The J. Paul Getty Museum

Portrait of John Talbot, later 1st Earl Talbot

Object Details


Portrait of John Talbot, later 1st Earl Talbot


Pompeo Batoni (Italian (Lucchese), 1708 - 1787)




Italy (Place Created)




Oil on canvas

Object Number:



275.6 × 183.5 cm (108 1/2 × 72 1/4 in.)

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Object Description

In a portrait commemorating his Grand Tour, the Englishman John Talbot, later first Earl Talbot, casually poses full-length before a Roman background. Legs crossed in a leisurely manner, the young Talbot leans on his left elbow and rests his right hand on the top of his walking stick. He wears a light gold waistcoat and breeches with a rose-pink velvet coat and white hose and holds a tricornered hat with gold braid. Around him are allusions to his interest in classical antiquity. The Ludovisi Mars statue on the left and the Medici Vase on the right stand for two of Rome's most popular and important works of art. The broken capital in the left foreground and the base of a column at the right refer to Rome's classical architectural heritage.

Pompeo Batoni was known for his portraits of wealthy Grand Tourists during their stay in Rome. He frequently depicted them in the presence of antiquities in order to amplify their image as learned, cultivated, yet leisured aristocrats.

1773 - 1793

John Chetwynd Chetwynd-Talbot, 1st earl Talbot, 1749 - 1793 (Ingestre Hall, Stafford, England), commissioned from the artist by the sitter, 1773; by inheritance to Charles Chetwynd Chetwynd-Talbot, 1793.

1793 - 1849

Charles Chetwynd Chetwynd-Talbot, 2nd earl Talbot, British, 1777 - 1849 (Ingestre Hall, Stafford, England), by inheritance to Henry John Chetwynd-Talbot, 1849.

1849 - 1868

Henry John Chetwynd-Talbot, 18th earl of Shrewsbury, 11th earl of Waterford, and 3rd earl Talbot, British, 1803 - 1868 (Ingestre Hall, Stafford, England), by inheritance to Charles John Chetwynd-Talbot, 1868.

1868 - 1877

Charles John Chetwynd-Talbot, 19th earl of Shrewsbury, 19th earl of Waterford, and 4th earl Talbot, British, 1830 - 1877 (Ingestre Hall, Stafford, England), by inheritance to Charles Henry John Chetwynd-Talbot, 1877.

1877 - 1921

Charles Henry John Chetwynd-Talbot, 20th earl of Shrewsbury, 20th earl of Waterford, and 5th earl Talbot, 1860 - 1921 (Ingestre Hall, Stafford, England), by inheritance to John George Charles Henry Alton Alexander Chetwynd Chetwynd-Talbot, 1921.

1921 - 1960

John George Charles Henry Alton Alexander Chetwynd-Talbot, 21st earl of Shrewsbury, 21st earl of Waterford, 6th earl Talbot, 1914 - 1980 (Ingestre Hall, Stafford, England) [sold, Shrewsbury and Waterford sale, Sotheby's, London, March 23, 1960, lot 62, through Thomas Agnew & Sons, Ltd. (London, England), to J. Paul Getty.]

1960 - 1976

J. Paul Getty, American, 1892 - 1976 (Malibu, California; Sutton Place, Surrey, England), upon his death, held in trust by the estate.

1976 - 1978

Estate of J. Paul Getty, American, 1892 - 1976, distributed to the J. Paul Getty Museum, 1978.

Rome on the Grand Tour (January 8 to August 11, 2002)
  • The J. Paul Getty Museum at the Getty Center (Los Angeles), January 8 to August 11, 2002

Crafton, Anthony. A Catalogue of the Pictures at Ingestre Hall, Staffordshire (London: s.n., 1953), p. 66, no. 25.

Lowther, G.A. Ingestre Hall, An Illustrated Survey of the Residence of the Chetwynd Talbot Family (Stoke-on-Trent: s.n., 1956), pl. 14.

