Angelo Collen Hayter Sold at Auction Prices

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  • Angelo Collen Hayter (British, exh. R.A. 1848-1852) The Vicarage, Greenstead Green, Halstead, Essex, c.1884
    Mar. 20, 2013

    Angelo Collen Hayter (British, exh. R.A. 1848-1852) The Vicarage, Greenstead Green, Halstead, Essex, c.1884

    Est: £50 - £100

    Angelo Collen Hayter (British, exh. R.A. 1848-1852) The Vicarage, Greenstead Green, Halstead, Essex, c.1884 watercolour, inscribed verso 12 x 18in. (30.5 x 45.75cm.)

    Martel Maides
  • Angelo Collen Hayter (fl. 1848-1852)
    May. 24, 2002

    Angelo Collen Hayter (fl. 1848-1852)

    Est: $14,600 - $21,900

    The Portico of the National Gallery signed and dated 'AC Hayter/1850' (lower right) oil on canvas 27 x 193/4 in. (50.2 x 68.6 cm). EXHIBITION London, British Institution, 1850, no. 192. NOTES The National Gallery was founded in 1824 with the government purchase of thirty-eight pictures that King George IV and the connoisseur Sir George Beaumont had recommended. Among these were works by Raphael, Rembrandt and Van Dyck from the collection of the late Russian-born merchant and philanthropist John Julius Angerstein. The government bought the collection for œ57,000 and added a further sixteen pictures to it (including works by Rembrandt, Claude, Rubens, Wilkie and Richard Wilson), donated by Sir George Beaumont. The building, seen in the present work, was constructed on the north side of Trafalgar Square in 1832-8 to the design of William Wilkins. Originally, the building was extremely narrow and it has subsequently been enlarged to the west and the north sides. St Martin-in-the-Fields can be seen in the background. The first consecrated building on this site was a small chapel built sometime between the Domesday Book and Henry II's reign, possibly for the monks of Westminster Abbey who came to work in their convent garden. The building seen here was the work of James Gibb in 1722-6 who remodelled the earlier Tudor church. The design was a larger version of that for St. Peter Vere Street, a rectangular church with a portico straddled by a high steeple. The interior was altered by Sir Arthur Blomfield in 1887. Little is known of Hayter, who exhibited five works at the Royal Academy, and four at the British Institution between 1848 and 1852. It is possible that his promising career was cut short prematurely. The painting was topical, for in May 1850 a Commission - comprising Charles Eastlake, Michael Faraday and William Russell - appointed to inquire into the state of the pictures in the National Gallery concluded in favour of glazing them. It believed that environmental damage was caused not so much by the smoky atmosphere as by the large masses of people (on average over 3,000 a day) who frequented the Gallery not only to see the pictures but to take shelter, refreshment or in the case of children to play there: ""On the days on which the guard, after being changed, returns to St. George's Barracks, the numerous crowds of persons without apparent calling or occupation who on such occasions follow the military band, are stated to come in large numbers immediately after it has ceased playing and fill the rooms of the National Gallery"." Theg reat advantage of the Gallery's central position in making the pictures accessible was thus perceived to have its disadvantages, as is suggested by Hayter's' picture. In June 1850 a Select Committee was appointed to consider the best accommodation for the National Gallery and the best means of preserving and exhibiting the works of art. Drawing together the recommendations of previous Committees (1835-6, 1841, 1847-8) and the Commission on the state of the pictures, the Report of July 1850 concluded that the Royal Academy should move out of one half of the Gallery to afford more space for the accommodation and exhibition of the pictures belonging to the nation. But in view of the conflicting evidence, it refrained from making any recommendations regarding adding to the site or removing the Gallery to another location. However, it did recommend that the rule adopted by the British Museum, with regard to the exclusion of very young children, might with advantage be introduced among the regulations of the National Gallery. We are grateful to Dr. Celina Fox for her help in the preparation of this catalogue entry.

    Christie's
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