Portrait of the banker and patron of the arts Henry Hoare II of Stourhead (1705–1785), nicknamed the "The Magnificent" Through strict profile in the manner of ancient Roman coins, William Hoare captures the commanding personality and charisma of Henry Hoare II (1705-1785). Although not related, the artist was a personal friend and frequent guest of the sitter, which enabled him to perceptively portray Henry Hoare's character. Astute management of the family bank, C. Hoare & Co., financed Henry's extensive patronage of the arts, earning him the nickname "The Magnificent.'' Under his direction, the garden at Stourhead, his family home, was transformed into one of the earliest and finest examples of the English landscape garden. (http://www.getty.edu/art/collection/objects/263439/william-hoare-henry-hoare-the-magnificent-of-stourhead-english-about-1750-1760/) Henry Hoare II (1705–1785), known as Henry the Magnificent, was an English banker and garden owner-designer. Henry dominated the Hoare family through his wealth and personal charisma. He was a partner for nearly 60 years in C. Hoare & Co. His nickname, "Henry The Magnificent", derived in part from his influence as a great patron of the Arts, but more particularly because he laid out the gardens at Stourhead in Wiltshire, an estate bought by his father. In the 30 years after his mother died in 1741, he worked on the gardens at Stourhead, planning and planting what became a "masterpiece" of European garden design. In the 'school' of Poussin, it was said to be "more beautiful than any landscape put on canvas". The gardens were admired as a showplace and Capability Brown, the renowned landscape gardener, was well known to Henry. In 1734 he was elected Member of Parliament for Salisbury. (https://en.wikipedia.org/wiki/Henry_Hoare) Whether at pleasure or business, let us be in earnest, and ever active to be outdone or exceeded by none, that is the way to thrive.” —Henry Hoare, 1755 In 1739–40, British banking heir Henry Hoare, who had abandoned his drinking and hunting ways in favor of more intellectual pursuits, embarked on a Grand Tour to study fine art in Italy, developing a lifelong love of classical and neo-classic art. He returned to the family seat, Stourhead in Wiltshire, with crates of significant paintings and continued to collect, assembling one of the most notable collections of his day. An accomplished businessman (the oldest bank in England, C. Hoare & Co. is in operation to this day), Mr. Hoare applied his professional high standards to matters of taste, including collecting, architecture, and landscaping. His estate at Stourhead was such an extraordinary example of home, art collection, and gardens that his acquaintances were known to call him “Henry the Magnificent.” Artist William Hoare (no relation, c. 1707–1792), was a founding member of the Royal Academy of Arts and one of the leading portraitists of his day, a natural choice for a man of taste such as Henry Hoare. After studying in Italy, William Hoare settled in Bath, England, where the spa seasons supplied him with a constant influx of important sitters, including the Prince of Wales. William Hoare formed a friendship with Henry Hoare and became a frequent guest at Stourhead. William Hoare’s daughter, Mary (1744–1820), also an artist, even married Henry Hoare’s nephew. The portrait of Henry is one of the finest pastels William created in his career. In exceptional condition, the likeness is drawn in rigorous profile, vividly capturing Henry the Magnificent’s commanding personality. Henry Hoare’s decision to be portrayed in strict profile, in the manner of ancient Roman coins, speaks to the influence of classical antiquity for both men. Susannah Hoare, Viscountess Dungarvan, later Countess of Ailesbury, looks out from her pendant at the viewer. She wears a widow’s cap, having lost her husband Charles Boyle, Viscount Dungarvan, in 1759. Her hands are busy winding yarn around a rose. Though grand and elegant, the pair are also poignant as Susannah was Henry’s only living child at the time. In his extraordinary but tragic life, Henry Hoare outlived both of his wives and, eventually, all six of his children. Susannah, his eldest daughter from his second marriage and the longest living, preceded him in death by two years at the age of 51. Henry Hoare was 80 years old when died in 1785, an exceptional age for a man of his time. Susannah Hoare kept the portraits in her home when she became the Countess of Ailesbury in 1761. Created as a pair, the father and daughter portraits have stayed together ever since. (http://blogs.getty.edu/iris/father-and-daughter-pastels-by-william-hoare-now-on-view/)