This is a plaque to be placed on King’s Cross Station in due course. Very few of the million’s of travellers passing through this junction know about the king in question and yet George IV’s architectural heritage is greater than any other British monarch. Visitors to London will see his influence in Buckingham Palace, the British Museum, the National Gallery, Regent’s Street, Regent’s Park and Regents Canal and many more. His influence is also strongly felt in Brighton, Windsor Castle and Edinburgh.
The head of George IV comes from a coin shortly after his coronation and the plaque overall is in the style of Wedgwood porcelain, very much in fashion in his day.
An earlier design contained the Prince of Wales’ ostrich feathers. After consulting representatives of the present Prince of Wales a request was made for the ostrich feathers to be removed and no further souvenirs with the emblem to be made. The remaining pieces which have become collectors’ items are available from the following outlets:
Entitled “Girl in daylight” this is one my first paintings after moving from Reading to King’s Cross to study at Camberwell Art College and encapsulates the impact of the cosmopolitan metropolis. The lighthouse and the Scala can be seen in the background. This picture appers on the cover of The Politics of Postmodernity by John Gibbins and Bo Reimer NOT FOR SALE
From the same period this view “The Scala by night” is from the Pentonville Road.
“Keystone Crescent by night”. This is thought to be Europe’s smallest crescent and housed many of the workers who built King’s Cross station, several families to a house. It was built by my grandfathers grandfather Robert James Stuckey.
This design was printed gold on black on a mug to celebrate the proximity of an eclipse and the millennium. The span of time is shown in eleven global calendars. I have a few left somewhere.
This would be the optimal position for the plaque, beside the cross roads, formerly called Battlebridge, which was renamed King’s Cross in honour of George IV and at which a monument to him was erected (since demolished). A plaque on the corner would balance the plaque to Lewis Cubbit, the station’s architect, which is on the opposite corner. Before the plaque can be placed there permission is need from three bodies, Camden Council, Network Rail and Historic England.
Miles Davis, in his album Kind of Blue, brought back scales that were current in medieval and renaissance times so I asked the trumpeters in Hans Memlinc’s Angelic Musicians to take five while Miles jammed with the assembled company. This painting forms part of the cover design of my book Scales, Modes and Chords by Key Signature of Piano. Via ebay.co.uk you can order a copy with a customised greeting PRICE OF PAINTING ON APPLICATION
This display places George’s life in a historical context.