Portrait of John Hobart, 2nd Earl of Buckinghamshire - Thomas Gainsborough
Archival giclée
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Description
A formal portrait of John Hobart, 2nd Earl of Buckinghamshire, by Thomas Gainsborough, featuring the sitter in ceremonial peerage robes.
Thomas Gainsborough, a master of the British portrait tradition, captures John Hobart, 2nd Earl of Buckinghamshire, in this formal composition. The subject stands in a relaxed yet authoritative posture, a hallmark of Gainsborough's approach to aristocratic portraiture. He wears the ceremonial robes of his peerage, which are rendered with fluid, light brushwork that defines the artist's mature style. The ermine-trimmed mantle drapes across his shoulders, providing a textural contrast to the smooth silk of his waistcoat and breeches.
Gainsborough often prioritised the atmospheric quality of his works over rigid anatomical precision. In this piece, the background remains dark and indistinct, which draws the viewer's attention to the sitter's face and the luminous quality of his attire. The Earl's expression is composed, reflecting the social expectations of the mid-eighteenth-century British nobility. The play of light across the fabric suggests the influence of the French Rococo, yet the restraint in the colour palette remains distinctly British.
This portrait serves as a record of the sitter's status during his tenure as a diplomat and politician. Gainsborough avoids the overly stiff formality found in the works of his contemporaries, opting instead for a sense of movement within the figure. The composition relies on the diagonal line of the legs and the sweep of the robes to create a sense of balance. As a fine art print, this reproduction maintains the tonal range of the original oil painting, preserving the subtle transitions between the deep shadows and the highlights on the ermine fur. It is a representative example of the portraiture that defined the Georgian era, capturing both the individual and the symbols of his rank.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Portrait of John Hobart, 2nd Earl of Buckinghamshire - Thomas Gainsborough
Artist Biography
Thomas Gainsborough
He was born in Sudbury, Suffolk, in 1727. His father went bankrupt in 1733. He moved to London as a teenager and trained under the French engraver Hubert-Francois Gravelot. By his thirties he was one of the two dominant portrait painters in Georgian England, the other being Joshua Reynolds. The rivalry with Reynolds defined both their careers.
The Blue Boy is probably his most famous painting, though he would have preferred to be remembered for his landscapes. On his deathbed he reconciled with Reynolds. Reynolds later wrote that the Royal Academy had lost one of its greatest ornaments. Gainsborough died in 1788, aged sixty-one.
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