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  • Wollaton Hall, built between 1580 and 1588 and one of the most spectacular achievements of Elizabethan architecture, was the primary country seat of the family of Sir Francis Willoughby (1546/7–96). Sir Francis commissioned Robert Smythson to create this showpiece as a crown upon the very lands—rich in coal—-that comprised the foundation of his family's fortune. One of his contemporaries remarked that Sir Francis had “out of ostentation to show his riches, built at vast charges a very stately house, both for the splendid appearance and curious workmanship of it” (Camden, 1695, p. 482). The most notable feature of Sir Francis's house was the “Prospect Room,” located in the double-tiered central roof tower. Accessible only via dark narrow staircases in its corner walls, this capacious, light-filled room—with no designated function other than enjoyment—floated above the house and landscape and provided those inside with an unimpeded view of every aspect of the font and fruits of the Willoughby wealth (Friedman, 1989, pp. 149-51). From his characteristic bird's-eye view, the painter surveys the magnificent house and extensive property and carefully depicts not only the glories of the Hall's unusual architecture—with its four-corner tower design, extensive tracery glazing, and raised Prospect Room—but also the daily workings and pleasures of life at Wollaton. Siberechts's patron, Sir Francis’s great-great-grandson Sir Thomas Willoughby, 1st Baron Middleton, and his elder sister Cassandra, mistress of the house, made significant interior improvements to the Elizabethan structure, and Sir Thomas commissioned a number of views of the house and estate from the painter in the 1690s. Siberechts’s portrait not surprisingly emphasizes these recent changes, including: the newly laid-out, fashionable formal gardens; the bleaching field; the garden of specimens planned and gathered together by Sir Thomas; the newly planted “wilderness”; and a neatly tended bowling green. A sumptuous record of place, this prospect is, most of all, a visual hymn to the harmonious accord of God, Nature, and Man found at Wollaton.
?:PX_curatorial_comment
  • Wollaton Hall, built between 1580 and 1588 and one of the most spectacular achievements of Elizabethan architecture, was the primary country seat of the family of Sir Francis Willoughby (1546/7.-.96). Sir Francis commissioned Robert Smythson to create this showpiece as a crown upon the very lands-.rich in coal.-.that comprised the foundation of his family's fortune. One of his contemporaries remarked that Sir Francis had "out of ostentation to show his riches, built at vast charges a very stately house, both for the splendid appearance and curious workmanship of it" (Camden, 1695, p. 482). The most notable feature of Sir Francis's house was the "Prospect Room," located in the double-tiered central roof tower. Accessible only via dark narrow staircases in its corner walls, this capacious, light-filled room.-.with no designated function other than enjoyment.-.floated above the house and landscape and provided those inside with an unimpeded view of every aspect of the font and fruits of the Willoughby wealth (Friedman, 1989, pp. 149.-.51). From his characteristic bird's-eye view, the painter surveys the magnificent house and extensive property and carefully depicts not only the glories of the Hall's unusual architecture.-.with its four-corner tower design, extensive tracery glazing, and raised Prospect Room.-.but also the daily workings and pleasures of life at Wollaton. Siberechts's patron, Sir Francis's great-great-grandson Sir Thomas Willoughby, 1st Baron Middleton, and his elder sister Cassandra, mistress of the house, made significant interior improvements to the Elizabethan structure, and Sir Thomas commissioned a number of views of the house and estate from the painter in the 1690s. Siberechts's portrait not surprisingly emphasizes these recent changes, including: the newly laid-out, fashionable formal gardens; the bleaching field; the garden of specimens planned and gathered together by Sir Thomas; the newly planted "wilderness"; and a neatly tended bowling green. A sumptuous record of place, this prospect is, most of all, a visual hymn to the harmonious accord of God, Nature, and Man found at Wollaton.
