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  • This ambitious group portrait shows three generations of the family of the Scottish goldsmith and banker Andrew Drummond (1688–1769), a widower. The date of Mr. Drummond’s death, in 1769, has generally been taken to indicate a “terminus ante quem” for the painting, but it is not entirely certain that his inclusion in the family group, sitting with his dog and somewhat isolated in the middle, was not a commemorative gesture of reverent piety postmortem. In 1766 Zoffany had painted an oval single-figure portrait of Andrew Drummond that obviously provided him with the model for this part of the composition. In both, he took care to include Dr. Drummond’s expensive snuffbox, his splendid malacca cane with a gold crutch handle, and, most important, the dog (seated this time on the garden seat). The cane and snuffbox are still owned by Drummonds Bank. Mr. Drummond’s son, one of the members of Parliament for Thetford, John Drummond (1723–74), stands to the left with his son and daughter, their ponies, and a groom. John Drummond’s aristocratic wife, Lady Charlotte (née Beauclerk, the family of the dukes of St. Albans), and their two other children complete the right-hand side of the composition. Andrew Drummond’s bank was particularly well patronized by artists, including Thomas Gainsborough, the sculptor Henry Cheere, the plasterer Joseph Rose, the architects Sir William Chambers and Henry Holland, and the landscape gardener Lancelot “Capability” Brown. Zoffany himself opened an account at the bank in 1765. Later, members of the Drummond family were crown contractors for the payment of British troops during the American War of Independence.
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  • This ambitious group portrait shows three generations of the family of the Scottish goldsmith and banker Andrew Drummond (1688–1769), a widower. The date of Mr. Drummond’s death, in 1769, has generally been taken to indicate a terminus ante quem for the painting, but it is not entirely certain that his inclusion in the family group, sitting with his dog and somewhat isolated in the middle, was not a commemorative gesture of reverent piety postmortem. In 1766 Zoffany had painted an oval single-figure portrait of Andrew Drummond that obviously provided him with the model for this part of the composition. In both, he took care to include Dr. Drummond’s expensive snuffbox, his splendid malacca cane with a gold crutch handle, and, most important, the dog (seated this time on the garden seat). The cane and snuffbox are still owned by Drummonds Bank. Mr. Drummond’s son, one of the members of Parliament for Thetford, John Drummond (1723–74), stands to the left with his son and daughter, their ponies, and a groom. John Drummond’s aristocratic wife, Lady Charlotte (née Beauclerk, the family of the dukes of St. Albans), and their two other children complete the right-hand side of the composition. Andrew Drummond’s bank was particularly well patronized by artists, including Thomas Gainsborough, the sculptor Henry Cheere, the plasterer Joseph Rose, the architects Sir William Chambers and Henry Holland, and the landscape gardener Lancelot “Capability” Brown. Zoffany himself opened an account at the bank in 1765. Later, members of the Drummond family were crown contractors for the payment of British troops during the American War of Independence.
  • This ambitious group portrait shows three generations of the family of the Scottish goldsmith and banker Andrew Drummond (1688–1769), a widower. The date of Mr. Drummond’s death, in 1769, has generally been taken to indicate a “terminus ante quem” for the painting, but it is not entirely certain that his inclusion in the family group, sitting with his dog and somewhat isolated in the middle, was not a commemorative gesture of reverent piety postmortem. In 1766 Zoffany had painted an oval single-figure portrait of Andrew Drummond that obviously provided him with the model for this part of the composition. In both, he took care to include Dr. Drummond’s expensive snuffbox, his splendid malacca cane with a gold crutch handle, and, most important, the dog (seated this time on the garden seat). The cane and snuffbox are still owned by Drummonds Bank. Mr. Drummond’s son, one of the members of Parliament for Thetford, John Drummond (1723–74), stands to the left with his son and daughter, their ponies, and a groom. John Drummond’s aristocratic wife, Lady Charlotte (née Beauclerk, the family of the dukes of St. Albans), and their two other children complete the right-hand side of the composition. Andrew Drummond’s bank was particularly well patronized by artists, including Thomas Gainsborough, the sculptor Henry Cheere, the plasterer Joseph Rose, the architects Sir William Chambers and Henry Holland, and the landscape gardener Lancelot “Capability” Brown. Zoffany himself opened an account at the bank in 1765. Later, members of the Drummond family were crown contractors for the payment of British troops during the American War of Independence.
