Rosenberg, Charles (SCC Newsletter April 2005)

Charles Rosenberg

AN ARTIST WHO TRULY EXPLOITED HIS ROYAL CONNECTIONS!

Illustrated above is a splendid work by Rosenberg of the Prince Regent on horseback. It is unusual being so colourful and with so much clothing detail. Also the artist seems to have rather let himself go — in particular with the painting of the horse! Even more unusual it has a watercolour painted background of the Royal Pavilion at Brighton. It was Lot 18 at Bonhams Sale on 22nd. February this year, where it made the record price for a single silhouette at an auction. This was £9,500 on the hammer.

So far in the Newsletters I have not looked at the work of Mr. Rosenberg. However, the record price achieved by the equestrian silhouette above made me realise it was about time to remedy the situation. For the purpose of this article I am looking only at Rosenberg's full-length works of members of the Royal Family, their ‘servants’ and distinguished visitors. His bust-length work, where he was more prolific and probably more successful l as an artist, will have to be the subject of a further article together with information on his many labels.

Initially it seems appropriate to give some account of his background and the development of his career - as this will set the scene for his particular contribution to the art of silhouette in this country. Then to look at some of his 'grand' pieces with illustrations. Mrs. Mckechnie has a long and well researched entry on him (p. 558-566) and most of the following information is from this entry together with some comments and views from Desmond Coke, John Woodiwiss, Mrs. N. Jackson and Mrs. Peggy Hickman.

His Background There is some conflicting evidence about his name and his country of birth, but it is probable that he was an Austrian by birth and now certain that his name was Charles Rosenberg. He is supposed to have come to England in the entourage of Queen Charlotte, when she was Princess Mecklenburg-Strelitz in 1761 to marry George III. He was said to be a page of 14 years at the time, but it is more probable that he was 15 or 16 if his recorded date of birth on 21st. November, 1745 is correct. After corning to England it seems that he then spent some years in the royal service and then possibly went back to Austria and Germany for some time as well. There is no evidence that he was painting ‘royal sitters’ in the 1760's and 70's, but there is some evidence that he was painting other ‘sitters’ during these years - some of these no doubt when he was abroad.

ROSENBERG

However, we do know for sure that he settled in Bath at the age of 42 and that the first known advertisement of his work as a silhouette artist was dated for that year 1787. Bath was an important city at the time with a population of 30,000 and many well-known people at the time visited it. It is likely that Rosenberg spent the winters there and travelled during the summer months. He is known to have visited Harrogate, Leeds and other northern towns as well as Cheltenham (1788) and Ramsgate. Bath was to remain his base for the rest of his career and from where he kept in touch with royalty and the prominent people that he painted and who made him so successful at the time.

His Family. About his birth family nothing is known. He married Elizabeth Wolley on 4th. February, 1790, when he was aged 45. She came from a family with an artistic bent and it has been suggested that the artistic skills of many of their children are more likely to have come from her rather than her husband! They had six children. The eldest Thomas, who became an artist, was born on 3rd. October, 1790 — I note that was 8 months after the marriage! The second son Charles, also an artist, was born 9 ½ months later and four further children (2 girls & 2 boys) were born between 1793 & 1805. The Duke of York, the King's brother, was godfather to the fifth child by proxy and other grand and titled people of the time are recorded as being godparents to some of the others.

His silhouette career. From the start all Rosenberg's advertisements and labels stated that he had ‘connections’ with royalty and enjoyed their patronage. As the years went on he clearly exploited these connections to the full! He would record frequently the list of names of the most desirable of these ‘sitters’ - such as "most of the princes of Germany, Their Majesties, The prince of Wales" of all kinds! His advertisements as well as promoting his royal connections were also used to inform clients about other secondary activities in which he and his wife were engaged. Obviously being a silhouette artist did not bring in enough money for the growing family. At various times the Rosenberg’s sold trinkets, toys, artificial flowers and french fancy feathers! As early as 1797 they were mentioning “excellent, genteel and airy lodgings to let at the top of the house". In 1796 they branched into selling articles worked in straw — especially Royal Brunswick York Monitors, which were braces to correct the fashionable slouch of the 1790's! Two years later they had installed a weighing machine and a measure for height for which a shilling was charged. In April, 1804 Mrs Rosenberg opened a day school for children (the year she gave birth to her last child). There is no information as to how this school fared. By 1812 at least one son was ‘added’ to the business as a "drawing master". He had a number of changes of address for his studio over the years, but his main address from April 1798 was No. 14 The Grove, Bath. This is the address on many of his extant labels. Other addresses included Wade's Passage, Harrington Place and Orange Grove. He shared premises with Messrs. Stephany and Dresch — the famous sculptors on ivory — for a few years until about 1797. Whether it was a partnership was not clear, but no doubt they assisted him with his jewellery pieces.

