists, London, 1763 (161), probably to be associated with the Pingo wax in the British Museum (1993.5.47.1; cf. C. Eimer, The Pingo Family & Medal Making in 18th-century Britain, 1998, no.144).

c.1763
Painting by John Shackleton, three-quarter length in robes of state. Guildhall, Lincoln. Probably the portrait exhibited Free Society of Artists, London, 1763 (200). Shackleton remained the King’s Painter until his death in 1767, although Ramsay, whom the King called ‘his Painter’, effectively filled that office.

1764
Marble bust by John van Nost jr. Yale Center for British Art (B1977.14.22).

A bronze statue by Nost, formerly in the City Hall, Dublin, was presented in 1765 (described by Thackerary as ‘a pert statue ... in a Roman toga simpering and turning out his toes’; W. Strickland, Dictionary of Irish Artists, 1913, II, p 484). Another marble bust by van Nost is in the Victoria and Albert Museum (A.3.1957).

Medal by John van Nost jr. (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, no.89).

1765
Medal by Thomas Pingo, the Royal Military Academy medal (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, no.93; C. Eimer, The Pingo Family & Medal Making in 18th-century Britain, 1998, no.33).

c.1765?
Miniature by Charles Dixon, profile with ribbon and star of the Garter. Sotheby’s, 28 February 1977, lot 152.

1766
Lead equestrian statue by Beaupré under the direction of Joseph Wilton, ‘in the character of Marcus Aurelius’. Formerly Berkeley Square, London (Wheatley’s London, I, p 165). A marble statue in Roman armour by Wilton, formerly at the Royal Exchange, London, was dismantled by 1829 (M. Whinney, Sculpture in Britain 1530-1830, 1964, pp 139, 265n27). Another gilded lead equestrian statue by Wilton, over life-size, commissioned by the General Assembly of New York in 1766, erected in 1770 and destroyed in 1776 (the head returned to England). A life-size marble head of George III, once displayed in the public market, Montreal, and now in the McCord Museum, McGill University (E. Miles, American Colonial Portraits 1700-76, NPG Washington 1987, pp 301-03), is conceivably also by Wilton.

Wax model of a medallion by George Parbury, exhibited Society of Artists, London, 1766 (211).

c.1767-69
Wax by Lewis Pingo. Royal Society of Arts, London (E. J. Pyke, Wax Modellers, 1981, pl.219a; C. Eimer, The Pingo Family & Medal Making in 18th-century Britain, 1998, no.147).

c.1767-70
Painting attributed to Richard Brompton, three-quarter length standing in coronation robes, left hand on orb. Formerly at Langley Park (listed as Ramsay in Prince Duleep Singh, Portraits in Norfolk Houses, 1928, I, p 381, no.40 and A. Smart, ed. J. Ingamells, Allan Ramsay, a complete catalogue of his Paintings, 1999, no.192w). The date proposed allows for the return of Brompton, to whom the portrait is tentativerly attributed, from Italy in 1767.

1767
Miniature by Murray, exhibited Free Society of Artists, London, 1767 (214).

Miniature by Jeremiah Meyer, half-length. Christie’s, 21 November 2000, lot 15. See also 1760.

c.1767?
Painting by Henry Morland, exhibited Free Society of Artists, London, 1767 (197). Probably the half length in robes of state, engraved R. Houston and C. Spooner.

1768
Engraving by William Brown, exhibited Society of Artists, London, 1768 (139).

Medal 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, no.112).

1769
Painting by Nathaniel Dance, whole length standing, with ermine robes, left hand resting on the crown. Uppark. Exhibited RA 1769 (30) with a companion piece of the Queen. Versions are in the collection of the Prince of Hanover and a three-quarter length of the King alone was formerly at Thoresby Hall (exhibited Spencer House, London, from 1991). A reversed engraving of the head by W. Daniell for the A Collection of Portraits sketched from the Life since the Year 1973 by George Dance Esqr. R.A. and engraved in imitation of the Original Drawings by William Daniell, A.R.A., 1814, no.51, once thought to be after George Dance.

Drawing by H. D. Hamilton, bust length. Royal Collection (A. P. Oppé, English Drawings, Stuart and Georgian periods, in the Collection of His Majesty the King at Windsor Castle, 1950, no.283, pl.5).

Model of an equestrian statue in Roman costume, by Agostino Carlini. Royal Academy (illus. Apollo, LXXXIX, 1969, p 45). Exhibited RA 1769 (9). Engraved W. Bromley 1798 from a drawing by E. F. Burney. Reduced models by Carlini listed at the RA, Royal Collection (Windsor) and formerly at Audley End (R. Gunnis, Dictionary of British Sculptors, 1968 ed., p 81).

Sculpture by William Brown, exhibited Society of Artists, London, 1769 (220).

Medallion by John Bacon sr., exhibited RA 1769 (1).

Medal by Thomas Pingo, the Royal Academy prize medal (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, no.132; C. Eimer, The Pingo Family & Medal Making in 18th-century Britain, 1998, no.42). A similar medal by Barnett or John Westwood sr. 1772 (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, no.165).

1770
Painting by Johann Zoffany, whole length standing in Van Dyck costume with the Queen and their six small children. Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 969, no.1201). Exhibited RA 1770 (211). Engraved R. Earlom 1770. Zoffany's preliminary sketch also in the Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.1202) and there is a small copy at Clarence House. Three Derby biscuit porcelain groups modelled by John Bacon sr. in 1772 derived from the Zoffany composition (illus. Apollo, CXXII, 1985, p 297).

Painting in imitation of a print by James Williams, exhibited Free Society of Artists, London, 1770 (267).

Medal by John Kirk, celebrating the tenth anniversary of the King’s reign (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, no.137).

Wax by Lewis Pingo, exhibited Free Society of Artists, London, 1770 (204).

c.1770
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).

