We are not amused: Kenneth MacLeay - Queen Victoria's Highlanders of Scotland
Kenneth MacLeay Artist
A miniature portrait by Kenneth MacLeay
Kenneth MacLeay
Kenneth MacLeay RSA RSW (1802 - 1878) was a distinguished Scottish artist, known for his remarkable contributions to the art world. Born in the town of Oban, he left a lasting legacy through his involvement in the founding of the Royal Scottish Academy (RSA).
His artistic expertise was truly remarkable as it shone through in his exquisite watercolour portraits, which ranged from intricate miniatures to grand full-length depictions of Highland Chiefs. MacLeay's exceptional talent was widely recognized, particularly for his work with the Royal family.
This recognition culminated in the creation of a stunning series of watercolours featuring the Highland clans, which were ultimately compiled and published in "Highlanders of Scotland" in 1870.
Notably, he was specifically chosen and commissioned to paint Prince Albert along with the Royal Family at Balmoral, highlighting his exceptional abilities as a skilled draughtsman proficient in capturing the intricate details of clothing and jewelry.
These original watercolours are currently in the possession of His Majesty King Charles III, carefully preserved in the Windsor Castle library. For those interested, prints of these remarkable pieces can be easily obtained through The Scottish Tartans Authority's website.
We are not amused!
A Daily Telegraph wrote an interesting article in to the artistic insight to the artist, which we have shared below.
In June 1864, the renowned Scottish painter Kenneth Macleay portrayed Queen Victoria’s sons - Princes Alfred, Arthur, and Leopold in a notable painting. Impressed by Macleay's work, the Queen requested a miniature portrait of Prince Alfred, who was 19 at the time, based on his portrayal in the larger painting.
However, discerning an opportunity for enhancement, Queen Victoria sought various modifications for the miniature, notably requesting the alteration of Prince Alfred’s tie colour from white to black for a more striking representation.
After originally accommodating the queen’s wishes by adhering to the black tie, Macleay had a change of heart and decided that a white tie would better suit the portrait.
He carefully repainted the miniature on ivory, aiming to capture a more fitting representation. The artist then sent the revised portrait to Queen Victoria on August 4, 1864, along with a sincere letter detailing his decision to deviate from her initial request.
He wrote: “ ... it would quite spoil it to put it in a Black Handkerchief – in which opinion The President & all the members of the Royal Scottish Academy who have seen it, entirely concur, I have left it white.”
The Queen was not amused. Upon receiving the portrait, she promptly returned it to Macleay along with a handwritten note expressing her displeasure: “The Queen does not like this miniature as well as the original and she wishes Mr Macleay to alter it by and large.”
The reason behind her insistence on the black tie remains a mystery. The portrait showcased Prince Alfred adorned with the Order of the Thistle, along with a plaid fastened to his shoulder by a silver brooch.
The artwork was finalised two years following Prince Albert's passing, leading to speculation that Queen Victoria perhaps desired her family to be depicted in a perpetual state of mourning.
The portrait and letters, normally kept in private quarters at Windsor Castle, will go on display for the first time next month as part of the Treasures from the Queen’s Palaces exhibition at the Queen’s Gallery, Palace of Holyroodhouse in Edinburgh, which is being held to mark the Queen’s Diamond Jubilee.
Deborah Clarke, curator of the Palace of Holyroodhouse, said: “Queen Victoria paid very close attention to the smallest details of the works she commissioned.
“Artistic differences appear not to have been tolerated, and she clearly expected people to follow her instructions and not make their own minds up about what looked best.”
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