19 February 2003
Charles Compton (1828-1884)
A Study in the National Gallery - 1855
signed and dated 'C. Compton/July 1855' (lower right)
oil on canvas
10 x 12 in. (25.4 x 30.5 cm.)
Anon. sale, Christie's, London, 2 March 1982, lot 215.
with The Fine Art Society, London, from whom acquired by the present owner in 1982.
Contact Client Service
New York +1 212 636 2000
London +44 (0)20 7839 9060
Asia +852 2760 1766
London, Royal Academy, 1856, no. 294.
Victorian Childhood, 1986, cat. pl. 24.
The Pursuit of Leisure, 1997-8, no. 38
The children are looking at a derivative of Pietà with Mourning Angels by the Bolognese Renaissance artist, Francesco Francia, a lunette to the altarpiece in the National Gallery that had been purchased in 1841 (fig. 1). Although few biographical details are known about Charles Compton, it is understood he was acquainted with some of the Pre-Raphaelite artists and admired Millais' paintings in particular. There was a growing Victorian conviction that looking at High Art was morally improving and many artists chose to depict public art exhibitions, examples include George Bernard O'Neill's Public Opinion (1863) and Thomas Hall's One Touch of Nature Makes the Whole World Kin (1867). Most notable amongst them was William Powell Frith's A Private View in the Royal Academy, 1881.
No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium which is invoiced on a VAT inclusive basis
What leading art, technology and finance specialists said at the inaugural Art +Tech Summit at Christie’s in London
From Connecticut to Kent in southeast England, homes with links to such classic works as Desire under the Elms, Lord of the Flies and The Deep Blue Sea