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Lot Essay
In 1782 Hamilton followed the migration of his well-heeled sitters to Rome, where he painted many British visitors and brought the full-length portrait in pastel to a new height. A number of these large-scale pastels have come to light in recent years, including Portrait of Jonas Langford Brooke, Christie's, London, 19 May 2000, lot 106 and of course his masterpiece of the Roman years, Henry Tresham and Canova looking at a study for Canova's Cupid and Psyche, see A. Crookshank and the Knight of Glin, 'Some Italian Pastels by Hugh Douglas Hamilton', Irish Arts Review, 1997, vol, 13, p. 67, fig 8.
Before his tour of Italy very few full-length portraits by the artist are known. The format was used much more frequently after his arrival in Rome.
The present pastel is prime example of Grand Tour portraiture. Hamilton has included Roman Antiquities in the background; sculptural fragments on the Palatine Hill, site of the Palace of Tiberius, which later came into the possession of the Farnese family, who laid out the gardens to the designs of Vignola, which had become overgrown by this date, thus explaining the woody setting. On the horizon, just visible is the Basilica Maxentius and probably the Torr de' Conti, close to the Roman Forum. Hamilton was undoubtedly influenced by the Grand Tour portraiture of Pompeo Batoni, which Hamilton would have become familiar with upon his arrival in Rome.
The present drawing appears to be identical to the oil painting in the collection of the National Gallery of Ireland (see N. Figgis and B. Rooney, Irish Paintings in the National Gallery of Ireland, Dublin, 2001, p. 168. no. 4596). Despite the existence of two versions of this portrait, the identification of the sitter has tantalisingly eluded us, though from his expensive dress and standing he was obviously a weathly and important man. His accessories include fine leather gloves, to protect his hands from the sun, a black bow attached to the back of his wig and a small ring seal hanging by a black ribbon from the underside of his waistcoat. In his right hand he holds a wide-brimmed hat.
Before his tour of Italy very few full-length portraits by the artist are known. The format was used much more frequently after his arrival in Rome.
The present pastel is prime example of Grand Tour portraiture. Hamilton has included Roman Antiquities in the background; sculptural fragments on the Palatine Hill, site of the Palace of Tiberius, which later came into the possession of the Farnese family, who laid out the gardens to the designs of Vignola, which had become overgrown by this date, thus explaining the woody setting. On the horizon, just visible is the Basilica Maxentius and probably the Torr de' Conti, close to the Roman Forum. Hamilton was undoubtedly influenced by the Grand Tour portraiture of Pompeo Batoni, which Hamilton would have become familiar with upon his arrival in Rome.
The present drawing appears to be identical to the oil painting in the collection of the National Gallery of Ireland (see N. Figgis and B. Rooney, Irish Paintings in the National Gallery of Ireland, Dublin, 2001, p. 168. no. 4596). Despite the existence of two versions of this portrait, the identification of the sitter has tantalisingly eluded us, though from his expensive dress and standing he was obviously a weathly and important man. His accessories include fine leather gloves, to protect his hands from the sun, a black bow attached to the back of his wig and a small ring seal hanging by a black ribbon from the underside of his waistcoat. In his right hand he holds a wide-brimmed hat.