Augustus Leopold Egg Sold at Auction Prices

Augustus Leopold Egg, RA,  - Portrait of William Powell Frith;  …

Augustus Leopold Egg, RA,  British 1816-1863-  Portrait of William Powell Frith;  oil on panel, painted oval, bears inscription in the sitter's hand 'I give this picture to my daughter / ?. Oppenheim / June 9th 1901 / W.P. Frith' verso, 30.6 x 24.8 cm.  Provenance:  The sitter;  By whom gifted to his daughter Isabella Oppenheim, 9th June 1901;  Thence by descent to the present owner.  Exhibited:  London, Guildhall Art Gallery; and Harrogate, Mercer Art Gallery, 'William Powell Frith: Painting the Victorian Age', November 2006 - July 2007, no.7, as by Augustus Egg, 'Portrait of the Artist'.  Literature:  F. O'Donoghue, 'Catalogue of Engraved British Portraits preserved in the Department of Prints and Drawings in the British Museum 1908–22', London, 1908, II, p.261, no.3.  C. Wood, 'William Powell Frith,' London, 2006, p.17, illustrated.  M. Bills and V. Knight (ed.), 'William Powell Frith: Painting the Victorian Age', New Haven and London, 2006, p.1, no,1, illustrated, as by William Powell Frith.  Engraved:  Engraved by F. Babbage in 'Crazes in Art', Magazine of Art, 1888, p.189, as by Augustus Egg, Frith aged thirty.  Engraved by P. H. Naumann, 'Portraits of Celebrities at Different Times of their Lives,' The Strand Magazine, vol.3, 1892, p.598, as by Augustus Egg, age 36.  Note:  This striking portrait of the artist William Powell Frith (1816-1863) was painted by his friend and student Augustus Leopold Egg in c.1849. The exact dating of the work is unclear due to two conflicting engravings that were published. The Strand Magazine published an engraving in 1888, as Frith aged 30, which accompanied an article written by Frith. It was then subsequently published as an engraving in 1892, as Frith aged 36. This dates the work between 1846-1852.  Augustus Egg was a close friend of William Powell Frith and features extensively in Frith’s memoirs, 'A Victorian Canvas'. Frith also painted a portrait of Augustus Egg (Private Collection, on loan to Charles Dickens Museum, London), and this reciprocated sitting perhaps demonstrates the closeness in their relationship. By 1888, the portrait by Egg was in the possession of Frith, presumably a gift from an earlier date. The work was then gifted to Frith’s daughter Isabella Oppenheim on 9th June 1901, as per the inscription in Frith’s hand on the reverse of the panel.  On occasion the work has been incorrectly attributed as a self-portrait by William Powell Frith, perhaps due to the dedication on the reverse in his hand. Indeed, it was fairly commonplace for Frith to produce multiple versions of works for his children. Therefore, it was mistakenly thought that this work may have been a replica of the original by Augustus Egg.  We are grateful to Mark Bills for his assistance in preparing this catalogue entry. Please note that this work will appear in his forthcoming catalogue raisonné and monograph of William Powell Frith. 

AUGUSTUS LEOPOLD EGG, R.A. (BRITISH, 1816-1863) Portrait of William Powell

AUGUSTUS LEOPOLD EGG, R.A. (BRITISH, 1816-1863) Portrait of William Powell Frith oil on panel, painted oval 12 x 9 7/8 in. (30.5 x 25 cm.)

AUGUSTUS LEOPOLD EGG (BRITISH 1816-1863), THREE STUDIES FOR THE DEVIL UPON TWO STICKS (3)

AUGUSTUS LEOPOLD EGG (BRITISH 1816-1863)THREE STUDIES FOR THE DEVIL UPON TWO STICKSOil on canvas One inscribed 'Sketch Augustus Egg, Painted 1844' (on the reverse)Two 20 x 25cm (7¾ x 9¾ in.) and one 19 x 23cm (3)Provenance: N. Mitchell, LondonSale, Christie's, 16th(), 1943, Lot 128, A. L. EGG, R.A., THE DEVIL ON TWO STICKS, and two other sketches, [Three in one frame], 8 guineas to 'Merchant' One of the studies, entitled The Victim is for a finished picture in Tate Britain (illustrated in the 1851 Art Journal) and another is for a finished picture in Sheffield Art Galleries. The Devil upon Two Sticks, by the French writer Alain-René Lesage was published as Le Diable Boiteux in 1707. It is set in Madrid, and tells the story of demon king Asmodeus, Donna Thomasa. It is sometimes known in English as Asmodeus, and sometimes as The Devil on Two Sticks, under which title the first English translation appeared in 1708, and was dramatised by Henry Fielding in 1768.