  • Wollaton Hall, built between 1580 and 1588 and one of the most spectacular achievements of Elizabethan architecture, was the primary country seat of the family of Sir Francis Willoughby (1546/7– 96). Sir Francis commissioned Robert Smythson to create this showpiece as a crown upon the very lands—rich in coal—-that comprised the foundation of his family's fortune. One of his contemporaries remarked that Sir Francis had “out of ostentation to show his riches, built at vast charges a very stately house, both for the splendid appearance and curious workmanship of it” (Camden, 1695, p. 482). The most notable feature of Sir Francis's house was the “Prospect Room,” located in the double-tiered central roof tower. Accessible only via dark narrow staircases in its corner walls, this capacious, light-filled room.-.with no designated function other than enjoyment.-.floated above the house and landscape and provided those inside with an unimpeded view of every aspect of the font and fruits of the Willoughby wealth (Friedman, 1989, pp. 149-51). From his characteristic bird's-eye view, the painter surveys the magnificent house and extensive property and carefully depicts not only the glories of the Hall's unusual architecture—with its four-corner tower design, extensive tracery glazing, and raised Prospect Room—but also the daily workings and pleasures of life at Wollaton. Siberechts's patron, Sir Francis's great-great-grandson Sir Thomas Willoughby, 1st Baron Middleton, and his elder sister Cassandra, mistress of the house, made significant interior improvements to the Elizabethan structure, and Sir Thomas commissioned a number of views of the house and estate from the painter in the 1690s. Siberechts's portrait not surprisingly emphasizes these recent changes, including: the newly laid-out, fashionable formal gardens; the bleaching field; the garden of specimens planned and gathered together by Sir Thomas; the newly planted “wilderness”; and a neatly tended bowling green. A sumptuous record of place, this prospect is, most of all, a visual hymn to the harmonious accord of God, Nature, and Man found at Wollaton.
  • Wollaton Hall, built between 1580 and 1588 and one of the most spectacular achievements of Elizabethan architecture, was the primary country seat of the family of Sir Francis Willoughby (1546/7– 96). Sir Francis commissioned Robert Smythson to create this showpiece as a crown upon the very lands—rich in coal—-that comprised the foundation of his family's fortune. One of his contemporaries remarked that Sir Francis had “out of ostentation to show his riches, built at vast charges a very stately house, both for the splendid appearance and curious workmanship of it” (Camden, 1695, p. 482). The most notable feature of Sir Francis's house was the “Prospect Room,” located in the double-tiered central roof tower. Accessible only via dark narrow staircases in its corner walls, this capacious, light-filled room—with no designated function other than enjoyment—floated above the house and landscape and provided those inside with an unimpeded view of every aspect of the font and fruits of the Willoughby wealth (Friedman, 1989, pp. 149-51). From his characteristic bird's-eye view, the painter surveys the magnificent house and extensive property and carefully depicts not only the glories of the Hall's unusual architecture—with its four-corner tower design, extensive tracery glazing, and raised Prospect Room—but also the daily workings and pleasures of life at Wollaton. Siberechts's patron, Sir Francis’s great-great-grandson Sir Thomas Willoughby, 1st Baron Middleton, and his elder sister Cassandra, mistress of the house, made significant interior improvements to the Elizabethan structure, and Sir Thomas commissioned a number of views of the house and estate from the painter in the 1690s. Siberechts’s portrait not surprisingly emphasizes these recent changes, including: the newly laid-out, fashionable formal gardens; the bleaching field; the garden of specimens planned and gathered together by Sir Thomas; the newly planted “wilderness”; and a neatly tended bowling green. A sumptuous record of place, this prospect is, most of all, a visual hymn to the harmonious accord of God, Nature, and Man found at Wollaton.
  • Wollaton Hall, built between 1580 and 1588 and one of the most spectacular achievements of Elizabethan architecture, was the primary country seat of the family of Sir Francis Willoughby (1546/7–96). Sir Francis commissioned Robert Smythson to create this showpiece as a crown upon the very lands—rich in coal—-that comprised the foundation of his family's fortune. One of his contemporaries remarked that Sir Francis had “out of ostentation to show his riches, built at vast charges a very stately house, both for the splendid appearance and curious workmanship of it” (Camden, 1695, p. 482). The most notable feature of Sir Francis's house was the “Prospect Room,” located in the double-tiered central roof tower. Accessible only via dark narrow staircases in its corner walls, this capacious, light-filled room—with no designated function other than enjoyment—floated above the house and landscape and provided those inside with an unimpeded view of every aspect of the font and fruits of the Willoughby wealth (Friedman, 1989, pp. 149-51). From his characteristic bird's-eye view, the painter surveys the magnificent house and extensive property and carefully depicts not only the glories of the Hall's unusual architecture—with its four-corner tower design, extensive tracery glazing, and raised Prospect Room—but also the daily workings and pleasures of life at Wollaton. Siberechts's patron, Sir Francis’s great-great-grandson Sir Thomas Willoughby, 1st Baron Middleton, and his elder sister Cassandra, mistress of the house, made significant interior improvements to the Elizabethan structure, and Sir Thomas commissioned a number of views of the house and estate from the painter in the 1690s. Siberechts’s portrait not surprisingly emphasizes these recent changes, including: the newly laid-out, fashionable formal gardens; the bleaching field; the garden of specimens planned and gathered together by Sir Thomas; the newly planted “wilderness”; and a neatly tended bowling green. A sumptuous record of place, this prospect is, most of all, a visual hymn to the harmonious accord of God, Nature, and Man found at Wollaton.