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  • Bibliograpic reference :: A Great Collection of British Pictures in Virginia, The Times (London), Issue No. 55689, May 1, 1963, p. 5, Available Online : Times Digital Archive , Also available on Microfilm: Film An T482 (SML)
  • Bibliograpic reference :: Andrew Causey, Paul Nash, landscape and the life of objects, Lund Humphries, Farnham ; Burlington, VT, 2013, p. 28, NJ18.N17 C28 2013 (YCBA)
  • Bibliograpic reference :: Beth Fowkes Tobin, Colonizing nature, the tropics in British arts and letters, 1760-1820, University of Pennsylvania Press, Philadelphia, 2005, pp. 98-99, 220 n. 40, fig. 10, PR129 T76 T63 2005 (YCBA) , Also available online - Project Muse (ORBIS)
  • Bibliograpic reference :: Brian Allen, The Sport of Collecting: Paul Mellon and British Art, Apollo, v.165,no.542, April 2007, pp. 36, 37, fig.7, N1 A54 + (YCBA)
  • Bibliograpic reference :: British Art at Yale, Apollo, v.105, no. 182, April 1977, p. 260, fig. 10, 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 +]
  • Bibliograpic reference :: Catherine M. Gordon, British paintings Hogarth to Turner, Frederick Warne, London, 1981, p. 79, ND466 G67 (YCBA)
  • Bibliograpic reference :: Charlotte Klonk, Science and the perception of nature, British landscape art in the late eighteenth and early nineteenth centuries, , The Paul Mellon Centre for Studies in British Art, New Haven, 1996, ND 1354.4 K56 1996 (YCBA)
  • Bibliograpic reference :: Denis E. Cosgrove, The Iconography of landscape, essays on the symbolic representation, design, and use of past environments, 9, Cambridge University Press, Cambridge [England] New York, 1988, p. 48, fig. 1, NX650.L34 I26 1988 (YCBA)
  • Bibliograpic reference :: Drummond Family, ART News, vol. 76, Summer 1977, p. 43, N1 A6 OVERSIZE (HAAS)
  • Bibliograpic reference :: English Art in Brussels, Burlington Magazine for Connoisseurs, vol. 55,no. 320, November 1929, p. 250, Plate II B, N1 B87 + (YCBA)
  • Bibliograpic reference :: Felicity Nussbaum, The global eighteenth century, Johns Hopkins University Press, Baltimore, Md., 2003, pp. 173-74, fig. 11.4, D287 G56 2003 (YCBA)
  • Bibliograpic reference :: Geoffrey W. Beard, The compleat gentleman, five centuries of aristocratic life, Rizzoli, New York, 1992, p. 157, no. 123, HT653 G7 B415 1992 (YCBA)
  • Bibliograpic reference :: George Charles Williamson, English conversation pictures of the eighteenth and early nineteenth centuries, B.T. Batsford, London, 1931, pp. 16-17, pl. XLVI, ND1304 E5 1931 + (YCBA)
  • Bibliograpic reference :: Jessica David, Palette, Brush, and Knife: A Technical Examination of Johan Zoffany's Drummond Family, http://www.youtube.com/v/NmUscyrPhtY, September 2, 2011, Available Online via YouTube , video
  • Bibliograpic reference :: Johan Zoffany, RA, Society observed, Yale University Press, New Haven, 2011, pp. 108, 167-744, 249, no. 69, figs. 157, 157a, NJ18 Z68 A12 2011 + OVERSIZE (YCBA)
  • Bibliograpic reference :: John Baskett, Painting in England: 1700-1850, the Collection of English paintings formed by Mr and Mrs Paul Mellon : on Exhibition at the Museum of Fine Arts, Richmind, untik August 18th, Connoisseur, Vol. 153, June 1963, p. 102, N1 C75 + (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, p. 259, no. 39, N5220 M552 P38 2007 OVERSIZE (YCBA)
