Prince Charles selects over 100 artworks for Buckingham Palace summer opening

The Prince of Wales has recreated the look and feel of his home for the centrepiece exhibition of the summer opening of Buckingham Palace.

Among the diverse items on display is a poignant photo of Charles holding his first grandchild, Prince George, with the Duke of Cambridge beside him. It is positioned on a side table – next to a china duck and bronze dog.

Charles selected more than 100 pieces from private family paintings and photographs, major art from the Royal Collection and work by up-and-coming artists for the attraction – entitled Prince and Patron – which marks his 70th birthday year.

Other personal touches include a picture of the Duke and Duchess of Sussex’s recent wedding, and baby George’s official christening image. And one of the highlights is Napoleon Bonaparte’s red felt hooded cloak – a stunning artefact the heir to the throne knows well from Windsor Castle, where it was on display for a number of years. 

The Prince of Wales has recreated the look and feel of his home for the centrepiece exhibition of the summer opening of Buckingham Palace. Among the items on display is a family photo of Charles holding his first grandchild, Prince George, with the Duke of Cambridge beside him. (To the right is an 18th century Japanese-style bureau cabinet)

One of the works which reflects the Prince's cultural side is this 18th century masterpiece The Tribuna of the Uffizi by Johan Joseph Zoffany. Considered the German artist's greatest painting, it depicts a group of aristocrats set against a backdrop of masterpieces. It was commissioned by Queen Charlotte in 1772, but she actually disliked the finished product. Zoffany was criticised for including too many figures, and according to one historical diary, the Queen 'would not suffer the picture to be placed in any of her apartments'. Charles, however, is a fan of the intricate painting

One of the works which reflects the Prince’s cultural side is this 18th century masterpiece The Tribuna of the Uffizi by Johan Joseph Zoffany. Considered the German artist’s greatest painting, it depicts a group of aristocrats set against a backdrop of masterpieces. It was commissioned by Queen Charlotte in 1772, but she actually disliked the finished product. Zoffany was criticised for including too many figures, and according to one historical diary, the Queen ‘would not suffer the picture to be placed in any of her apartments’. Charles, however, is a fan of the intricate painting

Charles selected more than 100 pieces from private family paintings and photographs, major art from the Royal Collection and work by up-and-coming artists for the attraction - entitled Prince and Patron - which marks his 70th birthday year. Among the items above, a painting of Charles II is adjusted by a member of the Royal Collection Trust staff. On display are works from such masters as Holbein, Raphael, Rubens and Titian

Charles selected more than 100 pieces from private family paintings and photographs, major art from the Royal Collection and work by up-and-coming artists for the attraction – entitled Prince and Patron – which marks his 70th birthday year. Among the items above, a painting of Charles II is adjusted by a member of the Royal Collection Trust staff. On display are works from such masters as Holbein, Raphael, Rubens and Titian

In one section, painted oil sketches of William and Harry (above, right) by Nicola Philipps are hung next to watercolours painted by Charles in the 1990s on the Queen's private Balmoral estate. Below are marble busts of the prince's great-great-great-grandparents Queen Victoria and Prince Albert, who themselves were well-known art lovers. The piece in the centre is a sketch of Queen Victoria and Prince Albert, circa 1841

In one section, painted oil sketches of William and Harry (above, right) by Nicola Philipps are hung next to watercolours painted by Charles in the 1990s on the Queen’s private Balmoral estate. Below are marble busts of the prince’s great-great-great-grandparents Queen Victoria and Prince Albert, who themselves were well-known art lovers. The piece in the centre is a sketch of Queen Victoria and Prince Albert, circa 1841

One of the highlights of the exhibition is Napoleon Bonaparte's red felt hooded cloak, a stunning artefact the heir to the throne knows well from Windsor Castle, where it was on display for a number of years. The cloak was taken from Bonaparte's baggage train immediately after the Battle of Waterloo in 1815 and given to the future George IV by the Field Marshal who fought alongside the Duke of Wellington

Paintings of Charles's wife, and the Queen Mother

One of the highlights of the exhibition is Napoleon Bonaparte’s red felt hooded cloak (left) – a stunning artefact the heir to the throne knows well from Windsor Castle, where it was on display for a number of years. The cloak was taken from Bonaparte’s baggage train immediately after the Battle of Waterloo in 1815 and given to the future George IV by the Field Marshal who fought alongside the Duke of Wellington. (To the right, paintings of Charles’s wife, and the Queen Mother)

Susan Crawford's Triple Portrait of Prince Charles, for which he sat in 2000, also features in the exhibition. It is an homage to Van Dyck's 17th century triple portrait of Charles I, which depicted the monarch from the same three viewpoints

Susan Crawford’s Triple Portrait of Prince Charles, for which he sat in 2000, also features in the exhibition. It is an homage to Van Dyck’s 17th century triple portrait of Charles I, which depicted the monarch from the same three viewpoints

The artwork is arranged on the walls of an octagonal room with tables filled with books by Charles, family snaps, vases and other decorative objects, while above are hung rows of paintings and other artworks, some with a tapestry as a backdrop

The artwork is arranged on the walls of an octagonal room with tables filled with books by Charles, family snaps, vases and other decorative objects, while above are hung rows of paintings and other artworks, some with a tapestry as a backdrop

In audio commentary for exhibition visitors, Charles says about the cloak: ‘Since, as a child, I first caught sight of this cloak in the Grand Vestibule at Windsor, I have been fascinated by the sheer magic of the colour, the dashing pattern of the lining and the enthralling story of Napoleon himself which it conjures up.

