A Memorial to Architectural Achievement

The Adlington Series was commissioned by Charles Legh (1697-1781) as a memorial to his architectural achievements. The 18th century marked a transformative era for Adlington Hall, with the estate undergoing substantial architectural changes. In 1739, Charles Legh and his wife Hester initiated an ambitious renovation project to transform Adlington from a medium sized Tudor manor into an impressive Georgian mansion. Charles embraced the popular Georgian architectural style, characterised by symmetry, proportion, and classical design. This included a new red brick and stone dressed south and west wing alongside the creation of an almost over-scaled stable block, both topped by pediments and cupolas carved with their names and date. Despite these significant updates, Charles valued the estate's historical elements, as evidenced by his thoughtful integration of the older timber-framed structure into the new design, rather than demolishing it entirely as was typical during this time. The result was a much grander residence, with a more imposing façade, elegant interiors, and expansive gardens. The Hall’s appearance became that of a refined country house, befitting the Legh family’s status.

The Tradition of Estate Portraiture

The tradition of estate painting arrived in England relatively late in comparison with the continent, where Renaissance rulers and aristocrats sought to document their palaces and homes. While oil paintings on canvas of a standalone property are unrecorded in England before 1600, the tradition was taken up with great enthusiasm and the art form reached its zenith in the eighteenth-century.

Thomas Bardwell was a painter with a varied oeuvre; he travelled across England and Scotland executing country house views, portraits and conversation pieces. He began his artistic career decorating house interiors and initially owned a paint supply business. Although he lacked formal training, in the 1720s he was employed by the successful country house painter Peter Tillemans (c. 1684-1734) to paint Livermere Hall in Bardwell's native East Anglia. Tillemans' influence on Bardwell is discernible from his earliest topographical pictures. Notably, his painting of Hedenham Hall (1735) adopts Tillemans' distinctive equine staffage, shown most prominently in his view of Chatsworth (1720s). Though charmingly naïve, this early work is also notable for its sensitive observation of detail and miniature-like quality.

Previously attributed to James Shrigley, The Adlington views demonstrate how Bardwell's proficiency in country house painting evolved in his mature years. First and foremost, the works memorialise the architectural achievements of Charles Legh, including the south wing portico, detached stable block, domed Temple of Diana and garden follies. Although early continental estate pictures certainly display a keen interest in preserving specific details, decorative concerns often came at the expense of accuracy and views were compressed to create broad pictorial maps. By the turn of the 18th century, however, artists and patrons responded to the growing study of topography and sets of elevational views proliferated to provide a comprehensive record. 

Bardwell's interest in perspectival accuracy therefore made him a fitting choice for the commission. Published in 1756, his study The Practice of Painting and Perspective Made Easy offers the reader a guide to the principles of perspective using illustrations of buildings, gardens and avenues. His principles are brought to fruition in the present works, through geometric precision, carefully manipulated areas of light and shadow and the incisive rendering of architectural detail. 

One Man Surveying his Estate

Bardwell's views also act as a celebration of the English estate, with its bucolic scenery and rural pleasures. The Adlington Series follows Charles as he strolls around his estate, the paintings providing a pictorial tour of the landscape. In one view, he stands proudly before the imposing new south façade. Another shows him looking across his sweeping vista and admiring Adlington Hall from a distance. The parkland is characteristic of the mid eighteenth-century designs popularised by Lancelot 'Capability' Brown, with rolling pastures and clusters of trees. Horses graze, deer and rabbits frolic, and Charles is accompanied by a crowd of his cherished dogs. Indeed, the lines between portraiture, landscape, sporting and country house painting blurred in English eighteenth-century conversation pieces and works began to speak to the symbiotic relationship between the home and family. Thomas Bardwell's portraits, for instance, often include the sitter's home in the background and his estate views show figures riding or promenading through the grounds. In each picture, however, the figure moves unobtrusively across the landscape; there is an awareness of his transience. While one generation travels through, the home and park remain the constant focus, a testament to one family's enduring legacy spanning 700 years.

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Auction Details

Wednesday 22 January 2025, 10.30am GMT
Donnington Priory, Newbury, Berkshire RG14 2JE

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VIEWING:

• Viewing in London (highlights): 16-17 Pall Mall, SW1Y 5LU
  • Tuesday 7 January: 10am-4pm
  • Wednesday 8 January: 10am-4pm
  • Thursday 9 January: 10am-4pm
  • Friday 10 January: 10am-4pm
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  • Sunday 19 January: 10am-3pm
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