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
  • “Queen Square” is one of a series of four views of London squares that Dayes produced at the outset of his professional career. He exhibited views of Queen Square and Bloomsbury Square at the Royal Academy in 1787; these, along with his views of Hanover and Cavendish Squares, were engraved in 1787 and 1789. Queen Square, first laid out in the early eighteenth century, is located just east of Russell Square and was distinguished for its open prospect of the countryside, looking toward Hampstead and Highgate to the north. The other squares depicted by Dayes also date from an early period of London square building. The variety of the buildings and the established gardens in these older squares may have appealed more strongly to a picturesque sensibility than the architectural uniformity of newer squares such as Bedford Square (begun in 1776). All four of Dayes’s views suggest social tensions underlying the ordered, placid appearance of the squares, which in reality had a reputation for violent crime, particularly robbery, and were seen as potential sites for the gathering of disruptive crowds; as recently as 1780, foot patrols had been stationed in Queen Square during the Gordon Riots (Longstaffe-Gowan, 2001, p. 205). A range of social types populates these images: high and low intermingle in the public spaces while genteel couples stroll within the safety of the fenced-off gardens. A seven-foot lead statue of Queen Charlotte, erected in 1775 by one of the square’s residents, presides over this scene (Blackwood, 1989, p. 44). In the foreground, a fashionably dressed couple is accosted simultaneously by a beggar boy and a flower seller with a child strapped to her back, while a butcher returning from a delivery looks on in amusement. Distracted by and dismissive of their supplicants, the couple heads straight for a pile of horse droppings.
?:PX_curatorial_comment
  • “Queen Square” is one of a series of four views of London squares that Dayes produced at the outset of his professional career. He exhibited views of Queen Square and Bloomsbury Square at the Royal Academy in 1787; these, along with his views of Hanover and Cavendish Squares, were engraved in 1787 and 1789. Queen Square, first laid out in the early eighteenth century, is located just east of Russell Square and was distinguished for its open prospect of the countryside, looking toward Hampstead and Highgate to the north. The other squares depicted by Dayes also date from an early period of London square building. The variety of the buildings and the established gardens in these older squares may have appealed more strongly to a picturesque sensibility than the architectural uniformity of newer squares such as Bedford Square (begun in 1776). All four of Dayes’s views suggest social tensions underlying the ordered, placid appearance of the squares, which in reality had a reputation for violent crime, particularly robbery, and were seen as potential sites for the gathering of disruptive crowds; as recently as 1780, foot patrols had been stationed in Queen Square during the Gordon Riots (Longstaffe-Gowan, 2001, p. 205). A range of social types populates these images: high and low intermingle in the public spaces while genteel couples stroll within the safety of the fenced-off gardens. A seven-foot lead statue of Queen Charlotte, erected in 1775 by one of the square’s residents, presides over this scene (Blackwood, 1989, p. 44). In the foreground, a fashionably dressed couple is accosted simultaneously by a beggar boy and a flower seller with a child strapped to her back, while a butcher returning from a delivery looks on in amusement. Distracted by and dismissive of their supplicants, the couple heads straight for a pile of horse droppings.
?:PX_display_wrap
  • Bibliograpic reference :: David H. Solkin, Art on the Line : the Royal Academy Exhibitions at Somerset House 1780-1836, , Yale University Press, New Haven, CT, 2001, pp. 199-200, fig. 172, N5054 A78 2001B (YCBA)
  • Bibliograpic reference :: Diana Scarisbrick, Elihu Yale : merchant, collector & patron, Thames & Hudson, 2014, pp. 41, 43, 135, fig. 12, DA497.Y3 S37 2014 (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. 278, no. 79, pl. 79, N5220 M552 P38 2007 OVERSIZE (YCBA)
  • Bibliograpic reference :: John Blackwood, London's immortals, the complete outdoor commemorative statues, Savoy Press, London, 1989, p. 44, DA689 M7 B53 1989 (YCBA)
  • Bibliograpic reference :: Todd Longstaffe-Gowan, The London Square, 1600 to the Present, , Record of Activities and Research Reports, National Gallery of Art, Washington, 2011, pp. 104-07, N330 W3 C457 (HAAS)
  • Bibliograpic reference :: Todd Longstaffe-Gowan, The London town garden 1740-1840, Yale Center for British Art, New Haven, 2001, pp. 205-206, p. 11, fig. 219, SB451.36 G7 L68 2001 (YCBA)
  • Dimension height :: 36.8cm
  • Dimension height :: 43.4cm
  • Dimension height :: 43.5cm
  • Dimension width :: 53.0cm
  • Dimension width :: 59.5cm
  • Dimension width :: 59.7cm
  • Exhibition :: An American's Passion for British Art - Paul Mellon's Legacy
  • Exhibition :: Paul Mellon's Legacy : A Passion for British Art
  • Exhibition :: Presences of Nature - British Landscape 1780-1830
  • Exhibition :: The Great Age of British Watercolors c.1750 - 1880
  • Exhibition :: The Line of Beauty : British Drawings and Watercolors of the Eighteenth Century
  • Exhibition :: Works of Splendor and Imagination - The Exhibition Watercolor 1770-1870
  • Located in :: New Haven
  • Located in :: Not on view
  • Located in :: YCBA, 222, C 1, D-5
  • Located in :: Yale Center for British Art
  • Object type :: drawing
  • Object type :: watercolor
  • Subject Concept :: apron
  • Subject Concept :: architectural subject
  • Subject Concept :: barrels
  • Subject Concept :: beggar
  • Subject Concept :: boy
  • Subject Concept :: breeches (trousers)
  • Subject Concept :: buildings
  • Subject Concept :: carriage
  • Subject Concept :: carrying
  • Subject Concept :: cart
  • Subject Concept :: children
  • Subject Concept :: cityscape
  • Subject Concept :: clock tower
  • Subject Concept :: couple
  • Subject Concept :: dogs (animals)
  • Subject Concept :: fashion
  • Subject Concept :: fences
  • Subject Concept :: flower basket
  • Subject Concept :: flowers (plants)
  • Subject Concept :: genre subject
  • Subject Concept :: gown
  • Subject Concept :: hats
  • Subject Concept :: hills
  • Subject Concept :: horses (animals)
  • Subject Concept :: lampposts
  • Subject Concept :: men
  • Subject Concept :: merchant
  • Subject Concept :: nobility
  • Subject Concept :: peasants
  • Subject Concept :: queen (person)
  • Subject Concept :: square
  • Subject Concept :: statue
  • Subject Concept :: streets
  • Subject Concept :: tailcoats
  • Subject Concept :: tricornes
  • Subject Concept :: vendor
  • Subject Concept :: wagon
  • Subject Concept :: walking
  • Subject Concept :: weathervane
  • Subject Concept :: women
  • Subject Place :: Bloomsbury
  • Subject Place :: Camden
  • Subject Place :: England
  • Subject Place :: Greater London
  • Subject Place :: Queen Square
  • Subject Place :: United Kingdom
?:PX_display_wrap
  • ...
?:PX_has_credit_line
  • Yale Center for British Art, Paul Mellon Collection
?:PX_has_main_representation
?:label
  • Queen Square, London
?:type