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Edward Seago, R.W.S., R.B.A. (1910-1974)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Edward Seago, R.W.S., R.B.A. (1910-1974)

The Quadriga, Hyde Park Corner

Details
Edward Seago, R.W.S., R.B.A. (1910-1974)
The Quadriga, Hyde Park Corner
signed 'Edward Seago' (lower left)
oil on canvas
28 x 40 in. (71.1 x 101.6 cm.)
Provenance
with Richard Green, London.
Special Notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

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Lot Essay

The Wellington arch depicted in the present lot was built in the late 1820s to commemorate the victories of the Napoleonic Wars and was positioned to the south of Hyde Park, directly opposite Apsley House, the Duke's residence. It was originally crowned by a large but unpopular statue of the Duke of Wellington, which was removed after his death, and a new decoration sought. The arch was then moved to its present location at Hyde Park Corner in the 1880s and the large bronze quadriga created by the sculptor Adrian Jones was positioned in 1912. The Wellington arch is hollow and until 1992 housed the second smallest police station in London - the smallest being in Trafalgar Square.

After the upheavals and travels of the Second World War, Seago returned to his native East Anglia and settled in the Dutch House. The majority of his subsequent travels were undertaken aboard his boats, first Endeavour and then later Capricorn which he had purchased in 1951. In 1953 he sailed up the Thames in Capricorn and moored at Cadogan Pier where he stayed for over three weeks, during which time the coronation of Queen Elizabeth took place. He was one of several artists that had been officially invited to paint the event and after this, he moored there regularly with special dispensation from the Port of London Authority on his visits to London.

Seago painted many topographical views of London throughout his career and it is probable that this work dates from the early 1950s. Capturing the essence of a bustling summer's day in central London, this is Seago at his best: spontaneous and lyrical. The brush strokes are confident, appearing deceptively effortless in their free application, and remarkable precision of detail is created by the smallest of touches.

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