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Riding-Schools’ was engraved and published by Joseph
Sympson in 1729 as 'Twenty Five Actions of the Manage Horse'. The drawings were widely copied and pirated. In 1723 Vanderbank was commissioned by the publishers J and R Tonson to illustrate Don Quixote, in the original Spanish and this eventually appeared as a lavish four-volume quarto edition in 1738 with sixty-eight engraved plates after Vanderbank. This project, for which Vanderbank's initial designs were preferred over Hogarth's, appears to have preoccupied Vanderbank, perhaps almost empathetically, for the remainder of his life, resulting in three sets of drawings; first sketched then finished for the engraver's use, then drawn afresh, elaborated, and fully finished, as well as a series of some thirty-five small freely painted oil panels. Vanderbank also illustrated or designed frontispieces for various volumes of plays.
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591:, London. She was deemed by Vertue to be ‘a Vain empty wooman’ though, judging by the portrait miniature by Christian Friedrich Zincke and Faber's mezzotint from her portrait by her husband, she was certainly strikingly attractive. The Hardakers had links to the West Riding of Yorkshire where Vanderbank's older sister Elizabeth had married John Hotham in 1715. This northern connection might have been the source of Moses Vanderbank's commission in Leeds. Vertue noted that Vanderbank ‘left no children behind him by this wooman’ and indeed none has ever been traced from the marriage.
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King (1727) to the series of ten paintings by various artists, including Chéron and Pieter
Angelis, engraved in 1728 and advertised by John Bowles as Ten Prints of the Reign of King Charles the First. By contrast, some of Vanderbank's later portraits of ‘persons of Quality’, male or female, are technically well painted but can betray a lack of rapport with his sitters and a tendency to rely on stock poses sometimes directly derived from Van Dyck. Vertue noted that, like many portraitists of the period, Vanderbank sometimes used the services of the
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355:, developing a free, painterly style, his faces admirably drawn with what Vertue describes as ‘greatness of pencilling, spirit and composition’, and partly derived from his admiration for Rubens and Van Dyck, many of whose works he had studiously copied. His early portraits continued the vigour and grand style of Kneller but with a more vital and energetic drawing than his contemporaries. He used a bold pigmentation in the flesh where pink tones are painted thinly over the cooler greys of the ground layer to suggest glowing skin, the technique of
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artists. Conversely
Thornhill had little success in finding subscribers, despite making no charge, and Hogarth, Thornhill's son-in-law, attributed its failure at least in part to the competition from Vanderbank's Academy. In 1724 it was discovered that the academy treasurer had embezzled the subscription funds and this, coupled with Vanderbank's growing debt problems, and perhaps Chéron's old age and illness (he died in May of the following year), led to the closure of the academy that summer.
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Vanderbank's younger brother, Moses
Vanderbank, was also an artist and draughtsman, although besides a family group depicting three children (1733), three altarpieces in the 12th century church at Adel near Leeds, and a portrait of a young child with a lamb (1743), his painted works are exceptionally
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for Joshua Morris, the tapestry maker of Great Queen Street, for some hangings for
Cannons, so initiating Hogarth's painting career. The Duke of Chandos had installed Handel as musician in residence at Cannons, where he composed the Chandos Anthems and his first oratorios, and in 1719 was one of the
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established an academy which they advertised as 'The
Academy for the Improvement of Painters and Sculptors by drawing from the Naked' at premises in St Martin's Lane. Vanderbank's Academy, as it became known, proved popular and its list of subscribers is a roll call of the next generation of leading
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From Vertue we know that
Vanderbank was immensely talented, 'so bold and free was his pencil and so masterly his drawing', and also that Vanderbank might have made a greater figure than almost any painter England had produced had he not been so careless and extravagant; 'only intemperance prevented
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considered that
Vanderbank's masterpiece was the large full-length of Queen Caroline (1736). Vanderbank painted three allegorical subjects incorporating an equestrian portrait of George I for the decoration of the staircase at 11 Bedford Row, London, and contributed The Apotheosis, or, Death of the
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Vertue notes that
Vanderbank ‘livd very extravagantly a mistres drinking & country house a purpose for her’. This extravagance led him into debt and in 1724 Vanderbank fled to France briefly to avoid imprisonment by his creditors, returning to enter 'the liberties of the Fleet', mansion houses
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As a draughtsman and illustrator, Vanderbank demonstrates a verve and originality not always found in his portraiture. A series of pen, ink, and wash drawings of horses and riders being trained in the exercises of haute école, drawn in the early 1720s when the artist ‘was himself a
Disciple in our
