| Preview | Description | Artist
  | Notes |
|---|---|---|---|
 | Florizel And Perdita by Charles Robert Leslie 1837 Victoria and Albert Museum London, UK | Leslie, Charles Robert |  In Act IV, Scene iv of The Winter's Tale Perdita and Florizel are conversing when several people enter, including Camillo who is in disguise, Polixenes, the servant Dorcas, and the Shepherd. Leslie omits several other characters, but now Perdita picks the various flowers and herbs to distribute; she starts with Camillo and says, "For you there's... |
 | Autolycus by Charles Robert Leslie 1836 Victoria and Albert Museum London, UK | Leslie, Charles Robert | Autolycus is the admitted rogue of The Winter's Tale who once served Florizel but is now a "masterless man" who makes his liviing as best he can. |
 | A Garden Scene by Charles Robert Leslie 1840 Victoria and Albert Museum London, UK | Leslie, Charles Robert | The child is Leslie's youngest son, George Dunlop Leslie (1835-1921), who became a painter and writer. He is shown at play, still wearing baby clothes, with his toy horse and cart in the garden of the family home at 12 Pine Apple Place, Edgware Road, London. |
 | Sancho Panza by Charles Robert Leslie 1839 Victoria and Albert Museum London, UK | Leslie, Charles Robert | In Cervantes' novel Don Quixote, the adventures of the Don's servant, the lazy, greedy and completely unidealistic Sancho Panza, was the source of many humorous and, to modern tastes, cruel adventures. Here the gourmand Sancho Panza is shown enduring what was to him a torment. A physician is waving an ivory wand and peremptorily ordering his food to... |
 | Queen Victoria In Her Coronation Robes by Charles Robert Leslie 1838 Victoria and Albert Museum London, UK | Leslie, Charles Robert | Some months after her coronation in June 1837, Queen Victoria posed for this portrait. It shows the Queen dressed in her coronation robes and kneeling at the altar in Westminster Abbey. Even this small sketch reveals Leslie's skill as an artist who was able to combine the intimate and the historic in a single scene. This point was reinforced by the... |
 | Les Femmes Savantes by Charles Robert Leslie 1845 Victoria and Albert Museum London, UK | Leslie, Charles Robert | Leslie frequently used themes from humorous literature. Here he is illustrating a scene from a play by Moliere, Les Femmes Savantes ('The Learned Ladies'), in which the conceited Trissotin reads a pretentious sonnet of his own composition to his admiring audience of literary ladies, the self-styled 'learned ladies' of the title. When this picture was... |
 | My Uncle Toby And The Widow Wadman by Charles Robert Leslie 1831 Victoria and Albert Museum London, UK | Leslie, Charles Robert | This painting depicts an incident from Laurence Sterne's novel Tristram Shandy (1765). It shows the Widow Wadman trying to stir the affections of Captain Shandy. He peers into her face as she holds a handkerchief to her eye, pretending she has something in it. It was one of Leslie's most popular compositions. |
 | Queen Katherine And Patience by Charles Robert Leslie 1842 Victoria and Albert Museum London, UK | Leslie, Charles Robert | Since the end of the 18th century there had been a massive revival of interest in the works of Shakespeare, and many artists exhibited paintings that illustrated scenes from his plays. Here Leslie depicts Act III, Scene 1 from Henry VIII. The picture shows Henry's first wife, Katherine of Aragon (Shakespeare's 'Queen Katharine'), in a melancholy mood... |
 | Le Malade Imaginaire by Charles Robert Leslie 1843 Victoria and Albert Museum London, UK | Leslie, Charles Robert | Critics admired this depiction of Moliere's 1673 satirical comedy The Hypochondriac, particularly the figure of the fierce doctor Purgon. He has just listed the frightful diseases that the terrified Monsieur Argan will suffer, because Argan's sensible brother would not permit the horrible treatment prescribed. |
 | Dulcinea Del Toboso by Charles Robert Leslie 1839 Victoria and Albert Museum London, UK | Leslie, Charles Robert | The title of this painting comes from Cervantes' comic novel Don Quixote (1605). The fanciful aristocratic name 'Dulcinea Del Toboso' was given by Don Quixote to a pretty peasant woman. The eccentric Don believed that he was her protector and she was a 'great lady or Princess'. She was unaware of his fantasies. |
- Victoria and Albert Museum
