Paul Sandby (1731-1809)
Scene in the Woodyard in Windsor Great Park signed & dated 1792
Pencil, pen and watercolour | 18.5 x 29.2 cm (sheet of paper) | RCIN 914620
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A watercolour drawing of part of the Woodyard in Windsor Great Park, looking to the East entrance. A shed is on the far right, with trees on the left and in the distance. In the foreground, farm machinery, piles of timber and waggons. A man is carrying a log in the left foreground. Signed in pen and ink at the lower left corner, 'PS Wood Yard W.P. 1792'. On a mount with grey and pink wash lined borders, now faded. Inscribed in pencil on the mount, 'Scene in the Woodyard in Windsor Great Park', and with auctioneer's numbers at the lower left corner, partly trimmed. Inscribed on the back in pen, 'Part of the Wood Yard in Windsor Great Park, looking to the East Entrance, 1792'.
The Woodyard or Carpenter's Yard was noted on a map of 1750 as immediately to the west of the dairy, very close to Thomas Sandby's house, the Deputy Ranger's Lodge. The yard produced timber for building works across the estate, including fencing and farm machinery. It was later moved to an area later developed as the Prince Consort's workshops. The drawing is among several that Sandby made of the workshops around the woodyard in Windsor Great Park, many of which are dated 1792. He exhibited two 'Views in the Woodyard, Windsor Great Park' at the Royal Academy in 1793 (nos 541 and 603), one of which is 451587. Other views of the Woodyard in the Royal Collection are 914621, 914618, 917308, 914619 and 914613; five drawings of the woodyard in the British Museum are 1904,0819.110, 1904,0819.97, 1904,0819.120, 1904,0819.59, 1904,0819.24. Others include a watercolour sold at Sotheby's 6 July 2010 (lot 40), a watercolour in the City of Hamilton Art Gallery, Victoria, Australia (inv. no. 1133), a watercolour in Leicestershire Museum and Art Gallery (7a.1904) and a watercolour in the Yale Center for British Art, New Haven (B1975.4.1383).
Bruce Robertson has suggested that Sandby made these drawings en plein air during a period of convalescence at his brother's house (The Art of Paul Sandby, exh. cat., New Haven 1985, no. 126). Others (Sotheby's, 6 July 2010, lot 40) have seen these works as evidence of Sandby's affection for the unsung aspects of life on country estates. John Bonehill and Stephen Daniels (Picturing Britain, exh. cat., Nottingham &c 2009, p. 226) have pointed out that Sandby's concentration on the subject of the woodyard coincides with the outbreak of the Napoleonic wars and the felling of large numbers of trees for naval timber; these drawings are thus connected to wider patriotic concerns. In a letter to James Gandon, Sandby wrote that 'the majestic forests of Windsor have long since lowly bowed their heads to the adze of keen necessity, and lust of lucre', with the 'humble elm' lending 'feeble aid to battle with our enemies at sea' (Gandon 1846, p. 184). The development of the Windsor estate in this period was also seen as a sign of the country's benevolent constitution and virtuous sovereign.Provenance
Paul Sandby estate sale (Christie's, 3 May 1811, lot 12) with RCIN 914619; bought by Shepperd for George IV when Prince of Wales, £2
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Creator(s)
Acquirer(s)
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Medium and techniques
Pencil, pen and watercolour
Measurements
18.5 x 29.2 cm (sheet of paper)
25.0 x 34.9 cm (mount)
Other number(s)
RL 14620Alternative title(s)
Part of the Wood Yard in Windsor Great Park, looking to the East Entrance