AUGUSTUS LEOPOLD EGG (BRITISH 1816-1863), PORTIA

AUGUSTUS LEOPOLD EGG (BRITISH 1816-1863)PORTIAOil on canvasSigned (lower left)42 x 31.5cm (16½ x 12¼ in.)Provenance:Barnwell Manor, Northamptonshire, Windsor House AntiquesThe subject is the female protagonist from The Merchant of Venice by William Shakespeare.

AUGUSTUS LEOPOLD EGG (BRITISH 1816-1863), THE PALMER-LOVELL FAMILY IN AN INTERIOR

AUGUSTUS LEOPOLD EGG (BRITISH 1816-1863)THE PALMER-LOVELL FAMILY IN AN INTERIOROil on canvas85 x 104cm (33¼ x 40¾ in.)Provenance: Acquired directly from the artist by Reverend Palmer-Lovell, and thence by descentWith Richard Green, London, 1995Private UK Collection, acquired from the above in 2001This is one of Egg's most detailed portraits including vivid and sympathetic portrayals of each of the Palmer-Lovell family members and the family's governess. The Reverend George Thomas Palmer (b. 1802) watches his wife Clarissa Maria Lovell playing the piano while their daughter Georgina, who is dressed in green, dances and Christina, the younger child dressed in white, reaches out to join her. This painting is traditionally known as Homage to Vermeer. Jan Vermeer (1632-1675) now considered one of the greatest seventeenth century masters of the Low Countries was largely forgotten until the mid-nineteenth century. His rediscovery may have prompted Egg's tribute. The pose of the wife is derived from Vermeer's famous work Woman at the virginals in the National Gallery in London which Egg may well have copied as a student. This work is a classic example of Vermeer's paeans to the sanctity of the Dutch home. Seventeenth century Holland and Victorian Britain shared a belief in the purity of the home being a sign of the strength and virtue of the nation as a whole.The furniture and the paintings hung on the richly decorated red-flock wall behind the figures are thought to have been wedding presents. Two of them bear tablets with the artists' names on them; the work behind Mrs Palmer-Lovell is by Philippe de Loutherberg; the work to the right, portraying a horseman, is by Abraham Cooper. Egg often included paintings in the background of his compositions in order to suggest allegorical readings. In Past and Present (Tate Gallery), Egg included Clarkson Stanfield's The Shipwreck, the great success of the Royal Academy exhibition of 1856, not only to indicate the wealth and comfort of the family portrayed but also its impending dissolution because of the wife's infidelity. In the present work Arcadian landscapes, aristocratic horseman and happy children's games appear in the paintings behind the sitters denoting the taste and contentment of this home. In many ways, one can see this work as a pendant to the Tate picture, the tale of a happy family contrasted to he sad fate of Past and Present.

EGG, AUGUSTUS LEOPOLD: Interieur mit vornehmer Gesellschaft.

EGG, AUGUSTUS LEOPOLD (London 1816 - 1863 Algier) : Interieur mit vornehmer Gesellschaft; Öl auf Holz; 29,5x46,5 cm; sig. u.l.

Augustus Leopold Egg (1816-1863): Study of a Child and a Baby

Pencil on tissue-thin paper, unsigned, with label from Christopher Powney, Shrewsbury. 5 1/4 x 6 3/4 in. (sheet), 7 1/2 x 9 91/4 in. (frame).

Attributed to Benjamin West (1738-1820): Crawling Child

Pencil on paper mounted on card, unsigned; together with Augustus Leopold Egg (1816-1863): Study of a Child and Baby, pencil on tissue mounted on card, unsigned, with label from Christopher Powney, Shrewsbury. 4 1/4 x 5 3/4 in. (sheet), 9 x 10 in. (frame), 5 1/4 x 6 1/2 in. (sheet), 7 1/2 x 9 in. (frame). An Artist's Life: The Collection of Henry Koehler

EGG, AUGUSTUS LEOPOLD: Interieur mit vornehmer Gesellschaft.

