This is one of a pair of small scale portraits of the Prince and Princess of Wales (OM 562-3, 400592 and 400593) probably painted at the time of their marriage on 27 April 1736. They were evidently not commissioned and were first heard of in 1929, when Queen Mary acquired them. They may be ‘sales pitches’ – elaborately Baroque designs intended to tempt the sitters (or some other patron) to commission full-sized versions; in which case they were unsuccessful. They may be complete works in their own right, acquired by a supporter of the Prince of Wales or left on the artist’s hands. But who is the artist? There are several exponents of the lively, informal, small-scale conversation piece at this date: Charles Philips (1708-47), Gawen Hamilton (1798-1737) and William Hogarth. This pair was attributed to Philips on the grounds that he at least was known to have painted the couple (see RCIN 405647, 405648, 405737 and 406101); but this pair has a freshness which seems to be beyond Philips’s grasp. The disadvantage of Hogarth’s candidature is that he is known not to have had Royal patronage; in the familiar story of his exclusion how came these two paintings not to be mentioned (if they are indeed by him)? Furthermore though they have an inventiveness coupled with an amateurish handling typical of Hogarth, they lack Hogarth’s vigour of characterisation. Both sitters look timid which Hogarth’s generally don’t. Hamilton is a third possibility, having Hogarth’s quirkiness without his robust application. The Prince of Wales is shown in Garter robes on a tiled dais, his right hand on an elaborate rococo giltwood throne chair, carved with the Prince of Wales feathers. The plumed hat of the Order rest on a table top. Two angels wrestle with a sort of make-shift baldachin; a statue of Minerva is visible in a niche in the shadows.