{"product_id":"oil-painting-battle-glorious-first-of-june-1794-lord-howe-on-ship-hms-queen-charlotte","title":"Oil Painting Battle Glorious First of June 1794 Lord Howe On Ship HMS Queen Charlotte","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eAntique British Naval Battle Oil Painting Lord Howe HMS Queen Charlotte 1794 After Mather Brown c.1850\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn historically significant Victorian British School marine painting depicting Admiral Richard Howe aboard HMS Queen Charlotte during the celebrated Battle of the Glorious First of June, 1794. Executed in oil on metal panel, circa 1850, the composition follows Mather Brown's monumental historical painting preserved in the National Maritime Museum, Greenwich.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe reverse retains a rare surviving fragment of an early artists' supplier label, provisionally identified as Winsor \u0026amp; Newton, while the documented provenance traces the painting to a private collection in Conwy, North Wales.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eHighlights\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eAntique British School naval history painting, circa 1850\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eAfter Mather Brown (1761–1831)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eOriginal oil on metal panel\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eAdmiral Richard Howe aboard HMS Queen Charlotte\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eBattle of the Glorious First of June, 1794\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eDramatic depiction of the mortally wounded Lieutenant Nevile\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eOriginal composition: National Maritime Museum, BHC2740\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eRelated to Daniel Orme's published engraving of 1795\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eHistoric Winsor \u0026amp; Newton artists' supplier label, provisionally identified\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eBritish Royal Arms visible on the damaged label\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003ePrivate collection, Conwy, North Wales\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eRogers Jones \u0026amp; Co., 21 January 2025, Lot 79\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eDecorative gilt frame\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eFramed dimensions: 66.5 × 56.5 × 4.5 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eCertificate of Sale \u0026amp; Dealer Attribution included\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eIntroduction\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn evocative nineteenth-century British naval painting commemorating one of the Royal Navy's most celebrated victories during the French Revolutionary Wars.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe composition depicts Admiral Richard Howe, 1st Earl Howe, on the quarterdeck of his flagship HMS Queen Charlotte on 1 June 1794.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSurrounded by naval officers, soldiers and the casualties of battle, Howe appears amid a scene combining military ceremony, human suffering and the continuing engagement between the British and French fleets.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe present painting is after the celebrated American-born artist Mather Brown, whose original composition was completed around 1794.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts subject, historical associations and unusual metal support make it an appealing work for collectors of British maritime painting, Georgian naval history and nineteenth-century historical art.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCatalogue Details\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eArtist:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e British School, after Mather Brown (1761–1831)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTitle:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Lord Howe on the Deck of HMS Queen Charlotte, 1 June 1794\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOrigin:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Britain\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDate:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Circa 1850\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eMedium:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Oil on metal panel\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eSignature:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Unsigned\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eSubject:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e British naval history, Admiral Lord Howe, HMS Queen Charlotte and the Glorious First of June\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePainting Dimensions:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Approximately 39.5 cm W × 29 cm H, as previously catalogued\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eFramed Dimensions:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 66.5 cm W × 56.5 cm H × 4.5 cm D\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eFrame:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Decorative gilt frame\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eHistorical Label:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Fragmentary nineteenth-century artists' supplier label, provisionally identified as Winsor \u0026amp; Newton\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCatalogue Note\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe composition presents an elaborate historical scene aboard the quarterdeck of HMS Queen Charlotte.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAdmiral Howe stands towards the left of the principal gathering, dressed in formal naval uniform and wearing a cocked hat.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNearby stands Sir Roger Curtis, Captain of the Fleet, positioned beside a cannon.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe central drama concerns Lieutenant Nevile of the Queen's Regiment, who was mortally wounded during the engagement.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLieutenant Walter Lock supports the injured officer while other military personnel attend him.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAmong the identifiable figures in Brown's original composition are Captain Tudor, Major Isaac, Sir Andrew Snape Douglas and Graham Eden Hamond.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDouglas, the flag captain of HMS Queen Charlotte, is depicted with a head wound.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBeyond the assembled officers, warships engage amid smoke and cannon fire.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe arrangement places the human consequences of battle at the centre of a composition otherwise commemorating a major British naval victory.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe present nineteenth-century version follows Brown's historical conception, although the precise source used by its unidentified artist has not been established.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe Artist – After Mather Brown (1761–1831)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMather Brown was born in Boston, Massachusetts, in 1761 and subsequently established an artistic career in Britain.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe travelled to London in 1781, studied under the influence of Benjamin West and entered the Royal Academy Schools in 1782.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBrown became known for portraiture and ambitious historical compositions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe exhibited extensively at the Royal Academy and developed connections with influential patrons, including members of the British royal household.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis appointment as Historical Painter to the Duke and Duchess of York was recorded in the inscription accompanying Daniel Orme's engraving after the Glorious First of June composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBrown undertook considerable preparatory research for the original painting, travelling to Portsmouth to examine HMS Queen Charlotte, study participating officers and investigate captured French vessels.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis work combined historical reconstruction with individual portraiture, reflecting the influence of Benjamin West's celebrated history paintings.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBrown died in London in 1831.