Politician.
National Gallery Trustee (1831–1854).
Nicholas William Ridley-Colborne, Baron Colborne of West Harling
1839 - 1854
This person is the subject of ongoing research. We have started by researching their relationship to the enslavement of people.
Biographical notes
Slavery connections
No known connections with slavery.
Abolition connections
A mild abolitionist, he was reported to be a ’staunch friend‘ of abolition of the slave trade in 1806. (Howard Spencer / Terry Jenkins, ’RIDLEY COLBORNE, Nicholas William (1779-1854), of West Harling, Norf.', in History of Parliament Trust (ed.), The History of Parliament: British Political, Social & Local History [online], London, 1964 -, 1820-1832,<https://www.historyofparliamentonline.org/volume/1820-1832/member/ridley-colborne-nicholas-1779-1854> accessed 5 August 2021.)
National Gallery painting connections
Donor: bequeathed in 1854: NG237–240, NG242–244, NG241 (transferred to Tate, N00241).
Bibliography
C. Matthew et al. (eds), Oxford Dictionary of National Biography, Oxford 1992-, https://www.oxforddnb.com/
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— Item on publisher's website
B. Murphy, 'RIDLEY COLBORNE, Nicholas William (1779-1854), of West Harling, Norf.', in History of Parliament Trust (ed.), The History of Parliament: British Political, Social & Local History, London 1964-, 1790-1820, https://www.historyofparliamentonline.org/volume/1790-1820/member/ridley-colborne-nicholas-william-1779-1854
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— Item on publisher's website
H. Spencer and T. Jenkins, 'RIDLEY COLBORNE, Nicholas William (1779-1854), of West Harling, Norf.', in History of Parliament Trust (ed.), The History of Parliament: British Political, Social & Local History, London 1964-, 1820-1832, https://www.historyofparliamentonline.org/volume/1820-1832/member/ridley-colborne-nicholas-1779-1854
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— Item on publisher's website
J. Turner et al. (eds), Grove Art Online, Oxford 1998-, https://www.oxfordartonline.com/groveart/
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UCL Department of History (ed.), Legacies of British Slave-ownership, London 2020, https://www.ucl.ac.uk/lbs/
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— Item on publisher's website
Paintings previously owned by Nicholas William Ridley-Colborne, Baron Colborne of West Harling
(Showing 6 of 7 works)
A powerful hound brings life into this picture – surrounded by dead creatures, the dog pauses, head turned, alert to the call of a horn blown by the huntsman on the right. Light bounces off the belly of a hare, the flowing curve of the heron’s wing and the dog’s snout. The artist’s considerable s...
Aert van der Neer was one of the most successful specialists in moonlit landscapes, and this is one of many he painted. The moon here has appeared only briefly, breaking through a tiny gap in a cloudy sky. The cool light creates a contrast between the deep darkness in the shadowy outlines of the...
Not on display
Rembrandt’s pensive Saint Paul belongs to a series of half-length pictures of religious figures that the artist painted in the late 1650s and early 1660s. The dark picture is devoid of unnecessary details, but the saint’s traditional attributes are just about visible: an open book sits on the tab...
Probably by David Teniers the Younger
Backgammon (triktrak in Dutch) was a highly popular board game in seventeenth-century Flanders, especially in taverns and drinking dens, where players would bet on the outcome. The white cube we see in the centre of the board is probably a doubling die, used to up the stakes. Gambling of this kin...
Not on display
Jacob sits next to a stream, holding his shepherd’s staff, surrounded by his flock. Resting beneath a tree, he looks up towards heaven as if seeking guidance or strength: according to the Old Testament story, Jacob agreed to tend Laban’s flock for seven years so that he could marry his daughter R...
Many Dutch artists went to live in Italy when they were young and brought their idyllic dreams of a warmer, slower, rural lifestyle home to an enthusiastic Dutch public. Nicolaes Berchem was probably one of them. Dutch cities were growing fast and people were migrating to them from the country in...
Not on display
This portrait was once attributed to Rembrandt, whose false signature it bears. The predominantly brown colours, the neutral background, the thick brushstrokes on the cuffs and handkerchief and the way that the artist has used layers of paint to depict, for example, flesh tones, are reminiscent o...
Not on display
You've viewed 6 of 7 paintings