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Blue jasper portrait medallion with white relief depicting the Princess Royal, Princess Charlotte, daughter of George III - 1787

Blue jasper portrait medallion with white relief depicting the Princess Royal, Princess Charlotte, daughter of George III, © Wedgwood Museum
    Blue jasper portrait medallion with white relief depicting the Princess Royal, Princess Charlotte, daughter of George III
    © Wedgwood Museum

Charlotte Augusta Matilda, Princess Royal.

The style of this portrait suggests it was modelled by J.C. Lochée in about 1787, when he was modelling portraits of other royal figures. The portrait bears a great resemblence to one in wax on glass at Windsor Castle, which is described as the work of Charles Peart, a student of Lochée's. This portrait is often confused with a very similar portrayal of Charlotte's younger sister, Princess Elizabeth, and it appears from the markings on this mould that this item has, in the past, been similarly misdescribed.

  • Type of object: Plaques and medallions/portrait medallion
  • Mark: WEDGWOOD
    [Impressed]
    PRINCESS ROYAL
    [Impressed on obverse]
  • Year produced: 1787
  • Body: Jasper
  • Glaze: unglazed
  • Material: ceramic
  • Decoration: ornamented
  • Accession number: 5125

Related people

  • HRH Princess Charlotte, The Princess Royal Subject

    HRH Princess Charlotte, The Princess Royal - Subject (1766 - 1828)

    Born in 1766 in Buckingham Palace, Charlotte was the eldest daughter of King George III. In 1797, she married Prince Frederick of Wurttemberg but produced no surviving children. She died in 1828 aged 62.

Glossary

  • Portrait Medallion

    Portrait Medallion

     

    A medallion, either circular or oval, made usually from black basalt or jasper, which features a head or head and shoulders study, rather than a relief of a classical nature.

  • Jasper

    Jasper

    A fine-grained stoneware body developed by Josiah Wedgwood I in the mid 1770s, and the ceramic ware most associated with the name. The most famous colour combination known today is the traditional blue and white, which is usually decorated with classical bas reliefs.

    With changes in architectural styles and the rise in popularity of neo-classical styles of interior decoration Josiah Wedgwood began a series of experiments to create a new ceramic material that would complement the new fashions. Thousands of meticulously recorded experiments were carried out to make a stoneware body that was capable of taking a mineral oxide stain throughout. The search for the jasper body absorbed much of Wedgwood's energy and time, the result being his most important contribution to ceramic history.

    The majority of the actual trials were carried out between December 1772 and December 1774, Josiah writing on the 17 March of the latter year: ‘have for some time past been reviewing my experiments, & I find such Roots, such Seeds as would open & branch out wonderfully if I could nail myself down to the cultivation of them for a year or two'.

    By January 1775 he was ‘absolute' in the production of jasper with coloured grounds. He was also in a position to advertise that he could manufacture bas reliefs, ranging from large plaques to small cameos for mounting as jewellery. The range of colours steadily increased, and by March 1776 Josiah was sending his first specimens of yellow to London. By September experiments were in hand for black jasper. Certainly by Spring of 1777 he was carrying out further experiments to perfect a surface ‘dip' to provide deeper coloured grounds for his cameos; and by the middle of December 1777, he was able to offer Bentley a choice of ‘Green - yellow - lalock [lilac] etc. to the colour of the rooms', referring to the tones favoured by their mutual acquaintance the architect Robert Adam.