1771
Painting by Johann Zoffany, three-quarter length seated in a General Officer's coat, the 'Farmer George' portrait. Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.1195). Engraved R. Houston 1772. Exhibited RA 1771 (230). Contemporary copies in the Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.1213), at Aske, Schloss Celle, and formerly Dalton Hall (by Mason Chamberlin; illus. A. M. W. Stirling, The Hothams, 1918, II, f.p.150 as William Chamberlain); a poor copy at Somerset House (GAC O.643). Daniel Dodd painted a half-length version (NPG archive; W. Roberts photo archive).
Miniature derivations include a bust length by Princess Amelia and a three-quarter length by L-F. Aubry in the Royal Collection (R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, nos.143, 940); miniature copies by Henry Edridge sold Phillips, 17 March 1998, lot 163a, and by Thomas Cheesman, Christie’s, 29 November 1989, lot 175.
Zoffany re-used the head for a half-length portrait, painted on copper, in robes of state (Royal Collection; Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.1197, illus. M. Webster, Johan Zoffany, exhibition catalogue, NPG, 1977, no.68), first exhibited at Cox’s Museum, London, in 1772. See also Liszewska 1779 and Chalmers c.1780.

William and Mary College medal by Thomas Pingo (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, no.154; C. Eimer, The Pingo Family & Medal Making in 18th-century Britain, 1998, no.47).

c.1771
Painting attributed to Johann Zoffany, a standing version of the 1771 composition. The Prince of Hanover. With a companion piece of the Queen.

1772
Enamel by Pasquier, ‘from memory’, exhibited RA 1772 (184).

Painting by M. F. Quadal, 'His Majesty reviewing the artillery, on horseback', exhibited RA 1773 (224). Probably Quadal’s George III at a Review dated 1772 in the Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.995).

Painting by William Shuter, head with festoons, exhibited Society of Artists, London, 1772 (285).

Proof medal by John Kirk, exhibited Society of Artists, London, 1772 (150, 156). Further medals by Kirk were exhibited Society of Artists, London, 1773 (150), 1775 (127) and 1777 (222).

Impression from a wax seal by John Pingo, exhibited Free Society of Artists, London, 1772 (149), see C. Eimer, The Pingo Family & Medal Making in 18th-century Britain, 1998, no.132.

Medallion by J. F. Moore, exhibited Free Society of Artists, London, 1772 (262).

1773
Marble bust by Agostino Carlini. Royal Academy (illus. R. Gunnis, Dictionary of British Sculptors, 1968 ed.; Apollo, LXXXIX, 1969, p 45). Exhibited RA 1773 (376).

Marble bust by Joseph Nollekens. Royal Society, London (illus. R. Gunnis, Dictionary of British Sculptors, 1968 ed., f.p.273; M. Whinney, Sculpture in Britain 1530-1830, 1964, pl.128A). Exhibited RA 1774 (190).

Bust in composition by Thomas Pether, exhibited Free Society of Artists, London, 1773 (144).

Marble medallion by John Moore jr., exhibited Free Society of Artists, London, 1773 (126).

Enamel by W. H. Craft, whole length. British Museum (MLA 1891.2.17.16)

1774
Portrait by Henry Morland, exhibited Free Society of Artists, London, 1774 (200).

Marble bust by John Bacon sr. Christ Church, Oxford (Mrs R. L. Poole, Catalogue of Portraits in the possession of the University, Colleges and City and County of Oxford, III, p 85). Exhibited RA 1774 (3). Versions include those at Windsor, dated 1775 (illus. R. Gunnis, Dictionary of British Sculptors, 1968 ed., f.p.16); Göttingen University; and Society of Antiquaries, dated 1780. Copies by Francis Chantrey dated 1837 in the Royal Collection (made for the Pantheon at Kew; A. Yarrington, I. D. Lieberman, A. Potts, M. Baker, 'An Edition of the Ledger of Sir Francis Chantrey, RA, at the Royal Academy, 1809-1941', Wal. Soc., 1994, no.276a), and by W. F. Woodington dated 1846 at Eton College. A version with differing drapery, attributed to Bacon’s studio, was presented to Samuel Whitbread c.1787 with a bust of the Queen (illus. S. Deuchar, Samuel Whitbread and British Art, exhibition catalogue, Museum of London, 1984, p 43).

Miniature by Henry Millington, exhibited Free Society of Artists, London, 1774 (116).

Wax by Isaac Gosset, exhibited Society of Artists, London, 1774 (93). This was presumably the Gosset wax used at Wedgwood for medallions modelled by William Hackwood c.1775 and 1776 (R. Reilly and G. Savage, Wedgwood the Portrait Medallions, 1973, pp 163-64, 168). See also 1776.

Medals by G. M. Moser and Thomas Kirk (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, nos.183, 197).

1775
Medal by Lewis Pingo, exhibited Free Society of Artists, London, 1775, no.213 (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, no.265; C. Eimer, The Pingo Family & Medal Making in 18th-century Britain, 1998, no.54).

c.1775
Miniature by Jeremiah Meyer, bust-length. Royal Collection (R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, no.252).

1776
Painting by Nathaniel Dance, whole length in coronation robes, the crown on a table to the left. Drapers’ Company, London (who commissioned the portrait). Versions in the 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) with a companion piece of the Queen, and at Gripsholm Castle; a half length was at Bayham Abbey (Sir George Scharf's Sketch Books, 91/11). An unattributed miniature in the Royal Collection uses the same head (R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, no.320).

Wedgwood medallion, with the Queen, the model attributed to William Hackwood after Isaac Gosset (illus. R. Reilly and G. Savage, Wedgwood the Portrait Medallions, 1973, p 168).

c.1776-78
Miniature by George Engleheart, with ribbon and star of the Garter. Royal Collection (R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, no.217). An enamel replica also 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.219). Engleheart is believed to have painted at least twenty-five portraits of George III, both from sittings and after Gainsborough; his Fee Book lists portraits in 1776, 1778, and each year from 1783 to 1788 (G. C. Williamson & H. L. D. Engleheart, George Engleheart, 1902, p 43).

c.1776
Wedgwood medallion, with the Queen, the model attributed to William Hackwood after Isaac Gosset (illus. R. Reilly and G. Savage, Wedgwood the Portrait Medallions, 1973, p 168).

