PropertyValue
?:P102_has_title
?:P104_is_subject_to
?:P12i_was_present_at
?:P138i_has_representation
is ?:P140_assigned_attribute_to of
?:P1_is_identified_by
?:P24i_changed_ownership_through
?:P2_has_type
?:P30i_custody_transferred_through
?:P39i_was_measured_by
?:P43_has_dimension
?:P45_consists_of
?:P46i_forms_part_of
?:P48_has_preferred_identifier
?:P50_has_current_keeper
?:P52_has_current_owner
?:P55_has_current_location
?:P62_depicts
?:P65_shows_visual_item
?:P67_refers_to
?:P70_is_documented_in
?:P70i_is_documented_in
?:PX_curatorial_comment
  • 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).
?:PX_curatorial_comment
  • 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).
  • 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).
?:PX_display_wrap
  • Bibliograpic reference :: 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)
  • Bibliograpic reference :: 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)
  • Bibliograpic reference :: 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)
  • Bibliograpic reference :: 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)
  • Bibliograpic reference :: 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)
  • Bibliograpic reference :: 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)
  • Component of series :: Views of Windsor Castle
  • Dimension height :: 38.4cm
  • Dimension width :: 54.0cm
  • Exhibition :: An American's Passion for British Art - Paul Mellon's Legacy
  • Exhibition :: Crown Pictorial - Art and the British Monarchy
  • Exhibition :: Mrs Delany & Her Circle
  • Exhibition :: Paul Mellon's Legacy : A Passion for British Art
  • Exhibition :: The Art of Paul Sandby
  • Exhibition :: The Line of Beauty : British Drawings and Watercolors of the Eighteenth Century
  • Located in :: New Haven
  • Located in :: Not on view
  • Located in :: YCBA, 222, C 84, Sh- 3
  • Located in :: Yale Center for British Art
  • Object type :: drawing
  • Subject Concept :: Norman
  • Subject Concept :: architectural subject
  • Subject Concept :: castle
  • Subject Concept :: children
  • Subject Concept :: country house
  • Subject Concept :: deputy
  • Subject Concept :: garden
  • Subject Concept :: gardener
  • Subject Concept :: gate
  • Subject Concept :: genre subject
  • Subject Concept :: governor
  • Subject Concept :: racquets
  • Subject Concept :: shade
  • Subject Concept :: shuttlecocks
  • Subject Concept :: sports
  • Subject Concept :: sunflowers
  • Subject Concept :: watering can
  • Subject Place :: England
  • Subject Place :: Europe
  • Subject Place :: United Kingdom
  • Subject Place :: Windsor Castle
  • Subject Place :: Windsor and Maidenhead
?:PX_display_wrap
  • ...
?:PX_has_credit_line
  • Yale Center for British Art, Paul Mellon Collection
?:PX_has_main_representation
?:label
  • The Norman Gate and Deputy Governor's House
?:type