EGG, AUGUSTUS LEOPOLD (London 1816 - 1863 Algier) : Interieur mit vornehmer Gesellschaft; Öl auf Holz; 29,5x46,5 cm; sig. u.l.

AUGUSTUS LEOPOLD EGG (British, 1816-63) Head of a Girl, Half-Length, Wearing a White Chemise oil on panel

AUGUSTUS LEOPOLD EGG (British, 1816-63) Head of a Girl, Half-Length, Wearing a White Chemise oil on panel 19.5 x 14.5cm (oval) PROVENANCE: Christie's, The Collection of Professor Sir Albert Richardson, London, 19 September 2013, lot 389 acquired from the above

AUGUSTUS EGG (ENGLISH, 1816-1863).

Oil on canvas laid to board. Mother and Children. Signed lower right. From a Forest Hills, NY collection.

ATTRIBUTED TO AUGUSTUS EGG (BRITISH 1816–1863)

The Property of a Connoisseur, London ATTRIBUTED TO AUGUSTUS LEOPOLD EGG (BRITISH 1816–1863) Portrait of a girl Oil on canvas laid on board 14.5 x 12cm (5 x 4in)

AUGUSTUS LEOPOLD EGG R.A. (BRITISH 1816-1863) THE WOOING OF KATHERINE, FROM 'THE TAMING OF THE SHREW' 21cm x 36cm (8.25in x 14in)

AUGUSTUS LEOPOLD EGG R.A. (BRITISH 1816-1863) THE WOOING OF KATHERINE, FROM 'THE TAMING OF THE SHREW' Oil on canvas 21cm x 36cm (8.25in x 14in)

Augustus Leopold Egg (British, 1816-1863) Hudson entertaining Charles I and Henrietta Maria

Augustus Leopold Egg (British, 1816-1863) Hudson entertaining Charles I and Henrietta Maria oil on board 15.2 x 25.4cm (6 x 10in). Provenance: Private collection, UK.

ATTRIBUTED TO AUGUSTUS LEOPOLD EGG RA (1816 - 1863)

ATTRIBUTED TO AUGUSTUS LEOPOLD EGG RA (1816 - 1863)  Girl with a parrot  Oil on panel  13 x 10 cm (5 1/4 x 4 in)

Augustus Leopold Egg, R.A. (1816-1863) - The Palmer-Lovell family in an interior

Augustus Leopold Egg, R.A. (1816-1863) The Palmer-Lovell family in an interior oil on canvas 33 x 41 in. (83.8 x 104.1 cm.)

Attributed to AUGUSTUS LEOPOLD EGG (1816-1863) British Interior With Cavali

Attributed to AUGUSTUS LEOPOLD EGG (1816-1863) British Interior With Cavalier and Family Oil on board Inscribed to verso and with old stencil stock number 32 x 26.5 cm, unframed

CIRCLE OF AUGUSTUS LEOPOLD EGG (1816-1863). "A young lady wearing a black shawl around her loosely falling dark brown hair and a brown dress". oil on panel. oval, 18.5 x 16 cm. in gilt moulded frame with a gold slip.

CIRCLE OF AUGUSTUS LEOPOLD EGG (1816-1863). "A young lady wearing a black shawl around her loosely falling dark brown hair and a brown dress". oil on panel. oval, 18.5 x 16 cm. in gilt moulded frame with a gold slip.

Augustus Leopold Egg (British, 1816-1863) Scene from Taming of the Shrew

Augustus Leopold Egg (British, 1816-1863) Scene from Taming of the Shrew signed and dated 'Augt Egg. 1860.' (lower left) oil on canvas 68.5 x 117cm (26 15/16 x 46 1/16in).

AUGUSTUS LEOPOLD EGG (1816-1863) British Interior

AUGUSTUS LEOPOLD EGG (1816-1863) British Interior With Cavalier and Family Oil on board Inscribed to verso and with old stencil stock number 32 x 26.5 cm, unframed

*Egg (Augustus Leopold, (1816-1863)). Interior with cavalier and family,

*Egg (Augustus Leopold, (1816-1863)). Interior with cavalier and family, oil on board, showing a woman seated with a young child whilst a cavalier and his dog are seated opposite, contemporary inscription and old stock number to verso, 26 x 32cm 10 x 12.5ins), framed (1)

Circle of Augustus Leopold Egg (1816-1863) The fan oil on canvas 8 x 6 in.