Painting on copper by Benjamin West, seated with the Queen. Private collection (H. von Erffa & A. Staley, The Paintings of Benjamin West, 1986, no.559). The head of the King resembles that in the single portrait by West of c.1776, see below.

Painting by Benjamin West, half-length seated. Earl of Elgin and Kincardine (H. von Erffa & A. Staley, The Paintings of Benjamin West, 1986, no.547). Engraved E. Fisher 1778. A reduced version on copper sold Sotheby's, 2 March 1983, lot 44 (H. von Erffa & A. Staley, The Paintings of Benjamin West, 1986, no.548). A preparatory drawing by West 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.639, pl.2).

1777
Painting by J. B. Gianelli, whole length on horseback, exhibited Society of Artists, London, 1777 (202).

Medallion portrait by Julien Colibert, exhibited RA 1777 (59), see L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, no.2.

c.1777
Wedgwood medallion, modelled by John Bacon sr. (T. Clifford, Apollo, CXXII, 1985, p 294), previously attributed to William Hackwood (R. Reilly and G. Savage, Wedgwood the Portrait Medallions, 1973, p 167).

1779
Painting by Anna Liszewska, three-quarter length in red suit, the head comparing closely with that by Zoffany of 1771. The Prince of Hanover. An autograph version, inscribed as painted at Brunswick in 1779, with slight variation in the background, sold Sotheby’s, 13 November 1996, lot 57 with a companion piece of the Queen.

Painting by Joshua Reynolds, whole-length seated in robes of state. Royal Academy (D. Mannings, Sir Joshua Reynolds, I, 2000, no.717). Engraved W. Dickinson and T. Watson 1781. Reynolds was to succeed Ramsay as the King’s Painter in 1784 and his portraits were duplicated in some quantity (see D. Mannings, Sir Joshua Reynolds, I, 2000 under no.718). Pairs of the King and Queen are in the Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, nos.1035-38) and, for example, at Attingham, Bath (Guildhall), Belton House, Devizes (Assembly Rooms), Lancaster House (GAC 2554/1, 2555/2), Hatfield House, Holyrood, Knole, Sudbury Hall and the Los Angeles Museum of Art. Versions of the King alone in the Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.1039), the National Maritime Museum (BHC 2712), and in the Guildhall, Worcester.

When Thomas Lawrence succeeded Reynolds as King’s Painter in 1792 he made further copies (M. Cormack, 'The Ledgers of Joshua Reynolds', Wal. Soc., XLII, 1970, pp 167-68; K. Garlick, Sir Thomas Lawrence: a complete catalogue of the oil paintings, 1989, p 193), of which a pair is in the British Embassy, Rome (GAC 9412/1 &2); in 1804 Samuel Woodforde made a copy of the King for the town of Doncaster (Joseph Farington, Diary, 30 June 1804).

Painting by Benjamin West, whole-length standing in military coat holding a scroll recording troop dispositions. Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.1138, pl.108; H. von Erffa & A. Staley, The Paintings of Benjamin West, 1986, no.549). RA 1780 (116). A small version, in which the King wears a hat, belongs to the Historical Society of Pennsylvania (H. von Erffa & A. Staley, The Paintings of Benjamin West, 1986, no.550).

A three-quarter length portrait in armour, derived from the 1779 portrait, is in the Cleveland Museum of Art (H. von Erffa & A. Staley, The Paintings of Benjamin West, 1986, no.551), possibly that exhibited RA 1783 (73).

Marble bust by ‘Adam Nost’ [identified by R. Gunnis, Dictionary of British Sculptors, 1968 ed., p 282, as John van Nost jr.], exhibited RA 1779 (220).

Enamel by John Ford, exhibited RA 1779 (92).

1780
Stone medallion by Joseph Wilton for Somerset House (façade).

c.1780
Painting by George Chalmers, whole length in coronation robes (as in the Ramsay of 1761-62, see NPG 223), left hand on hip. Trinity House, Hull. The head closely resembles that in the Zoffany portrait of 1771. Chalmers was working in Hull 1778-81.

c.1780?
Wax by Thomas Engleheart. Royal Collection (illus. E. J. Pyke, A Biographical Dictionary of Wax Modellers, 1973, pl.89).

1781
Painting by Thomas Gainsborough, whole length in Windsor uniform. Royal Collection (E. K. Waterhouse, Gainsborough, 1958, no.309; Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.774, pl.47). Exhibited RA 1781 (146). Engraved G. Dupont 1790.

Gainsborough’s portraits of the King and Queen, which effectively replaced those of Allan Ramsay (despite the presence of Reynolds as the King’s Painter), were much copied. Pairs include those at Hatfield House, Abingdon Town Hall (dated 1794), Horse Guards (GAC 12374 & 12375), Marienburg and the Herrenhausen-Museum (the latter by Dupont); others sold Christie's, 11 June 1948, lot 109, and 2 May 1986, lot 148. Copies by C. W. Hanneman at Audley End (1786), Hartlebury Castle (1790), and Worcester Guildhall (1789), and by G. P. A. Healy at Versailles; reduced copies in pastel by R. de la Houlière 1791 sold Christie’s, 31 March 1950, lot 25 (the King alone, Sotheby’s, 16 November 1989, lot 36) and in pencil by E. F. Burney in the Huntington Library, San Marino, Calif..
Of the King alone, three-quarter length copies at Eton and sold Christie’s 21 May 1984, lot 66; a reduced half length in the Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.776, pl.76), and a bust length sold Christie’s, 24 July 1987, lot 204.
Miniature bust-length copies in the Royal Collection by J. H. Hurter 1781; Richard Collins 1790, 1792; William Grimaldi and other unidentified hands (R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, nos.236, 165-68, 813, 321); Walker also lists further miniature copies by Collins dated 1788, 1812 and 1816, Richard Crosse, Robert Bowyer, Richard Livesay and J. Simpson (R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, pp 83-84). One by Crosse 1792 is in the Gilbert collection (illus. S. Coffin & B. Hofstetter, The Gilbert Collection, Portrait Miniatures in Enamel, 2000, no.82); half-length miniatures by Collins and Crosse sold Sotheby's, 31 July 1961, lots 45 and 70, and by Hurter dated 1782, Bonham’s, 25 March 1997, lot 22. Derivative head drawn and engraved by P. W. Tomkins 1801, and a closely-related drawing by William Berczy engraved by G. S. and J. G. Facius 1791.

