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Attributed to James Worsdale (British, circa 1692-1767) Prince Charles Edward Stuart in 'Harlequin' dress image 1
Attributed to James Worsdale (British, circa 1692-1767) Prince Charles Edward Stuart in 'Harlequin' dress image 2
Attributed to James Worsdale (British, circa 1692-1767) Prince Charles Edward Stuart in 'Harlequin' dress image 3
Lot 47

Attributed to James Worsdale
(British, circa 1692-1767)
Prince Charles Edward Stuart in 'Harlequin' dress

8 October 2025, 14:00 BST
Edinburgh

Sold for £7,040 inc. premium

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Attributed to James Worsdale (British, circa 1692-1767)

Prince Charles Edward Stuart in 'Harlequin' dress
oil on canvas
74.5 x 63cm (29 5/16 x 24 13/16in).

Footnotes

Portraits of Prince Charles Edward Stuart following the 1745 uprising often highlight both his military role and Scottish heritage. While his family's Stuart blood was his claim to the throne, the Jacobite cause throughout this period had been rooted in Scotland, and it was here that the most significant support during both the '15 and '45 Jacobite uprisings had been built. As such, these Scottish-focused portraits were a key part of Jacobite propaganda and have since reflected a fleeting moment when the prince seemed poised to fulfil his royal destiny. As the Jacobite restoration became increasingly unattainable, these portraits took on a nostalgic, romantic character, and represented a period of both hope and adventure.

There are several known versions of this same portrait, the probable basis for most of these being an engraving of the same subject by G. Wall after a painting by Wassdail - likely a mistranslation of James Worsdale (c. 1692-1767). The artist, Worsdale, trained under Sir Godfrey Kneller and initially produced portraits in a similar style. Considering the present work, in terms of the composition and handling of paint, there are distinct similarities in quality with other works by Worsdale in public collections. He was known for his speculative compositions, and it is not unlikely that he would produce a composite portrait of the prince as a commercial venture for the Jacobite market. Despite its possible commercial origins, the image has become a lasting romantic symbol of the Stuart cause.

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