  • Bibliograpic reference :: John Cornforth, At the Sign of the Golden Eagle, 250 Years of Drummonds of Charing Cross, Country Life, vol. 143, no. 3716, May 23, 1968, pp. 13379-80, fig. 1, S3 C68 + OVERSIZE (YCBA)
  • Bibliograpic reference :: Judy Egerton, British Sporting and Animal Paintings 1655-1867: A Catalogue, , Tate Publishing, London, 1978, p. 122, ND1383 G7 B75 OVERSIZE (YCBA)
  • Bibliograpic reference :: Luke Herrmann, British landscape painting of the eighteenth century., Faber & Faber, London, 1973, p. 106, ND1354.4 H47 1973 + (YCBA)
  • Bibliograpic reference :: Luke Herrmann, The Paul Mellon Collection at Burlington House, Connoisseur, v. 157, no. 634, December 1964, pp. 213, 214,216, fig, 4, N1 C75 + OVERSIZE (YCBA) , Another copy available in YCBA Vertical File Collection: v 2334
  • Bibliograpic reference :: Mary Webster, Johan Zoffany, 1733-1810, Yale University Press, New Haven, CT, 2011, pp. 150-2, fig. 138, NJ18 Z68 W43 2011 + (YCBA)
  • Bibliograpic reference :: Painting in England 1700-1850 from the Collection of Mr. and Mrs. Paul Mellon, The Royal Academy of Arts Winter Exhibition 1964-65., , Royal Academy of Arts, London, UK, 1964, p. 56 (v.1)..., no. 205, ND466 R68 1964/65 (YCBA) , Also available on Microfiche: Fiche B214 (YCBA)
  • Bibliograpic reference :: Painting in England 1700-1850, collection of Mr. & Mrs. Paul Mellon., Virginia Museum of Fine Arts, Richmond, VA, 1963, p. 124 (v.1), no. 235, ND466 V57 v.1-2 (YCBA)
  • Bibliograpic reference :: Painting in England : 1700-1850, Arts Magazine, vol. 37, no. 7, April 1963, p. 18, V 2337 , Another copy is available at HAAS Arts Library (N1 A415 +)
  • Bibliograpic reference :: 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)
  • Bibliograpic reference :: Paul Mellon, Reflections in a silver spoon, a memoir, W. Morrow, New York, 1992, btwn pp. 382-3, N5220 M552 1992 (YCBA)
  • Bibliograpic reference :: Penelope Treadwell, Johan Zoffany, Artist and adventurer, Paul Holberton Publishing, London, 2009, pp. 136, 146, NJ18 Z68 T74 2009 (YCBA)
  • Bibliograpic reference :: Philip Sassoon, Loan exhibition of English conversation pieces in aid of the Royal Northern Hospital ... March 4th to 30th (inclusive) 1930, Battley Brothers, [s.l., 1930, no. 9, ND1304 S37 1930 (HAAS)
  • Bibliograpic reference :: Philip Sassoon, Loan exhibition of English conversation pieces in aid of the Royal Northern Hospital ... March 4th to 30th (inclusive) 1930, Royal Northern Hospital, [s.l., 1930, no. 9, ND1304 S37 1930 (HAAS)
  • Bibliograpic reference :: Ralph Edwards, Georgian Conversation Pictures, Apollo, v.105, no. 182, April 1977, p. 260, fig. 10, N1 A54 105:2 + (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)]
  • Bibliograpic reference :: Robin Simon, Zoffany at the Yale Center for British Art, British Art Journal, vol. 12, no. 3, Winter, 2011-2012, p. 3, N6761 B74 + OVERSIZE (YCBA)
  • Bibliograpic reference :: Ronald Paulson, Emblem and expression, meaning in English art of the eighteenth century, Thames and Hudson, London, 1975, pp.155, 157-58, fig. 89, NX543 P38 (YCBA)
  • Bibliograpic reference :: Sacheverell Sitwell, Conversation pieces, a survey of English domestic portraits and their painters, B.T. Batsford, London, 1936, pp. 38, 59, ND1314 S5 1936 (YCBA)
