Charles Robert Leslie R.A.

Mr Edwin Bullock Esq.; his sale Christie's, 21 May 1870, lot 140 bought' Agnew';
Thomas Agnews & Son, London;
Possibly Colonel T. Birchall;
Christie's, 6 February 1904, lot 125, bought 'King';
Private collection

Tom Taylor (ed.), Autobiographical Recollections by the Late Charles Robert Leslie, R.A., 1860, 2 vols, vol. I, p.lxiii-lxv, vol. II, p.308, 234

STRUCTURE: The canvas is original. There is some minor frame abrasion in places. There is some minor craquelure to the paint surface and some isolated suggestions of paint separation. There is some light surface dirt in places. Otherwise in good overall condition. UNDER ULTRAVIOLET LIGHT: There are no signs of retouching. FRAME: Held in a decorative gold painted frame in fair condition.
"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 picture depicts a scene from Alexander Pope's mock-heroic poem, first published anonymously in 1712. It is one of Leslie's largest and most elaborate pictures. Two versions are known, one exhibited at the Royal Academy in 1854 and sold to Mr John Gibbons and this second version, with numerous differences painted in 1856 sold to a Mr Edwin Bullock. The composition was described in 1860; 'The scene represents the moment when Belinda mourns over the discovery of the ravished lock. She is weeping in the foreground surrounded by a sympathetic group of ladies. The Amazonian Thalestris, in tricortie and riding habit, indignant at the Peer's boldness, grasps her whip with an evident longing to use it over the insolent beau's shoulders. In the background Sir Plume is occupied on his unavailing mission, and the Peer displays the captured lock in triumph... As a composition this is among the best works of Leslie's pencil, though there is an unpleasant predominance of that chalkiness in colour which grew upon him during the last ten years of his practice. The peer is the weakest figure in the composition. Strange to say, he does not look like a gentleman of the time of Pope, but like a modern gentleman masquerading. The Sir Plume is as genuine as the Lord Petre is unreal. The tall and commanding lady in the crimson sacque, whose back is turned to the spectator in the foreground, is a masterly example of drawing and colour, and the picture is deserving of close study by young artists for the great art shown in its easy, natural, and yet most profoundly calculated composition. It is a capital example, too, of Leslie's admirable management of light and shadow.' (Tom Taylor (ed.), Autobiographical Recollections by the Late Charles Robert Leslie, R.A., 1860, p.lxiii)

Leslie painted the scene at Hampton Court Palace and some of the furniture including the screen and the chairs were painted from examples owned by Lord Egremont at Petworth House. The figure of Sir Plume was based upon none other than John Everett Millais who also sat for a portrait by Leslie in 1854 whilst two of the women gathered around Belinda were based upon the features of Leslie's own daughters (in the second version, these portraits were replaced by the features of Bullock's daughters).