1782
Painting by Thomas Gainsborough, half length in Windsor uniform. Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.778). Exhibited RA 1783 (134). A copy given by the King to Sir Herbert Taylor, and others have been recorded at Wistow and Arolsen; further examples sold Christie's, 11 June 1904, lot 88, and Christie’s, 15 December 1993, lot 25.

Portrait by Henry Morland, exhibited Free Society of Artists, London, 1782 (1).

Wax portrait by Sylvester, exhibited Free Society of Artists, London, 1782 (225).

1783
Unattributed wax, exhibited Free Society of Artists, London, 1783 (382).

c.1783-88
Miniature by George Engleheart, bust length as general, with ribbon and star of the Garter. Royal Collection (R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, no.218).

1785
Painting by Thomas Gainsborough, three-quarter length in Windsor uniform. Museum Naradowe, Warsaw (illus.Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, fig.9). Painted for the King of Poland; the composition resembles that of the Dupont whole lengths, see 1794 below.

c.1785
Two Wegwood medallions (illus. R. Reilly and G. Savage, Wedgwood the Portrait Medallions, 1973, pp 166-67), from models by Edward Burch. Closely related medals by Burch appeared in 1785 and 1788 (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, nos.266, 291) and an undated wax relief by him sold Sotheby’s, 10 June 1993 (255).

1786
Model in wax by R. Santler, exhibited RA 1786 (301).

1787
Painting by Thomas Stothard, George III and his Family, engraved J. Murphy 1794. A similar painting, now attributed to Richard Livesay (and formerly to Stothard), is at Upton House. See also under c.1791 below.

Watercolour by John Downman, half-length oval, derived from the Gainsborough whole length of 1781. Royal Collection (Gainsborough & Reynolds, Contrasts in Royal Patronage, The Queen's Gallery, 1994, no.39).

1788
Bronze statue by John Bacon sr., King George III and the River Thames. Somerset House, London (illus. J. Newman, Somerset House, 1990, p 29).

Medals by R. W., C. James and J. Davies, marking the King’s visits to Cheltenham and Worcester in July and August (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, nos.271-77); another by C. James, marking the centenary of the 1688 revolution (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, no.286).

Between November 1788 and February 1789 the King suffered the first attack of a genetic disorder, now recognised as porphyria; his recovery was publicly celebrated on 10 March. Twenty medals were then struck, including those by C. James, J. Milton, J. Davies and Lewis Pingo (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, nos.294-313).

1789
Painting by Benjamin West, with the Queen, bust-length profiles. Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.1141; H. von Erffa & A. Staley, The Paintings of Benjamin West, 1986, no.560), originally intended for the canopy above the throne in the Audience Chamber at Windsor Castle. Reduced version in a private collection (H. von Erffa & A. Staley, The Paintings of Benjamin West, 1986, no.559).

Painting by Solomon Williams (W. Strickland, Dictionary of British Artists, 1913, II, p 538).

[Wax?] portrait by Charles Peart, exhibited RA 1789 (592).

Medals by J. Davies, W. Cragg and C. James marking the King’s tour in July and August through Lyndhurst, Southampton, Weymouth, Plymouth and Bath (see L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 980, nos.314-20).

c.1789-90
Wedgwood medallion (illus. R. Reilly and G. Savage, Wedgwood the Portrait Medallions, 1973, p.166) from a wax by Henry Burch jr., possibly that exhibited Society of Artists, London, 1790 (44); a wax model by him was given by the King to Elizabeth, Countess of Pembroke, in 1789 (illus. E. J. Pyke, A Biographical Dictionary of Wax Modellers, 1973, pl.41).

c.1789
Silhouettes by William Locker (illus. Country Life, CXXXI, 1962, p 182) and William Wellings (illus. P. Hickman, Two Centuries of Silhouettes, 1971, p 33).

Painting attributed to Gainsborough Dupont, whole length, derived from the Gainsborough 1781 pattern. Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.808).

1790
Painting by Mather Brown, whole length in Windsor uniform. Sotheby’s, 19 November 1986, lot 60 (D. Evans, Mather Brown: an early American artist in England, 1982, no.67). Sir Richard Arkwright bought a whole length of George III by Brown in 1790 (R. S. Fitton, The Arkwrights, 1989, p 201).

Medals by Thomas Wyon sr. and C. H. Küchler, 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.338-40).

Cameo portrait by W. Whitley, exhibited RA 1790 (676).

c.1790
Engraving by C. Tomkins, on horseback, with the Duke of York and the Prince of Wales.

c.1790?
Medallions by James Tassie. Three patterns are recorded (J. M. Gray, James and William Tassie, a biographical and critical sketch with a catalogue of their portrait medallions of modern personages, 1894, no.150): a laureate bust with toga; a laureate head without drapery, and wearing a tye-wig and ribbon of the Garter, probably c.1790 (see Scottish NPG, PG 400, PG 485, PG 1371 and PG 1904).

Wedgwood medallions from unknown models (illus. R. Reilly and G. Savage, Wedgwood the Portrait Medallions, 1973, p 165).

1791
Proof from a gem portrait by Edward Burch, exhibited RA 1791 (279).

c.1791
Painting by Benjamin West, with the Royal Family, receiving the Duchess of York. Sold Robins, 20-22 June 1829, lot 102. Related to the painting by Richard Livesay at Upton House (H. von Erffa & A. Staley, The Paintings of Benjamin West, 1986, no.576), see 1787 above.

