JOHN HAYTER (BRITISH 1800-1891)INTERIOR OF A PAINTER'S STUDY - EDWIN LANDSEER (1802-1873) AT HIS EASELOil on canvas76.5 x 63.5cm (30 x 25 in.)Provenance:Ernest J.C. Savory, Orsett Terrace, LondonSale, Christie's, London 19 May 1899, Lot 82 (as Wilkie School - An Artist's Studio)Leggatt BrothersPrivate Collection, USAExhibited:London, British Institution, 1830, No 81This highly engaging picture, coming to light after more than 100 years of obscurity, shows Sir Edwin Landseer, perhaps England's greatest ever animal painter, at still only some 20 years of age, in the process of creating one of his early masterpieces, The Larder Invaded (1822). The artist is seated at his easel, where that picture is positioned. In the foreground another young man - most probably John Hayter the painter himself - is urging a dog on to enrage a cat, whom we see perched up on the right-hand margin of the picture. Landseer turns to sketch this cat with its arched back and outraged expression.Landseer's paintings, hugely popular in his lifetime are still recognized today, but his own image is less well-known. Those images which are in the public sphere tend to show him in his pomp as a middle or late-middle aged man. Francis Grant's portrait of him in the National Portrait Gallery - and its variants - or Landseer's own self-portrait working while observed by two dogs in the Royal Collections are perhaps the best known. But images of Landseer as a young man are not at all common and a full exhibition picture of him in his early days - and at his easel painting - is a considerable rarity. That the artist at the easel is Landseer is easily demonstrated. Not only does it look like him, as early pencil sketches of him by both John and George Hayter show, but of course the work on the easel in this picture is clearly his Larder Invaded.The Larder Invaded, shown at the British Institution in 1822, was in fact the picture that propelled the young Landseer to fame. His ability to draw - animals in particular - was well known to those around him. But when this picture went on public view it was hugely admired and eventually won the artist a prize in the considerable sum of £150 from the Institution. That his close friend John Hayter should have chosen to put The Larder Invaded on his friend Landseer's easel for his own picture here and then shown it at the British Institution himself is also telling. Landseer had not only had a major success with The Larder Invaded at the BI, but also two years later with the Cat's Paw (1824) at the same venue. To cap it all, in 1830, Landseer had just been given the status of a full Royal Academician at the still young age of 28. So to exhibit in 1830 a picture of his friend engaged in creating one of the great BI pictures, referencing (with the cat) another BI success and showing it in the year of his election as full RA, was probably quite a canny marketing strategy by Hayter. Landseer as a subject would have been a highly saleable proposition at that moment. John Hayter and Edwin Landseer were friends from an early age. Both families were close and Hayter's first picture at the RA was indeed titled: The Cricketer, a portrait of Master E Landseer. Hayter was just 15 years old at this point and Landseer 13. But there is no more eloquent a witness to this friendship than John Hayter's memorable 1823 group A Controversy on Colour, now held at the Shipley Art Gallery in Gateshead, in which John paints himself standing behind three seated figures; his father, the miniaturist Charles Hayter, his brother, the painter George Hayter but also the young, blond-haired Edwin Landseer. Landseer we can see was effectively 'family'. Further sketches of Edwin Landseer's recognizable, tousled-hair countenance came from Hayter's pencil in the 1820s. It can also be noted that John Hayter's depiction of his own features in the Gateshead group are very similar indeed to those of the second figure in our present painting. But while friendly interaction between the two painters is clear, what enables us to give this present picture definitively to John Hayter is its inclusion in the 1830 exhibition of the British Institution. Listed under Hayter's name in that year is a picture called Interior of a Painter's Study. It does not refer to Landseer as the subject by name; but this is convention. Portraiture as such was not welcome at the Institution, so artists tended to get round that