Sir Thomas Lawrence was an English portrait painter and the fourth president of the Royal Academy. A child prodigy, he was born in Bristol and began drawing in Devizes, where his father was an innkeeper at the Bear Hotel in the Market Square. At age ten, having moved to Bath, he was supporting his family with his pastel portraits. At 18, he went to London and soon established his reputation as a portrait painter in oils, receiving his first royal commission, a portrait of Queen Charlotte, in 1789. He stayed at the top of his profession until his death, aged 60, in 1830.
Sir George Hayter was an English painter, specialising in portraits and large works involving sometimes several hundred individual portraits. Queen Victoria appreciated his merits and appointed Hayter her Principal Painter in Ordinary and also awarded him a Knighthood in 1841.
Sir William Beechey was a British portraitist during the golden age of British painting.
Henry Bone was an English enamel painter. By c. 1800 he had attracted royal patronage for his portrait miniatures This patronage continued throughout the reigns of three monarchs; George III, George IV and William IV. In his early career he worked as a porcelain and jewellery painter. He was elected a Royal Academician and produced the largest enamel paintings ever seen up to that time.
Mary Thornycroft was a British sculptor who sculpted many different busts, fragments and statues. She frequently choose infants and children as her subjects and was commissioned by Queen Victoria to create a number of statues and portraits of her children and other members of the royal family. Several of these are now in the British Royal Collection.
William Owen was an English portrait painter known for his portraits of society figures such as Pitt the Younger and George, Prince of Wales.
George III and the Prince of Wales Reviewing Troops was an oil on canvas painting by William Beechey, showing George III and his sons George, Prince of Wales and Frederick, Duke of York at an imagined review in Hyde Park. George rides Adonis, whilst the Prince of Wales wears the uniform of the 10th Light Dragoons, of which he was colonel. Beside Frederick is David Dundas and the painting also shows Philip Goldsworthy and William Fawcett, the 3rd Dragoon Guards' Colonel.
Charles Philips (c.1703–1747) was an English artist known for painting a number of portraits and conversation pieces for noble and Royal patrons in the mid-eighteenth century.
George IV is an 1821 portrait painting by the English artist Thomas Lawrence portraying George IV, the reigning monarch of the United Kingdom. George is depicted in the robes he wore for his Coronation in July 1821. Lawrence was Britain's pre-eminent portrait painter and had previously depicted George on a number of occasions during the Regency era before he came to the throne in succession to his father George III in 1820. Lawrence had recently been elected to succeed Benjamin West as President of the Royal Academy
Portrait of Lord Liverpool is a work by the English artist Thomas Lawrence depicting the British politician and Prime Minister Lord Liverpool.
Portrait of Lord Moira is a portrait painting by the English artist Sir Joshua Reynolds of the Irish soldier and politician Francis Rawdon-Hastings, 1st Marquess of Hastings, then known as the Earl of Moira.
Portrait of Maria Fitzherbert is a 1788 portrait painting by the British artist Sir Joshua Reynolds.
Coronation Portrait of George III is a portrait painting of 1762 by the Scottish artist Allan Ramsay depicting the British monarch George III in his coronation robes. George's coronation had taken place on 22 September 1761 at Westminster Abbey, where he was crowned alongside his wife Queen Charlotte. The new king had inherited the crown from his grandfather George II in 1760 at the age of 22.
Portrait of William Pitt is an 1807 portrait painting by the English artist Thomas Lawrence of the British politician William Pitt the Younger. It was one of a number of depictions of prime ministers executed by Lawrence during his career.
Portrait of the Duke of Clarence is a portrait painting by the Irish artist Martin Archer Shee depicting the future William IV, then Duke of Clarence.
Portrait of the Duke of York is a 1764 portrait painting by the Italian artist Pompeo Batoni depicting Prince Edward, Duke of York and Albany. York was the younger brother of George III and had been heir presumptive to the throne from 1760 until the birth of his nephew George, Prince of Wales in 1762. From 1763 to 1764 following the end of the Seven Years' War, York went on a Grand Tour around Continental Europe. While in Rome he sat for Batoni, a leading portraitist who specialised in painting visiting Britons. York is shown in the uniform of a Flag officer of the Royal Navy and the Order of the Garter, with the Colosseum visible behind him.
Portrait of William IV is an portrait painting of 1833 by the Irish artist Sir Martin Archer Shee depicting William IV.
Portrait of Frederick William III of Prussia is portrait painting by the British artist Thomas Lawrence of Frederick William III, King of Prussia. Begun in 1814 during the Visit by the Allied Sovereigns to England, it was completed during the Congress of Aix-la-Chapelle in 1818.
Portrait of Francis Bourgeois is an 1810 portrait painting by the British artist William Beechey. It depicts his fellow painter Francis Bourgeois, a member of the Royal Academy noted for his landscape paintings. Today Bourgeois is particularly associated with the Dulwich Picture Gallery in London. A noted art collector after his death in a horseriding accident, his will left his collection and his money to Dulwich College on condition it was used to found a gallery.
Portrait of Admiral Rodney or Admiral Rodney at the Battle of the Saintes is a 1783 portrait painting by the English artist Thomas Gainsborough featuring the British admiral George Rodney, 1st Baron Rodney. It depicts his April 1782 victory at the Battle of the Saintes in the Caribbean Sea during the American War of Independence. Rodney led the Royal Navy to a decisive victory over the French fleet commanded by the Comte de Grasse by "breaking the line". Rodney is shown on the deck of the de Grasse's captured flagship Ville de Paris with the ship's Fleur-de-lis ensign behind him, as smoke from the battle swirls in the background. In 1788 the artist's nephew Gainsborough Dupont produced a mezzotint based on the picture.
