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Paul Sandby's Young Pupil Identified

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Paul Sandby's Young Pupil Identified MA.MAY.Green.pg.proof.corrs_Layout 1 13/04/2012 11:09 Page 312 Paul Sandby’s young pupil identified by RICHARD GREEN ONE OF THE best-known and most attractive works in the extensive collection of drawings by Paul Sandby in the Royal Library at Windsor Castle, apart from topographical views of the Castle and Windsor Great Park, is the watercolour hitherto titled A lady painting (Fig.2).1 Exactly how and when this entered the library is not certain, but it is first recorded in a group of Sandby drawings lent from Windsor to the Royal Academy’s great exhi- bition of British art in 1934.2 Since then it has regularly featured in the Sandby literature and in exhibitions, most recently being included in the monographic show held in 2009–10.3 While the watercolour has generally been dated to the 1760s on the basis 1. A lady copy- of comparison with other works by the artist and of costume, the ing at a drawing table, here sitter has remained unidentified. Closely related is a drawing by identified as Sandby in red and black chalk of exactly the same size at the Yale Rhoda Center for British Art, New Haven (Fig.1).4 This depicts the same Delaval, by Paul Sandby. young woman in a similar setting, although from a viewpoint c.1763–64. further to the left, working at the same table but, rather than Red and black painting, using a porte-crayon to copy a print or drawing of a chalk and stump on head mounted in front of her, perhaps on a vertical flap projecting wove paper, from her angled worktop. This drawing has also been dated to the 19.4 by 15.2 1760s, but again no attempt has been made to identify the sitter.5 cm. (Yale Center for And if, as seems likely, both the Windsor watercolour and the British Art, New Haven drawing remained in the artist’s possession until his New Haven). death, we cannot hope for early provenance clues to guide us to her identity.6 Although there are critical, even conflicting, chalk drawing, we see that the lower sash of the window behind differences between these two works – which will be addressed her (which would have been subdivided by glazing bars holding below – they will initially be scrutinised in tandem. small panes) has been fully raised. While, incidentally, indicating An important but little documented aspect of Sandby’s career that the time of year is summer, as does the lightweight character was his activity as a drawing master. Probably instructing the sons of the sitter’s clothing and her bergère hat, the open window offers of George III,7 and certainly members of the Greville, Harcourt, a valuable clue to the location of the room. The view we glimpse Williams Wynn and other noble or landed families, he clearly through it – in the watercolour – was first identified by the operated at the top end of this particular market. In the two present writer in 2009.8 In 1947 Paul Oppé described this as being closely related works under discussion there can be little doubt that ‘over a river to houses’, while more recent commentators have Sandby has recorded one of his pupils – the young daughter of a seen the latter as ‘warehouse-type buildings’ or ‘a castle’.9 In fact wealthy family. The scale of the window behind her suggests a the view is across the Thames in London, from Millbank to Lam- room of generous proportions. She sits at an ingenious painting beth Palace, with Archbishop Morton’s gatehouse seen sideways table with sliding trays, containing shells of colours, which can be on, the lantern on the roof of the great hall to the left of it and the pulled out for work in watercolours or left partly closed for draw- turreted tower of St Mary’s (the former parish church of Lambeth, ing; a palette for mixing colours attached to one of the front legs now the Garden Museum) to the right. Although these medieval may be swivelled in or out according to the activity. Probably, buildings are partly obscured by trees today, their distinctive with the trays fully closed and the adjustable top laid flat, this piece configuration remains unchanged (Figs.3 and 4). of furniture functioned as a card table or something similar. All of The most likely candidate for consideration as a sizeable house this confirms that the young pupil is on home territory, rather than on the river bank almost opposite Lambeth Palace where Paul in Sandby’s studio. More clearly in the watercolour than in the Sandby might have been employed in the 1760s to instruct the I am indebted to James Birch for information about pictures at Doddington Hall, to 3 See J. Bonehill and S. Daniels, eds.: exh. cat. Paul Sandby: Picturing Britain, Hugh Dixon for insightful comments based on his extensive knowledge of the Nottingham (Castle Museum and Art Gallery) and elsewhere 2009–10, p.172, no.66, Delavals, and to Aileen Ribeiro, whose advice on costume has been crucial to my as A lady drawing. argument. Grateful thanks are offered to them, and for help received from Michelle 4 B1975.4.1881. The meaning of the letter ‘F’ inscribed on this drawing (lower Goodman, Julie Hawthorn, Paul Lewis, Kate Phillips and Jane Roberts, and to the right) and on others by Paul Sandby is not known. staff of the Northumberland Archives. 