1792
Painting attributed to John Hoppner, whole length in Garter robes. Municipal Hall, Taunton (Taunton Deane Borough Council), presented by Sir Benjamin Hammett 1792. A version belongs to Fife Council, and a ‘copy of Hoppner’ is in the British Embassy at Athens (GAC O.6).

Painting by Thomas Lawrence, whole length in Garter robes with a distant view of Windsor. Herbert Art Gallery, Coventry (CH 23; K. Garlick, Sir Thomas Lawrence: a complete catalogue of the oil paintings, 1989, no.324). Exhibited RA 1792 (65). Engraved W. Holl 1829. Replicas are in the Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.871); St George's Hall, Liverpool, and formerly Patshull House. A half-length version sold Sotheby’s, 23 March 1966, lot 81. Samuel Lane made a copy in 1809 (Joseph Farington, Diary, 6 March 1810).

Following the death of Lawrence in 1830, a number of claims were made on his estate for undelivered portraits of the King (K. Garlick, 'A Catalogue of the paintings, drawings and pastels of Sir Thomas Lawrence', Wal. Soc., XXXIX, 1964, pp 272-73).

Silhouette by J. Lind, bust length. Royal Collection (S. McKechnie, British Silhouette Artists and their Work 1760-1860, 1978, no 518).

1793
Medal by C. Twigg (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, no.370).

1794
Painting by Gainsborough Dupont, whole length in robes of state. Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.766). Derived from the Gainsborough whole length of 1781 and probably the portrait exhibited RA 1794 (85). A version at Trinity House, London, painted in 1795; another in the Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.767), given by the King to the Prince of Wales in 1795, was modified by John Simpson to show the robes of the Garter. A whole-length variant is at Powis Castle and a bust-length copy at Belton House.

An undated MS account of ‘Portraits Painted for the King by Gainsborough Dupont’ (NPG archive, Autograph letter: D) lists, besides the whole length for the Prince of Wales (listed above), 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.

c.1794
Painting attributed to Gainsborough Dupont, whole length in robes of state. Walker Art Gallery, Liverpool (2998). Another in the Guildhall, Worcester. Closely related to the 1794 Dupont portrait but showing the ermine worn over a suit (instead of the Windsor uniform), the left hand on hip and the right holding the sceptre.

1795
Wax portrait by Samuel Percy. Royal Collection. Other waxes by Percy at Brighton Art Gallery, and sold Sotheby’s, 30 November 1964, lot 69, and 15 December 1980, lot 7, and see 1804 below.

Statue by Anne Seymour Damer. Registrar's Office, Edinburgh.

c.1795
Unattributed bronze bust. Ashmolean Museum, Oxford (N. Penny, Catalogue of European Sculpture in the Ashmolean Museum, Oxford, 1992, III, no.615).

Engraving by H. Meyer 1823, bust length in Garter robes, from a likeness taken in his 57th year. Resembling the Lawrence head of 1792.

1796
Painting by Philip Jean, whole length in robes of state. Exhibited RA 1796 (723), RA 1797 (896). Farington thought ‘very indifferent’ (Joseph Farington, Diary, 2 April 1796); intended ‘for some public office in Jersey ..., principally made up from Sir Joshua Reynolds’s picture in the Council Room of the Royal Academy’ (E. Edwards, Anecdotes of Painters, 1808, p 275). Possibly the unattributed whole-length seated portrait of the King in the Bishop’s Palace at Fulham.

Coade stone medallion by John Bacon sr. Trinity House, London (façade).

1797-98
Painting by William Beechey, on horseback wearing General's uniform, reviewing the 3rd Dragoon Guards and the 10th Light Dragoons, his party including the Prince of Wales. Destroyed by fire 1992, formerly Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.660, pl.161). Exhibited RA 1798 (178). The King alone engraved W. Ward 1799. Replaced at Windsor in 1995 with a copy sent by the Government of Canada; other copies at Plas Newydd, the National Army Museum and in the Louvre. Of several reduced copies, one is in the collection of Count Kielmansegg, another in the Sterling and Francine Clark Art Institute, Williamstown, and a third in the Government Art Collection (2670). A watercolour by Beechey is in the Victoria and Albert Museum (134.1890; illus. Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, fig.1).

Reduced version of the King alone in the Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, nos.675-76) and copies include those at Rockingham Castle, Althorp, and the Weymouth Museum; others sold Mallans, 25 April 1995, lot 54; Christie’s South Kensington, 27 November 1997, lot 275, and Sotheby’s, 18 September 1997, lot 65 as James Ward.

A full-size version in a private collection, the horse painted by James Ward, the figure copied from Beechey by William Hopkins, engraved J. Ward (C. R. Grundy, James Ward, 1909, pp 63-64; Country Life, CXV, 1954, p 1229); an enamel version by Henry Bone sold Sotheby’s, 11 July 1991, lot 284; preparatory drawing, dated 1819, in the NPG Bone albums (R. Walker, 'Henry Bone's Pencil Drawings in the National Portrait Gallery', Wal. Soc., LXI, 1999, no.217).

1797
Painting by Thomas Stewart, exhibited RA 1797 (812). Farington considered it ‘to be a copy from Gainsborough’, and Stothard ‘not only not original, but very bad’ (Joseph Farington, Diary, 9, 12 April 1797).

Painting by James Northcote, whole-length equestrian. Crown Court, Lancaster (J. Simon, 'The Account Book of James Northcote', Wal. Soc., 1996, no.562). Exhibited RA 1807 (154 ‘painted for the Palatine of Lancaster and presented by Jas. Ackers Esq. The high sheriff Ann Dom 1800’). Lawrence had previously failed to supply the portrait (Joseph Farington, Diary, 17 July 1800, 8 September 1806). A later version completed in 1812 Royal Marines Museum, Portsmouth. Reduced versions in an American private collection, and sold Sotheby’s, 2 August 1972, lot 85.

Miniature by Robert Bowyer, bust length. Engraved by J. Fittler 1797 (illus. R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, fig.23; see A. P. Oppé, English Drawings, Stuart and Georgian periods, in the Collection of His Majesty the King at Windsor Castle, 1950, p 108).

