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23 articles
Article
The Chamber Floor of the Royal Pavilion, Brighton, 1815–45
10/2022 | 1435 | 164
Pages: 986-999
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Author:
Conrad, Stephen (Conrad, Stephen)
Subjects
artists:
Nash, John, 1752-1835 / Crace and Son, London, Great Britain
buildings:
Royal Pavilion, Brighton, Great Britain
patrons:
George IV, King of Great Britain, 1762-1830 / Victoria, Queen of Great Britain, 1819-1901 / Albert, Prince Consort of Victoria
styles:
Chinoiserie
subjects:
British architecture / Interiors / Bedrooms / Furniture / Wallpaper / Cross sections / Royalty
Illustrations
Attributed works:
1. The Staircase at the North End of the Long Gallery, by John Nash. 1823. Aquatint. (From J. Nash: Views of the Royal Pavilion, Brighton, London 1826).
Attributed works:
10. Detail of Fig.4, showing rooms that were modified for use by Queen Victoria and her children.
Attributed works:
11. Bedroom used by the Duke of Clarence, Chamber Floor, Royal Pavilion, Brighton.
Attributed works:
12. Fragment of blue flowered wallpaper from the Prince Regent’s original Bedroom. Wallpaper with overlaid additions, 40.7 by 55.9 cm. (Royal Pavilion, Brighton; R6013/2; photograph Alexandra Loske).
Attributed works:
13. Bedroom used by the Duke of York, Chamber Floor, Royal Pavilion, Brighton.
Attributed works:
2. Detail of Longitudinal section of the Pavilion, by John Nash. 1823. From left to right the ground floor rooms are the Banqueting Room Gallery, the Saloon and the Music Room Gallery. Aquatint (From J. Nash: Views of the Royal Pavilion, Brighton, London 1826).
Attributed works:
3. Plan of the Chamber Floor, Royal Pavilion, Brighton. Before 1842. North is on the left. (Royal Collection; RCIN 918963)
Attributed works:
4. Plan of the Chamber Floor, Royal Pavilion, Brighton (Good 18), by Joseph Good. c.1832. North is at the top. Pen and ink on paper, 53.5 by 173.5 cm. (Royal Pavilion, Brighton, Archive; RG000308).
Attributed works:
5. Queen Victoria’s Bedroom before the reinstatement of the original Chinese wallpaper, Chamber Floor, Royal Pavilion, Brighton.
Attributed works:
6. Detail of Fig.4, showing some of the rooms used by Queen Victoria.
Attributed works:
8. The Double Lobby or Gallery (South) above the Corridor, by John Nash. 1823. Aquatint. (From J. Nash: Views of the Royal Pavilion, Brighton, London 1826).
Attributed works:
9. Detail of Fig.4, showing the rooms that were planned for use by the Duchess of Kent and her entourage.
Exhibition Review
A Prince’s Treasure. From Buckingham Palace to the Royal Pavilion: The Royal Collection Returns to Brighton
01/2021 | 1414 | 163
Pages: 67-70
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Reviewer:
Maxwell, Christopher L. (Maxwell, Christopher L.)
Subjects
buildings:
Buckingham Palace, London, Great Britain / Royal Pavilion, Brighton, Great Britain
dates:
2020-2030
patrons:
Victoria, Queen of Great Britain, 1819-1901 / George IV, King of Great Britain, 1762-1830
styles:
Chinoiserie
subjects:
Furnishings / Interiors
Reviewed Items
subjects:
A Prince’s Treasure. From Buckingham Palace to the Royal Pavilion: The Royal Collection returns to Brighton Royal Pavilion, Brighton 21st September 2019–Autumn 2021 | :
Illustrations
Attributed works:
14. Console table by Edward Bailey, after a design by Adam Weisweiler, in the Music Room Gallery at the Royal Pavilion, Brighton. 1819. Oak, ebony, gilt and painted bronze, marble and mirror glass, 96 by 162 by 52 cm. (Royal Collection, on loan to the Royal Pavilion, Brighton; photograph Paul Highnam/ Country Life).
Attributed works:
15. The Kylin clock, in the Saloon at the Royal Pavilion, Brighton. Jingdezhen, Jiangxi province, China, second half of the eighteenth century. Porcelain and gilt bronze, 111.7 by 81.3 by 36.9 cm. (Royal Collection, on loan to the Royal Pavilion, Brighton; photograph Royal Pavilion and Museums Trust, Brighton).