His range of work. Mr Rosenberg advertised quite a range of work, but from the extant works known did not ‘produce’ all the range. It is likely that his skills did not always make this possible! He painted bust-length work on both flat and convex glass and full-length on flat glass only. He included a Etruscan (none known) and anti-Etruscan methods and en grisaille on ivory of which only a handful are recorded. He produced work for bracelets and other jewellery, cabinet pieces, snuff boxes and toothpick-cases. Coloured miniatures are also listed but none are recorded. Strangely he does not mention painting on paper or card, as several works on paper by him are known. Bristol Art Gallery have an example and this is described "as being more carefully painted than most of his numerous silhouettes on glass". Mrs Jackson maintains that he did the engraving for some of the aquatints of his works - but again there is no evidence. He kept all his likenesses for copies and this must have been no mean feat considering he was the most prolific and successful silhouette artist of his time.

His style. Rosenberg's work is easily recognisable, as he kept the same consistency of style throughout his career. Desmond Coke, who had a high regard for his work, states "at his most typical Rosenberg of Bath is almost unmistakable, even if he had been less than lavish with his labels". He paints with an uncompromising hardness. Mrs Jackson confirms this by stating that “his touch is much more hard and definite than that of his contemporaries and Charles, Hamlet, or Mrs Beetham resembling that of the Brothers Jorden in blackness and general effect". I think in many ways this blackness is Rosenberg's strength. Apparently he used small beer and pine soot to achieve this effect - the beer providing the adhesive quality. He described his work as being painted in imitation of stone/agate. This was achieved by backing his silhouettes with pink paper. He boasted that this was "never to fade", but unfortunately most of the paper has become white over the years! Rosenberg's problem was the quality of his detail. To quote from D. Coke again, who considered his weakest portraits were “those in which he tried to indicate a ruffle or the wave of hair". The result in many cases was a thin brown-looking outline, which Coke felt was "curious in so fine a craftsman". He felt Rosenberg would have been better, if he had not attempted these details and had kept to the hard outline. Perhaps this view is a little harsh, as there were times with some of his bust-length when he managed to pull it off. John Woodiwiss was clearly not an admirer of the artist. When describing his full-length work he States "alas, Rosenberg never mastered the mysteries of drawing the human anatomy. The actual portraits are admittedly good, but the bodies attached to them are often grotesque to a degree"! Woodiwiss if asked to choose clearly preferred the bust-length work.

ROSENBERG

Hopefully later in this article I will be able to ‘convert’ you a little to Rosenberg's work in spite of the fact he was not a great draughtsman or even a great artist. Nevertheless there is a quality and dignity about his work that puts him in the top rank of C18th silhouette artists.

After his career ended. It is likely that Rosenberg ceased to work as a profilist around 1815 when he was aged 70. On the 28th of April, 1816 he was appointed King's Messenger to George III - a post he held until 1834 except for three months when he was dismissed and then re-instated. It has been suggested that he used this time to become naturalised. On his retirement he was granted an allowance of £140 a year and was allowed to continue living at Court. He is said to have painted a silhouette of Queen Victoria, when she was a child. She called him "Rosie" as she could not pronounce his name! He died in 1884 aged 99. His widow died 9 years later and his eldest son had died 13 years before.

His full-length work. All are painted on flat glass and mostly in a dead black pigment with little use of the needle for detail. Some colour was used, but this was usually confined to blue/gold/white for garter ribbons and the Chancellor's bag and gown in the "Church King and Constitution" pieces. However, there are other works where buff is used for men's breeches and gold/yellow on the harnesses of horses. More extensive use of colour was not recorded until the appearance of the Prince Regent on horseback illustrated at the start of this article. As I have already indicated Rosenberg's drawing of the full-length figure in some cases leaves much to be desired - this will be seen in the group illustration in particular. The feet of his subjects are not a strong point - poorly done and often too small! Nevertheless I hope you will agree after looking at the following illustrations that Rosenberg produces a good characterisation of his subjects - his austere style and lack of detail has the effect of focusing attention on the subject well. John Woodiwiss suggests when looking at a “line of Rosenberg's subjects we look at the two central figures", which in his view are usually excellent, even if those at the edges of the work are not so good! He adds "Rosenberg may not be the most delicate of profile painters" but he was undoubtedly one of the most dignified. In many instances he manages to show the subjects peculiarities by the stance or the way the body is held - age and infirmity is conveyed in this way.