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  • Bibliograpic reference :: Alice T. Friedman, House and household in Elizabethan England, Wollaton Hall and the Willoughby family, University of Chicago Press, Chicago, 1989, pp. 160-1, fig. 6.1, DA690 N92 F75 1989 (YCBA)
  • Bibliograpic reference :: Andrew Wilton, Five centuries of British painting, from Holbein to Hodgkin, Thames and Hudson, London, 2001, p. 43, no. 29, ND464 W55 2001 (YCBA)
  • Bibliograpic reference :: Charles Beddington, Canaletto in England, a Venetian artist abroad, 1746-1755, Yale University Press, New Haven, 2006, p. 31, , fig. 19, NJ18 C17 B45 2006 + OVERSIZE (YCBA)
  • Bibliograpic reference :: Colin Platt, The great rebuildings of Tudor and Stuart England, revolutions in architectural taste, University College Press, London, 1994, p. 16, NA965 P63 1994 (YCBA)
  • Bibliograpic reference :: Country houses in Great Britain., Yale Center for British Art, New Haven, 1979, cover, pp. 5, 6, 8, 9, 22 - 23, no. 3, cover, N6764 Y34 1979 (YCBA)
  • Bibliograpic reference :: David Evett, Literature and the visual arts in Tudor England, University of Georgia Press, Athens, 1990, p. 69, NX543 A1 E94 1990 (YCBA)
  • Bibliograpic reference :: David H. Solkin, Art in Britain 1660-1815, Yale University Press, New Haven, 2015, pp. 63-64, fig. 61, Awaiting Cataoguing (YCBA) , Copy also available : N6766 .S65X 2015 (LC) OVERSIZE (HAAS)
  • Bibliograpic reference :: Dean Hawkes, Architecture and climate, an environmental history of British architecture, 1600-2000, Routledge (Taylor & Francis Group), London, New York, 2012, pp. 23, 38-40, fig. 2.6;pl. 9, NA2541 .H39 2012 (YCBA)
  • Bibliograpic reference :: Geoffrey W. Beard, The compleat gentleman, five centuries of aristocratic life, Rizzoli, New York, 1992, pp. 76-7, HT653 G7 B415 1992 (YCBA)
  • Bibliograpic reference :: J. H. Plumb, The pursuit of happiness : a view of life in Georgian England : an exhibition selected from the Paul Mellon collection, a view of life in Georgian England : an exhibition selected from the Paul Mellon collection, Yale Center for British Art, New Haven, 1977, pp. 60, 124, no. 136, N6766 Y34 1977 (YCBA)
  • Bibliograpic reference :: James Stourton, The British as art collectors, from the Tudors to the present, Scala Publishers, London, 2012, p. 72, fig. 83, N5245 S595 2012 + 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. 100, 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. 245, no. 11, N5220 M552 P38 2007 OVERSIZE (YCBA)
  • Bibliograpic reference :: John Crowley, Imperial landscapes, Britains's global visual culture 1745-1820, Yale University Press, New Haven, CT, 2011, p. 9, fig. 6, N8214.5 G7 C76 2011 + (YCBA)
  • Bibliograpic reference :: John Harris, Bird's-eye Views at Yale, Country Life, vol. 164, November 30, 1978, p. 1820, 1823, fig. 2, S3 C68 OVERSIZE (YCBA)
  • Bibliograpic reference :: John Harris, The artist and the country house, a history of country house and garden view painting in Britain, 1540-1870, Sotheby Parke Bernet, London Totowa, N.J., 1979, pp. 47-48, 74, no. 70, fig 70,col. pl V and color detail, N6764 H36 + (YCBA)
  • Bibliograpic reference :: Julia Marciari-Alexander, This other Eden, paintings from the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1998, p. 36, no. 7, ND1314.3 Y36 1998 (YCBA)
  • Bibliograpic reference :: Luke Herrmann, The Paul Mellon Collection at Burlington House, Connoisseur, v. 157, no. 634, December 1964, p. 216, N1 C75 + OVERSIZE (YCBA) , Another copy available in YCBA Vertical File Collection: v 2334
