Later Stuart Portraits Catalogue

Prince George of Denmark, Duke of Cumberland (1653-1708), Consort of Queen Anne; son of King Frederick III of Denmark and Norway and Sophie Amalie of Brunswick-Lüneburg

See also Anne.
Note: For medals showing George, see Medallic Illustrations of The History of Great Britain and Ireland, British Museum, LXI, CXV and CXXVIII.

c.1667
Painting by Karel van Mander III, three-quarter-length in half armour, wearing the ribbon and badge of the Elephant, with a black attendant. Frederiksborg (2363; illus. Frederiksborg, Billedhefte, 1948, p 66).

1668
Miniature by Pierre Signac, wearing the ribbon of the Elephant, painted in Copenhagen. National Museum of Finland, Helsinki (illus. G. Cavalli-Bjorkman, Svenskt miniatyrmaleri, 1981, fig.58). A version in the Royal Collection (G. Reynolds, The sixteenth and seventeenth-century Miniatures in the Collection of Her Majesty The Queen, 1999, no.253).

1680
Painting by Toussaint Gelton, small three-quarter-length standing in armour, wearing the Order of the Elephant, left hand on plumed helmet, right holding baton. Gripsholm (1873). A comparable painting at Frederiksborg (2917).

c.1680
Painting attributed to Toussaint Gelton after J. D’Agar, small half-length oval in armour, wearing the Order of the Elephant, ermine cloak, right hand on hip, left on baton. Gripsholm (2169).

After his marriage to Princess Anne 1683

c.1683
Engraving by P. van Gunst, bust-length oval in armour, Georgius Daniae Princeps.

Engraving by P. Vandrebanc, bust-length oval in armour, as George, Prince of Denmark.

Engraving by D. Loggan, half-length in armour, wearing the Order of the Elephant (illus. R. Reilly & G. Savage, Wedgwood, the Portrait Medallions, 1973, p 171).

Miniature by an unknown artist, small bust-length oval alongside another of Anne. Royal Collection (G. Reynolds, The sixteenth and seventeenth-century Miniatures in the Collection of Her Majesty The Queen, 1999, no.174).

1684
Painting by Willem Wissing, three-quarter-length standing in armour, baton in right hand, pointing with his left, wearing the Order of the Elephant, helmet beside him, signed and dated. Gavno Castle. Exhibited De Stadhouder-Koning, Amsterdam, 1950, no.764. Engraved I. Beckett (J. Chaloner Smith, British Mezzotinto Portraits, 42). A version in Wokingham Town Hall (Sir George Scharf’s Trustees’ Sketch Books, 37:54).
A portrait formerly in the German Imperial collection attributed to Wissing may have been of this pattern (H. Börsch-Supan, ‘Die Gemälde aus dem Vermächtnis der Amalie von Solms und aus der Oranishen Erbschaft in den Brandenburgisch-preussischen Schlössern’, Zeitschrift für Kunstgeschichte, XXX, 1967, p 194, no.85).

c.1685
Anonymous engraving, three-quarter-length standing in armour, baton in right hand, a dog beside him, the plate altered from one of William III as Prince of Orange after Lely, published by A. Browne as Hasman [Huysmans] Pinxit (J. Chaloner Smith, British Mezzotinto Portraits, 28ii; G. S. Layard, Catalogue raisonné of engraved British portraits from altered plates, 1927, no.114; S. Turner, ‘Alexander Browne’, Wal. Soc., LXX, 2008, B.52iii).

c.1687
Painting by John Riley, see under NPG 326.

c.1690
Painting attributed to Kneller, three-quarter-length, right hand on ledge, with Garter ribbon and badge, the costume resembling that seen in NPG 326; coronet on ledge to right. Hengrave Hall sale, 23 September 1952, lot 1773. A similar head appears in the half-length in armour with Garter ribbon at Walmer Castle (illus. English Heritage, Collections Review, 1997, p 33 as attributed to Dahl c.1705). It was probably an example of this type that Celia Fiennes saw at Chippenham in 1698.

Painting by Godfrey Kneller, three-quarter-length standing in armour, left hand on hip, right holding baton, his helmet to the right. Engraved J. Smith 1692 (J. Chaloner Smith, British Mezzotinto Portraits, 95; J. D. Stewart, Godfrey Kneller, 1983, no.296 as after a painting of c.1690).

Painting by Michael Dahl, half-length in armour. Royal Collection (W. Nisser, Michael Dahl, 1927, cat. p 20, no.65a, pl.XIX; O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.383, pl.143). Exhibited Second Special Exhibition of National Portraits ( ... William and Mary to MDCCC), South Kensington, 1867, no.84; Marlborough and Anne 1934, no.37; William and Mary, Arts Council, 1950, no.7.

As Prince Consort to Queen Anne

c.1702
Engraving after Kneller by J. Smith 1702 (J. Chaloner Smith, British Mezzotinto Portraits, 96), bust-length oval in coronation robes (J. D. Stewart, Godfrey Kneller, 1983, no.297 as after a portrait of c.1700).

Painting by Michael Dahl, half-length wearing Garter ribbon and badge, left hand on hip, right on ledge bearing coronet. Ellesmere sale, Christie’s, 18 October 1946, lot 106. The same face mask as the Dahl portrait of c.1690 in the Royal Collection. A version recorded in a private collection in Iceland in 1975.

c.1703
Painting attributed to Kneller, whole-length standing in Garter robes, plumed hat in right hand, left on table, a trophy of French arms on stone pilaster to right. Blenheim (Sir George Scharf’s Sketch Books, 94:9; G. Scharf, Catalogue raisonné; or, A List of the Pictures in Blenheim Palace, 1862, p 18 as Kneller).

