Portrait of Gray Brydges, fifth Baron Chandos, of Sudeley Castle, Gloucestershire (1579–1621)

William Larkin, ca. 1580–1619, British, Portrait of Gray Brydges, fifth Baron Chandos, of Sudeley Castle, Gloucestershire (1579–1621), ca. 1615

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Creator:

William Larkin, ca. 1580–1619

Title:

Portrait of Gray Brydges, fifth Baron Chandos, of Sudeley Castle, Gloucestershire (1579–1621)

Former Title(s):

Sir William Pope

A Nobleman attributed to William Larkin

Date:

ca. 1615

Medium:

Oil on panel

Dimensions:

23 3/8 x 17 1/8 inches (59.4 x 43.5 cm)

Credit Line:

Yale Center for British Art, Paul Mellon Collection

Copyright Status:

Public Domain

Accession Number:

B1981.25.404

Classification:

Paintings

Collection:

Paintings and Sculpture

Link to Frame:

B1981.25.404FR

Subject Terms:

Associated People:

Brydges, Gray, fifth Baron Chandos (1579–1621), courtier and landowner

Access:

Not on view
Note: To make an appointment to see this work, please contact the Paintings and Sculpture department at ycba.paintings@yale.edu. Please visit the Paintings and Sculpture collections page on our website for more details.

Link:

https://collections.britishart.yale.edu/catalog/tms:889

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Gray Brydges, fifth Baron Chandos, was the archetypal Jacobean courtier. Young, dashing, and incredibly wealthy, Chandos made a name for himself through displays of his horsemanship at the Accession Day tournaments and performances at the annual court masques: elaborate theatrical displays in which courtiers would participate. Like many of his peers, Chandos dressed lavishly, spent extravagantly, and surrounded himself with a large retinue. Although often at court, he also spent prodigious sums on maintaining his household at Sudeley Castle in Gloucestershire, which was left open for his neighbors to enjoy three days a week. Such was his reputation for largesse that he earned the nickname “King of the Cotswolds” (the Cotswolds being the area in England between Oxfordshire and Gloucestershire). This picture was probably painted to pair with another portrait of a now unknown sitter, which hangs nearby.

Gallery label for installation of YCBA collection, 2016

British Art at Yale, Apollo, v.105, April 1977, pp. 239-40, fig. 5, N1 .A54 + OVERSIZE (YCBA) [YCBA]

Malcolm Cormack, Concise Catalogue of Paintings in the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1985, pp. 140-141, N590.2 A83 (YCBA) [YCBA]

Lawrence Hendra, Love's labour's found : Elizabethan & Jacobean portraiture, Philip Mould Ltd., London, p. 15, fig. 12, ND1314.P44 L68 2021+ (YCBA) [YCBA]

Ian Tyers, The tree-ring analysis of 23 panel paintings from the Yale Center for British Art , New Haven : dendrochronological consultancy report 470, , Yale Center for British Art, New Haven, 2011, p., CC78.3 .T94 2011 (YCBA) [YCBA]

Ellis Waterhouse, An Impressive Panorama of British Portraiture, Apollo, v. 105, no. 182, April 1977, pp. 239-40, fig. 5, N1 A54 + (YCBA) Another copy of this article may be found in a separately bound and catalogued copy of this issue located on the Mellon Shelf [call number : N5220 M552 A7 1977 + (YCBA)] [YCBA]

Yale Center for British Art, Selected paintings, drawings & books, Yale University Press, New Haven, CT, 1977, p. 1, N590.2 A82 (YCBA) [YCBA]

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