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is uncertain although the Parisian origins of both, the similarity of profession, the facial similarities of Kneller's chalk portrait of Peter Vanderbank and John Vanderbank's self-portrait drawing, and John Vanderbank senior's ownership of land in Hertfordshire where Peter Vanderbank married and
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to ensure a steady supply of baroque opera under Handel's aegis. Vanderbank was a frequent concert goer, drawing a caricature of Senesino, Cuzzoni and Berenstadt in a scene from Handel's Flavio in 1723, which was anonymously etched and engraved, and in the same year painting the portrait of the
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Vanderbank's extravagant habits saw him repeatedly in financial difficulties between 1724 and 1729, when his debts were cleared by his brother Moses. From 1729 John Vanderbank occupied a house in Holles Street, Cavendish Square, rent-free thanks to the generous patronage of Lord Carteret who,
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in which privileged prisoners could enjoy relative comfort in return for payment. In 1727 Vanderbank's mother died, having prudently left her assets out of reach of John's creditors to her younger son Moses, and in 1729 Moses sold a share in the family tapestry business to the painter
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Vanderbank's only known apprentice was John Robinson (1715-1745) whom he took on for five years for a premium of £157 10s on 23 July 1737. Robinson attained some success as a portrait-painter in his short life. Having married a wife with a fortune, he purchased the late
307:. John Vanderbank senior was the leading tapestry weaver in England throughout his life and by the introduction of the lighter and less formal style, now referred to as chinoiserie, he exercised a powerful influence on the style of the Soho weavers.
139:'s opinion was that only intemperance and extravagance prevented Vanderbank from being the greatest portraitist of his generation, his lifestyle bringing him into repeated financial difficulties and leading to an early death at the age of only 45.
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derived from Rubens who was himself inspired by the artists of the seicento. Equally distinctive is the way in which mid-tones are represented by unpainted areas of grey-green primer and the placing of pure red pigments for highlights.
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That Vanderbank succeeded in remaining in the first rank of portraitists in the 1720s and again in the 1730s in spite of his intemperance, sometimes producing outstanding works of art, testifies to the accuracy of Vertue's opinion.
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Vanderbank's Academy was shortlived but had an important influence on the development of English art, not least by furthering the introduction in England of life drawing classes for promising students such as
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In 1720, after a period of infighting, Thornhill closed Kneller's Academy and opened a new academy of his own, conducting free life-drawing classes from a room he added to his own house in James Street,
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Vanderbank worked chiefly as a portraitist, also painting some allegorical subjects, and as an illustrator. He began his portrait practice in 1719 with a large equestrian portrait of
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The Will of Johannis Vanderbank, proved 1717, The National Archives; Kew, Surrey, England; Records of the Prerogative Court of Canterbury, Series PROB 11; Class: PROB 11; Piece: 559
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On 12 July 1723 Vanderbank married the actress Ann Hardaker (b 1703) at St Mary's Church, Islington, the daughter of William Hardaker and Sibella (née Mountjoy) of
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to settle John Vanderbank's debts. Vanderbank then accepted a free residence in Lord Carteret's house in Holles Street, neighbouring the Duke of Chandos's house in
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Vanderbank's portraits of royalty, leading aristocrats and eminent persons of his day are to be found in every major art gallery around the world including the
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Marriage register, 10 May 1702 at St Mary, Whitechapel, Middlesex, England, London Metropolitan Archives; London, England; Reference Number: P93/MRY1/006
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373:. In October of the same year a faction led by John Vanderbank, who on his father's death in 1717 had received a legacy of £500, and the elderly
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Vanderbank's most characterful and distinguished portraits are generally of the 1720s including the great patron of Handel and of the arts the
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Survey of London: Volumes 33 and 34, St Anne Soho, London County Council, London, 1966, Appendix 1: The Soho Tapestry Makers, pages 515-520
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leading soprano, and later contralto, Anastasia Robinson, Countess of Peterborough, of which Faber produced a popular mezzotint in 1727.
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took over from Kneller in 1718, Vanderbank continued his studies there for two years before founding an academy of his own in 1720.
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Church of England Parish Registers, 1538-1812. London, England: London Metropolitan Archives, Reference Number: P83/MRY1/1167
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City of Westminster Archives Centre; London, England; Westminster Church of England Parish Registers; Reference: STC/PR/5/22.