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe present painting is catalogued as after Mather Brown, rather than as an autograph work by the artist.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eHistorical Context – The Glorious First of June, 1794\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Glorious First of June was fought in the Atlantic Ocean west of Ushant during the French Revolutionary Wars.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAdmiral Richard Howe commanded the British Channel Fleet against the French Atlantic Fleet under Rear-Admiral Louis-Thomas Villaret de Joyeuse.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe British sought to intercept an important French grain convoy sailing from North America.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAfter preliminary engagements in late May, the opposing fleets met in a major confrontation on 1 June 1794.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHowe directed his ships to break through the French battle line and engage at close quarters.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe British achieved a substantial tactical victory, capturing six French ships of the line and sinking another.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHowever, the French grain convoy successfully reached France, producing a strategically complex outcome.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe engagement nevertheless became a celebrated British naval victory, commemorated through paintings, engravings, medals and public festivities.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eHMS Queen Charlotte – Admiral Howe's Flagship\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLaunched in 1790, HMS Queen Charlotte was a 100-gun first-rate ship of the line.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eShe served as Admiral Howe's flagship during the Glorious First of June.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe vessel played a prominent role in the fighting, passing astern of the French flagship Montagne and delivering a powerful broadside.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHMS Queen Charlotte subsequently became closely associated with Howe's victory and the visual commemoration of the battle.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eLieutenant Nevile and the Queen's Royal Regiment\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe central wounded figure represents Lieutenant Nevile, also encountered in historical sources as Neville, of the Queen's Regiment.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDetachments of the Queen's (Second) Royal Regiment of Foot served aboard British warships during the French Revolutionary Wars.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAccording to historical accounts associated with Brown's painting, Nevile was mortally wounded when a cannonball struck his sword, driving part of the shattered weapon into his body.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis death became a significant element of the battle's commemoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe regiment subsequently received permission to display a Naval Crown inscribed with the date 1 JUNE 1794 upon its Colours.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis military association adds particular historical interest to the composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAdmiral Richard Howe, 1st Earl Howe (1726–1799)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRichard Howe was among Britain's most distinguished eighteenth-century naval commanders.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBorn in London in 1726, he entered the Royal Navy in 1739 and served through several major conflicts.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe distinguished himself during the Seven Years' War and subsequently commanded British naval forces during the American Revolutionary War.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn 1782, Howe successfully conducted the relief of Gibraltar.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe later served as First Lord of the Admiralty before returning to operational command during the French Revolutionary Wars.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis victory on 1 June 1794 established him as a celebrated national figure.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eKing George III visited HMS Queen Charlotte on 26 June 1794 and presented Howe with a ceremonial sword.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHowe became Admiral of the Fleet in 1796 and was appointed a Knight of the Garter in 1797.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe died in 1799.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe Original Mather Brown Painting – National Maritime Museum, Greenwich\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBrown's original painting is preserved in the National Maritime Museum, Greenwich, under accession BHC2740.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCompleted circa 1794, the monumental oil on canvas measures approximately 259 × 365.7 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe painting was exhibited in London by Daniel Orme in 1795, accompanied by a key identifying the principal figures.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRoyal Museums Greenwich records that the original canvas was subsequently reduced on all four sides.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is an important consideration when comparing later versions, because the contemporary engraving preserves compositional details no longer visible in the surviving canvas.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe present painting reproduces Brown's historical subject on a much smaller metal support.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDaniel Orme's Historic Engraving of 1795\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDaniel Orme reproduced Brown's composition as an elaborate published engraving issued on 1 October 1795.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe print was dedicated to the Lords Commissioners of the Admiralty and helped establish the composition's wider reputation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eExamples survive in the collections of Royal Museums Greenwich, including PAH7879 and PAI6371, and the Royal Collection Trust.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe engraving represents a possible source for later nineteenth-century painted copies.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhether the present artist worked from Orme's engraving, Brown's original painting or another intermediary image remains unresolved.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe Historic Winsor \u0026amp; Newton Artists' Supplier Label\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe reverse retains an important fragmentary printed trade label incorporating the British Royal Arms.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eComparative research suggests an identification with Winsor \u0026amp; Newton, the London artists' colourmen established in 1832.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe firm supplied artists' pigments, prepared panels and other painting materials.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHistorical labels associated with its royal appointments included references to Queen Victoria and Prince Albert.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe National Portrait Gallery documents comparable nineteenth-century artists' supplier labels.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe present label is substantially deteriorated and its original wording cannot be completely reconstructed from the surviving fragment.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts identification as Winsor \u0026amp; Newton remains provisional.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe reference to Prince Albert relates to the supplier's historical royal appointment and does not establish ownership of the painting by Prince Albert or the Royal Collection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDating\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe painting is catalogued as circa 1850.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts proposed dating is consistent with its nineteenth-century character and the historical use of commercially prepared painting panels.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe surviving supplier label may provide additional dating evidence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHowever, a prepared support could have been painted upon after manufacture, and supplier labels could remain in use over extended periods.