Search Details

Creator Sir Joshua Reynolds RA, 1723–1792, British
Title Charles Stanhope, third Earl of Harrington, and a Servant
Alternate Title(s) Charles Stanhope, third Earl of Harrington
Charles Stanhope, 3rd Earl of Harrington
Portrait of a Nobleman
Date 1782
Medium Oil on canvas
Dimensions 93 x 56 inches (236.2 x 142.2 cm)
Inscription(s)/
Marks/
Lettering
Inscribed, lower left: "Charles Earl of Harrington", Signed lower right: "S. J. Reynolds. Pinx."
Credit Line Yale Center for British Art, Paul Mellon Collection
Accession Number B1977.14.69
Collection Paintings and Sculpture
Curatorial Comment Charles Stanhope (1753–1829) served with British forces in North America and the Caribbean during the American War of Independence. In 1780, his regiment arrived in Jamaica to defend Britain’s largest slave colony against French invasion. Stanhope was accompanied by his wife, Jane, who was the stepdaughter of a prominent Caribbean plantation owner. Soon after their return to England in 1782, Stanhope sat for Reynolds. There is no record of the young man who is shown here holding Stanhope’s helmet. When the painting was exhibited at the Royal Academy in 1783 as "Portrait of a Nobleman", critics likewise remained silent about his presence. This grand full-length portrait is very close to a painting by Hyacinthe Rigaud (1659–1743), depicting the King of Poland with a black page. Reynolds’s emulation of Rigaud is one reason why Stanhope is depicted in archaic armor. It may also partly account for the presence of the black servant. Whether Stanhope specifically commissioned his inclusion, however, is unknown. He may represent a member of Stanhope’s regiment or household. Alternatively, he may have been modeled on somebody known to Reynolds.
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Link to This Record http://collections.britishart.yale.edu/vufind/Record/1669237
People Represented or Subject • Stanhope, Charles, third earl of Harrington (1753–1829), army officer
Subject Terms armor | battle | boy | clouds | colonel | costume | earl | helmet | light | man | portrait | servant | shine | sky | war
Place Represented Cumbria | England | Harrington | United Kingdom
Publications

Julia Marciari-Alexander, This other Eden, paintings from the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1998, p. 104, no. 38, ND1314.3 Y36 1998 (YCBA)


Paul Mellon's legacy, a passion for British art. [large print labels], Yale Center for British Art, New Haven, CT, 2007, v. 3, N5220 M552 +P381 2007, Mellon Shelf (YCBA)


Yale Center for British Art, Selected paintings, drawings & books, Yale University Press, New Haven, CT, 1977, p. 32, N590.2 A82 (YCBA)


Malcolm Warner, Great British paintings from American collections, Holbein to Hockney, Yale Center for British Art, New Haven, CT, 2001, p. 6, fig. 4, ND464 W27 2001 (YCBA)


David Bindman, Roubiliac and the eighteenth-century monument, sculpture as theatre, The Paul Mellon Centre for Studies in British Art, New Haven, 1995, p. 141, NJ18 R764 A12 B55 1995 (YCBA)


Malcolm Cormack, A concise catalogue of paintings in the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1985, pp. 184, 185, N590.2 A83 (YCBA)


David Mannings, Sir Joshua Reynolds, a complete catalogue of his paintings, Yale University Press, New Haven, 2000, v. 1, p. 431; v. 2, p. 529, no.. 1692, fig. 1393, NJ18 R36 A12 M35 2000 OVERSIZE (YCBA)


Algernon Graves, A history of the works of Sir Joshua Reynolds, P.R.A., Henry Graves & Co., London, UK, 1899, p. 928 ( v. 2), NJ18 R36 G73 OVERSIZE (YCBA) , Also available on Microfiche: Fiche B6 (YCBA)


David Bindman, Am I not a man and a brother?, British art and slavery in the eighteenth century, 1994, pp. 71-72, fig. 29, V 0374 (YCBA)


In honor of Paul Mellon, collector and benefactor, Essays, National Gallery of Art, Washington, DC & Hanover, NH, 1986, pp. 10, 12, fig. 2, N7442.2 M455 1986 (YCBA)


Ellis Waterhouse, An Impressive Panorama of British Portraiture, Apollo, v. 105, no. 182, April 1977, pp. 245, 247-8, fig. 18, N1 A54 + (YCBA) , Another copy of this article may be found in a separately bound and catalogued copy of this issue located on the Mellon Shelf [call number : N5220 M552 A7 1977 + (YCBA)]


Ellis Waterhouse, Reynolds, Phaidon, New York, NY, 1973, pl. 102, NJ18 R36 W37 1973 + (YCBA)


British Art at Yale, Apollo, v.105, no. 182, April 1977, pp. 245, 247-8, fig. 18, N5220 M552 A7 1977 OVERSIZE (YCBA) , Published as April 1977 issue of Apollo; all of the articles may also be found in bound Apollo Volume [N1 A54 105:2 +]


Exhibition at the Royal Academy, Morning Chronicle and London Advertiser, May 1783, p.3, Film S1460 (SML Microfilm)


The image of the Black in western art, from the " Age of Discovery" to the Age of Abolition The Eighteenth Century, vol. 3, part 3, Belknap Press of Harvard University Press, Cambridge, Mass. :, 2010, pp. 144, 145, fig. 137, N8232 .I42 2010 Vol. 3,Part 3 + OVERSIZE (YCBA) , Citations are to Vol. 3, Part 3


William III, Yale Center for British Art, New Haven, CT, 2011, p. 22, V2340


Catherine M. Gordon, British paintings Hogarth to Turner, Frederick Warne, London, 1981, p. 57, ND466 G67 (YCBA)


Mark Hallett, Reynolds : portraiture in action, The Paul Mellon Centre for Studies in British Art, New Haven, 2014, p. 358, fig. no. 344, NJ18.R36 H35 2014 OVERSIZE (YCBA)


Figures of empire : slavery and portraiture in eighteenth-century Atlantic Britain, organized by the Yale Center for British Art and curated by Esther Chadwick and Meredith Gamer, PhD candidates in the History of Art at Yale University and Cyra Levenson,, Yale Center for British Art, New Haven, 2014, pp. 26-27, 43, fig.10, V 2556 (YCBA)


Titus Kaphar, Commentary on Charales Stanhope, Third Earl of Harrington, by Joshua Reynolds, [ Website ], Yale Center for British Art, Accessed 11 24 15, 34:43 minutes, Available Online , http://www.centerforbritishart.org/slavery-and-portraiture/325/commentary-by-titus-kaphar


Erica James, Commentary on Charles Stanhope, Third Earl of Harrington by Joshua Reynolds, [ Website ], Yale Center for British Art, Accessed 11 25 15, 27.06 minutes, Available Online , http://www.centerforbritishart.org/slavery-and-portraiture/326/commentary-by-erica-james


Hew Locke, Commentary on Charales Stanhope, Third Earl of Harrington, by Joshua Reynolds, [ Website ], Yale Center for British Art, Accessed 11 25 15, 20.09 minutes, Available online , http://www.centerforbritishart.org/slavery-and-portraiture/339/commentary-by-hew-locke


Slavery and portraiture in 18th-century Atlantic Britain, [ Website ], Yale Center for British Art, New Haven, 2015, Available Online , http://www.centerforbritishart.org/slavery-and-portraiture/objects


Cyra Levenson, Haptic Blackness : the Double Life of an 18th-century Bust one object, [ Electronic Resource }, British Art Studies, Issue 1, Autumn 2015, fig. 11, Available Online , http://www.britishartstudies.ac.uk/issues/issue-index/issue-1/bust-of-a-man

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