Queen Elizabeth II is now the longest-reigning British sovereign
Desperately seeking Woolner medallions
To celebrate his family bicentenary, Malcolm Robertson looks at the portraiture legacy left by his ancestors.
I spent much of my summer holiday at D’Omah, on the outskirts of Yogyakarta. Lotus and waterlilies sprout in extraordinary profusion in artful ponds amid palms and deep scarlet ginger flowers.
Where do we draw a line between the personal and the historical? Although she died in Melbourne in 1975, when I was not quite eleven years old, I have the vividest memories of my maternal grandmother Helen Borthwick.
I keep going back to Cartier: The Exhibition at the National Gallery of Australia next door, and, within the exhibition, to Princess Marie Louise’s diamond, pearl and sapphire Indian tiara (1923), surely one of the most superb head ornaments ever conceived.
Some years ago my colleague Andrea Wolk Rager and I spent several days in the darkened basement of a Rothschild Bank, inspecting every one of the nearly 700 autochromes created immediately before World War I by the youthful Lionel de Rothschild.
At first glance, this small watercolour group portrait of her two sons and four daughters by Maria Caroline Brownrigg (d. 1880) may seem prosaic, even hesitant
It may seem an odd thing to do at one’s leisure on a beautiful tropical island, but I spent much of my midwinter break a few weeks ago re-reading Bleak House.
This is my last Trumbology before, in a little more than a week from now, I pass to my successor Karen Quinlan the precious baton of the Directorship of the National Portrait Gallery.