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Painting Title Profile of King George III
Collection York Art Gallery
Artist After Meyer, Jeremiah (German painter, 1735-1789)
Date Earliest about 1762
Date Latest about 1770
Description This half-length of the King George III (1738-1820) facing left, wearing a blue sash over a red coat, with the Order of the Garter, is a pair to the portrait of Queen Charlotte (YORAG : 161). A profile portrait of King George III was painted by Jeremiah Meyer probably around the turn of 1760 and 1761, immediately after George succeeded to the throne. The now lost portrait was reproduced in the form of engravings many times in the early 1760s, which suggestst that it might have been considered an official image of the new king. In September 1761 George III married Princess Charlotte of Mecklenburg-Strelitz and her profile portrait was probably painted to match the well-known depiction of the king. YORAG : 161 together with YORAG : 162 were probably produced in late 1760s, derived from one of the sets of prints after the portraits (see Notes).
Current Accession Number YORAG : 162
Subject portrait (King George III)
Measurements 25.4 x 21.6 cm
Material oil on panel
Acquisition Details Bequeathed by W.J. Rawdon 1895.
Publications York Art Gallery Catalogue - Catalogue of Paintings vol. II: English School 1500-1850, City of York Art Gallery, York, 1963, p. 68; Oil Paintings in Public Ownership. North Yorkshire, London, 2006, p. 311 as by Jeremiah Meyer.
Notes

Jeremiah Meyer (Jeremias Majer) was an 18th-century miniature painter. He was born in Tübingen (Germany) as a son of the German painter Wolfgang Dietrich Majer. In 1750 he moved to England; in the 1750s he studied enamel painting with Christian Friedrich Zincke and was a founder member of the Royal Academy in 1769. In 1764 he was appointed miniature painter to Queen Charlotte, and painter in enamel to George III. In 1761 he had been awarded a gold medal by the Society of Artists for a portrait of the king in profile, drawn from memory; he also created a version as a miniature set in an oval of diamonds within a pearl bracelet, given by the king to Princess Charlotte as an engagement present; a reduced version of the profile head was included in the ring (Royal Collection) given by George III to Queen Charlotte on their wedding day.

The National Portrait Gallery in London has mezzotints after that portrait, created by J. Simson (published 1761), James Macardel (published 1761), John Raphael Smith (c. 1760), and Charles Spooner (c. 1760-67). An almost identical portrait of George III was painted by the studio of Allan Ramsay, the Principal Painter to the King, c. 1762 and that painting by Ramsay was also reproduced in engravings. Both Meyer portraits were reproduced as a pair in ovals in reverse in the engravings by Isaac Taylor (print in the British Museum) as well as by Richard Percil. The engravings apparently were the models for small sets of portraits produced c. 1770 and probably popular in English houses, as well as for jewelry pendants etc. In the collection of the British Museum there is even a copper printing plate dated c. 1762-68, with the half-length portraits of King George III and Queen Charlotte, within a roundel, containing an inscription lettered around the figures: ‘King George the III Queen Charlotte Io. Ia. Hatre / Superfine Tobacco / JJH/ London'

Rights Owner York Museums Trust (York Art Gallery)
Author Dr Magdalena Łanuszka
 

 

 

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