Circle of Augustus Leopold Egg (1816-1863) The fan oil on canvas 8 x 6 in. (20.3 x 15.3 cm.)

Augustus Leopold Egg, RA (British, 1816-1863) The Wooing of Katherine, from 'The Taming of the Shrew'

Augustus Leopold Egg, RA (British, 1816-1863) The Wooing of Katherine, from 'The Taming of the Shrew' oil on canvas h:21 w:36 cm Provenance: Claude Smith, St. Ives, Cambridgeshire, where acquired on 26 May 1956. Exhibited: Royal Academy, 1847 (old label refers). The Illustrated London News, May 1847, p.333. Other Notes: The present painting appears to be a prepatory study for one of Egg's exhibits at the Royal Academy relating to Shakespeare's play 'The Taming of the Shrew', two in 1847 (nos. 170 and 392) and one in 1860 (no. 275). In 1847 he showed 'The Wooing of Katharine'.

Augustus Leopold Egg, R.A. (1816-1863)

Augustus Leopold Egg, R.A. (1816-1863) Contemplation signed 'Aug. Egg.' (lower right) oil on board, painted arch 13¾ x 11 1/8 x in. (35 x 28.2 cm.)

Augustus Leopold Egg, R.A. (1816-1863)

Augustus Leopold Egg, R.A. (1816-1863) "The Toilet", a lady seated at a toilet-table, and her maid - candlelight oil on canvas 23½ x 19½ in. (59.7 x 48.3 cm.)

Augustus Leopold Egg (British, 1816-1863), The New Pupil, Signed "Aug. Egg." l.l., identified on a presentation plaque and labels affix

Augustus Leopold Egg (British, 1816-1863) The New Pupil Signed "Aug. Egg." l.l., identified on a presentation plaque and labels affixed to the reverse. Oil on canvas, 22 3/4 x 19 1/4 in. (57.8 x 48.9 cm), framed. Condition: Lined, retouch, craquelure, surface grime.

Augustus Leopold Egg, R.A. (1816-1863)

Augustus Leopold Egg, R.A. (1816-1863) Portrait of Henry Charles Hamilton (1811-1872), seated half-length signed 'Aug. Egg' (lower left) and with inscription 'Henry Charles Hamilton/C.S.I. Bengal Civil Service/4th Son of Sir Frederic Hamilton/5th Bart of Silverton Hill/Born 23rd Sept 1811/Died 26th Oct 1872.' (on an old label attached to the frame) oil on canvas 14 x 12 in. (35.5 x 30.5 cm.)

Augustus Leopold Egg, R.A. (1816-1863)

Augustus Leopold Egg, R.A. (1816-1863) The new doll signed 'Aug Egg RA' (lower right) oil on canvas 24 3/8 x 29 in. (61.9 x 73.7 cm.)

Augustus Leopold Egg (British, 1816-1863) The love letter

The love letter oil on canvas, framed as oval 61 x 51cm (24 x 20 1/16in).

Augustus Leopold Egg (British, 1816-1863) The love letter

The love letter oil on canvas, framed as oval 61 x 51cm (24 x 20 1/16in).

AUGUSTUS LEOPOLD EGG (BRITISH 1816-1863). THE PROMENADE AT CARLISLE HOUSE, AFTER JOHN RAPHAEL SMITH.

Pastel heightened with white on paper, 11 3/4 x 15 inches, sight. Signed "A.L. Egg" and dated 1844, l.r. The original pastel by Smith is in the collection of the Victoria & Albert Museum.

Augustus Leopold Egg

Augustus Leopold Egg (British, 1816-1863) CARD PLAYERS IN PARLOR oil on board, framed, signed: lower right, Aug. Egg H10" W13" Provenance: Banner Elk, North Carolina private collection.

Augustus Leopold Egg

Augustus Leopold Egg (British, 1816-1863) THE CAPTAINS TALE oil on board, framed, signed: lower right, A. Egg H14" W16 1/2" framed: H20 1/4" W22 1/2" Provenance: Banner Elk, North Carolina private collection. Other Notes: Verso bearing label of Michael Gann Gallery, New York.

