Sir William Beechey R.A.

half-length, wearing diplomatic uniform, with decorative gold frogging, holding a letter in his left hand

Commissioned from the artist by Lord Nelson;
given to Sir William Hamilton;
with Galerie Kleucker, Duesseldorf (Walter Westfeld), 1938 Private Collection, [Germany] 

London, Royal Academy, 1802, no. 170

J. Ingamells, Mid-Georgian Portraits 1760-1790, 2004, p. 234;
W. Roberts, Sir William Beechey, R.A., 1907, p. 78

STRUCTURE The canvas has been lined. PAINT SURFACE The painting appears to be in good condition and there is no significant loss of paint. There are two very small flecks of minor paint loss in the lower section of the canvas and there is one hairline crack running vertically, approximately 4 inches long, to the lower right of the canvas in the sitters left shoulder. This is an old repair that has reopened and would go down easily with some minor attention. There is some very minor early flaking and unstable paint along the lines of craquelure, which should ideally be locally stabilised, but presents no serious concern. ULTRAVIOLET Examination under ultraviolet light reveals very minor retouching to the edge of the canvas as well as patches of accumulated dirt on the surface of the painting and an uneven layer of discoloured varnish overall. FRAME Held in a carved, gilded and painted frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This important, previously untraced, portrait was commissioned by the artist's friend Lord Nelson. Nelson wrote to Beechey on 28^th December 1801 explaining; 'I wish Sir William Hamilton to sit to you for his picture a half length the same as my Fathers, and as Sir Wm will probably be with you to morrow or Wednesday I beg you will have the goodness to prepare the Canvas, etc.'[1].

Sir William Hamilton, antiquarian and diplomat, was the fourth and youngest son of Lord Archibald Hamilton (1673-1754), Lord Commissioner of the Admiralty, and his wife Lady Jane Hamilton (d. 1752), the daughter of James Hamilton, 6^th Earl of Abercorn. His mother was Mistress of the Robes to Augusta, Princess of Wales, between 1736 and 1745 and almost certainly a mistress of Frederick, Prince of Wales. As a result William spent much of his formative years growing up with Frederick's son, the future George III, who later in life would referred to Hamilton as his 'foster brother'.

Following a brief but heroic career in the army he entered parliament in 1761 as M.P. for Midhurst in Sussex and was appointed equerry to the new King, George III, his old childhood companion. Unsatisfied with life in London however, Hamilton applied for the post of Envoy-Extraordinary to the Spanish Court at Naples and was duly confirmed in that post later that same year. He remained in Naples, returning only very occasionally to London, until 1800, having been promoted Minister Plenipotentiary in 1767. An avid collector of art and antiquities, as well as a keen vulcanologist, he was the supreme embodiment of the ideals that defined the philosophy of the lure of Italy and the Grand Tour. During his long tenure in Italy visiting any of Hamilton's various residences became de rigueur for any traveller of taste or importance, ensuring a constant stream of influential guests.

Heralded by some the 'modern Pliny' for his studies of Vesuvius and Etna he was elected fellow of the Royal Society in 1766 and was awarded the Copley medal in 1768 for one of his papers, as well as doing much to promote volcanoes as a subject for art and poetry. At the same time his efforts in the field of art and antiquities led him to be elected to the Society of Dilettanti in 1777, whilst his various publications on the subject started the vogue in Europe for the 'antique', inspiring the creative style of Josiah Wedgwood, among others.

In 1801 Beechey had exhibited his seminal full-length of Admiral Nelson, standing on the deck of his flag ship in full regalia, commissioned for St. Andrew's Hall, Norwich by the Corporation of the City. Nelson and Beechey, whose family had strong naval connections, were old friends and the Admiral was even godfather to one of the artist's children. The present painting was exhibited at the Academy the following year in 1802, only twelve months before Hamilton's death on 6^th April 1803. It depicts Hamilton in the years after his return from Naples, whilst he and his second wife Emma were living together with her lover between Merton Place and London. Dubbed the trio juncta in uno (a reference to the motto of the Order of the Bath, to which both Hamilton and Nelson belonged) the three lived together for many years in apparent harmony, Hamilton bequeathing a portrait of Emma by Elizabeth Vigée le Brun to Nelson in his will.

This painting is sold in co-operation with the heirs of William Westfeld.

[1] The original manuscript of this letter was sold in these Rooms on 5^th June 1944, lot 202.