Private collection
The Oath of Brutus
- 82 ⅞ × 107 ¼ inches · 2105 × 2725 mm
- Painted c.1766
Engraved by Domenico Cunego, published in Rome, 1768
Collections
- The Theatre Royal, Drury Lane, by c.1920;
- Christie’s, 25 May 2023, lot.165;
- Lowell Libson & Jonny Yarker Ltd.
Exhibitions
- London, Kenwood House, British Artists in Rome, 1700-1800, 1974, cat no.72
Literature
- Robert Rosenblum, 'Gavin Hamilton's Brutus and its Aftermath', Burlington Magazine, CIII, 1961, pp. 8-16;
- David Irwin, 'Gavin Hamilton: Archaeologist, Painter and Dealer' The Art Bulletin, 44, No. 2, June 1962, p. 96, fig. 14;
- David Irwin, English Neo-Classical Art, London, 1966, p. 11, no. 16, illustrated;
- Robert Rosenblum, Transformations in Late Eighteenth Century Art, Princeton, 1967, pp. 69, 162, fig. 70;
- Hugh Honour, Neo-classicism, London, 1968, p. 147, fig. 77;
- Robert Rosenblum, 'A Source for David's Horatii', Burlington Magazine, CXII, 1970, pp. 269-273;
- Julia Lloyd-Williams, Gavin Hamilton 1723-1798, Edinburgh, 1994, pp. 11-12;
- Duncan Macmillan, ‘Women as hero: Gavin Hamilton’s radical alternative’, in eds Gill Perry and Michael Rossington, Femininity and Masculinity in eighteenth-century art and culture, Manchester, 1994, p.78;
- Eds. Edgar Peters Bowron and Joseph Rishel, Art in Rome in the Eighteenth Century, exh. cat. Philadelphia (Philadelphia Museum of Art), 2000, pp. 381-2;
- Antonello Cesareo, ‘Gavin Hamilton (1723-1798): A gentlemen of probity, knowledge and real taste’, Saggi e Memorie di storia dell’arte, vol.26, 2002, pp.216-218, fig.11;
- Eds. Deidre Dawson and Pierre Morère, Scotland and France in the Enlightenment, Lewisburg and London, 2004, pp. 129, 131;
- Brendan Cassidy, The Life and Letters of Gavin Hamilton, London, 2011, vol.I, p.86