1798
Medal celebrating the naval victories of 1798 by C. H. Küchler (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, no.458).

1799-1800
Painting by William Beechey, see NPG 2502 and NPG 6250.

1799
Medal by J-P. Droz (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, no.465).

1800
Medals by C. H. Küchler and P. Kempson, celebrating the King’s survival of an assassination attempt on 15 May; another by G. V. Bauert (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, nos.482-86, 495). Medal by John Milton exhibited RA 1800 (893), cf. L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, no.461.

c.1800
Painting by R. B. Davis, on horseback as a Horse Guards[?] officer with distant view of Windsor. Christie’s, 12 February 1954, lot 99. In 1806 C. Turner engraved Davis’s George III in his Travelling Chariot.

The King suffered a recurrence of his illness for four weeks in February-March 1801. His recovery was marked by a medal by J. G. Hancock (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, no.503).

1801
Wax relief by Catherine Andras. Hatfield House. Another dated 1820 in the British Museum and other examples in the National Maritime Museum (MNTO 167) and the Metropolitan Museum of Art, New York.

Medal by C. H. Küchler, marking the Union with Ireland, and medals by P. Kempson & S. Kindon, Henry Kettle, and C. H. Küchler, marking the Preliminaries of the Peace of Amiens (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, nos.513-15, 523-25, 527).

1802
Medal attributed to William Mossop, 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, no.529). See also 1810 below. Medal by C. H. Küchler marking the Peace of Amiens (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, nos.534-35).

c.1802
Silhouette by Charles Rosenberg, bust length with spectacles. Royal Collection (illus. S. McKechnie, British Silhouette Artists and their Work 1760-1860, 1978, no.1159).

1803
Drawing by Henry Edridge, whole length. Royal Collection (A. P. Oppé, English Drawings, Stuart and Georgian periods, in the Collection of His Majesty the King at Windsor Castle, 1950, no.197, pl.11). Engraved A. Cardon 1812 and, the head alone, W. Sharp 1822. A copy of the head in miniature by Edridge is also 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.805).

Engraving by C. T. Warren from a drawing by Richard Corbould, profile in Windsor uniform; also engraved by R. Page 1820.

c.1803
Miniature attributed to George Place, bust length in Windsor uniform. Royal Collection (R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, no.288).

Miniature by George Place, as general of the Blues with the ribbon and star of the Garter. Royal Collection (R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, no.286). Resembling the Beechey (see NPG 2502). Two copies are in the Royal Collection (Walker 1992, nos.289-90); others attributed to Richard Collins sold Sotheby’s, 6 October 1980, lot 147, and 12 March 1984, lot 91, and a variant, very doubtfully attributed to Richard Cosway, is at Schloss Altshausen (R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, p 144).

1804
Coade stone statue, whole length in Roman armour at Taplow Court, ‘very poor’ (Joseph Farington, Diary, 2 January and 21 September 1804).

[Wax?] by Samuel Percy, exhibited RA 1804 (957).

1805
Medals by Thomas Webb and John Westwood jr. (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, nos.601, 599).

c.1805-10
Drawing by Richard Cosway, profile. Private collection (S. Lloyd, Richard & Maria Cosway, exhibition catalogue, Edinburgh, NPG, 1995, p 127, no.157).

By October 1805 the King was virtually blind.

1806
Painting by James Northcote, whole-length seated in Garter robes. Commissioned by John Fisher, Bishop of Salisbury (J. Simon, 'The Account Book of James Northcote', Wal. Soc., LVIII, 1996, no.542). Engraved by W. Say. A copy by James Holmes at Temple Newsam, Leeds.

Medal by G. F. Pidgeon (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, no.620).

c.1806-07
Silhouette by William Hamlet sr., bust length in Windsor uniform. Private collection (illus. S. McKechnie, British Silhouette Artists and their Work 1760-1860, 1978, no.1060).

1807
Painting on copper by P. E. Stroehling, whole-length standing in Windsor uniform, dated 18 November 1807. Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.1093).

Engraving by E. Scriven from a drawing by Thomas Uwins, bust length in robes of state.

Medal by Thomas Wyon sr. and T. Martyn, conjoined busts of the King and Queen; another of the King by P. Kempson & S. Kindon (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, nos.628-31).

c.1807-08
Silhouette by William Hamlet jr., whole length in Windsor uniform, with spectacles. Private collection (illus. S. McKechnie, British Silhouette Artists and their Work 1760-1860, 1978, no.823).

1808
Medal by J. Phillip (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, no.632).

The fiftieth year of the King’s reign, 1809, was marked by some thirty medals, including those by J. Barber, Peter Wyon, Thomas Wyon sr., Thomas Halliday, and P. Kempson (see L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, nos.641-47, 649, 651-56). Turnerelli produced a Jubilee bust and statues appeared in Weymouth and Southampton.

1809
Marble bust by Peter Turnerelli, see NPG 3903.

Plaster bust by Lucius Gahagan. Christie’s, 26 June 1980, lot 4.

Statue in artificial stone in state robes, designed by James Hamilton. The Esplanade, Weymouth. Engraved E. Scriven 1811 (described as Coade & Sealey’s monument to the King erected at Weymouth & Melcombe Regis); the statue was painted in 1949. A second unattributed statue, in Roman armour, installed at Bargate, Southampton.

Life mask taken by Marie Tussaud (A. Leslie & P. Chapman, Madame Tussaud, 1978, p 140).

Drawing by Charles Rosenberg, whole length in Windsor uniform, engraved by J. C. Stadler 1810.

Silhouette by H. W. Holden, conjoined busts of the King and Queen. Royal Collection (S. McKechnie, British Silhouette Artists and their Work 1760-1860, 1978, no.845, where dated 'before 1810').

c.1809
Painting by Thomas Lawrence, three-quarter length in robes of state. Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.872, pl.188). The head resembles that in Lawrence’s earlier portrait of 1792.

