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2021 Samantha Siegler and Sarah Besson Portrait of Sir Henry Strache

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2021 Samantha Siegler and Sarah Besson Portrait of Sir Henry Strache Painting Pairs: Art Historical and Technical Study 2020 - 2021 Samantha Siegler and Sarah Besson Portrait of Sir Henry Strachey and his daughter Charlotte by Daniel Gardner Samantha Siegler - Sarah Besson A study of Portrait of Sir Henry Strachey and his daughter Charlotte by Daniel Gardner Figure 1 - Daniel Gardner, Portrait of Sir Henry Figure 2 - Daniel Gardner, Portrait of Sir Henry Strachey and his daughter Charlotte, Late 18th Strachey and his daughter Charlotte, Private century, Oil paint on paper lined on canvas, 640 collection, Before treatment, Verso ×870 mm, Private collection, Before treatment, Recto OVERVIEW Little is known about Gardner’s life, his oeuvre, and the materials and techniques he Our research focuses on a portrait of Sir used for painting, which provided the focus Henry Strachey (1736-1810) and his for the investigation of this double portrait. daughter Charlotte Margaret (1771-1801) painted by English artist Daniel Gardner (c. THE PORTRAIT 1750-1805) and originally estimated to date Henry Strachey and Charlotte Strachey are to the late eighteenth century (figs. 1-2). portrayed in a dim but warmly lit interior. The painting arrived at The Courtauld’s The father and daughter are affectionately Conservation Department from a private posed in a manner that highlights the collection in March 2020 for research and richness of their attire. The sitters are treatment. This essay summarises technical placed before billowing burgundy drapery. and historical research on the Portrait of Sir To the right a countryside landscape is Henry Strachey and his daughter Charlotte discreetly visible through a window but undertaken by the authors as part of the partially obscured by a large urn. Henry is Courtauld Research Forum’s annual depicted seated, reclining against a Painting Pairs project, organised by the secretaire. Beneath his elbow is a sealed Courtauld Research Forum in collaboration letter, and in his opposite hand he holds an with the Courtauld Gallery and the opened book. Charlotte leans over her Department of Conservation. 2 Samantha Siegler - Sarah Besson father, with one elbow resting on the back comparisons of his materials, methods and of his chair and her hand cupping her chin styles be made to paintings by his pensively. While Henry gazes somewhat contemporaries? more vaguely to the right, Charlotte looks directly and more piercingly towards the THE ARTIST: DANIEL GARDNER viewer. Gardner has painted the pair at ease and with an air of informality that is in line with fashionable portraiture and befitting of broader cultural trends of the late eighteenth century. The painting was first thought to be an oil on canvas but was later found to be oil on paper that was subsequently lined onto canvas. The work measures 640 mm by 870 mm. It has remained in the Strachey family Figure 3 - Daniel Gardner, Self-portrait, c. 1770, since its commissioning. Oil on canvas, Collection of the National Portrait Gallery RESEARCH QUESTIONS A note on existing scholarship and sources Using a combination of historical and There are few art historical accounts of technical evidence, we aimed to investigate Daniel Gardner’s work, though his portraits a range of questions. We sought to look into are held in some prominent collections the relationship between the painter and the including The National Portrait Gallery, sitters in the portrait, as well as to how The Victoria and Albert Museum, The Daniel Gardner and Sir Henry Strachey fit American National Gallery of Art, and the into the cultural context of England at the Yale Center for British Art. Many of the time of the work’s creation. We also works in museums are larger scale portraits endeavoured to propose a more precise year in oil or gouache media. Gardner’s practice of creation. Lines of inquiry focused on the was oriented around small pastels on paper, following additional questions: What can and many of these works appear to remain we learn about Gardner’s painting materials in private hands, as is supported by their and techniques? Was it typical for Gardner’s practice to line his works on paper supports onto canvas? Can any 3 Samantha Siegler - Sarah Besson appearance in contemporary auction sales.1 had ties in business.4 A young George A monograph on Gardner by George Romney (1734-1802), who would go on to Charles Williamson was written before the achieve significant success as a portrait outbreak of World War I and published in painter, had his early talent recognized by 1921.2 Williamson’s monograph is the most Daniel Gardner’s mother. She encouraged significant text on the artist, and later Romney to pursue the profession instead of scholarship has relied heavily on this work. joining in his family’s business and was Helen Kapp’s 1962 catalogue published