Selected Works

  • Joseph Highmore, Queen Caroline of Ansbach, ca. 1735, oil on canvas, Royal Collection Trust, UK, © Her Majesty Queen Elizabeth II 2017

    Joseph Highmore, Queen Caroline of Ansbach, ca. 1735, oil on canvas, Royal Collection Trust, UK, © Her Majesty Queen Elizabeth II 2017
  • Allan Ramsay, Augusta, Dowager Princess of Wales, 1769, oil on canvas, Collection of H.R.H. Hereditary Prince Ernst August of Hanover, Duke of Brunswick and Lüneberg

    Allan Ramsay, Augusta, Dowager Princess of Wales, 1769, oil on canvas, Collection of H.R.H. Hereditary Prince Ernst August of Hanover, Duke of Brunswick and Lüneberg
  • Johan Joseph Zoffany, Queen Charlotte, 1771, oil on canvas, Royal Collection Trust, UK, © Her Majesty Queen Elizabeth II 2017

    Johan Joseph Zoffany, Queen Charlotte, 1771, oil on canvas, Royal Collection Trust, UK, © Her Majesty Queen Elizabeth II 2017
  • Allan Ramsay, Queen Charlotte; Princess Sophia Charlotte of Mecklenburg-Strelitz, Queen of George III, ca. 1763, oil on canvas, National Galleries of Scotland

    Allan Ramsay, Queen Charlotte; Princess Sophia Charlotte of Mecklenburg-Strelitz, Queen of George III, ca. 1763, oil on canvas, National Galleries of Scotland
  • Philippe Mercier, “The Music Party”: Frederick, Prince of Wales with his Three Eldest Sisters, 1733, oil on canvas, Royal Collection Trust, UK, © Her Majesty Queen Elizabeth II 2017

    Philippe Mercier, “The Music Party”: Frederick, Prince of Wales with his Three Eldest Sisters, 1733, oil on canvas, Royal Collection Trust, UK, © Her Majesty Queen Elizabeth II 2017
  • Hans Holbein the Younger, Lady Lister, ca. 1532–43, black and colored chalks, pen and ink, and brush and ink, on pale pink prepared paper, Royal Collection Trust, UK, © Her Majesty Queen Elizabeth II 2017

    Hans Holbein the Younger, Lady Lister, ca. 1532–43, black and colored chalks, pen and ink, and brush and ink, on pale pink prepared paper, Royal Collection Trust, UK, © Her Majesty Queen Elizabeth II 2017
  • Thomas Hudson, George Frederick Handel (1685–1759), ca. 1756, oil on canvas, Royal Collection Trust, UK, © Her Majesty Queen Elizabeth II 2017

    Thomas Hudson, George Frederick Handel (1685–1759), ca. 1756, oil on canvas, Royal Collection Trust, UK, © Her Majesty Queen Elizabeth II 2017
  • John Vanderbank, Isaac Newton, 1726, oil on canvas, Royal Society, London, © The Royal Society

    John Vanderbank, Isaac Newton, 1726, oil on canvas, Royal Society, London, © The Royal Society
  • T. Miller after Sir William Chambers, “Elevation of the Great Pagoda as First Intended” from Sir William Chambers, Plans, Elevations, Sections, and Perspective Views of the Gardens and Buildings at Kew in Surrey (London: J. Haberkorn, 1763), engraving, Yale Center for British Art, Paul Mellon Collection

    T. Miller after Sir William Chambers, “Elevation of the Great Pagoda as First Intended” from Sir William Chambers, Plans, Elevations, Sections, and Perspective Views of the Gardens and Buildings at Kew in Surrey (London: J. Haberkorn, 1763), engraving, Yale Center for British Art, Paul Mellon Collection
  • Baby robe belonging to George, Prince of Wales (later George IV), 1762, ivory silk satin, and cotton with needle lace, Historic Royal Palaces, UK

    Baby robe belonging to George, Prince of Wales (later George IV), 1762, ivory silk satin, and cotton with needle lace, Historic Royal Palaces, UK
  • Yinka Shonibare MBE (RA), Mrs Pinckney and the Emancipated Birds of South Carolina, 2017, fiberglass mannequin, Dutch wax-printed cotton textile, birdcage, birds, leather, and globe, courtesy of the artist and James Cohan Gallery, New York, co-commissioned for the special exhibition Enlightened Princesses: Caroline, Augusta, Charlotte, and the Shaping of the Modern World, co-organized by the Yale Center for British Art and Historic Royal Palaces, London, photograph by Stephen White