Attributed works:
16. The Music Room, the Royal Pavilion, Brighton. The chimneypiece is flanked by porcelain pagodas that are among the loans from the Royal Collection. (Photograph Paul Highnam/ Country Life).
Exhibition Review
George IV: Art and Spectacle. Queen's Gallery, London; King George IV: Royalty, Racing and Reputation. Palace House, Newmarket
04/2020 | 1405 | 162
Pages: 338-341
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Reviewer:
Jacobsen, Helen (Jacobsen, Helen)
Subjects
buildings:
Carlton House, (demolished 1827), London, Great Britain / Royal Pavilion, Brighton, Great Britain
dates:
2020-2030
media:
Decorative arts / Paintings / Prints / Furniture / Bronzes / Metalwork / Miniatures (paintings) / Porcelain / Drawings
patrons:
George IV, King of Great Britain, 1762-1830
styles:
Neo-classicism / Chinoiserie
subjects:
Monarchy / Patronage / Pageants
subjects:
Royal Collection, (Great Britain)
subjects:
Interiors / Architecture
Reviewed Items
subjects:
George IV: Art and Spectacle Queen’s Gallery, London 5th November 2019–4th May King George IV: Royalty, Racing and Reputation Palace House, Newmarket 28th November 2019–19th April | :
Illustrations
Attributed works:
13. The Blue Velvet Room, Carlton House, by Charles Wild. c.1816. Watercolour with bodycolour and gum arabic over pencil on paper, 20.1 by 25.2 cm. (Royal Collection; exh. the Queen’s Gallery, London).
Attributed works:
14. The third and last challenge by the champion during King George IV’s coronation banquet at Westminster Hall, by Denis Dighton. 1821. Watercolour on paper, 42.5 by 54.8 cm. (Royal Collection; exh. Palace House, Newmarket).
Attributed works:
14. The third and last challenge by the champion during King George IV’s coronation banquet at Westminster Hall, by Denis Dighton. 1821. Watercolour on paper, 42.5 by 54.8 cm. (Royal Collection; exh. Palace House, Newmarket).
Attributed works:
15. Bottle cooler (one of pair), design attributed to John Flaxman, made by Rundell, Bridge and Rundell. 1827–28. Silver gilt, height 58 cm. (Royal Collection; exh. the Queen’s Gallery, London).
Article
A new catalogue of French porcelain in the Royal Collection
07/2010 | 1288 | 152
Pages: 470-473
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Author:
Savill, Rosalind (Savill, Rosalind)
Subjects
patrons:
George IV, King of Great Britain, 1762-1830
print:
Porcelain
print:
French art
subjects:
Catalogues / Porcelain / Ceramics / Royal Collection, (Great Britain) / Sèvres porcelain
Illustrations
Attributed works:
28. Flower vase. Sèvres, c.1765–68. Soft-paste porcelain, 18.7 by 30.3 cm. (Royal Collection, Windsor).
Attributed works:
29. Pair of mounted vases and covers. Sèvres, c.1782. Gilt-bronze mounts attributed to Pierre-Philippe Thomire. Hard-paste porcelain, 42.5 by 25.8 cm. (Royal Collection, Windsor).
Attributed works:
30. Cup and saucer. Sèvres, 1778–89. Hard-paste porcelain with jewelled decoration, diameter 15.5 cm. (plate); 41.5 cm. high (cup). (Royal Collection, Windsor).
Attributed works:
31. Pot pourri vase and cover. Sèvres, c.1761. Soft-paste porcelain, 46.4 by 28 cm. (Royal Collection, Windsor).
Article
Philippe-Claude Maëlrondt, supplier to George IV
06/2004 | 1215 | 146
Pages: 386-395
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Author:
Bellaigue, Geoffrey de (Bellaigue, Geoffrey de)
Subjects
collectors and dealers:
Maelrondt, Philippe Claude, d.1824
collectors and dealers:
George IV, King of Great Britain, 1762-1830
dates:
1750-1849
places:
France / England
print:
Porcelain
subjects:
Art market / Sèvres porcelain / Ceramics / Porcelain
subjects:
Vincennes Porcelain Manufactory
Illustrations
Attributed works:
13. Broth basin, cover and stand (écuelle nouvelle forme). 1775. Flowers painted by J.-F. Micaud. Lot 248 of the Maëlrondt sale. Basin and cover, 13.2 by 17.9 by 15.1 cm.; stand, 2.9 by 23.5 cm. (The Royal Collection, RCIN 5686).
Attributed works:
14. Pot-pourri vase (pot-pourri Hèbert). 1763. Scene attributed to C.-N. Dodin. The mounts early nineteenth century. Lot 182 of the Maëlrondt sale. 44.2 by 28.3 by 18.7 cm. (The Royal Collection; RCIN 2361).