even called “the foster-mother of his art” in alongside an exhibition of Gardner works at an 1830 Romney monograph.5 the Abbot Hall Art Gallery in Kendal is one such example that draws upon Williamson but also provides additional research and insights.3 Records from Gardner’s lifetime were located at the Cumbria County Council Archives and the London Metropolitan Archives that mostly pertain to matters of real estate and insurance. Biography Figure 4 - George Romney, Portrait of Captain Daniel Gardner was born in 1750 in Robert Banks, 1760, Oil on canvas, Lakeland Arts Trust, Kendal Kendal, England, a town in the Lake District in the northwest region of the Romney is said to have given early country. At this time, Kendal was a instruction to Gardner, 16 years his junior, prosperous town known for its wool though Romney only stayed in the Kendal manufacturing. The Gardner family was area until 1772, at which point Gardner was close to the local Romney family, as the two about 12 years old. Gardner himself moved 1 Sotheby’s records indicate 24 lots of Gardner cabinetry business. Neil Jeffares, “Gardner - works came to auction between 2001 and 2020. Iconographical Genealogies,” Dictionary of Christie’s lists 14 lots between 2008 and 2021. Pastellists Before 1800, 2 George Charles Williamson, Daniel Gardner: A http://www.pastellists.com/Genealogies/Gardner.pd painter in pastel a gouache: A brief account of his f#search=%22daniel%20gardner%22. life and works (London: John Lane, 1921). Helen Kapp, “Daniel Gardner, 1750-1805,” 4 3 Helen Kapp, “Daniel Gardner, 1750-1805,” 4 Exhibitions to Celebrate the Opening of Abbot Hall Exhibitions to Celebrate the Opening of Abbot Hall Art Gallery (1962), 8. Art Gallery (1962), 8-11. 5 Rev. John Romney, Memoirs of the Life and 4 Daniel Gardner’s father, Caleb Gardner, was a Works of George Romney (London: Baldwin and cordwainer, and his uncle Christopher Redman, Craddock, 1830), 12. was an upholsterer. Romney’s family was in the 4 Samantha Siegler - Sarah Besson to London in his late teens, and it is unclear if he received instruction in painting upon first arriving to London. His timing was fortuitous, however, as the Royal Academy was newly established in 1768 and he proceeded to enrol in the school. It is reputed by Williamson that Gardner worked in the studio of Thomas Gainsborough, though this was unable to be Figure 5 – Sir Joshua Reynolds, The Snake in the independently confirmed by primary Grass, exhibited 1784, Oil on canvas, Tate sources.6 There is evidence that Gardner worked in the studio of the first RA president Joshua Reynolds.7 He is also said to have received instruction by other Academicians including Johan Zoffany, Benjamin West, Nathaniel Dance-Holland, Giovanni Battista Cipriani, and Francesco Bartolozzi.8 Figure 6 – Daniel Gardner, The Snake in the Grass (after Joshua Reynolds), Pastel and Gouache on paper, Private collection Despite these early-career affiliations, Gardner only exhibited work at the Royal 6 Williamson repeats this claim several times in his contemporary accounts which support that Gardner monograph. It seems his main evidence for this is was a student of Reynolds, which has been doubted an inscription written on a scrap of paper affixed to by historian of pastellists Neil Jeffares. Kapp the back of one of Gardner’s works “in which he quotes from the 16 April 1781 diary entry of declares that this particular work was painted in Charlotte Burney, in which she recounts meeting Gainsborough’s studio.” Though this suggests that Gardner. Burney describes Gardner as “a young Gardner and Gainsborough were acquainted with painter and disciple of Sir Joshua Reynolds” who is one another, it does not definitively prove that “an odd fish that I can make nothing of” and “a sad Gardner was employed by or apprenticed in half-witted disagreeable man.” For further, see Gainsborough’s studio. Helen Kapp, “Daniel Gardner, 1750-1805,” 4 Williamson, Daniel Gardner, 7. Exhibitions to Celebrate the Opening of Abbot Hall 7 In the catalogue essay accompanying the 1962 Art Gallery (1962) and Neil Jeffares, “Daniel Gardner exhibition at the Abbot Hall Art Gallery, Gardner,” Dictionary of Pastellists Before 1800, Helen Kapp claims that a disparaging remark made http://www.pastellists.com/Articles/Gardner.pdf#se by Gainsborough about Reynolds was the reason arch=%22daniel%20gardner%22. Gardner left his studio. Kapp also cites 8 Helen Kapp, Daniel Gardner, 1750-1805, (London: The Greater London Council, 1972). 5 Samantha Siegler - Sarah Besson Academy once, in 1771. This was the only the Academicians who largely painted in oil year Gardner submitted work for exhibition media, Gardner established a reputation as at the RA, and given Gardner’s personal a pastellist. While Gardner worked in a relationship with Reynolds, this suggests variety of media including pastel, oil, and his absence from exhibitions was a matter watercolour, for much of his career his of choice.
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