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  • At the time he commissioned from Landseer this portrait of his gray Arabian stallion Selim, his Newfoundland dog Nelson, his King Charles spaniel Flora, and his peregrine falcons, seen here hooded and ready to be put through their paces at Windsor, the sixteen-year-old Prince George of Cambridge was of considerable dynastic importance. His uncle and aunt, King William IV and Queen Adelaide, with whom he spent long periods at court at Windsor, were childless, and even though Prince George's father, Adolphus, Duke of Cambridge, who acted as his brother's viceroy in the tiny German kingdom of Hanover, was the tenth child and seventh son of George III and Queen Charlotte, there were few legitimate male grandchildren of George III. Apart from his cousin Princess Victoria of Kent, heir presumptive to the throne, who, though tiny, was not particularly delicate, relatively few steps separated the young man from the throne of England. An alternative idea that was seriously entertained by King William was that Prince George would make a splendid husband and consort for Princess Victoria. They were almost exactly the same age, but in due course neither relished the prospect of marriage to the other. Owing to Salic laws of succession in continental Europe (that is, the mandatory inheritance of the throne by the nearest male heir), after the accession of Queen Victoria in 1837, the crowns of Britain and Hanover were separated almost 125 years after they were first united under King George I. Thenceforth, Ernest, Duke of Cumberland, another of the new queen's many Hanoverian uncles, reigned as King of Hanover. With no further need for a viceroy in Hanover, the Cambridge family returned to England, and Prince George joined the British army, enjoying a distinguished career and eventually retiring with the rank of field marshal and commander-in-chief. Conforming to the manners of the previous generation, in 1840 Prince George contracted a morganatic marriage to an actress, Louisa, Miss Fairbrother, for whom he provided a house in Queen Street, Mayfair, where she settled comfortably as "Mrs. Fitzgeorge" and produced three sons. This painting was engraved by W. Giller in 1841 and lithographed by Lafosse.
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  • At the time he commissioned from Landseer this portrait of his gray Arabian stallion Selim, his Newfoundland dog Nelson, his King Charles spaniel Flora, and his peregrine falcons, seen here hooded and ready to be put through their paces at Windsor, the sixteen-year-old Prince George of Cambridge was of considerable dynastic importance. His uncle and aunt, King William IV and Queen Adelaide, with whom he spent long periods at court at Windsor, were childless, and even though Prince George's father, Adolphus, Duke of Cambridge, who acted as his brother's viceroy in the tiny German kingdom of Hanover, was the tenth child and seventh son of George III and Queen Charlotte, there were few legitimate male grandchildren of George III. Apart from his cousin Princess Victoria of Kent, heir presumptive to the throne, who, though tiny, was not particularly delicate, relatively few steps separated the young man from the throne of England. An alternative idea that was seriously entertained by King William was that Prince George would make a splendid husband and consort for Princess Victoria. They were almost exactly the same age, but in due course neither relished the prospect of marriage to the other. Owing to Salic laws of succession in continental Europe (that is, the mandatory inheritance of the throne by the nearest male heir), after the accession of Queen Victoria in 1837, the crowns of Britain and Hanover were separated almost 125 years after they were first united under King George I. Thenceforth, Ernest, Duke of Cumberland, another of the new queen's many Hanoverian uncles, reigned as King of Hanover. With no further need for a viceroy in Hanover, the Cambridge family returned to England, and Prince George joined the British army, enjoying a distinguished career and eventually retiring with the rank of field marshal and commander-in-chief. Conforming to the manners of the previous generation, in 1840 Prince George contracted a morganatic marriage to an actress, Louisa, Miss Fairbrother, for whom he provided a house in Queen Street, Mayfair, where she settled comfortably as "Mrs. Fitzgeorge" and produced three sons. This painting was engraved by W. Giller in 1841 and lithographed by Lafosse.