Attributed works:
15. Flower vase (cuvette Verdun). 1769. Scene by C.-E. Asselin. The mounts early nineteenth century. Lot 200 of the Maëlrondt sale. 13.7 by 23.7 by 11.3 cm. (The Royal Collection, RCIN 2374).
Attributed works:
16. Pot-pourri vase formed out of a sugar bowl (pot à sucre Calabre). ?1779. Marine scenes painted by C.-C. Gérard and the gilding by P.-J.-B. Vandé. The mounts early nineteenth century. Lot 213 of the Maëlrondt sale. 24.2 by 14.4 by 10.5 cm. (The Royal Collection, RCIN 58492).
Attributed works:
17. Fig.16 without the mounts, 10.2 by 10.3 cm.
Attributed works:
20. Two ewers formed out of two cups (gobelets Bouillard). 1765 and ?1769. Painted by F.-J. Aloncle and A.-J. Chappuis respectively. Lot 224 of the Maëlrondt sale. The mounts early nineteenth century. 20.8 by 9.8 by 7 cm. (The Royal Collection, RCIN 1088.1-2).
Attributed works:
21. Vase formed out of a cup (gobelet Bouillard). 1764. Birds painted by E. Evans. Mounts early nineteenth century. Lot 225 of the Maëlrondt sale. 23.5 by 9.4 by 7.6 cm. (The Royal Collection, RCIN 3595).
Attributed works:
22. Detail of Fig.21.
Attributed works:
23. Clock on a soft-paste Sèvres porcelain column surmounted by a vase (cover missing), c.1775-78, which rests on a hard-paste drum commissioned in 1813 by Maëlrondt. Mounts eighteenth and early nineteenth century. 40 by 18.6 by 18.7 cm. (The Royal Collection, RCIN 30119).
Attributed works:
24. Vase of soft-paste Sèvres porcelain (vase à anses en tire-bouchon), c.1763-65, which rests on a hard-paste drum commissioned by Maëlrondt in 1813. The mounts early nineteenth century. 32.5 by 23.1 by 18.8 cm. (The Royal Collection, RCIN 59172).
Attributed works:
25. Pot-pourri vase formed out of a ewer of soft-paste Sèvres porcelain, accompanied by its basin. 1782. Marine scenes painted by J.-L. Morin, gilding by J.-P. Boulanger. The mounts early nineteenth century. Rectangular stand of hard-paste Sèvres porcelain, 1820. Ewer, 32.5 by 16.5 by 11.2 cm.; basin, 18 by 33.9 by 22 cm. (The Royal Collection, RCIN 100254.1, 100252.1)
Attributed works:
26. Pot-pourri vase formed out of a ewer of soft-paste Sèvres porcelain. 1783. Its accompanying basin, mounted on a socle identical to that in Fig.25, is not illustrated. Camp scene painted by J.-L. Morin. The mounts early nineteenth century. Ewer, 32 by 16.3 by 11.3 cm. (The Royal Collection, RCIN 100254.2)
Attributed works:
27. Pot-pourri formed out of ewers of soft-paste Vincennes porcelain. c.1750-55. 32 by 16.2 by 11.2 cm. and 33 by 16.5 by 12 cm. Marks not known. (Blair Castle, Perthshire)
Western art unattributed:
18. Vase and cover formed out of a covered cup (gobelet a lait). c.1765-68. The mounts early nineteenth century. Lot 218 of the Maëlrondt sale. 22.2 by 13.7 by 10.8 cm. (The Royal Collection, RCIN 58491).
Western art unattributed:
19. Fig.18 without the mounts, 13.5 by 10.2 cm.
Book Review
For the King's pleasure: the furnishing and decoration of George IV's apartments at Windsor Castle
05/2002 | 1190 | 144
Pages: 302-303
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Reviewer:
Wood, Lucy (Wood, Lucy)
Subjects
buildings:
Windsor Castle, Windsor, Great Britain
dates:
1700-1799
patrons:
George IV, King of Great Britain, 1762-1830
places:
England / Windsor
subjects:
Georgian / Furniture / Interiors
Reviewed Items
subjects:
For the King's Pleasure: The Furnishing and Decoration of George IV's Apartments at Windsor Castle | author: Roberts, Hugh
Article
Lady Conyngham's Silver Gilt in the Royal Ontario Museum
06/1992 | 1071 | 134
Pages: 368-374
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Author:
Kaellgren, C. Peter (Kaellgren, C. Peter)
Subjects
artists:
Rundell, Philip
artists:
Bridge, John
collectors and dealers:
Conyngham, Elizabeth, Marchioness Conyngham, 1769-1861
collectors and dealers:
George IV, King of Great Britain, 1762-1830
dates:
1750-1849
museums and institutions:
Royal Ontario Museum, Toronto, Canada
places:
England / London
subjects:
Silverwork / Metalwork
subjects:
Royalty / Satire
Illustrations
Attributed works:
19. Mahogany Case with Gilt Hardware Containing a Suite of Silver-Gilt and Porcelain Tea and Tablewares, the Silver by Philip Rundell, John Bridge and Other Makers. 20.3 by 80.4 by 41.1 cm. (Case). (Royal Ontario Museum, Toronto).
Attributed works:
20. The Cunning and Happy Family, by J. L. Marks. 1822. Etching with Water-Colour, 24.2 by 33.5 cm. (British Museum, London).
Attributed works:
21. Retrenchment. Economy. Reform; Or the Cunning Jeweller, Attributed to W. Heath. 8th May 1822. Etching with Water-Colour, 21 by 31.5 cm. (British Museum, London).
Attributed works:
22. Packing up, by W. Heath. 1st July 1830. Etching with Water-Colour, 23.5 by 33.5 cm. (British Museum, London).
Attributed works:
23. Salver, by Philip Rundell. London, 1821. Silver Gilt with Chased Decoration and Engraved Ciphers, 35.3 cm. diam.; Weight 1,495 g. (Royal Ontario Museum, Toronto).
Attributed works:
24. Galvanic Goblet, by Philip Rundell. London, 1814. Silver Gilt, 13.4 cm. High; Weight 182 g. (Royal Ontario Museum, Toronto).
Attributed works:
25. Coffee Pot and 'Small Pot to go inside' (Probably a Canister for Ground Coffee), by John Bridge. London, 1826. Silver Gilt, 16.5 and 10.8 cm. High. (Royal Ontario Museum, Toronto).
Attributed works:
26. Porringer and Stand, by John Bridge. London, 1826. Silver Gilt with Chased Decoration and Engraved Ciphers, 9 by 17.7 cm.; Weight 579 g. (Royal Ontario Museum, Toronto).
Attributed works:
27. Tea Kettle, Lamp and Stand, by John Bridge. London, 1826. Silver Gilt with Carved Ivory Handle. 26 cm. High; Weight 1,733 g. (Royal Ontario Museum, Toronto).
Attributed works:
28. Three-Piece Tea Set, by Philip Rundell. London, 1821. Silver Gilt, 10 cm. High (Teapot); Weight 422 g. (Teapot and Stand), 318 g. (Sugar Bowl), 170 g. (Cream Ewer). (Royal Ontario Museum, Toronto).
Attributed works:
29. Small Mug, Tumbler and Pap Boat, by John Bridge. London, 1826. Silver Gilt. Pacifier with Bells and Whistle, by Robert Jones. London, 1826. Coral with 22 Carat Gold Mounts. Mug: 7.5 cm. High, Weight 152 g.; Tumbler: 7.5 cm. High, Weight 176 g.; Pap Boat: 14.2 cm. Long, Weight 107 g.; Coral: 14 cm. Long. (Royal Ontario Museum, Toronto).
Attributed works:
30. Skipper on a Rose, by John Bridge. London, 1826. Cast and Chased Silver-Gilt Finial. 1.8 cm. High. Although This Finial Is Found on Eight Pieces in the Group, None Bears Full Hallmarks. (Royal Ontario Museum, Toronto).
Attributed works:
31. Honi soit qui mal y pense; A Slap Turn Out!!!, by H. Heath. London, May 1829. Etching with Water-Colour, 24.2 by 35.3 cm. (British Museum, London).
Short Notice
George IV When Prince of Wales: His Debts to Artists and Craftsmen
08/1986 | 1001 | 128
Pages: 586-592
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Author:
Millar, Oliver (Millar, Oliver; Millar, Mr.; Miller, Oliver)
Subjects
artists:
Cosway, Richard
artists:
Garrard, George
artists:
Gainsborough, Thomas
artists:
Constable, John
artists:
Romney, George
dates:
1750-1799
patrons:
George IV, King of Great Britain, 1762-1830
places:
England
subjects:
Patronage / Royalty
subjects:
Documents / Inventories
subjects:
British painting
Book Review
Turner and George the Fourth in Edinburgh, 1822
01/1983 | 958 | 125
Pages: 42
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Reviewer:
Herrmann, Luke (Herrmann, Luke; H., L.)
