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Creator:
Sir Joshua Reynolds RA, 1723–1792, British
Title:
Charles Stanhope, third Earl of Harrington, and a Servant
Date:
1782
Medium:
Oil on canvas
Dimensions:
Support (PTG): 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
Copyright Status:
Public Domain
Accession Number:
B1977.14.69
Classification:
Paintings
Collection:
Paintings and Sculpture
Subject Terms:
armor | battle | boy | clouds | colonel | costume | earl | helmet | light | man | portrait | servant | shine | sky | war
Associated People:
Stanhope, Charles, third earl of Harrington (1753–1829), army officer
Access:
On view
Curatorial Comment:
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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. --This text served as the label to this object in Figures of Empire: Slavery and Portraiture in Eighteenth-Century Atlantic Britain, an exhibition at the Yale Center for British Art that was curated by Esther Chadwick, Meredith Gamer, and Cyra Levenson, which was on view from October 2, 2014 until December 14, 2014.
Exhibition History:
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This Other Eden : British Paintings from the Paul Mellon Collection at Yale (Art Gallery of South Australia, 1998-09-16 - 1998-11-15)

This Other Eden : British Paintings from the Paul Mellon Collection at Yale (Queensland Art Gallery, 1998-07-15 - 1998-09-06)

This Other Eden : British Paintings from the Paul Mellon Collection at Yale (Art Gallery of New South Wales, 1998-05-01 - 1998-07-05)

Art in Focus : William III (Yale Center for British Art, 2011-04-08 - 2011-07-31)

Figures of Empire: Slavery and Portraiture in Eighteenth-Century Atlantic Britain (Yale Center for British Art, 2014-10-02 - 2014-12-14)

Yale University Art Gallery 2015 - 2016 (Yale University Art Gallery, 2015-07-27 - 2015-01-05)

Publications:
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David Bindman, Roubiliac and the Eighteenth-Century Monument : Sculpture as Theatre, , The Paul Mellon Centre for Studies in British Art, New Haven and London, 1995, p. 141, NJ18 R764 A12 B55 1995 (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)

David Bindman, The Image of the Black in Western Art : From the " Age of Discovery" to the Age of Abolition, , 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

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)

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)

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

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)

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://interactive.britishart.yale.edu/slavery-and-portraiture/326/commentary-by-erica-james

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

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

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)

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)

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)

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)

John Wilmerding, 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)

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)

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

Slavery and portraiture in 18th-century Atlantic Britain, [ Website ] , Yale Center for British Art, New Haven, 2015, Available Online http://interactive.britishart.yale.edu/slavery-and-portraiture/279/an-unknown-man-perhaps-charles-goring-of-wiston-1744-1829-out-shooting-with-his-servant

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)

Link:
https://collections.britishart.yale.edu/catalog/tms:5006
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