Marble bust by Edward Smyth. National Gallery of Ireland (8038; illus. Apollo, LXXXIV, 1966, p 309).

Miniature by an unidentified artist, half length in robes of state. Royal Collection (R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, no.910). Possibly derived from a drawing by M. C. Wyatt which was engraved J. Heath 1809 (illus. Walker, loc cit); for Wyatt’s bust, see 1810 below.

Unattributed miniature, three-quarter length, in robes of state. Packington Hall. The head reminiscent of Turnerelli’s bust of 1809, see NPG 3903.

Silhouette by John Miers (illus. Country Life, CXXXI, 1962, p 182).

Unattributed miniature, see NPG 6288.

The Golden Jubilee of 1810 was commemorated with medals by Thomas Halliday, N. Hyde, C. H. Küchler, W. S. Mossop and Thomas Wyon sr. (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, nos.680-87, 700). The fiftieth anniversary was publicly celebrated on 25 October 1810, but the same day marked a recurrence of the King’s illness.

1810-14
Marble bust by Francis Chantrey (A. Yarrington, I. D. Lieberman, A. Potts, M. Baker, 'An Edition of the Ledger of Sir Francis Chantrey, RA, at the Royal Academy, 1809-1941', Wal. Soc., 1994, no.19). Art Gallery of South Australia, Adelaide. Chantrey had received two sittings in 1810. Versions of 1814 with the Royal College of Surgeons, London (engraved M. Gauci 1820, exhibited RA 1814, no.794; illus. W. LeFanu, A Catalogue of the Portraits and other paintings drawings and sculpture in the Royal College of Surgeons of England, 1960, pl.16) and in the Goldsmiths’ Hall, London.

1810
Bronze bust by M. C. Wyatt. British Embassy, Lisbon (GAC 156). Exhibited RA 1811 (943).

Coade stone crowned bust. Lincoln Castle (illus. Burlington Magazine, CXXXVIII, 1996, p 17); the remains of the statue by Joseph Panzetta made for the Coade factory, originally placed on the Dunston Pillar, Lincs. See also 1811 below.

Miniature by Robert Bowyer, bust length with star of the Garter. Engraved J. Godby 12 May 1820 as taken from the life in the Year 1810 (illus. R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, fig.29). See A. P. Oppé, English Drawings, Stuart and Georgian periods, in the Collection of His Majesty the King at Windsor Castle, 1950, p 108.

Impression from a medal by Thomas Wyon sr., exhibited RA 1810 (644).

Wax medallion by William Mossop, dated 1810, inscribed wax design for medal of George III on his 50th year of reign, W. Mossop Senior [d. 1803]. Sotheby’s, 10 June 1993, lot 222, from Stanton Harcourt.

On 6 February 1811 the Regency Bill was passed and from 1812 the King, ill and virtually blind, led a solitary existence. From this time his portraits must have been derivative.

1811-15
Colossal statue by Francis Chantrey, standing in robes of state. Guildhall London, destroyed 1940; commissioned by the City of London (A. Yarrington, I. D. Lieberman, A. Potts, M. Baker, 'An Edition of the Ledger of Sir Francis Chantrey, RA, at the Royal Academy, 1809-1941', Wal. Soc., 1994, no.15, fig.11). Plaster head in the Ashmolean Museum, Oxford (N. Penny, Catalogue of European Sculpture in the Ashmolean Museum, Oxford, 1992, III, no.638).

1811
Painting by Thomas Stewardson, half length, engraved G. Clint.

Statue by Peter Turnerelli, exhibited RA 1811 (944). Presumably related to the half-life-size standing figure in robes, sceptre in right hand, dated 1813, in King’s College, London; a bust-length derivation, dated 1818, at the National University of Ireland, Maynooth.

Bronze statuette by Lucius Gahagan. Phillips, 20 June 1989, lot 136. Other examples sold Christie’s, 22 October 1974, lot 95; Sotheby’s, 21 October 1988, lot 199. A painted plaster version dated 1818 sold Christie’s, 21 July 1988, lot 23. (illus. Connoisseur, CLXXX, 1972, p 233). For a related statuette by Francis Hardenberg, see NPG 4383.

Study by George Garrard for an equestrian statue to commemorate the Jubilee, exhibited RA 1811 (922) with a model (942).

Coade stone statue. Portland Square, Bristol (destroyed 1817). See also 1810 above.

Miniature by A. E. Chalon, half length in Windsor uniform. Engraved A. Cardon 1811, from the collection of the Duke of Sussex.

c.1811
Engraving by G. Testolini after Thomas Stothard, whole length in robes of state.

c.1811?
Painting by Edward Bird, whole length in robes of state. Bristol Corporation. Exhibited Bristol Institution 1826 (‘a poor thing by Bird’; S. Richardson, Edward Bird, Wolverhampton 1982, no.75). The composition appears to derive from the Testolini engraving after Stothard, see above.

1812
Drawing attributed to Robert Bowyer, whole-length standing on a dais. Royal Collection (A. P. Oppé, English Drawings, Stuart and Georgian periods, in the Collection of His Majesty the King at Windsor Castle, 1950, no.716).

Small statue ‘to be executed in bronze’ by W. ‘Tallemach’ [i.e. Tollemache], exhibited RA 1812 (906).

Bust by Peter Turnerelli, life-size laureate, with Roman drapery bearing the badge of the Garter; examples in the Bank of England (dated 1812); Newark Town Hall; Victoria and Albert Museum (A.11.1937); Trinity College, Dublin, and formerly at Trinity House, London (dated 1813; destroyed 1941).

Wax portrait by W. Cramphorn, exhibited RA 1812 (912).

Wax by Peter Rouw. Stanton Harcourt (E. J. Pyke, A Biographical Dictionary of Wax Modellers, 1973, p 123). Other wax laureate profiles by Rouw sold Christie’s, 16 October 1973, lot 24, and 16 July 1980, lot 8, dated 1817 (cf. illus. Country Life, CXXXI, 1962, p 658). Rouw also exhibited a portrait medallion RA 1820 (951) following the death of the King.