There is no doubt that in many of the following works the positioning of the figures has been 'devised' by Rosenberg - possibly to commemorate a certain event or possibly he had decided that in this form they would be most likely to attract his customers! I think he had a good commercial sense about what would sell - also he was able to make copies of these set pieces as required. Some of these would have been expensive at the time, and it is possible that there are other copies unrecorded to date. I think it is unlikely that there is a further copy of the Prince Regent on his horse, as this does appear to be a little special - but who knows?

Below is a photograph of George III on horseback, with Windsor Castle in the background. It is an aquatint and there are several copies of this both in colour and black and white in the Royal Collection.

ROSENBERG

The Esplanade at Weymouth — 2 versions

Gloucester House, Weymouth was the residence of George III during his convalescence in 1789. He had to go through the New Forest to get there so it has been suggested that the ceiling of trees represents this! J. Woodiwiss was somewhat scathing about this describing it as a "hard line of foliage closely resembling the border of a child's toy theatre”! Note the slim figures at the ends of the line. The first version is in the Royal Collection — also there is a hats off version in the Collection. It measures 26" X 19" - figures are 9".

‘Sitters’ from left to right are: - The Landgrove of Hesse-Homburg (married to Princess Elizabeth — silhouette daughter of George III) - Sir William Fawcett KB (gentleman in attendance to the Prince) - Duke Charles of Mecklenburg-Strelitz (uncle to the Prince Regent) - The Prince Regent, The last four figures are the brothers of the Prince — the last being Augustus Frederick, Duke of Sussex.

This version is owned by the Earl Spencer: - it is smaller being 10.5" X 14". 'Sitters' from left to right are: - Sir William Fawcett (Quartermaster General) - Prince Frederick Duke of Albany — The Duke of Wurtemberg (married the Princess Royal in 1797) - George III — Queen Charlotte — The Duke of Mecklenburg-Strelitz — The Prince Regent. Sometimes other names are given for the lesser figures! Note that each figure has a particular accoutrement — such as a sabre, sabretache, plumes and spurs. This version is recorded in Mrs. McKechnie illustration 1166.

ROSENBERG

More trees and two versions of "Church and King"

Illustrated below is another conversation piece with trees, but the trees are not so well delineated in the reproduction of the work. It is an interesting group of all women - size 18" X 25". There is said to be a companion piece in the Royal Collection - presumably this is of men only!

‘Sitter’ from left to right are: - A princess (daughter of George III) - Queen Charlotte - Mrs. Delany - there is some doubt about this figure. The last two figures are two more princesses. Again notice the accoutrements - these are a book, flowers and a bag that is ‘special’ to the ‘sitter’.

"Church and King".

Above are two versions of this. Firstly on the left above - this is illustrated In Mrs. Mckechnie on page 601 illus. 1164. It is 9.5" X 13.5". The 'sitters' are George III and probably John Moore, who was Archbishop of Canterbury from 1783 - 1805. Mrs. McKechnie thought this was the better likeness of Moore than the version on the right above. In fact I am now certain that this is not Moore at all but Archbishop Cornwallis with his palsied hand held behind his back. The work is all black without colour as far as I can see!

The version on the right above is also illustrated in Mrs. McKechnie on page 600 illus. 1163. It is 10" X 11". The 'sitters' are George III and definitely John Moore this time. As can be seen this version has much more detail on the horse and the King plus some gold and yellow colour.

Rosenberg

Some more Royal Portraits

On the right are two interesting conversation pieces. The one above is of George III with an attendant conversing with a man in a bath chair. It is 8.5" wide and painted entirely in black. It is possible that this encounter with the King occurred — showing the king's concern for the elderly and disabled! The King is shown with his characteristic stoop.

Below this is George III once again — this time he is raising his hat to a slender gentleman. This work is painted with a good deal of colour — the King and the gentleman behind him both have buff breeches and there is much gold on the King as well. The attendant has distinctive white stockings. Sir William Fawcett, Quartermaster General has been named as the man being greeted, but I am doubtful! It is 8.5" wide.

Both these works were sold at Sotheby's on 10th. November, 1994. The one below has been in the sale rooms in more recent years again.

On the right is a further conversation piece with George III raising his hat to Lord Cheslegh. Sir William Gordon and General Goldsworthy are standing behind the King.