obstacle by titling their pictures as generally as they could without mentioning the names of any sitters. The Institution also usefully gave (framed) sizes in their catalogues. The size given for this exhibit is in exactly the right proportions for our 30 x 25 inch painting. If we add a 4 ½ inch frame to that, the overall size is identical. But perhaps the most telling piece of evidence is the review of the 1830 show in the Morning Post which picked up this Hayter exhibit. It is inexact and quirky - as so many reviews of that date were - but its references are far too co-incidental for it to be referring to any other picture. It is worth quoting in full: 81. Interior of a Painter's Study. J.Hayter.The artist has for the moment turned from his easel, and is apparently lost in some mental abstraction of his art. He is in that state of mind which is technically described as a brown study, quite insensible to the living objects about him. A favourite greyhound on the point of making a spring upon his master, is very pleasingly introduced to contrast with and heighten the repose which pervades all the other parts of design. The figure of the artist is, we believe, a portrait of Mr Hayter, so that we have the genius and the person of the painter depicted in this specimen of his works. In point of colouring, chiaro-scuro, and composition, this performance is highly creditable to the fame of its author.Now we can note the discrepancies. The dog is not a greyhound. It is not in the act of leaping on its master, but on a cat etc. But we must be forgiving here. An 1830 reviewer would have the problems of poorly lit pictures, and of pictures often hung too high to see in detail. Similarly, in the absence of any kind of illustration, reviewers had to rely on their own notes and memories when they went back to write up their copy. If we add to that the fact that many of them might be doing this after a good lunch to boot, then all art-historians have had to allow for these writers' inexactitudes in what were after all not much more than social columns. Despite the above, the Morning Post reviewer has noted the artist turned from his easel - our artist is. He has noted that there were other living objects about him - there are. He has pointed out a dog on the point of making a spring - there is one. Taken together these references (especially the dog) are simply too specific to be referring to any other interior picture. When we add to that the fact that in all the exhibited titles in the Royal Academy and in the British Institution between 1822 and 1830 this is the only one with an appropriate title, we must conclude that our picture is indeed one and the same as John Hayter's 1830 exhibit.
JOHN HAYTER (BRITISH, 1800-c.1891) JOHN HAYTER (BRITISH, 1800-c.1891) Pinch of snuff inscribed 'about 1889, Pinch of Snuff...CH' (lower edge) brown ink 19.5 x 15 cm. (7 3/4 x 5 7/8 in.) (unframed)
Attributed to John Hayter, RA, British 1800-1891/95- Portrait sketches, two depicting a mother, seated, full-length, with children, and one depicting a child leaning on a chair, with a cat below; pencil, pen, and brown ink on paper, one bears label for 'Christopher Powney, London' which bears inscription 'John Hayter' attached to the reverse of the frame, another inscribed 'John Hayter from Abbott + Holder' to the reverse of the frame, 22.7 x 19 cm. and smaller, three (3). Provenance: (one) with Christopher Powley, London, according to the label attached to the reverse of the frame. (all) Private Collection, UK.
John Hayter (1800-1891, UK) framed and matted Lady Emma Bennet (1807-1876) playing the harp, black crayon, signed with monogram, inscribed and dated 1824. 11.5" x 8" ss / 23.5" x 17.5" oa
After John Hayter (1800 - 1895 ): Diana Vernon from the novel Rob Roy, c. 1850, Steel engraving Technique: Steel engraving on Paper Date: c. 1850 Description: Portrait of the novel character by Walter Scott, Diana Vernon with feathered hat. Source: Walter Scott, Sir, (1771 Edinburgh-1832 Abbotsford) Rob Roy | Novel, Genre Keywords: Portrait, Rob Roy, 19th century, Biedermeier, People, United Kingdom,
Hayter, John (British, 1800-1891), Half Length Portrait of the Duke of Wellington, oil on panel on a C. E. Clifford artist board 30 Piccadilly London, apparently unsigned. Panel 12.75 x 10.5 inches, in cove style gilded wood frame measuring 17 x 15 inches. Provenance: Heirloom and Howard Limited, London.