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said "I cannot but own that the water at Cannon's... is the main beauty of that situation and it cost him dear", and in 1727
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James Ayres, Art, Artisans and Apprentices: Apprentice Painters & Sculptors in the Early Modern British Tradition, 2014.
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immigrant from Paris and, since 1679, well-to-do proprietor of the Soho Tapestry Manufactory and Yeoman Arras-maker to the
127:(9 September 1694 – 23 December 1739) was an English painter who enjoyed a high reputation during the last decade of
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Survey of London: Volumes 33 and 34, St Anne Soho. Originally published by London County Council, London, 1966,
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however, appropriated the contents of his studio after his death. According to Vertue, there Vanderbank lived ‘
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John Mayhall, The Annals and History of Leeds and Other Places in the County York, Kirkstall,1860, p27. p138
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on 9 September 1694 into an artistic family, the eldest son of Sarah and John Vanderbank Snr, a naturalised
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Portrait of a Patron. The Patronage and Collecting of James Brydges, 1st Duke of Chandos (1674–1744)
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John Vanderbank first studied composition and painting under his father and then the painter
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1363:"John vanderbank, Berenstadt, Cuzzoni and Senesino by John Vanderbank, The British Museum"
154:(1706-1758), painted by John Vanderbank in 1719, one of the artist's earliest signed works
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Original data: England, Marriages, 1538–1973. Salt Lake City, Utah: FamilySearch, 2013.
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rare. He succeeded his father to the post of Yeoman Arras-maker to the Crown in 1727.
303:, supplying the royal family with tapestries from his premises in Great Queen Street,
176:, Vanderbank's 1726 equestrian portrait of the first Hanoverian king, Royal Collection
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The family's relationship to the leading late 17th century painter and engraver
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which has in the background the great basin lake created at Cannons (of which
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513:(untraced but engraved by Faber in 1727), the eccentric Newmarket trainer
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486:. A great many of Vanderbank's portraits were engraved in mezzotint by
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The History of the Royal Academy of Arts from Its Foundation in 1768
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Horace Walpole, Anecdotes of Painting in England, 1849, vol 2, p676
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Vanderbank from being the greatest portraitist of his generation'.
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598:) in Holles Street on 23 December 1739 aged 45 and was buried in
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Henry B Wheatley FSA, Historical Portraits, London, 1897, p66
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1599:"Vanderbank, John (1694–1739), painter and draughtsman"
1512:"Vanderbank, John (1694–1739), painter and draughtsman"
1185:"Vanderbank, John (1694–1739), painter and draughtsman"
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Hammelmann, H.A. (1968). "John Vanderbank 1694-1737."
1400:"John Vanderbank, National Gallery of Art, Washington"
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Hammelmann, H. A. “John Vanderbank’s ‘Don Quixote.’”
1287:"John Vanderbank, Philip Mould, Historical Portraits"
1241:"John Vanderbank, Philip Mould, Historical Portraits"
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galantly or freely according to the custom of the Age
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Paul Henry Lang, George Frideric Handel, 1966, p258.
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Appendix 1: The Soho Tapestry Makers, pages 515-520
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1386:"John Vanderbank, the Metropolitan Museum of Art"
498:and others, and were highly popular at the time.
318:'s earliest pupils in 1711 at his art academy in
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1718:The National Archives' reference PROB 11/703/152
1571:Tate Britain: 100 Works from the Tate Collection
212:, of Swallowfield, Berkshire by John Vanderbank
1301:William Kent: Architect, Designer, Opportunist
287:(1694-1770) painted in 1728 by John Vanderbank
1608:(online ed.). Oxford University Press.
1521:(online ed.). Oxford University Press.
1484:"John Vanderbank, National Portrait Gallery"
1194:(online ed.). Oxford University Press.
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249:Anastasia Robinson Seated at the Harpsichord
198:(1649–1697), drawn between 1695 and 1697 by
1661:"Friends of Marble Hill, Research Articles"
1470:"John Vanderbank, Dulwich Picture Gallery"
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185:Sir Lionel Tollemache, 4th Earl of Dysart
1741:102 artworks by or after John Vanderbank
1456:"John Vanderbank, The Courtauld Gallery"
1414:"John Vanderbank, Royal Academy of Arts"
353:Charles Spencer, 3rd Duke of Marlborough
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152:Charles Spencer, 3rd Duke of Marlborough
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1765:Historical portraits by John Vanderbank
1605:Oxford Dictionary of National Biography
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1518:Oxford Dictionary of National Biography
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1442:"John Vanderbank, The Royal Collection"
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1191:Oxford Dictionary of National Biography
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1136:(Liverpool University Press, 1999) p71.
