Commissioned in 1849 as part of a series of three panels to hang in the Refreshment Room in the House of Lords, London, Sir Edwin Henry Landseer’s “The Monarch of the Glen” is as beautiful and majestic as paintings come — and it’s currently on view at Christie’s, New York.

It is one of the most celebrated British paintings of the 19th century, and any opportunity to view — let alone own — Sir Edwin Henry Landseer’s iconic “The Monarch of the Glen” is one collectors and connoisseurs are sure to note.

Sir Edwin Henry Landseer, “The Monarch of the Glen,” 1849, oil on canvas, 65 1/2 x 67 1/4 in. (c) Christie’s 2016
Sir Edwin Henry Landseer, “The Monarch of the Glen,” 1849, oil on canvas, 65 1/2 x 67 1/4 in. (c) Christie’s 2016

It is available via Christie’s, New York, and the auction house writes that the work is “a testament to Landseer’s powers as a great Romantic artist. The artist’s most famous work, it has become an iconic image of the Scottish Highlands: an animal of sublime power and beauty is posed before a misty mountain landscape, monarch of all he surveys. Attention is focused on the body, head and antlers of the stag, which is brought up close to the picture plane. It is a portrait of a specific animal realized with all Landseer’s deep knowledge of anatomy and his tactile feeling for the textures of muscle, bone and fur. No-one could match such verisimilitude, or charge a deer with such energy and vitality.”

To learn more, visit Christie’s.

This article was featured in Fine Art Today, a weekly e-newsletter from Fine Art Connoisseur magazine. To start receiving Fine Art Today for free, click here.

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Andrew Webster is the former Editor of Fine Art Today and worked as an editorial and creative marketing assistant for Streamline Publishing. Andrew graduated from The University of North Carolina at Asheville with a B.A. in Art History and Ceramics. He then moved on to the University of Oregon, where he completed an M.A. in Art History. Studying under scholar Kathleen Nicholson, he completed a thesis project that investigated the peculiar practice of embedded self-portraiture within Christian imagery during the 15th and early 16th centuries in Italy.


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