[6][7] In 1820, he married his cousin Clementina Sarah Campbell; she featured in his painting 'The artist and his family in his house at 21 Brook Street, Grosvenor Square' (c.

During his time there, his focus widened from pure portraits; he sketched landscapes and made copies of Renaissance masters including Correggio, Raphael, Rubens, Tintoretto and Titian.

[3][4] Queen Victoria's attentions were, however, to prove fickle, and the 1842 arrival of Franz Xaver Winterhalter, soon the new favourite, cut short Partridge's career as a royal portraitist.

[9] Although Partridge set up a gallery in his studio to exhibit his works, commissions plummeted, with only 76 portraits in the period from 1845 to 1865, and his income inevitably suffered.

Towards the end of his life, Partridge railed against this injustice in a pamphlet, On the Constitution and Management of the Royal Academy (1864), writing that he had been "driven from the position I held in public estimation and employment ... as the penalty for maintaining any degree of self-respect and independent feeling.

Other subjects included members of the artistic community such as Daniel Asher Alexander, Robert Trewick Bone, John James Chalon, William Dyce, Sir Charles Lock Eastlake, John Gibson, Charles Robert Leslie, Joseph Severn and Thomas Uwins, and prominent scientists such as Joseph Hodgson and James Watt.