J. Comson (19/20th C.) Antique Engraving on Paper "The Peris of the North" After John Hayter, British (1800 - 1891). Sight measures 11-1/2" x 8-5/8". Frame measures14-1/8" x 10-1/8". Condition: Heavy toning, spotting lower left otherwise good condition. Estimate: $50.00 - $100.00 Domestic Shipping: $85.00
Anonymous (19th century) after John Hayter (1800 - 1895 ), Lucy Bertram, novel by Walter Scott, c. 1880, Steel engraving Technique: Steel engraving on Paper Date: c. 1880 Description: Portrait of Lucy Bertram. Source: Walter Scott (1771 Edinburgh-1832 Abbotsford) The Astrologer | Roman, Genre Keywords: Portrait, Young Woman, 19th century, Biedermeier, Portraits, United Kingdom, Size: 29,0 cm x 20,0 cm, Plate: 18,0 cm x 15,5 cm Condition: Good Condition. slight foxing, crease top right
Anonymous (19th century) after John Hayter (1800 - 1895 ), Diana Vernon from the novel Rob Roy, c. 1850, Steel engraving Technique: Steel engraving on Paper Date: c. 1850 Description: Portrait of the novel character by Walter Scott, Diana Vernon with feathered hat. Source: Walter Scott (1771 Edinburgh-1832 Abbotsford) Rob Roy | Roman, Genre Keywords: Portrait, Rob Roy, 19th century, Biedermeier, People, United Kingdom, Size: 29,0 cm x 20,0 cm, Plate: 18,5 cm x 16,0 cm Condition: Good Condition. small crease lower right, spot on verso
John Hayter RA, British 1800-1895- Sketch of Lady Drumlanrig; pencil, inscribed, bears further inscription to the reverse, 19x14.5cm Provenance: with Abbott & Holder Lt., London, according to the label attached to the reverse of the frame Please refer to department for condition report
John Hayter Composition with a group of thirty-seven officers in a landscape John Hayter, Composition with a group of thirty-seven officers in a landscape, inscribed, signed and dated, May 24 1870, grey wash and blue chalk, heightened with white, 30cm x 35cm. Footnote: Provenance with Covent Garden Gallery Limited.
John Hayter Composition with a group of thirty-seven officers in a landscape John Hayter, Composition with a group of thirty-seven officers in a landscape, inscribed, signed and dated, May 24 1870, grey wash and blue chalk, heightened with white, 30cm x 35cm. Footnote: Provenance with Covent Garden Gallery Limited.
John Hayter, Composition with a group of thirty-seven officers in a landscape, inscribed, signed and dated, May 24 1870, grey wash and blue chalk, heightened with white, 30cm x 35cm. Footnote: Provenance with Covent Garden Gallery Limited.
John Hayter (1800-c.1891) British. A Study of Two Children with a Flag, Pencil and Chalk, Signed, Indistinctly Inscribed and Dated 'March 1832', 14" x 10.5".
John Hayter (1800-c.1891) British. A Study of Two Children with a Flag, Pencil and Chalk, Signed, Indistinctly Inscribed and Dated 'March 1832', 14" x 10.5".
JOHN HAYTER (1800-1891). "Portrait of a young gentleman wearing a black coat, white shirt and black knotted cravat, his arm leaning on a ledge where he has placed his top hat and gloves, seascape background". black chalk heightened with blue and white chalk on buff coloured paper, signed and dated 1839 lower right. 45 X 30 cm. framed.
CIRCLE OF JOHN HAYTER (1800-1891), BRITISHPORTRAIT OF WILLIAM ALEXANDER MACKINNON SEATED THREE-QUARTER LENGTH (BRITISH POLITICIAN, BORN 1789-DIED 1878)Oil on canvas; titled to the nameplate55" x 43" — 139.7 x 109.2 cm.Provenance:Private Collection, from a residence in Hamilton, Ontario; From whom acquired by the present Private Collection when they purchased the house in circa 2000Note:British artist John Hayter executed a portrait of William Alexander Mackinnon, MP of Britain, standing that was later engraved. Mackinnon wrote three books, "Thoughts on the Currency Question", “Public Opinion" and "The History of Civilization". The last two titles the sitter wrote are depicted in the painting. He holds a letter addressed to him.Estimate: $1,000—2,000
Waiting for his return signed and dated 'John Hayter 18?' (lower right) and indistinctly inscribed (on the reverse) oil on canvas 111.8 x 88.9cm (44 x 35in).