Nares, Gordon. "Ingestre Hall, Staffordshire-III. The Seat of the Earl of Shrewsbury and Waterford." Country Life 122 (October 31, 1957), pp. 926-27, fig. 7.

Skinner, Basil C. "Some Aspects of the Work of Nathaniel Dance in Rome." Burlington Magazine 101, no. 678/9 (September/October 1959), p. 349.

Getty, J. Paul. The Joys of Collecting (New York: Hawthorn Books, Inc., 1965), p. 29.

Musgrave, Clifford. "Sutton Place, Guildford: The English Home of Mr. Paul Getty." The Connoisseur 161, no. 649 (March 1966), p. 147, ill.

Harris, John. A Catalogue of British Drawings for Architecture, Decoration, Sculpture and Landscape Gardening 1550-1900 in American Collections (Upper Saddle River: The Gregg Press, 1971), p. 326.

Fredericksen, Burton B., Jiří Frel, and Gillian Wilson. The J. Paul Getty Museum Guidebook. 5th ed. (Malibu: J. Paul Getty Museum, 1980), p. 76, ill.

Bowron, Edgar Peters. Pompeo Batoni (1708-1787): A Loan Exhibition of Paintings, 16 November-18 December 1982, exh. cat. (New York: Colnaghi, 1982), pp. 8-9, fig. 8.

Pompeo Batoni and His British Patrons, exh. cat. (London: Greater London Council, 1982), pp. 13, 93, no. 163.

Clark, Anthony Morris. Pompeo Batoni: A Complete Catalogue of his Works with an Introductory Text. Edgar Peters Bowron, ed. (New York: New York University Press, 1985), pp. 47, 62, 329-30, no. 368, pl. 334.

Fredericksen, Burton B. "Goya's Portraits of the Marqueses de Santiago and de San Adrián." The J. Paul Getty Museum Journal 13 (1985), p. 137n7.

Jaffé, David. Summary Catalogue of European Paintings in the J. Paul Getty Museum (Los Angeles: J. Paul Getty Museum, 1997), p. 7, ill.

Sanchez-Jauregui, Maria Dolores. "Two Portraits of Francis Basset by Pompeo Batoni in Madrid." Burlington Magazine 143, no. 1180 (July 2000), p. 421, fig. 15.

Italy on the Grand Tour: Exhibitions Highlighting Getty Collections, exh. brochure (Los Angeles: J. Paul Getty Museum, 2001), unpaginated, ill.

Leone, Rosella, et al. Il Museo di Roma racconta la città (Rome: Gangemi, 2002), p. 188.

Tarabra, Daniela. European Art of the Eighteenth Century. Rosanna M. Giammanco Frongia, trans. (Los Angeles: J. Paul Getty Museum, 2006), p. 54, ill.

Weekley, Carolyn J. Painters and Paintings in the Early American South (Williamsburg: The Colonial Williamsburg Foundation, with Yale University Press, 2013), pp. 377-78, fig. 7.51.

Bowron, Edgar Peters. Pompeo Batoni: A Complete Catalogue of His Paintings. 2 vols. (New Haven: Yale University Press, with The Museum of Fine Arts, Houston, 2016), vol. 2, pp. 471-72, no. 376, fig. 376.

Boutier, Jean. “Le Séjour Romaine des Jeunes ‘Grand-Touristes’ au XVIIIe Siècle.” In Le Grand Tour et l’Académie de France À Rome, XVIIe-XIXe Siècles (Paris: Hermann Èditeurs, 2018), pp. 87-90, fig. 3.

Education Resources
Education Resources

Education Resource




Looking at Portraits Lesson 1: What Do Portraits Communicate?

Students will make connections between their personal experiences and a work of art and use visual analysis to describe a portrait.

Visual Arts; English–Language Arts; ESL (English as a Second Language)

Adult Learners

Single Class Lesson

Referencing the Classical Past

Lesson in which students explore the 18th-century tradition of the Grand Tour and consider why people seek associations with the classical past.

Visual Arts; History–Social Science

6-8; 9-12

Two-Part Lesson