Around two-thirds of the way through the 1962 James Bond film Dr. No, the eponymous villain gives 007 a tour of his hideout. During the tour, Bond does an obvious double-take at one of Dr. No’s paintings:
For those of us born well after the film’s release, the double-take is confusing. Why is Bond interested in this painting? Why does he have such a startled reaction to it?
The scene was an inside joke for people of the era, especially British viewers. And that’s because it references one of the strangest art heists in history.
The man in the painting is Arthur Wellesley. Born on April 29, 1769 to an aristocratic English family in Ireland, Wellesley attended several top-notch schools. But the death of his father and the subsequent exhaustion of his estate required Wellesley to seek work. So, on March 7, 1787 he was accepted into the British Army as an ensign in the 73rd Regiment of Foot. After namedropping and schmoozing the right people, Wellesley was promoted to lieutenant. He was then sent to India and promoted to major general after victories at Srirangapatna and Mysore, and in the Second Anglo-Maratha War. Thereafter, he returned to England, where his services were soon needed against France in the Peninsular War, which culminated in his famous victory over Napoleon at Waterloo. Wellesley became a national hero, and a grateful George III named him “Duke of Wellington”, which is how you probably know him.
The likeness was created by famed Spanish painter Francisco Goya. Unlike many artists, Goya was popular and well-regarded in his own day. He is known for being both the last of the “Old Masters” and the first “modern” painter, in much the same way that Beethoven is considered the last great composer of the “Classical period” but also the first of the “Romantic period”.