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Portrait of Vittorio Amedeo III of Savoy

In the outer library at Hyde Hall hangs a portrait of a man whose identity was unknown to us until recently.   Thanks to investigations from: Hyde Hall Site Manager, Randy Lamb; Board Chairman Gib Vincent; and Hyde Hall Trustee, Douglas Kent (who donated the Hyde Hall portrait), it seems that the man has been confirmed to be King Victor Amadeus III, 1726-1796.  Along with visual similarities of the subject, careful comparisons of epaulets, medallion, belt, baton with crosses, armor details and cuffs were made to ascertain the identity.

Painting ex Doug Kent
Copy of Portrait in the Outer Library at Hyde Hall

 

From Gilbert T. Vincent:

The HH portrait would be described as “a period copy after the original by Giorgio Domenico Dupra “.  Such copies of important political and military figures were created either to sell or give to various people.  The original is dated 1755 to 58, and ours looks to be roughly the same date from the age and weave of the canvas. The portrait that resides at Ickworth is also a copy; and the original seems to belong to the Duke of Hamilton. 

Country houses were full of portraits and there is a list of paintings at the English Hyde Hall that includes some English monarchs and a Dutch portrait.

From the National Trust Website:

Vittorio Amedeo III of Savoy was the son of Charles Emmanuel III (whose portrait is also at Ickworth) and his second wife, Polyxena of Hesse-Rheinfels-Rottenburg. He succeeded to the throne of Sardinia after the death of his father in 1773, and married the Infanta Maria Antonia (see her portrait also at Ickworth). His three sons reigned after him: Charles Emmanuel IV (1796-1802); Victor Emmanuel I (1802-1821); and Charles Felix (1821). The portrait is painted in a ponderously careful manner and must be by a copyist. Duprà’s style, to judge by the painting belonging to the Duke of Hamilton, was smooth and highly finished. It seems likely that the original portrait of Victor Amadeus belongs to about the time of his marriage in 1750, when Duprà is known to be at the court at Turin. This painting was almost certainly acquired by George William Hervey, 2nd Earl of Bristol (1721-1775) when envoy at Turin, 1755-58.

(c) National Trust, Ickworth; Supplied by The Public Catalogue Foundation
Copy of Portrait at Ickworth; (c) National Trust, Ickworth; Supplied by The Public Catalogue Foundation.

 

From Wikipedia:

Ickworth House is a country house near Bury St. Edmunds, Suffolk, England. It is a neoclassical building set in parkland. The house is in the care of the National Trust.  Ickworth house was built between 1795 and 1829, was formerly the chief dwelling of an estate owned by the Hervey family, later Marquesses of Bristol, since 1467. The building was the creation of Frederick Hervey, 4th Earl of Bristol and Bishop of Derry who commissioned the Italian architect Asprucci to design him a classical villa in the Suffolk countryside.

 

1280px-Ickworth_House
“Ickworth House” by Squeezyboy – Flickr. Licensed under CC BY 2.0 via Commons – https://commons.wikimedia.org/wiki/File:Ickworth_House.jpg#/media/File:Ickworth_House.jpg

 

H. O. Milliken paintings

Click on any of the images below to view full size in carousel.

 

Henry Oothout Milliken (1884-1945) was born in Stamford, Connecticut. He was a member of the class of 1905 at Princeton University and attended the Ecole des Beaux Arts in Paris. He became an architect in New York City, specializing on both town and country houses. He formed the firm of Milliken and Bevin in 1927 with Newton P. Bevin (1895-1976), another Princeton graduate with an architectural degree from University of Pennsylvania. In 1925 Milliken married Harriet Paige Greene in Cherry Valley, New York. His wife was a descendant of the Campbell family of Cherry Valley, and her uncle, Douglas Campbell, owned the family home, Auchinbreck, on land that had been in the Campbell family since the 1740s. The Greene family often spent summers there. As the Clarkes of Hyde Hall and the Campbells of Cherry Valley had been friends for many generations, Milliken would have visited and been familiar with Hyde Hall and it was probably during one of the summer visits in 1932 that Milliken made his paintings of Hyde Hall.

As a graduate of the Ecole des Beaux Arts, Milliken must have admired and understood the distinctive architecture of Hyde Hall, particularly the austere classicism of the Great House, built between 1828 and 1833. Although a professional architect, he was also a painter with ability and talent, particularly evident in his atmospheric play of light and shade in the Hyde Hall paintings. The exterior view of Hyde Hall is focused on the Doric columns of the portico, while the three interior scenes show the architectural details from the plaster cornices to the woodwork and the historic family furnishings. Views of interiors began to appear in the 17 th century in the works of such artists as Vermeer or Terborch, but these were backdrops to the human drama of the figures. In the late 18 th and 19 th centuries a specialized genre of interiors scenes, some without people, began to appear. These include the interiors of British royal residences by William Henry Pyne (1769-1843) in publications between 1816 and 1819 and a host of amateur painters such as Mary Ellen Best (1809-1891), who recorded the interiors of the homes of her family and other members of the English gentry. Milliken’s paintings of Hyde Hall come from a long tradition, but are most reminiscent in subject, size and technique to the work of Walter Gay (1856-1937), an American artist who moved to France in 1876. From the 1890s until his death Gay made small studies of unpeopled, antique-filled interiors of French chateaus and historic private houses both in France and America. It is highly likely that Milliken was aware of Gay’s interior scenes as the artist was well known in French artistic circles and, after an exhibition in 1913, to American audiences.

Gallery of the Louvre

Gallery of the Louvre

Gallery of the Louvre

Photographic copy of the original painted by Samuel F. B. Morse

2012 copy of c.1831-1833 original

George Clarke (1768-1835) met Morse in 1829 when the artist spent the summer in Cooperstown and nearby Cherry Valley. When Morse’s plan for public exhibitions of the Gallery of the Louvre fell through, he wrote Clarke offering the painting for $1,200. Clarke purchased it in September 1833 and added an additional $100.00 for the frame. The painting hung at Hyde Hall until the late 1840s when it was sold by George Clarke, Jr. (1822-1889). The original is now in the collection of the Terra Foundation.

Lieutenant Governor George Clarke

Lieutenant Governor George Clarke

Lieutenant Governor George Clarke

Oil on canvas painted by James Fellowes (1710-1780)

Active in Cheshire, England (1735-1751)

c.1750

Governor George Clarke returned to England in 1748, remodeled Hyde Hall, his family seat in Cheshire, and died there on January 12, 1760. He commissioned this portrait about 1750.  It remained in England until it was sent to the American Hyde Hall in the 1880s.

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