  • Bibliograpic reference :: The Yale Center for British Art, An Anniversary Celebration of Paul Mellon's Great Legacy, Apollo, April 2007, p. 36, fig. 7, N5220 M552 A7 OVERSIZE (YCBA) , Appeared as April 2007 issue of Apollo;; all of the articles may also be found in bound Apollo Volume [N1 A54 165:2 +]
  • Bibliograpic reference :: Treasures and Curiosities, Drummonds at Charing Cross 1717 - 1967, National Portrait Gallery, London, 1968, Not Available at Yale
  • Bibliograpic reference :: Victoria Manners, John Zoffany, R.A. his life and works., 1735-1810., John Lane, London, 1920, pp. 20, 192-93, J18 Z73 920M + OVERSIZE (SML)
  • Bibliograpic reference :: Victoria Manners, John Zoffany, R.A. his life and works., 1735-1810., John Lane, London, 1920, pp. 20, 192-93, NJ18.Z68 M3 1920 + OVERSIZE (YCBA)
  • Bibliograpic reference :: Yale Center for British Art, Selected paintings, drawings & books, Yale University Press, New Haven, CT, 1977, p. 24, N590.2 A82 (YCBA)
  • Bibliograpic reference :: Yale University Art Gallery, Painting in England, 1700-1850, from the collection of Mr. and Mrs. Paul Mellon, [exhibition at] Yale University Art Gallery, April 15-June 20, 1965., vol. 1, W. Clowes and sons, , 1965, p. 65 (v.1), p., no. 238, ND466 Y35 (YCBA)
  • Bibliograpic reference :: Yale University Art Gallery, Paintings , drawings and sculpture collected by Yale alumni, an exhibition , May 19 - June 26, 1960, New Haven, c. 1960, no. 29, J418 N45F 1960 (LSF) , See ORBIS for call numbers of additional copies available at LSF
  • Bibliograpic reference :: Young Family; Music Party on the Thames; John, Fourteenth Lord Willoughby, his Wife and Their Children; Drummond Family, Apollo, vol. 11, March 1930, pp. 163, 165,, J10 Ap43 + (SML)
  • Dimension height :: 104.1cm
  • Dimension width :: 160.0cm
  • Exhibition :: An American's Passion for British Art - Paul Mellon's Legacy
  • Exhibition :: Johan Zoffany RA
  • Exhibition :: Painting in England 1700-1850 - From The Collection of Mr. and Mrs. Paul Mellon
  • Located in :: New Haven
  • Located in :: Not on view
  • Located in :: Yale Center for British Art
  • Object type :: painting
  • Subject Concept :: banker
  • Subject Concept :: bench
  • Subject Concept :: cane
  • Subject Concept :: children
  • Subject Concept :: conversation piece
  • Subject Concept :: costume
  • Subject Concept :: daughter
  • Subject Concept :: dog (animal)
  • Subject Concept :: eggs
  • Subject Concept :: family
  • Subject Concept :: father
  • Subject Concept :: goldsmith
  • Subject Concept :: group portrait
  • Subject Concept :: horses (animals)
  • Subject Concept :: husband
  • Subject Concept :: men
  • Subject Concept :: portrait
  • Subject Concept :: snuffbox
  • Subject Concept :: son
  • Subject Concept :: wife
  • Subject Concept :: women
  • Subject Place :: England
  • Subject Place :: Harrow
  • Subject Place :: Middlesex
  • Subject Place :: Stanmore
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  • ...
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  • Yale Center for British Art, Paul Mellon Collection
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?:label
  • The Drummond Family
?:type