Connoisseur and collector
The scholar Sir Brinsley Ford (1908-99) was passionate about art throughout his life. A precocious collector from the age of 11, he inherited from his family not only a formidable collection, but a discerning eye and taste for art. Over the course of his lifetime, he expanded his collection with great passion, amassing paintings, drawings, sculpture and decorative arts to fill his west London terrace house at 14 Wyndham Place.
Over the years, Sir Brinsley’s scholarly pursuits and collecting interests coalesced. He became a leading authority on the subject of the Grand Tour and the additions he made to his collection reflect this knowledge. The highlights of the current display at Basildon Park bring to life the itineraries of the tourists themselves, including the activities they engaged in, the objects they collected and the sites they visited.
The lure of Italy
The Grand Tour – that period of travel in Europe generally undertaken by wealthy young men – was established in the 1660s and flourished throughout the 18th and early 19th centuries. It commonly took place at the end of one’s formal education and was seen as a means of shaping the creative, intellectual and cultural sensibilities of aspiring gentleman. Depending upon personal circumstances, this pilgrimage could last anywhere from several months to several years.
For most Britons who embarked upon the Tour, Italy represented the cultural apex of their continental journey. With its picturesque countryside, ongoing archaeological excavations and staggering repository of art and antiquities, Italy brimmed with possibilities for cultural enrichment.
Doyen of painters
Whilst in Italy, tourists were eager to have their portraits painted to commemorate their trip, and in Rome, no portraitist was more sought after than Pompeo Batoni. Batoni specialised in portraits of foreign aristocrats, situating them in evocative landscapes of famous sites and monuments in Rome and its countryside. Batoni’s portraits played an important role in the articulation of aristocratic identity and his work became the prototype for grand tour portraiture well into the 19th century.