AUGUST LEOPOLD EGG, (English, 1816-1863), SPANISH LADY, oil on board;, 11 1/4 x 10 inches; framed: 15 1/4 x 13 3/4 inches

AUGUST LEOPOLD EGG (English, 1816-1863) SPANISH LADY oil on board; bears hand written paper label on verso with attribution and provenance; 11 1/4 x 10 inches; framed: 15 1/4 x 13 3/4 inches Provenance: Mr. Middleton, London, 1894 Exhibitions: Royal Academy, 1838

Augustus Leopold Egg, R.A. (1816-1863)

Augustus Leopold Egg, R.A. (1816-1863) The Cartoon Gallery, Knole signed and inscribed 'A. L. Egg/k/Cartoon Gallery Knowle [sic]' (on the reverse) oil on canvas 10 x 12 in. (25.4 x 30.5 cm.)

Attributed to Augustus Leopold Egg, R.A. (1816-1863)

Attributed to Augustus Leopold Egg, R.A. (1816-1863) The shouting actor oil on board, in a painted oval 11 x 9¼ in. (27.9 x 23.5 cm.)

Augustus Leopold Egg (1816-1863)

Augustus Leopold Egg (1816-1863) A young lady at her toilet oil on canvas 23½ x 19½ in. (59.7 x 49.5 cm.)

A young lady at her toilet

Augustus Leopold Egg, R.A. (1816-1863) A young lady at her toilet oil on canvas 23½ x 19½ in. (59.7 x 49.5 cm.)

ATTRIBUTED TO AUGUSTUS LEOPOLD EGG R.A., 1816-1863

AN IMPORTANT DOCUMENT AN IMPORTANT DOCUMENT 106x126cm.; 41¾x49½in. oil on canvas

ATTRIBUTED TO AUGUSTUS LEOPOLD EGG R.A., BRITISH 1816-1863

PORTRAIT OF A GIRL

Augustus Leopold Egg, R.A. (1816-1863)

Contemplation signed 'Aug. Egg.' (lower right) oil on board, painted arch 133/4 x 11 1/8 x in. (35 x 28.2 cm.) PROVENANCE with The Maas Gallery, London, from whom acquired by the present owner in 1981. EXHIBITION La Era Victoriana, 1997, no. 18. NOTES The son of a rich gunsmith, Egg studied at Sass's and the Royal Academy schools. In the 1840s and 1850s he was a member of The Clique with John Phillip (see lot 8); Richard Dadd (see lots 86 & 228), Henry Nelson O'Neil (see lot 221) and William Powell Frith (see lot 10, 99 & 335). His subjects were primarily taken from English history and literature, especially Shakespeare, Scott and Le Sage. Although this was a genre that had already been popularised by Charles Robert Leslie (see lots 78-80), Egg's technique was more robust and colourful, and his treatment was less sentimental. In his later period, Egg was influenced by the Pre-Raphaelites, to whom he gave advice and encouragement. In 1862 he undertook one of his most well-known works The Travelling Companions (Tate Britain, London) which shows his awareness of the Pre-Raphaelite techniques, and his interest in painting scenes of contemporary life. The present work is a charming example of his genre painting on an intimate and domestic scale and shows the influence of the Pre-Raphaelites in his use of a white ground, the vivid colours and acute observation of nature. Egg has captured the pained and distant expression of this young girl who has received news of the death of a loved one, conveyed to her by the letter she holds in her right hand which is edged in black. He has gently depicted this poignant moment in an intimate and private composition without resorting to the over-sentimental or overtly emotional expressions sometimes employed by lesser Victorian genre painters. Please refer to lot 109 for more information on Egg and an example of his social realist painting.

Augustus Leopold Egg (1816-1863)