  • Bibliograpic reference :: Malcolm Warner, Great British paintings from American collections, Holbein to Hockney, Yale Center for British Art, New Haven, CT, 2001, pp. 62-3, no. 6, ND464 W27 2001 (YCBA)
  • Bibliograpic reference :: Mapping the landscape, essays on art and cartography, Nottingham Castle Museum and Art Gallery, Nottingham [England], 1990, p. 11, GA105 M27 1990 (YCBA) +
  • Bibliograpic reference :: Nick Grindle, Big Houses and Little People: How formal patterns in the landscape relate to social compositions in Jan Siberechts' works, Object, no. 2, 1999/2000, pp. 95-109, no. 2, N7475 O35
  • 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. 84 (v. 1), no. 300, pl. 75, 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. 39 (v.1), no. 5, pl. 168, ND466 V57 v.1-2 (YCBA)
  • 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 :: Prof. David Bindman, The History of British art, Yale Center for British Art, New Haven, Conn., 2008, pp.130-32(v.1), pl. 71, N6761 H57 2008 + Oversize (YCBA)
  • Bibliograpic reference :: Sotheby's sale catalogue : Catalogue of old master paintings : 11 July 1962, Sotheby's, London, July 11, 1962, p. 7, Lot 18, Auction Catalogues (YCBA)
  • Bibliograpic reference :: The Cambridge cultural history of Britain, Cambridge University Press, London; New York, 1992, v. 3, p. 208, NX543 C36 1992 (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. 75 (v. 2), Plate on p. 75, ND466 Y35 (YCBA)
  • Dimension height :: 191.8cm
  • Dimension width :: 138.4cm
  • Exhibition :: 2016 Installation YCBA - 401
  • Exhibition :: An American's Passion for British Art - Paul Mellon's Legacy
  • Exhibition :: Country Houses in Great Britain - Yale Center for British Art
  • Exhibition :: Great British Paintings from American Collections: Holbein to Hockney
  • Exhibition :: The Garden
  • Exhibition :: The Pursuit of Happiness - A View of Life in Georgian England
  • Exhibition :: This Other Eden : British Paintings from the Paul Mellon Collection at Yale
  • Located in :: 401
  • Located in :: Bay01
  • Located in :: New Haven
  • Located in :: On view
  • Located in :: Yale Center for British Art
  • Object type :: painting
  • Subject Concept :: Elizabethan
  • Subject Concept :: architectural subject
  • Subject Concept :: carriage
  • Subject Concept :: coach
  • Subject Concept :: country house
  • Subject Concept :: fence
  • Subject Concept :: gables (architectural elements)
  • Subject Concept :: game
  • Subject Concept :: gardens
  • Subject Concept :: greenhouse
  • Subject Concept :: hills
  • Subject Concept :: horses (animals)
  • Subject Concept :: landscape
  • Subject Concept :: lawn
  • Subject Concept :: lawn bowls
  • Subject Concept :: leisure
  • Subject Concept :: orangery
  • Subject Concept :: park (grounds)
  • Subject Concept :: parterres
  • Subject Concept :: pilasters
  • Subject Concept :: sculpture
  • Subject Concept :: sport
  • Subject Concept :: statuary
  • Subject Concept :: strapwork
  • Subject Place :: England
  • Subject Place :: Nottinghamshire
  • Subject Place :: United Kingdom
  • Subject Place :: Wollaton
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  • ...
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  • Yale Center for British Art, Paul Mellon Collection
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?:label
  • Wollaton Hall and Park, Nottinghamshire
?:type