    Yinka Shonibare MBE (RA), Mrs Pinckney and the Emancipated Birds of South Carolina, 2017, fiberglass mannequin, Dutch wax-printed cotton textile, birdcage, birds, leather, and globe, courtesy of the artist and James Cohan Gallery, New York, co-commissioned for the special exhibition Enlightened Princesses: Caroline, Augusta, Charlotte, and the Shaping of the Modern World, co-organized by the Yale Center for British Art and Historic Royal Palaces, London, photograph by Stephen White
  • Unknown makers, South Carolina and London, England, sack-back gown made for Eliza Lucas Pinckney (1722–93), ca. 1750, silk damask woven from silk grown on the Pinckney Plantation, Smithsonian Institution, National Museum of American History, Division of Home and Community Life, Washington, DC

    Unknown makers, South Carolina and London, England, sack-back gown made for Eliza Lucas Pinckney (1722–93), ca. 1750, silk damask woven from silk grown on the Pinckney Plantation, Smithsonian Institution, National Museum of American History, Division of Home and Community Life, Washington, DC
  • Unknown jeweler, French, Pendant with thirteen cameos, ca. 1720 gold, émail en ronde bosse, émail champlevé, sardonyx, turquoise, black and white onyx, sard, brown and gray agate, black and gray agate, niccolo, Royal Collection Trust, UK, © Her Majesty Queen Elizabeth II 2017

    Unknown jeweler, French, Pendant with thirteen cameos, ca. 1720 gold, émail en ronde bosse, émail champlevé, sardonyx, turquoise, black and white onyx, sard, brown and gray agate, black and gray agate, niccolo, Royal Collection Trust, UK, © Her Majesty Queen Elizabeth II 2017
  • Mary Delany, Cactus Grandiflorus, melon thistle, 1778, cut-paper collage, British Museum, London, © Trustees of the British Museum

    Mary Delany, Cactus Grandiflorus, melon thistle, 1778, cut-paper collage, British Museum, London, © Trustees of the British Museum
  • William Verelst, Audience Given by the Trustees of Georgia to a Delegation of Creek Indians, 1734–35, oil on canvas, Winterthur Museum, Wilmington, Delaware, Art Gallery and Garden, Gift of Henry Francis du Pont

    William Verelst, Audience Given by the Trustees of Georgia to a Delegation of Creek Indians, 1734–35, oil on canvas, Winterthur Museum, Wilmington, Delaware, Art Gallery and Garden, Gift of Henry Francis du Pont
  • Mark Catesby, The Painted Finch and the Loblolly Bay, ca. 1722–26, watercolor and bodycolor over graphite on paper, Royal Collection Trust, UK, © Her Majesty Queen Elizabeth II 2017

    Mark Catesby, The Painted Finch and the Loblolly Bay, ca. 1722–26, watercolor and bodycolor over graphite on paper, Royal Collection Trust, UK, © Her Majesty Queen Elizabeth II 2017
  • George Stubbs, Zebra, 1763, oil on canvas, Yale Center for British Art, Paul Mellon Collection

    George Stubbs, Zebra, 1763, oil on canvas, Yale Center for British Art, Paul Mellon Collection
  • William Parry, Omai (Mai), Sir Joseph Banks and Daniel Charles Solander, ca. 1775–76, oil on canvas, National Portrait Gallery, London, © National Portrait Gallery, London; National Museum Cardiff; Captain Cook Memorial Museum, Whitby

    William Parry, Omai (Mai), Sir Joseph Banks and Daniel Charles Solander, ca. 1775–76, oil on canvas, National Portrait Gallery, London, © National Portrait Gallery, London; National Museum Cardiff; Captain Cook Memorial Museum, Whitby
  • Foundling tokens (left to right): padlock with band; coral necklace; metal engraved heart; punched and notched coin (three pence, silver, reign of King Charles II, 1680), 1680; six pence from the reign of King William III, 1696–97; The Foundling Museum, London, © The Foundling Museum, London

    Foundling tokens (left to right): padlock with band; coral necklace; metal engraved heart; punched and notched coin (three pence, silver, reign of King Charles II, 1680), 1680; six pence from the reign of King William III, 1696–97; The Foundling Museum, London, © The Foundling Museum, London