Night on the River Thames, a study for 'Past and Present', Part III (recto); and a study of a woman and child (verso) oil on board 6 7/8 x 8 1/2 in. (17.4 x 21.6 cm.) PROVENANCE Possibly the artist's studio sale, Christie's, London, 18 May 1863, lot 124(?). with George Davidson, Glasgow. Anon. sale, Christie's, Glasgow, 24 February 1989, lot 227, as Circle of Augustus Leopold Egg, when acquired by the present owner. EXHIBITION Urban Images, 1995, no. 9. The Defining Moment, 2000-1, no. 11. NOTES This is a small study for the final canvas in Egg's monumental triptych of modern morality, Past and Present, now in Tate Britain. Conceived in three parts, it depicts the fate of a family ruined by a mother's adultery. In the first, the sin is discovered by her husband. In the second, her daughters' fate is described, orphaned and outcast from society five year's later on account of her disgrace. They stare at the same moon as appears in the third, at which the mother also gazes, dressed in rags and sheltering under a dry arch in the Adelphi. When exhibited at the Royal Academy in 1858, the following fictional narrative was appended to the title: August the 4th. Have just heard that B- has been dead more than a fortnight, so his poor children have now lost both their parents. I hear she was seen on Friday last near the Strand, evidently without a place to lay her head. What a fall hers has been!. The series caused a sensation when exhibited, exacerbated no doubt by reviews such as that given by the Athenaeum. 'Mr Egg's unnamed picture is divided into three compartments, each more ghastly and terrible than the other, till in the last we come to such a sink of misery and loathsomeness, painted with such an unhealthy determination to dissect horror and to catalogue the dissecting-room that we turn from what is a real and possible terror as from an impure thing that seems out of place in a gallery of laughing brightness, where young, unstained, unpainted and happy faces come to chat and trifle. There must be a line drawn as to where the horrors that should not be painted for public and innocent sight begin, and we think Mr Egg has put one foot at least beyond this line'. The Atheneaum continued of the concluding scene: 'The destitute wife under the dark grave-vault shadow of an Adelphi arch - last refuge of the homeless sin, vice and beggary of London: the thin, starved legs of a bastard child - perhaps dead at her breast - protrude from her rags. There was never such moonlight painted as from that loathsome sewer arch you see mantling the yellow river with liquid gold'. While the Art Journal also thought the subject 'too poignant for a series of paintings' it nevertheless praised the final episode as an 'unexampled success - we use the term in its most literal sense. We congratulate the painter on the inferno of the Adelphi arches: they are the lowest of all the profound deeps of human abandonment in this metropolis; but he has forgotten the rats which meet in hungry hundreds on the vantage-ground left by the retiring tide, - those inhabitants of lower London would have assisted the desolation of the place'. The sketch no doubt finds a place in the Forbes collection to recall other great works by artists on the same theme: Redgrave's The Outcast of 1851 (R.A. Diploma Gallery) and G.F. Watts Found Drowned and Under a Dry Arch (of 1848-50, The Watts Gallery) for example. Egg was a friend of Holman Hunt, whose The Awakening Conscience (Tate Britain) executed in 1853, also challenged Victorian society to examine its double standards. Egg's picture was painted directly after the Matrimonial Causes Act of 1857 which allowed wives to be divorced for adultery alone, while a husband's infidelity had to be accompanied by another offence, such as incest, bigamy, cruelty or desertion. Egg, rather than being judgemental, appears to have sympathy with his heroine. In the Tate version the posters behind the woman advertise the Haymarket plays, Tom Taylor's Victims and Tom Parry's A Cure for Love, which suggest the adulteress's status as an object of pathos.

Augustus Leopold Egg, R.A. (1816-1863)

Queen Elizabeth discovers she is no longer young. In the melancholy of her sickness, she desired to see a true looking-glass, into which she had not looked for twenty years. signed 'Augustus Egg' (lower left) oil on canvas 48 x 72 5/8 in. (122 x 183.2 cm.) PROVENANCE Thomas Pitt Miller Esq., (by 1946). Anon. sale; Christie's, London, 26 April 1946, lot 30 (105 gns. to Welch). B. Welch Esq.; Christie's, London, 8 July 1955, lot 12 (30 gns. to Biddle). EXHIBITION London, Royal Academy, 1848, no. 529. London, Royal Academy, 1889, no. 61. NOTES Along with The Life and Death of Buckingham (R.A. 1855, no. 349), this picture was considered one of the most important compositions by the artist in his obituary notice in the Art Journal of 1863, p. 87. Indeed it secured his election as Associate of the Royal Academy when exhibited in 1848. This was the first year that the Pre-Raphaelite Brotherhood showed at the R.A., and despite hitherto producing work in the manner of Charles Robert Leslie, Egg was thereafter much influenced by the group, and gave them advice and encouragement. Throughout the 1840s he had been a member of the 'Clique' of Richard Dadd, John Phillip, Henry Nelson O'Neil and William Powell Frith who were united by their opposition to the conservative policies and artistic philosophies held by the Royal Academy.

Augustus Leopold Egg British, 1816 - 1863 FAMILY PORTRAIT