Subjects
artists:
Turner, Joseph Mallord William
dates:
1800-1849
patrons:
George IV, King of Great Britain, 1762-1830
places:
England / Scotland / Edinburgh
subjects:
British painting
Reviewed Items
subjects:
Turner and George the Fourth in Edinburgh, 1822 | author: Finley, Gerald E.
Article
The Antiquarian Plate of George IV: A Gloss on E. A. Jones
06/1979 | 915 | 121
Pages: 343-351+353
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Author:
Bury, Shirley (Bury, Shirley)
Author:
Snodin, Michael (Snodin, Michael)
Author:
Wedgwood, Alexandra (Wedgwood, Alexandra; Wedgwood, Alexandra Gordon Clark)
Subjects
art literature:
Jones, E. Alfred
artists:
Storr, Paul,
artists:
Bridge, John
artists:
Rundell, Philip
artists:
Flaxman, John
dates:
1800-1849
patrons:
George IV, King of Great Britain, 1762-1830
places:
England
subjects:
Silverwork / Georgian / Metalwork
Illustrations
Attributed works:
10. Verrier, from a Set of Twenty-Four. Maker's Mark of John Bridge. London 1826-27. Silver-Gilt. (Royal Collection). Reproduced by Gracious Permission of H. M. the Queen.
Attributed works:
11. Pendent-Cross. English, Perhaps by Rundell and Bridge. c.1825. Faceted Amethysts Set in Gold Wire Filigree, Decorated with Applied Stamped Shells. (Victoria and Albert Museum).
Attributed works:
12. Design for a Flagon, Probably for St George's Chapel, Windsor, by A. W. N. Pugin. Signed on the verso J. G. Bridge and Dated 1827. Pen and Ink and Wash. (Victoria and Albert Museum).
Attributed works:
13. Design for an Alter Candlestick, Probably for St George's Chapel, Windsor, by A. W. N. Pugin. 1827. (Victoria and Albert Museum).
Attributed works:
14. Standing Cup, Known as the Coronation Cup. Maker's Mark of John Bridge. London 1826-27. Silver-Gilt, Set with Diamonds and Precious Stones. (Royal Collection). Reproduced by Gracious Permission of H. M. the Queen.
Attributed works:
15. Design for a Chalice, Probably for St George's Chapel, Windsor, by A. W. N. Pugin. Signed on the verso J. G. Bridge and Dated 1827. Pen and Ink and Wash. (Victoria and Albert Museum).
Attributed works:
16. Detail of Fig. 14. [Standing Cup, Known as the Coronation Cup. Maker's Mark of John Bridge. London 1826-27. Silver-Gilt, Set with Diamonds and Precious Stones. (Royal Collection). Reproduced by Gracious Permission of H. M. the Queen.]
Attributed works:
2. Design for the National Cup, after John Flaxman. c.1819. Pencil and Wash Drawing. (Victoria and Albert Museum).
Attributed works:
3. The National Cup. Maker's Mark of John Bridge. London 1824-25. Silver-Gilt, Set with Diamonds and Precious Stones. (Royal Collection). Reproduced by Gracious Permission of H. M. the Queen.
Attributed works:
4. Cup and Cover. Maker's Mark of John Bridge. London 1825-26. Silver, with Two-Colour Gilding. (Royal Collection). Reproduced by Gracious Permission of H. M. the Queen.
Attributed works:
5. Cup, after a Design by Albrecht Dürer. Maker's Mark of John Bridge. 1826-27. Silver-Gilt, Set with Precious Stones. (Royal Collection). Reproduced by Gracious Permission of H. M. the Queen.
Attributed works:
6. Detail of Fig. 5. [Cup, after a Design by Albrecht Dürer. Maker's Mark of John Bridge. 1826-27. Silver-Gilt, Set with Precious Stones. (Royal Collection). Reproduced by Gracious Permission of H. M. the Queen.]
Attributed works:
7. Design for a Cup, with an Alternative Stem, by Albrecht Dürer. c.1500. Pen and Ink. (British Museum).
Attributed works:
8. Bowl. Maker's Mark of Edward Farrell. London 1824-25. Silver-Gilt. Probably from the Collection of The Duke of York. (Private Collection).
Western art unattributed:
9. Bowl. English, Dated 1610. Fruitwood. (From O. Evan-Thomas: Domestic Utensils of Wood, London [1932], pl. 14). (Present Whereabouts Unknown).
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