SIR GEORGE HAYTER (BRITISH 1792-1871) AND STUDIOPORTRAIT OF H. M. QUEEN VICTORIA, FULL LENGTH, IN CORONATION ROBESOil on canvasSigned and dated 'painted by Sir George Hayter 1838, finished 184*' (lower centre)127 x 95cm (50 x 37¼ in.)Provenance:The Forbes Collection, Old Battersea House, LondonTheir sale, Lyon & Turnbull, Edinburgh, 1 November 2011, Lot 147.George Hayter was the son of the portrait miniaturist Charles Hayter (1761-1835), who also studied and taught perspective and was appointed Professor of Perspective and Drawing to Princess Charlotte. Initially tutored by his father, George went on to the Royal Academy Schools where he studied under the famous Swiss painter Henry Fuseli. Hayter's work was highly favoured by Queen Victoria, before his appointment as her 'Painter of History and Portrait' in 1837, he had impressed the young Princess with his skill as a portraitist and helped her with her first attempts at oil painting. On the death of David Wilkie in 1841 she also appointed him as her Principal Painter in Ordinary, followed by a knighthood in 1842. This portrait, painted in 1838 on the occasion of Queen Victoria's Coronation, is another version of The State Portrait of Queen Victoria that is still displayed to the public at Buckingham Palace. It shows the 19 year old Queen seated in her Homage Chair in red and gold Coronation robes and the Imperial State Crown, carrying the Sceptre with the Cross. Hayter's first background for the painting showed the Queen in Westminster Abbey where she was crowned on the 28th of June of that year, but he was to alter this later, placing her in a more generic regal setting. Several versions of this portrait were done, with the assistance of the artist's son Angelo, to be sent as diplomatic gifts. Another full-scale version of the State Portrait is part of the collection of the National Portrait Gallery and a smaller copy resides in the dining room of Holyrood House.品相报告: Canvas has been relined and the relining is clearly visible around the edges. Paint layer appears stable. Deep craquelure scattered across the painting and mainly visible in the darker paints. UV light reveals scattered areas of retouching of the craquelure, as well as a restored tear above her left elbow (approx. 7 cm), a restored horizontal tear to the right of the crown (approx.. 4 cm) and another one of approx. 3 cm upper right in the curtain.