A Royal George III giltwood frame, Circa 1765

This triumphal frame was conceived to display one of the autograph versions of Pompeo Batoni's 1764 portrait of Edward Augustus, Duke of York (1739-67). Whilst the inspiration of the design can be associated with examples of frames published by Thomas Chippendale in his The Gentleman & Cabinet-Maker's Director, Third Edition, 1762, pl. CLXXXVI and CLXXXVII, the carving and bold design can also be compared to the work of the carver and gilder Paul Pettit a favourite of George II whose frames remain in the Royal Collection, Warwick Castle and Trinity College Dublin, though by the time this painting was completed Pettit was no longer alive.

Edward August, Duke of York, was the first member of the English royal family to travel to Italy as a Grand Tourist. While in Rome between 15 and 28 April 1764, the Duke sat for Pompeo Batoni, Italy’s finest portrait painter, who enjoyed the patronage of Rome’s most distinguished foreign visitors. The portrait for which this frame was designed is one of several signed versions, each of magnificent quality, including three in the Royal Collection and another formerly in the collection of The Princes of Hannover at Schloss Marienburg, most recently sold, Sotheby’s New York, 28^th January 2016, lot 325. The number of autograph versions is testament to the portrait’s contemporary popularity and many of the autograph replicas were commissioned by the sitter himself to be sent to friends. The Englishman James Martin (1738-1810), who kept a diary during the course of his own Grand Tour, visited Batoni’s studio on various occasions. In an entry to dated 20 July 1764 he mentions "Went to Pompeia Batoni’s saw there several portraits. He has made a copy from that of the Duke of Yorke & rec’d orders for One or Two more.” The painting now at Windsor Castle, for example, was given by the Duke to James Duff, 2nd Earl of Fife and the version originally in this fame was given directly to Richard, Earl Howe and sold Sotheby's London, 12 June 2003, lot 12. The canvas generally considered to be the prime, now at Buckingham Palace, was given to Sir Horace Mann, who later presented it to the Duke’s brother, King George III.

Whether the frame was acquired by Earl Howe or was gifted by the Duke of York remains unknown. The symbolism of the frame certainly fits with the portrayal of the Prince in the undress uniform of a flag office whilst also supporting the sash of the Order of the Garter. The nautical theme is also a common passion shared between the Prince and Howe. The Young Duke of York showed great interest from an early age in naval affairs. On jointing the Royal Navy as a young Midshipman the Prince, by order of his father the King, boarded His Majesties ship Essex in the expedition to Cherbourg on the 25th July 1758 commanded by Captain, later Lord Viscount Richard Howe. This was the first time both men had met and from this point forward a strong bond was formed.