JOHN HAYTER (1800-1895) A shoulder length portrait sketch of Lady Walpole, pencil on paper, signed lower right and dated 1850, London, an old label fragment to the reverse, 22.5 x 17.5cm John Hayter was the second son of miniaturist Charles Hayter (1761-1835)
John Hayter (1800 - 1891), Coloured chalks and pastel, Portrait of Mrs Nicholas Fitzgerald with her daughter (title verso), Signed and dated August 14th 1834 lower right together with the artist's address (13 Foley Place, London), 23" x 17"
John Hayter (British, 1800-1891) The Young Queen Victoria chalk with wash h:45 w: 30 cm Provenance: From the collection of Lord Luke. Other Notes: John Hayter's brother George Hayter was commissioned to paint numerous portraits of Queen Victoria so John Hayter may have had access to her personally in this way or may have drawn inspiration from his brother's sketches for his commissioned portraits.
The return after years of absence; along with four drawings by various artists (a group of five) first signed and dated 'John Hayter 1861' (lower right) and titled (lower center); the other four unsigned first, charcoal and watercolor heightened with white; three pencil studies and one brown wash on paper Hayter: sight 11 1/4 x 9in; Two figures: sight, 10 1/2 x 5in; Tree and figure: sight, 13 x 8 1/4in; Trees: sight, 10 x 7in; Bridge: sight, 10 1/2 x 8 1/4in
John Hayter (British, 1800-1891) The return after years of absence; along with four drawings by various artists (a group of five) Hayter: sight 11 1/4 x 9in; Two figures: sight, 10 1/2 x 5in; Tree and figure: sight, 13 x 8 1/4in; Trees: sight, 10 x 7in; Bridge: sight, 10 1/2 x 8 1/4in
JOHN HAYTER, SIGNED AND DATED 1844/5, PAIR OF CHARCOAL AND PASTEL DRAWINGS, Half-Length Portraits of Captain J Henry Petie; and Mrs Petie, both bearing inscriptions verso, 17 ½" x 12" (2)
John Hayter (1800-1891), Portrait of a lady, pencil and red chalk, bears a signature and date 1829, 29cm x 23cm.; together with a pencil female head study by another hand.(2)
John Hayter (1800-1891) Portrait of Lady Georgiana Francis Spencer (1832-1852) and the Hon. John Poyntz Spencer (1835-1910), full-length, in a wooded river landscape signed, inscribed and dated 'John Hayter/May 1838/London' (lower right) and inscribed 'Georgiana Francis Spencer/and John Poyntz/children of Captain the Hon. ... Spencer/and/... Georgiana his wife/1838' (on the backboard) coloured chalks, on buff paper 24¼ x 18¼ in. (59 x 46.5 cm.)
John Hayter (1800-1891) Portrait of Lady Georgiana Francis Spencer (1832-1852) and the Hon. John Poyntz Spencer (1835-1910), full-length, in a wooded river landscape signed, inscribed and dated 'John Hayter/May 1838/London' (lower right) and inscribed 'Georgiana Francis Spencer/and John Poyntz/children of Captain the Hon. ... Spencer/and/... Georgiana his wife/1838' (on the backboard) coloured chalks, on buff paper 24¼ x 18¼ in. (59 x 46.5 cm.)
JOHN HAYTER (1800-1891) A portrait of a lady wearing a white lace cap, signed and dated Dec 1850 lower right, pastel, 18" x 16", and another portrait of a lady by the same hand, signed and dated April 1860 to lower left, pastels, 20" x 16" (2)