The figures are somewhat on top of one another with the King's hat only just getting into the picture! No detail is shown with the exception of the King's Garter Star. All the feet are poorly depicted. It is 13.5" wide.

It was sold at Sotheby's on 14th. December, 1981.

On the right is a copy of the well-known "Mon Prince avec un Prince". Clearly it was one of Mr. Rosenberg's set pieces so there are probably several of these to be found! This one is in the Royal Collection and is 14" X 11.5". The 'sitters' are the Prince Regent and Duke Charles of Mecklenburg-Strelitz once again! This time it is hats off for both! I think this work gives a good impression of the ageing uncle. The shadows reflected on the backing show up well in this case. It is likely that the colour of the backing was pink but has faded over the years.

ROSENBERG

Two single royal figures

Firstly George III, when he was aged 74 and in the 52nd year of his reign. It was painted in 1811. This portrait is in the Royal Collection. The weakness of the King's sight is suggested by the brimmed hat shading his eyes. Also his slight stoop indicates that he is no longer a ‘young’ man! It is 10" X 8". An aquatint was made from this silhouette - a copy is illustrated in Mrs. McKechnie in the Appendices when describing J. C. Stadler's work.

Secondly on the right is King Louis XVIII of France (sometimes spelt Lewis). He is painted in black, but some colour (gold, green, blue and red) has been used for the orders of the Garter and St. Esprit. He is depicted as a rather bundly figure holding a cane - this is well conveyed by Rosenberg. He is 8" high. He was sold at Christies, King's Street on 19th. March, 1986.

Some figures of royal ‘servants’

On the right is the Duke of Wellington. He is something of a caricature, which is unusual for Rosenberg. The Duke is fancifully dressed in a Light Dragoons (Hussar) uniform - his sabretache and sabrebraque are decorated with the Prince of Wales feathers. He has red and gold cords and tassels plus some Chinese white. He is 8" high. He was sold at Phillips, New Bond Street on 8th. July, 1997.

ROSENBERG

More royal ‘servants’

On the left above is John Fitzpatrick, the Earl of Upper Ossey. He was an Irish peer, who was involved in a scandal in 1769 with the wife of a Prime Minister — the 3rd. Duke of Grafton. He finally married her, but this required an Act of Parliament to enable the Duke to divorce her. Also he was a member of Dr. Johnson's Literary Club and a friend of George IV. It was painted in 1818 the last year of the Earl's life. Size not recorded. On the right above is Bishop Cornwallis. He seems to have been a favourite subject for Rosenberg! He had an illustrious career being Bishop of Lichfield and Coventry before becoming Archbishop of Canterbury. He is said to have been universally loved for his affability and courteous behaviour. Again the size of the work is not recorded.

Above on the left is George, 1st. Earl of Onslow 1731 - 1814. He was a Lord of the Bedchamber and the M. P. for Rye. He is well portrayed with his fantail hat, frilled lace jabot and his hair en queue. His feet seem rather small for his height. Note the tufts of foliage in the foreground. He is about 12" in height. On the right is Sir William Gordon KB on horseback. He was an equerry to George III and died in 1798. The work is painted in black with the exception of the Bath Star. He is 9" in height. Both works have proved difficult to reproduce as the images are from early Sotheby's catalogues, the 30th June, 1980 in the case of the Earl and 29th October, 1979 in the case of the baronet.

Rosenberg

Church, King & Constitution

There are several versions of this 'set piece' - with the figures of the Church and Constitution changing with different appointments. The ‘sitters’ in this version are Archbishop Cornwallis, whom we have 'met' before with his palsied hand - King George III — Alexander Lord Wedderburn 1st. Earl of Rosslyn, who did not become Lord Chancellor until 1793. As Dr. Cornwallis died in 1783 it means that his portrait is posthumous! Wedderburn was known to be fiery and to insult well-known figures in open court! Note the coloured garter badge on the cleric. The decoration on the Great Seal carried by the Chancellor has been said to be inaccurate in some detail.

Again there are several versions of this, as you have already seen, with the figures of the clergy being changed from time to time. This particular version was sold at Bonhams, New Bond Street (Lot 19) on 22nd February this year. It is a fine example of Rosenberg's grand pieces. In this instance the Church is represented by Archbishop Moore (1729 — 1805) - a slimmer figure than his predecessor Dr. Cornwallis. The colours used are cream and gold with white for some of the horse's harness. The horse is painted to look quite spirited with its flowing tail.

It is 10.25" high.