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  • Bibliograpic reference :: Algernon Graves, Catalogue of the works of the late Sir Edwin Landseer, dedicated by special permission to Her Most Gracious Majesty the Queen, Henry Graves & Co., London, 1874, p. 18, ND497 L26 G7 1874 (YCBA RARE BOOKS)
  • Bibliograpic reference :: Campbell Lennie, Landseer, the Victorian paragon, Hamish Hamilton, London, 1976, p. 97, NJ18 L244 L45 (YCBA)
  • Bibliograpic reference :: Christie's Sale Catalogue : 21 November 1986, Christie's, 1986, no. 29, Sales Catalogues (YCBA)
  • Bibliograpic reference :: Christie's sale catalogue: Catalogue of the Highly Important Collection of Pictures and Historical Portraits of the Early English School : 11 June 1904, Christie's, Christie, Manson & Woods, London, June 11, 1904, p.6, Lot 25, Fiche B51, Fiche# 1058 (YCBA) , Also available on line : Art Sales Catalogues Online - Lught 62416
  • Bibliograpic reference :: Duncan Robinson, At home to sporting art : the Brick House, Essays of Friends of British Sporting Art, no. 33, Friends of British Sporting Art, Summer 1997, pp. 6,7, N8250 .B751 (YCBA)
  • Bibliograpic reference :: Duncan Robinson, At home to sporting art : the Brick House, Essays of Friends of British Sporting Art, no. 33, The British Sporting Art Trust, Summer 1997, pp. 6,7, N8250 .B751 (YCBA)
  • Bibliograpic reference :: Exhibition Catalogue. 1835. 67th., Exhibition of the Royal Academy of Arts, no. 67, Royal Academy of Arts, London, 1835, p. 17, no. 303, N5054 A53 v. 4 (YCBA)
  • Bibliograpic reference :: Frederic George Stephens, Memoirs of Sir Edwin Landseer, a sketch of the life of the artist : illustrated with reproductions of twenty-four of his most popular works, G. Bell & Sons, London, 1874, pp. 95, 153, NJ18 L244 S74 1874 (YCBA)
  • Bibliograpic reference :: Frederic George Stephens, Sir Edwin Landseer, Sampson Low, Marston, Searle & Rivington, London, 1881, Fiche N.4.2.572 (SML) , Hard copy in poor condition availbale at LSF - WB 19504;
  • Bibliograpic reference :: James Alexander Manson, Sir Edwin Landseer, R. A., W. Scott Publishing Co., London New York, 1902, WB 18411 (LSF - MUDD)
  • Bibliograpic reference :: John Baskett, Paul Mellon's legacy, a passion for British art : masterpieces from the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 2007, pp. 36, 293-4, no 109, fig. 10, pl. 109, N5220 M552 P38 2007 OVERSIZE (YCBA)
  • Bibliograpic reference :: John Guille Millais, The life and letters of Sir John Everett Millais, president of the Royal Academy, Methuen & co., ltd., London, 1899, NJ18 M61 M55 1899 (YCBA)
  • Bibliograpic reference :: Landseer's animal illustrations, Nimrod, Alton, Hampshire, England, 1990, p. 87, NJ18 L244 B27 1990 (YCBA)
  • Bibliograpic reference :: Malcolm Warner, The Paul Mellon Bequest : treasures of a lifetime, , Yale Center for British Art, New Haven, CT, 2001, p. 39, N5247 M385 P28 2001 (YCBA)
  • Bibliograpic reference :: Paul Mellon's Legacy, a passion for British art. [large print labels], Yale Center for British Art, New Haven, CT, 2007, v. 3, N5220 M552 +P381 2007, Mellon Shelf (YCBA)
  • Bibliograpic reference :: Paul Mellon's legacy, a passion for British art. [large print labels], Yale Center for British Art, New Haven, CT, 2007, v. 3, N5220 M552 +P381 2007, Mellon Shelf (YCBA)
  • Bibliograpic reference :: Scott McDougall, Sir Edwin Landseer, R. A., G. Bell & Sons, London, 1907, J18 L239 903Sb (SML)
  • Dimension height :: 101.6cm
  • Dimension width :: 125.7cm
  • Exhibition :: 2016 Installation YCBA - 401
  • Exhibition :: An American's Passion for British Art - Paul Mellon's Legacy
  • Exhibition :: The Paul Mellon Bequest : Treasures of a Lifetime
  • Exhibition :: Yale University Art Gallery 2015 - 2016
  • Located in :: 401
  • Located in :: Bay25
  • Located in :: New Haven
  • Located in :: On view
  • Located in :: YCBA, 401, Bay25
  • Located in :: Yale Center for British Art
  • Object type :: painting
  • Subject Concept :: animals
  • Subject Concept :: birds
  • Subject Concept :: dog (animal)
  • Subject Concept :: door
  • Subject Concept :: feather
  • Subject Concept :: hawk
  • Subject Concept :: horse (animal)
  • Subject Concept :: hunting
  • Subject Concept :: interior
  • Subject Concept :: property
  • Subject Concept :: reins
  • Subject Concept :: saddle
  • Subject Concept :: sporting art
  • Subject Concept :: stairs
  • Subject Concept :: whip
  • Subject Place :: Cambridge
  • Subject Place :: Cambridgeshire
  • Subject Place :: England
  • Subject Place :: Europe
  • Subject Place :: United Kingdom
  • Subject Place :: Windsor Castle
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  • ...
?:PX_has_credit_line
  • Yale Center for British Art, Paul Mellon Collection
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?:label
  • Favourites, the Property of H.R.H. Prince George of Cambridge
?:type