1704
Enamel by Charles Boit, half-length oval, in armour with purple mantle and Garter ribbon. Rosenborg Castle (1725; illus. G. C. Williamson, The History of Portrait Miniatures, 1904, II, pl.lxxxi; W. Nisser, Michael Dahl, 1927, cat. p 110, no.11). The face mask resembling the Dahl pattern of 1705 seen in NPG 4163.

Painting by Michael Dahl, whole-length equestrian. Royal Collection (W. Nisser, Michael Dahl, 1927, cat. p 20, no.65b, pl.xxxiii; O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.384, pl.167).

Painting by Godfrey Kneller, whole-length standing, wearing Garter robes over armour, baton in right hand, right arm resting on an anchor. National Maritime Museum (BHC2714; J. D. Stewart, Godfrey Kneller, 1983, no.299, pl.68d). Engraved J. Smith 1706, half-length oval as Kneller pinx 1704 (J. Chaloner Smith, British Mezzotinto Portraits, 97), copied by P. Schenck 1705 (F. W. H. Hollstein, Dutch & Flemish Etchings Engravings and Woodcuts 1450-1700, 625). A version at Melbourne Hall.
Copy by Edward Byng in the British Museum; E. Croft-Murray & P. Hulton, British Museum, Catalogue of British Drawings: XVI and XVII centuries, 1960, p 214 (1897.8.13.3; Byng 2:f.65r).

1705
Painting by Godfrey Kneller, half-length standing, holding his Peer’s hat in his right hand, attended by his secretary, Dr George Clarke (1661-1736), dated. All Souls College, Oxford (Mrs R. L. Poole, Catalogue of Portraits in the possession of the University, Colleges, City and County of Oxford, II, p 189, no.33; J. D. Stewart, Godfrey Kneller, 1983, no.300; illus. Kings and Queens, Liverpool, 1953, souvenir, p 25). Reduced versions at Penshurst (Sir George Scharf’s Sketch Books, 66:92 and 70:81), and sold Christie’s, 30 October 1959, lot 118. The head much resembling Kneller’s 1704 portrait and Smith’s c.1702 engraving after Kneller.

Painting by Thomas Starling, whole-length in Garter robes, right hand at waist, plumed hat on table to right. City of Norwich, presented by the St George’s Company 1705 (illus. A. Moore, Family and Friends, A Regional Survey of British Portraiture, exhibition catalogue, Norfolk Museums Service, 1992, p 202).

c.1705
Painting attributed to Kneller, whole-length standing in Garter robes, right hand on ledge, plumed hat on ledge to left. Corsham sale, Christie’s, 14 May 1920, lot 13 (Lord Methuen, Corsham Court, 1903, no.34; W. Nisser, Michael Dahl, 1927, cat. p 61, no.58f as Dahl). Pendant to a portrait of the Queen by Kneller.

Painting attributed to Dahl, whole-length standing in Garter robes, left hand on table, right on hip, his plumed hat on table to right. Crown Estate Commissioners (United Service Club), London. A three-quarter-length version at Charlecote.

Painting by Michael Dahl, see NPG 4163.

1706
Enamel by Charles Boit, see Anne.

c.1706
Painting by Godfrey Kneller, whole-length standing in coronation robes and armour, ducal coronet on a table behind him, baton held with both hands. Drumlanrig (J. D. Stewart, Godfrey Kneller, 1983, no.298 as c.1702-08). Engraved J. Smith 1706 (J. Chaloner Smith, British Mezzotinto Portraits, 98). Version at Grimsthorpe Castle and a half-length at Thoresby Hall.

1708
Painting by Michael Dahl, whole-length, said to have been painted for Lady Hyde (c.1672-1725, later Countess of Rochester and Clarendon), invoiced on 18 December 1708 (W. Nisser, Michael Dahl, 1927, cat. p 61, no.58h). Half-lengths were in the Earl of Oxford’s sale, 5th day, 12 March 1742, lot 38 (cf. W. Nisser, Michael Dahl, 1927, cat. p 61, nos 58b, 58d), and in the Newnham Paddox sale, Christie’s, July 1938, lot 37 (with a pendant of the Queen).
Nisser listed four further portraits attributed to Dahl, three in early 18th sales, see cat. p 61, nos. 58a, 58c, 58e, and see 58g.

Plaque in tortoiseshell by John Obrisset. British Museum (P. A. S. Phillips, John Obrisset, 1931, pl.55).

1709
A receipt, dated 18 June 1709, signed by Charles Jervas for £62.5s from the administration of the Prince’s estate for a portrait of Prince George painted for the 4th Earl (later 1st Duke) of Bridgewater is in the Victoria and Albert Museum (from Sotheby’s, 21 July 1980, lot 157).

1713
Unattributed statue. Guildhall, Windsor, presented in 1713 by Wren armig. (probably Christopher, son of the architect, Sir Christopher); Sir George Scharf’s Sketch Books, 70:25 and 60:105; Sir George Scharf’s Trustees' Sketch Books, 3:83). Matching a statue of the Queen of 1707.

1828
Bust by William Behnes. Royal Collection.

Histories
See William III the Battle of the Boyne. Prince George appeared with Queen Anne in the decorative paintings at Hampton Court by Verrio and is included by James Thornhill in the Painted Hall at Greenwich, see Anne.

Doubtful Portraits
Two untraced enamels attributed to Boit listed in W. Nisser, Michael Dahl, 1927, cat. p 124, nos. 19a,b.



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.