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Paul Sandby RA, 1731–1809, British

The Norman Gate and Deputy Governor's House

Part Of:

Collective Title: Views of Windsor Castle

ca. 1765
Gouache on thick, cream, slightly textured laid paper
Sheet: 15 1/8 x 21 1/4 inches (38.4 x 54 cm)

Inscribed on back in blue chalk upper center: "7 (2)"[...]; on back in graphite lower center: "D"; on back in graphite lower right: "Windsor | The Royal Observatory form the | [...] garden

Credit Line:
Yale Center for British Art, Paul Mellon Collection
Copyright Status:
Public Domain
Accession Number:
Drawings & Watercolors
Prints and Drawings
Subject Terms:
architectural subject | castle | children | country house | deputy | garden | gardener | gate | genre subject | governor | Norman | racquets | shade | shuttlecocks | sports | sunflowers | watering can
Associated Places:
England | Europe | United Kingdom | Windsor and Maidenhead | Windsor Castle
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From the 1750s to the very last years of his life, Paul Sandby made frequent visits to Windsor. His elder brother, Thomas, served as a draftsman to the Duke of Cumberland in the early 1740s and was appointed Deputy Ranger of Windsor Great Park in 1747. This family connection, paired with a growing public interest in the castle—featured in travel guides—certainly explains why Sandby produced such a considerable number of Windsor views during his career. After collaborating with his brother on a set of eight engraved views of Windsor Great Park in the mid-1750s, Sandby pushed further his pictorial exploration of the castle, depicting it from every possible vantage point and at various angles. He exhibited eight views of Windsor Castle at the Society of Artists between 1763 and 1768. The present work, made around that time, is part of a set of four views of the castle in gouache in the Paul Mellon Collection (YCBA). Sandby’s Windsor subjects enjoyed great popularity, and he made several copies in gouache, watercolors, and oils, illustrating his versatility in multiple media. One such copy is a later version of the Norman Gate in the Royal Library, dated 1780, and of comparable dimensions (Oppé, 1947, nos. 13, p. 22). As is often the case with these replications, Sandby made some minor changes, such as removing the figures on the right and slightly modifying the garden’s shape. These views, taken altogether, provide vivid and charming architectural records of Windsor and its vicinity. They also suggest the extent to which, as an author quipped, “Windsor was Sandby’s bread and butter” (Robertson, 1987, p. 227).

John Baskett, Paul Mellon's Legacy: a Passion for British Art: Masterpieces from the Yale Center for British Art, , Yale Center for British Art, New Haven, CT, 2007, pp. 255-256, no. 32, pl. 32, N5220 M552 P38 2007 OVERSIZE (YCBA)

Linda Colley, Crown Pictorial : Art and the British Monarchy : Exhibition Labels, , Yale Center for British Art, New Haven, 1990, p. 72, no. 172, N8219 K5 C761 1990 (YCBA)

Linda Colley, Crown Pictorial : Art and the British Monarchy, , Yale Center for British Art, New Haven, 1990, p 45, no. 176, N8219 K5 C76 1990 (YCBA)

Todd Longstaffe-Gowan, Mapping a National Style, topography & landscape at the Yale Center for British Art , Apollo, v. 165, no. 542, April, 2007, p. 56, fig. 5, N1 A54 + (YCBA)

A. P. (Adopf Paul) Oppe, Drawings of Paul and Thomas Sandby in the Collection of His Majesty the King at Windsor Castle, Phaidon, Oxford, 1947, p. 22, no. 13, pl. 6, NJ18 Sa56 O66 OVERSIZE (YCBA)

Bruce Robertson, Paul Sandby and the Early Development of English Watercolor, Thesis (Ph. D.)--Yale University, , University Microfilms International, Ann Arbor, 1987, p. 227, NJ18 Sa56 R64 1987A (YCBA)

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