David Wilkie

Lot Description Sir David Wilkie, R.A. (Fife 1745-1841 at sea) Portrait study of King George IV in highland dress at Holyrood Palace; and An archer and a group of women at Holyrood Palace one signed, inscribed and dated 'D Wilkie Edinb r 1822' (lower left) and one signed, inscribed and dated 'D Wilkie Edinb r 1822' (lower centre) pencil and watercolour, one with touches of bodycolour 7½ x 5 3/8 in. (19 x 13.7 cm.); and 7¾ x 5¼ in. (19.7 x 13.3 cm.) (2) Lot Condition Report I confirm that I have read this Important Notice and agree to its terms. View Condition Report Provenance Anonymous sale; Christie's, Edinburgh, 1 November 2001, lot 231. with Agnew's, London, 2002, no. 37. Exhibited London, W/S Fine Art, Summer 2006, nos. 31 and 32. one London, W/S Fine Art, Summer 2009, no. 53. View Lot Notes ›

Lot Description Sir David Wilkie, R.A. (Fife 1745-1841 at sea) Portrait study of George IV in highland dress at Holyrood Palace signed, inscribed and dated 'D Wilkie Edinb r 1822' (lower left) pencil and watercolour on paper 7½ x 5 3/8 in. (19 x 13.7 cm.) Lot Condition Report I confirm that I have read this Important Notice and agree to its terms. View Condition Report Provenance Anonymous sale; Christie's, Edinburgh, 1 November 2001, lot 231 (part). with Agnew's, London, 2002, no. 38. Exhibited London, W/S Fine Art, Summer 2006, no. 31. London, W/S Fine Art, Summer 2009, no. 53. View Lot Notes › Wilkie was presented to the King at the Levée at Holyrood on 17 August 1822. This drawing and lot 152 form part of Wilkie's preparation for his oil painting The Entrance of George IV at Holyrood House. A further drawing made at the same time, Incident during George IV's Visit, is in the collection of the Scottish National Portrait Gallery. The finished painting was exhibited at The Royal Academy in 1830 and is now in the Royal Collection; a half-size oil version (Scottish National Portrait Gallery) is dated 1828. The King's visit to Edinburgh from 14 to 29 August 1822 was the first by a monarch of the United Kingdom. As such, it was a powerful symbolic event, attended by elaborate pageantry, much of which was devised by Sir Walter Scott.

Lot 119 SIR DAVID WILKIE R.A.,H.R.S.A (SCOTTISH 1785-1841) THE COTTER'S SATURDAY NIGHT Signed, oil on panel 47cm x 59cm (18.5in x 23in) Estimate £60,000-80,000 Provenance: J G Kinnear, Glasgow 1837; J Houldsworth, Glasgow 1860; M Muir, Glasgow 1863; Hayes family and thence by descent

Sir David Wilkie, R.A. (1785-1841) Portrait Study of Lady Lilford, née Mary Elizabeth Fox, as Mary Queen of Scots with a letter from the artist relating to the composition of the portrait dated April 2nd 1835 (attached to the drawing); and with inscription 'The above manuscript note of Sir D Wilkie's having been placed in my hands for the purpose of splitting/or dividing has been subjected to my process and/having succeeded in the operation have much pleasure/in subscribing my name/W Baldwin/February 14 t h . 1850 (inventor of the Process)' (on the mount) pencil, black chalk and watercolour 14 x 11½ in. (35.5 x 29.3 cm.)

Sir David Wilkie, R.A. (Fife 1745-1841 at sea) Sketch for 'Reading the Will' signed and dated 'D Wilkie. 1818.' (lower left) and withinscription 'The signature of this sketch by Sir David WilkieR.A./attested by the undersigned - March29 t h . 1840/Sir W m . J. Newton./C JNieuwenhuys' (on a fragment of the original mount) pen and brown ink and watercolour 4½ x 6 3/8 in. (11.4 x 16.2 cm.) with Spink, London, 1977. Engraved J. Burnett, London, 1 June 1825. Reading for the Will (Neue Pinakothek, Munich) was commissionedby Maximilian I, King of Bavaria, and completed in 1820 when it wasexhibited at the Royal Academy, London (no. 151). Wilkie was askedto execute a picture 'as purely English as possible' (letter fromWilkie to Raimbach, 2 July 1818, in N. Tromans, David Wilkie: ThePeople's Painter, Edinburgh, 2007, p. 48). The scene illustratesthe moment that the will of a rich man is read to his extendedfamily, favouring his young, and possibly second, wife over allothers, including a more elderly lady who is visible in thefinished painting sweeping out of the door in disgust. Wilkie wasinfluenced by Hogarth's satirical compositions of the mid-18thCentury, which illustrated domestic scenes of downfall and scandalcaused by the lure of money and romance. There is a comparable study for the painting in the FitzwilliamMuseum, Cambridge, with the figures in a slightly differentformation, and further figure studies are at the Ashmolean Museum,Oxford and the British Museum, London.