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163:Lady Grace Carteret, Countess of Dysart
1848:Burials at St Marylebone Parish Church
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460:National Gallery of Art, Washington DC
431:principal founding subscribers to the
338:spent his final years are suggestive.
276:c. 1730, by Christian Friedrich Zincke
1813:18th-century deaths from tuberculosis
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229:, painted by John Vanderbank in 1722.
225:(1673-1744), patron of the arts and
1258:(London: Longmans, Green) 1862:21.
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238:Francis Bacon, Viscount of St Alban
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1319:. Ashgate Publishing. p. 84.
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222:James Brydges, 1st Duke of Chandos
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1803:18th-century English male artists
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1569:Alejandra Aguado, Martin Myrone,
1341:Hogarth, The modern Moral Subject
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1119:Dictionary of National Biography
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187:(1708–1770), by John Vanderbank
165:(1713–1755), by John Vanderbank
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1132:Amal Asfour, Paul Williamson.
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265:(1710-1759) by John Vanderbank
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1808:18th-century English painters
1767:(Philip Mould Fine Paintings)
1761:(Philip Mould Fine Paintings)
1088:Painting in Britain 1530–1790
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509:(1725 and 1726), the painter
505:(1722), the two portraits of
314:, before becoming one of Sir
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1771:Portrait of Miss Rachel Long
1629:UK public library membership
1542:UK public library membership
1215:UK public library membership
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196:Portrait of Peter Vanderbank
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600:St Marylebone Parish Church
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1833:People imprisoned for debt
1560:17 no 3 (autumn): 285-299.
456:Metropolitan Museum of Art
1828:English portrait painters
929:Engravings and mezzotints
521:(1726), and the sculptor
484:National Portrait Gallery
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1375:Vertue, Note books, 3.97
1343:, 1697-1732, 1991, p155.
1113:"Vanderbank, John"
604:St George Hanover Square
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428:The Element of the Earth
1777:Portrait of a gentleman
1759:J. Vanderbank biography
1313:Jenkins, Susan (2007).
480:Dulwich Picture Gallery
291:Vanderbank was born in
1614:10.1093/ref:odnb/28067
1596:Egerton, Judy (2004).
1586:7, no. 1 (1969): 3–74.
1527:10.1093/ref:odnb/28067
1509:Egerton, Judy (2004).
1200:10.1093/ref:odnb/28067
1182:Egerton, Judy (2004).
1090:(Penguin Books, 1957).
433:Royal Academy of Music
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1753:J. Vanderbank online
537:from the mid 1730s.
472:The Royal Collection
364:Vanderbank's academy
240:, by John Vanderbank
1086:Waterhouse, Ellis.
517:(c.1725), the poet
515:Tregonwell Frampton
312:Jonathan Richardson
274:Mrs John Vanderbank
104:Sir Godfrey Kneller
99:Jonathan Richardson
1557:The Book Collector
1497:Manners and Morals
1168:"Moses vanderbank"
420:Nicholas Hawksmoor
320:Great Queen Street
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507:Sir Isaac Newton
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357:colori cangianti
347:Portrait painter
335:Peter Vanderbank
285:Michael Rysbrack
116:portrait painter
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71:(1739-12-23)
37:
18:
1798:1739 deaths
1793:1694 births
1108:Lee, Sidney
85:Nationality
1787:Categories
1631:required.)
1573:, 2007, p7
1544:required.)
1299:Tim Mowl,
1217:required.)
1071:References
575:, London.
569:John Ellys
525:(c.1728).
488:John Faber
482:, and the
400:John Ellys
396:John Faber
143:Early life
135:'s reign.
118:of England
114:A leading
1619:31 August
1532:31 August
1205:31 August
562:near the
553:Character
210:John Dodd
95:Education
42:(c. 1720)
904:Drawings
410:for the
297:Huguenot
174:George I
76:London,
1499:, p.247
589:Holborn
424:Hogarth
408:Cannons
89:English
59:England
1745:Art UK
1625:
1538:
1323:
1211:
478:, the
342:Career
293:London
227:Handel
55:London
450:Works
1747:site
1621:2020
1534:2020
1321:ISBN
1207:2020
402:and
66:Died
48:Born
1610:doi
1523:doi
1196:doi
1789::
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1223:^
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1095:^
1079:^
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106:,
101:,
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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