‘It is said to have been worn by the Emperor during his Egyptian campaign and was taken from his carriage after the Battle of Waterloo 15 years later.’

The artwork is arranged on the walls of an octagonal room with tables filled with books by Charles, family snaps, vases and other decorative objects, while above are hung rows of paintings and other artworks, some with a tapestry as a backdrop.

Vanessa Remington, senior curator of paintings at the Royal Collection Trust, said: ‘It’s a departure because it is not a standard museum display and the works aren’t shown in isolation, they’re shown in profusion very, very densely.

‘(Tables) are dressed with a range of objects and those are intended to show or give a flavour of the interiors of the Prince of Wales’s own residences because this is a very personal show.’

The attraction also features work from students and artists from Charles's three arts organisations - the Royal Drawing School; the Prince's Foundation School of Traditional Arts; and Turquoise Mountain, based in Kabul, Afghanistan. Some of their contributions feature Islamic-inspired artwork and other traditions from the Middle East - including an installation of ceramic bowls (pictured) by Afghan potter Abdul Matin Malekzada

The attraction also features work from students and artists from Charles’s three arts organisations – the Royal Drawing School; the Prince’s Foundation School of Traditional Arts; and Turquoise Mountain, based in Kabul, Afghanistan. Some of their contributions feature Islamic-inspired artwork and other traditions from the Middle East – including an installation of ceramic bowls (pictured) by Afghan potter Abdul Matin Malekzada

Above, an 18th century Italian bureau cabinet. The exhibition creates the impression of different areas of a drawing room from the prince's official London home Clarence House or his country retreat Highgrove in Gloucestershire

Above, an 18th century Italian bureau cabinet. The exhibition creates the impression of different areas of a drawing room from the prince’s official London home Clarence House or his country retreat Highgrove in Gloucestershire

A member of staff adjusts Ballochbuie Forest, a painting by Prince Charles himself. Queen Victoria loved the Ballochbuie Forest and had added it to the Balmoral estate in Scotland to save it from being chopped down

A member of staff adjusts Ballochbuie Forest, a painting by Prince Charles himself. Queen Victoria loved the Ballochbuie Forest and had added it to the Balmoral estate in Scotland to save it from being chopped down

The exhibition creates the impression of different areas of a drawing room from the prince’s official London home Clarence House or his country retreat Highgrove in Gloucestershire.

Ms Remington, curator of the exhibition, said the pieces do not have explanatory text next to them as they wanted to create a visual display rather than a museum display.

In one section, painted oil sketches of William and Harry by Nicola Philipps are hung next to watercolours painted by Charles in the 1990s on the Queen’s private Balmoral estate.

Below are marble busts of the prince’s great-great-great-grandparents Queen Victoria and Prince Albert, who themselves were well-known art lovers.

In the audio commentary, Charles says: ‘I am very fond of the two preparatory oil sketches of my sons which I acquired from the artist, Nicky Philipps, in 2009.

‘They were painted for a double portrait that now hangs in the National Portrait Gallery. Both are dressed in the regimental uniform of the Household Cavalry – the Blues and Royals – and are particularly good likenesses.’

The attraction also features work from students and artists from Charles’s three arts organisations – the Royal Drawing School; the Prince’s Foundation School of Traditional Arts; and Turquoise Mountain, based in Kabul, Afghanistan.

Some of their contributions feature Islamic-inspired artwork and other traditions from the Middle East, including a moving triple portrait of three Yazidi women painted in Iraq by Hannah Rose Thomas, after they had escaped Isis captivity.

Speaking about a pavilion, filled with textiles from Wales, built in the middle of the exhibition space, Charles says in the audio commentary: ‘This striking cedar wood pavilion stands at over four-and-a-half metres high and features intricate carvings which draw on the rich heritage of Afghan design.’

The prince, who visited the exhibition with his wife on Wednesday, adds: ‘It is a joint effort between the artist Naseer Yasna and the Turquoise Mountain woodworking team and demonstrates how the charity is reviving traditional skills in historic communities – something in which, as patron, I am enormously proud to play a part.’

The summer opening of Buckingham Palace, which includes the Prince & Patron exhibition, opens on Saturday and runs until September 30.



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