Stroehling’s work in the Royal Collection allows us to trace a rare example of continuity between the masters of the Dutch Golden Age and those of the early nineteenth century. Stroehling was brought up in Dusseldorf where a magnificent collection of the polished, classicising and elegant works (often on copper) by artists such as Adriaen van der Werff (1659-1722) had been formed by Johann Wilhelm II, Elector Palatine (1658-1716). Stroehling worked all over Europe but spend much of the first two decades of the nineteenth century in London; between 1810 and 1820 he was even styled ‘Historical Painter to the Prince of Wales’. Stroehling’s work elsewhere tended to be life-sized portraiture, but the Royal Collection has an important group of small-scale portraits on copper, executed with fine detail and a glossy finish; Joseph Farington perceptively referred to them as ‘painted in a Vanderwerfe manner’. Stroehling’s price for these ‘Cabinet Pictures’ was 200 guineas each, an impressive sum in the period even for a life-sized work. This is one of six paintings of the Queen and her five daughters, commissioned by George IV and delivered to Carlton House in December 1807 (OM 1094-9, 404863, 404869-70, 404866, 404864, 404871), which suggest that the Princesses are models of dignity and virtue from the ancient world, demonstrating every feminine accomplishment. Princess Amelia is shown standing in a mountainous landscape, striking a lyre which rests on the score of God Save the King; a classical sword and helmet lie on the ground beside her. Incised on the back with the name of the artist and sitter and ‘done at Windsor 1807’.