William Cavendish, Marquess of Hartington, Later fourth Duke of Devonshire
Date:
1741
Materials & Techniques:
Oil on canvas
Dimensions:
29 7/8 x 25 inches (75.9 x 63.5 cm)
Inscription(s)/Marks/Lettering:
Signed and dated, lower right: "W Hogarth Pinx | 1741"
Credit Line:
Yale Center for British Art, Paul Mellon Collection
Copyright Status:
Public Domain
Accession Number:
B1981.25.358
Classification:
Paintings
Collection:
Paintings and Sculpture
Subject Terms:
hat | marquess | man | oval | collar | portrait | brown
Currently On View:
Not on view
Exhibition History:
This Other Eden : British Paintings from the Paul Mellon Collection at Yale (Art Gallery of New South Wales, 1998-05-01 - 1998-07-05)This Other Eden : British Paintings from the Paul Mellon Collection at Yale (Queensland Art Gallery, 1998-07-15 - 1998-09-06)This Other Eden : British Paintings from the Paul Mellon Collection at Yale (Art Gallery of South Australia, 1998-09-16 - 1998-11-15)Chatsworth Drawings (The Frick Art Museum, 1987-08 - 1987-11)
Publications:
Ronald Brymer Beckett, Hogarth, Routledge & Kegan Paul, London, 1949, p. 50, no. 129, NJ18 H67 B43 1949Malcolm Cormack, Concise Catalogue of Paintings in the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1985, pp. 120-121, N590.2 .A83 (YCBA)Elizabeth Einberg, The age of Hogarth, British painters born 1675-1709 , vol. 2, Tate Gallery, London, 1988, p. 91, ND466 T38 1988 + OVERSIZE (YCBA)Elizabeth Einberg, William Hogarth : A Complete Catalogue of the Paintings, New Haven, London, 2016, p. 233, cat. 152, NJ18 H67 +E36 2016 Oversize (YCBA)Paul Mitchell, Frameworks : form, function & ornament in European portrait frames, , Paul Mitchell Limited, London, 1996, p. 174, fig. 132, N8551 E85 M56 1996 (YCBA)Anne Hollander, Fabric of vision, dress and drapery in painting , The National Gallery, London, London, 2002, p. 121, no. 92, ND1460 D73 H65 2002 (YCBA)Julia Marciari-Alexander, This other Eden : Paintings from the Yale Center for British Art, , Yale Center for British Art, New Haven, CT, 1998, p. 44, no. 10, ND1314.3 Y36 1998 (YCBA)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 OVERSIZE (YCBA)Ronald Paulson, Hogarth : His Life, Art, and Times, , Yale University Press, New Haven, 1971, p. 456, pl. 172, NJ18 H67+ P39 Oversize (YCBA)Robin Simon, Hogarth, France and British Art : The Rise of the Arts in 18th-Century Britain, , Hogarth Arts, London, 2007, pp. 161, 213-4, fig. L, NJ18 H67 +S55 2007 Oversize (YCBA)Roy C. Strong, The British portrait, 1660-1960, Antique Collectors' Club, Woodbridge, Suffolk, 1991, pp. 162-63, 177, col. pl. 31, ND1314 B743 1991 (YCBA)Jennifer S. Uglow, Hogarth, a life and a world , Faber and Faber, London, 1997, p. 346, NJ18 H67 U35 1997 (YCBA)
Gallery Label:
William Hogarth’s portraits were admired by the professional class but had little appeal to aristocrats, perhaps because of their unflattering directness and bold handling of paint. This is consequently a very rare portrait of a noble sitter, the eldest son of the Duke of Devonshire and future head of one of Britain’s most powerful families. Among Hogarth’s finest portraits, it demonstrates his extraordinary, and largely self-taught, skill as a painter. It even retains what is probably its original frame, an exceptional example of the French Régence style. Gallery label for installation of YCBA collection, 2016
Provenance:
Commissioned by William Cavendish, fourth Duke of Devonshire (1720-1764), the sitter, from William Hogarth (1697-1764), the artist, in 1741; by descent to his son, George Augustus Henry Cavendish, first Earl of Burlington (1754-1834); by descent to his son, Charles Compton Cavendish, first Baron Chesham (1793-1863) of Latimers, Buckinghamshire; by descent to his son, William Cavendish, second Baron Chesham (1815-1882); by descent to his son, Charles Cavendish, third Baron Chesham (1850-1907); by descent to his son, John Compton Cavendish, fourth Baron Chesham (1894-1952); by descent to his son, John Cavendish, fifth Baron Chesham (1916-1989); purchased by Paul Mellon (1907-1999) at Agnew’s, 1972; by whom given to the Yale Center for British Art, 1981.