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe precise execution date therefore remains an informed catalogue assessment.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eComparable Works\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eMather Brown (1761–1831)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLord Howe on the Deck of the Queen Charlotte, 1 June 1794.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCirca 1794, oil on canvas.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNational Maritime Museum, Greenwich, BHC2740.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDaniel Orme (1766–1832), after Mather Brown\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Celebrated Victory Obtained by the British Fleet under Earl Howe over the French Fleet on the Glorious First of June 1794.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePublished 1 October 1795.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRoyal Museums Greenwich, PAH7879 and PAI6371.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRoyal Collection Trust\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDaniel Orme's engraving after Mather Brown, with associated identification material, RCIN 735027.a and RCIN 735027.b.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese works provide historical and compositional comparisons, not proof of authorship or a direct provenance connection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eHistorical Auction Identification\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRogers Jones \u0026amp; Co., Colwyn Bay, offered the painting on 21 January 2025 as Lot 79.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe auction description identified the work as after Mather Brown, unsigned and executed in oil on metal panel.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe painting was recorded as originating from a private collection in Conwy, North Wales.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProvenance\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePrivate collection, Conwy, North Wales.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRogers Jones \u0026amp; Co., Colwyn Bay, Jewellery, Collectables \u0026amp; Fine Art, 21 January 2025, Lot 79.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAcquired at the above sale by Cheshire Antiques Consultant LTD®.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOriginal purchase invoice retained, reference 16171, auction reference NV210125.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEarlier ownership has not been established.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDimensions\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOverall Framed Dimensions\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHeight: 56.5 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWidth: 66.5 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDepth: 4.5 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePainting\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHeight: approximately 29 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWidth: approximately 39.5 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe painting dimensions are taken from the previous auction catalogue and remain subject to physical confirmation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eFraming and Presentation\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe painting is housed in a decorative gilt frame.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe traditional presentation complements the historical marine composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe frame's original date and whether it was fitted when the painting was executed have not been independently established.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA hanging thread is fitted to the reverse.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCondition Report\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eGood overall antique condition, with recorded historical cleaning and restoration and age-related frame wear.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe painting retains a clearly legible historical composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePrevious cleaning and some restoration are recorded in the existing description, although the precise nature and extent of these interventions have not been independently established.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe decorative gilt frame exhibits scuffs, chips and localised losses consistent with age and use.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe reverse bears a deteriorated printed artists' supplier label with significant paper and printing losses.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe label should remain undisturbed pending appropriate conservation advice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe precise metal composition of the panel has not been technically confirmed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNo independent conservation examination has been undertaken by the dealer.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProspective purchasers are encouraged to examine the accompanying photographs carefully.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eShipping\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWorldwide shipping is available.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOwing to the historic framed presentation of the artwork, it will be professionally packaged using appropriate protective materials and dispatched fully insured.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eInternational buyers are welcome. Please contact us for a destination-specific delivery quotation or to discuss any particular shipping requirements.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCertificate of Sale \u0026amp; Dealer Attribution\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe artwork will be supplied with a Certificate of Sale \u0026amp; Dealer Attribution issued by Cheshire Antiques Consultant LTD®, recording the artwork’s catalogue details, attribution, provenance as stated, exhibition history and details of the sale. This document accompanies the work as part of its ongoing ownership and provenance record.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAttribution and Research\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe historical observations, provenance research, attribution analysis, dating and contextual commentary presented within this catalogue entry represent the professional opinion of Cheshire Antiques Consultant LTD®. They are offered in good faith as informed scholarly assessments based upon the available physical evidence, historic inscriptions, comparative research, published reference material and our experience within the international fine art market.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese observations should be understood as professional opinions rather than definitive statements of fact or guarantees of authorship, attribution, date, origin, provenance or historical interpretation. As with all historic works of art, future documentary discoveries, technical examination, conservation analysis or advances in academic research may refine, expand or revise current interpretations.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCheshire Antiques Consultant LTD®\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSpecialising in carefully curated British and European fine art, antiques and historic works of art.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEvery artwork is professionally researched and catalogued using comparative scholarship, published reference material and more than two decades of experience within the international fine art market. We are committed to offering collectors works of artistic and historical merit accompanied by transparent provenance research, detailed catalogue descriptions and professional, client-focused service.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAdditional photographs and further information are available upon request.\u003c\/span\u003e\u003c\/p\u003e","brand":"Cheshire Antiques Consultant LTD","offers":[{"title":"Default Title","offer_id":54987483054458,"sku":"CAC-SK-0336","price":14000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0201\/2227\/1808\/files\/marine-oil-painting-battle-glorious-first-of-june-1794-on-queen-charlotte-after-mather-brown-287084.png?v=1737753515","url":"https:\/\/cheshireantiquesconsultantltd.com\/en-ie\/products\/oil-painting-battle-glorious-first-of-june-1794-lord-howe-on-ship-hms-queen-charlotte","provider":"Cheshire Antiques Consultant LTD","version":"1.0","type":"link"}