Painted silhouette by John Field. Sotheby’s, 22 February 1985, lot 184.

c.1812
Silhouette by William Hamlet sr., whole length in Windsor uniform. Private collection (illus. S. McKechnie, British Sihouette Artists and their Work 1760-1860, 1978, no.1067).

1813
Painting by Benjamin West, three-quarter length seated in robes of state. Bishopthorpe Palace, York, commissioned by the Archbishop of York (H. von Erffa & A. Staley, The Paintings of Benjamin West, 1986, no.552). Derived from West's portrait of 1776.

Whole-length statue by John Bacon jr., designed by Thomas Kirk, in robes of state. Bank of Dublin. Anon. engraving 1821 (European Mag.).

Plaster by Peter Turnerelli, model for an equestrian statue. Soane Museum, London (illus. Irish Georgian Society Bulletin, X, 1967, p 4).

Marble statue by Peter Turnerelli, half-life-size. King’s College, London, see 1811.

1814
Medals by John Westwood jr. and Thomas Wyon jr. (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, nos.828, 844).

1815
Colossal marble bust by J. C. Rossi. County Hall, Carlisle. Exhibited RA 1815 (868).

Impression from a medal die by Thomas Wyon sr., exhibited RA 1815 (830).

1816
Painting by Edmund Bristow, on horseback in Windsor Park. Christie’s, 16 March 1984, lot 83. Derived from Beechey’s figure of 1797-98, see above.

Onyx cameo by Benedetto Pistrucci. British Museum (H. Tait ed., The Art of the Jeweller, a Catalogue of the Hull Grundy Gift to the British Museum, 1984, no.897). A jasper cameo head of the King by Pistrucci was commissioned in 1816 by Sir Josph Banks who presented it to the Queen (see H. B. Carter, Sir Joseph Banks, 1988, p 516). Waxes by Pistrucci dated 1817, 1818 and 1820, used for the coinage, are in the Museo Numismatico della Zecca, Rome.

1817
Marble busts of the King were being replicated by Lorenzo Bartolini in Florence at £22 each (H. Matthews, Diary of an Invalid, 1820, p 59).

Portrait (medallion?), by Smith, exhibited RA 1817 (972).

Engraving by H. Meyer, bearded in his 80th year ... from an original drawing taken from the life in 1817. Another, reversed, engraved W. Lowry, 6 November 1817, drawn by M. Wyatt.

Medals celebrating the anniversary of the King’s accession, by W. Wyon and Thomas Wyon sr. and Alexis Depaulis (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, nos.932-33).

c.1817
Miniature attributed to H. D. Thielcke, in Windsor uniform. Royal Collection (R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, no.907). Engraved H. D. Thielcke 1819.

1818
Impression from a die by Thomas Wyon sr., exhibited RA 1818 (1009).

1819
Engraving by R. Cooper after J. M. Wright, half length in general’s uniform with the star of the Garter.

Posthumous: The King died on 29 January 1820
1820
Engraving by T. Illman after William Derby, half length in Windsor uniform, published 14 February 1820.

Anon. engraving published 1 March 1820, three-quarter length seated, wearing a cap, with short white beard, From an Original Drawing taken at the Age of 82 in the 60th year of his Reign.

Miniature by Charles Muss, three-quarter length seated with long white beard. Royal Collection (R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, no.893). Inscribed as being after John Jackson. Engraved S. W. Reynolds, published 24 February 1820. An enamel version by Joseph Lee is in the Royal Collection and a painting by him dated 1821 was sold Sotheby's, 29 March 1976, lot 9, as after John Jackson (see R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, p 385).

Comparable mezzotint by C. Turner three-quarter length seated, with white beard, both hands on chair arms.

Bust by J. E. Carew, exhibited RA 1820 (1034).

Statuette by Francis Hardenberg, see NPG 4383.

Marble bust by Francis Hardenberg, with classical toga (illus. Country Life, CXCIII, 3 June 1999, p 145) and another by William Spence and Samuel Franceys (both in private collections).

Sixteen medals marking the death of the King, including those by J. Marrian, Thomas Kettle and Thomas Wyon sr. (see L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, nos. 458, 991-1005, 1009). A medallion portrait by Peter Rouw was exhibited RA 1820, no.951, with another, from a dye by William Wyon, no.950.

1821
Model by Richard Freebairn, exhibited RA 1821 (1165), showing the King 'under his afflicting malady' (Literary Gazette, 1822, p 346).

Bronze equestrian statue by Robert Henderson, exhibited RA 1821 (1140). Possibly the bronze statuette dated 1821 in the Victoria and Albert Museum (A.4.1937).

1822
Equestrian statue by Richard Westmacott, in Roman dress. London Road, Liverpool, commissioned by the City in 1809, executed 1818-22 (illus. M. Busco, Sir Richard Westmacott, 1994, pp 66-67).

1831
Bronze equestrian statue by Richard Westmacott, in Roman dress, the granite pedestal by Jeffry Wyattville. Windsor Great Park (illus. M. Busco, Sir Richard Westmacott, 1994, p 69). Executed 1824-31. An undated marble bust with Roman drapery and the star of the Garter, at Belton House, signed Westmacott RA, appears to relate to this monument.

1836
Bronze equestrian statue by M. C. Wyatt. Cockspur Street, London (illus. J. M. Robertson, The Wyatts, 1979, p 183). Commissioned in 1822, unveiled 1836.

Undated
Unattributed lead laureate bust. Royal Collection. Exhibited Kings and Queens, RA 1953 (243). Probably after 1800.

Unattributed bronze bust. Victoria and Albert Museum (A.51.1932)

Wax by Guion. Stanton Harcourt (E. J. Pyke, A Biographical Dictionary of Wax Modellers, 1973, p 60).



This extended catalogue entry is from the out-of-print National Portrait Gallery collection catalogue: John Ingamells, National Portrait Gallery: Mid-Georgian Portraits 1760-1790, National Portrait Gallery, 2004, 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.