5 Sandby’s chalk drawing has been included in several exhibitions at the Yale 1 Also called A young lady painting; RL14377; see A.P. Oppé: The Drawings of Paul Center for British Art since 1977. See for example [B. Robertson]: exh. cat. The Art and Thomas Sandby in the Collection of His Majesty the King at Windsor Castle, Oxford of Paul Sandby, New Haven (Yale Center for British Art) 1985, p.53, no.69. and London 1947, p.65, no.259. 6 For the provenance of the Sandby drawings in the Royal Library, see Oppé, op. cit. 2 [W.G. Constable and C. Johnson, eds.]: Commemorative Catalogue of the Exhibition (note 1), pp.1–4; and J. Roberts: exh. cat. Views of Windsor: Watercolours by Thomas of British Art, Royal Academy of Arts, London, January–March 1934, London 1935, p.150, and Paul Sandby from the Collection of Her Majesty Queen Elizabeth II, Amsterdam no.601, as A lady painting a miniature. (Rijksmuseum) and elsewhere 1995–97, pp.136–38. Only a minute proportion of the 312 may 2012 • cliv • the burlington magazine MA.MAY.Green.pg.proof.corrs_Layout 1 13/04/2012 11:09 Page 313 SANDBY’S YOUNG PUPIL 2. A lady painting, here identified as Rhoda Delaval (1751–70), by Paul Sandby. c.1763–64. Watercolour over graphite, 19.5 by 15.2 cm. (Royal Collection, London). daughter or daughters of a wealthy family is the old Grosvenor A substantial red-brick house of two main storeys, it was set back House.10 Formerly known as Peterborough House, it appears as from the river by a garden and was skirted by a public pathway. It Belgrave House on Richard Horwood’s London map of 1792–99 stood until 1809 when it was demolished, having been vacated by at the very end of Millbank Row, a continuation of Millbank the Grosvenors, presumably in the light of proposals for the build- Street, and marked the then southern extremity of the city. Of ing of what was eventually to be the Millbank Penitentiary on seventeenth-century origin, but extensively remodelled in the land to the south. A painting by Daniel Turner, probably dating early 1730s, it had passed from Alexander Davies into the from just before its demolition, strikingly illustrates the relation- Grosvenor family through the marriage of his daughter Mary in ship of Grosvenor House, seen obliquely on its extreme left, to 1677, at the age of twelve, to Sir Thomas Grosvenor, 3rd Baronet. Lambeth Palace in the distance, on the right (Fig.5). A less oblique Sandby drawings at Windsor can be connected with royal commissions from the artist 7 Anon.: ‘Paul Sandby’, Arnold’s Magazine of the Fine Arts 1 (1833), p.434; see also and none was commissioned by George III, so there is no reason to believe that the K. Sloan: exh. cat. ‘A Noble Art’: Amateur Artists and Drawing Masters c.1600–1800, work under discussion depicts a member of the royal family. Most of the Windsor London (British Museum) 2000, p.140. figure studies came from the posthumous Paul Sandby sales – either direct, as in the 8 See R. Green: review of Paul Sandby exhibition, THE BURLINGTON MAGAZINE 151 case of the Prince Regent’s purchases from that of 1811, or indirectly. The New (2009), p.790. Haven drawing was sold from the collection of drawings by Paul and Thomas Sandby 9 Respectively, Oppé, op. cit. (note 1), p.65; Sloan, op. cit. (note 7), p.232; and ‘formed by William Sandby’ (great-grandson of Paul’s brother Thomas), and left G. Waterfield: ‘The scenic route’, RA Magazine 106 (Spring 2010), p.51. by him to his cousin G.T.A. Peake, father of Hubert Peake, the vendor, Christie’s, 10 For old Grosvenor House, see F.H.W. Sheppard, ed.: Survey of London, XXXIX London (in the first of two sales), 24th March 1959 (lot 113), bought by Agnew’s, (The Grosvenor Estate in Mayfair, Part 1 [General History]), London 1977, pp.3, 4, London, from whom purchased by Paul Mellon in 1960. Many of the drawings had 7, 21, 36 (note) and 43; and XL (The Grosvenor Estate in Mayfair, Part 2 [The passed to William Sandby by family descent, but others came from various sources.
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