Details
BARTHOLOMEW DANDRIDGE (LONDRES 1691-1754)
Portrait de trois-quarts d'un architecte, probablement William Kent (1685-1748), en manteau vert et turban rouge
signé 'B Dandridge' (en bas, à droite)
huile sur toile
124,5 x 94 cm (49 x 37 in.)
Provenance
Probablement collection John Tylney, 2e comte Tylney (1712-1784), Wanstead House, Essex, Grande-Bretagne, 1771 ; puis par descendance dans la famille.
Vente du contenu de Wanstead House, in situ, Essex, (Me Robins), 10 juin 1822, lot 365.
Shepherd Brothers, Londres, Grande-Bretagne, 1909.
Lenygon & Co., Londres, Grande-Bretagne, 1910.
Collection du Commandant Paul-Louis Weiller (1893-1993), Paris, France.
Confisqué par l'Allemagne pendant l'Occupation nazie, 1941.
Entreposé au Kunsthalle Karlsruhe (inv. 366), Karlsruhe, Allemagne.
Transféré au Upper Rhine Museum, Strasbourg, France, 23 novembre 1945.
Restitué au Commandant Paul-Louis Weiller (1893-1993), Paris, France, 1946.
Literature
Probablement D. Lysons, The Environs of London, Londres, 1796, IV, p. 235.
Probablement E. J. Climenson, Passages from the Diaries of Mrs Philip Lybbe Powys, Londres, 1899, p. 205.
J. Kerslake, Early Georgian Portraits, Londres, 1977, I, p. 161, sous le n°1557.
J. Kerslake, Early Georgian Portraits, Londres, 1977, II, n°444 (comme 'Perhaps William Kent; (...) comparison with authentic likenesses is plausible and the identification of NPG 1557 as Kent is now provisionally accepted').
Exhibited
Karlsruhe, Badische Kunsthalle, 1942, n°366.
Special notice
This item will be transferred to an offsite warehouse after the sale. Please refer to department for information about storage charges and collection
details.
Further details
BARTHOLOMEW DANDRIDGE, THREE-QUARTER LENGTH PORTRAIT OF AN ARCHITECT, PROBABLY WILLIAM KENT (1685-1748), WEARING A GREEN COAT AND A RED TURBAN, OIL ON CANVAS, SIGNED
The subject of this painting is probably the architect, painter and furniture designer William Kent (1685-1748). Particularly sought after by England’s most important families, he is behind the designs of Holkham Hall, Stowe House and Badminton House, and it is his drawing for the Villa of Chiswick House which introduces the Palladian style to the British public. The large size of the book that our model is holding allows us to postulate that it may be a copy of Leoni’s (1686-1746) Palladio, published in four volumes between 1715 and 1720. In the background on the right we can see a pyramid which, according to John Harris (circa 1666-1719), is a simplified version of the monument to the playwright William Congreve (1670-1729) which is at Stowe house (Kerslake, op. cit, p. 161, note 3). This monument, built in 1736, helps us to date our portrait, specifically placing it within the architect’s last decade of his life.
Another smaller version of our painting is currently in the collection of the National Portrait Gallery in London (inv. NPG 1557).
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