Sculpture in the Portrait of Jonathan Richardson Junior by Jonathan Richardson Senior

Jonathan Richardson Junior by Jonathan Richardson Senior.

Portrait of the Artist's Son, Jonathan Richardson the Younger, in his Study c. 1734.

Oil on canvas. 90.4 x 71.5 cm.

Tate Gallery, Millbank, London.

Hogarth - Sculpture in the Paintings

William Hogarth, 10 November 1697 – 26 October 1764.

Busts in the paintings of Hogarth

Anonymous family. Circa 1735.

Oil on canvas. 53.3 x 74.9 cms.

Yale, Paul Mellon Centre for British Art.

Wollaston Family. 1730.

Oil on canvas, 102.5 x 126.4 cm.

Leicester Arts and Museums

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Cholmondely Family.

Private Coll. 1732.

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Dr Benjamin Hoadly (1676 - 1761) with bust of Isaac Newton. Late 1730's.

Oil on canvas. 60.7 x 47.9 cms.

Fitzwilliam Museum, Cambridge. England

Smart sale, London, Foster & Son, 16 January 1850 (32), bt. White; William Benoni White sale, Christie's, 24 May 1879 (200), bt. Cox; coll. Joseph Prior, Cambridge (1834-1918); with Charles Fairfax Murray by 1902. Given in 1908 by Fairfax Murray

Notes -

 educated at St Catharine's College, Cambridge and ordained a priest in 1700. He was rector of St Peter-le-Poor, London, from 1704 to 1724, and of St Leonard's, Streatham, from 1710 to 1723. His participation in controversy began at the beginning of his career, when he advocated conformity of the religious rites from the Scottish and English churches for the sake of union. He became a leader of the low church and found favour with the Whig party.
He battled with Francis Atterbury, who was the spokesman for the high church group and Tory leader on the subject of passive obedience and non-resistance (i.e. obedience of divines that would not involve swearing allegiance or changing their eucharistic rites but would also not involve denunciation of the Established Church practices). The House of Commons, dominated by Whigs, recommended him to Queen Anne, and he became rector of Streatham in 1710. When George I succeeded to the throne, he became chaplain to the King and made bishop of Bangor in 1716.
In 1717, his sermon on "The Nature of the Kingdom of Christ" provoked the Bangorian controversy. He was then translated three more times, taking up different bishoprics. He maintained that the eucharist was purely a commemorative act without any divine intervention. During his time as bishop, he rarely visited his dioceses and lived, instead, in London, where he was very active in politics.

From later summer 1722 to January 1725 Hoadly published letters on contemporary topics, articulating his Whig principles and defending the Glorious Revolution of 1688. The Revolution had created "that Limited Form of Government which is our only Security" and such a government secured freedom of expression, without which Britons would suffer "all the Mischiefs, of Darkness in the Intellectual World, of Baseness in the Moral World, and of Slavery in the Political World". Hoadly also criticised the Pretender, who issued a declaration that he would extinguish opposition. Hoadly wrote that he would impose uniformity on all if he ruled: "Not only that he must destroy your Civil and Religious Rights, but that he plainly before-hand has here told You, to your Face, He will do so".

Hogarth (1697–1764) painted his portrait several times including as Bishop of Winchester and "Prelate of the Most Noble Order of the Garter" about 1743, etched by Bernard Baron (1696–1762). Hoadly's son Benjamin aided Hogarth with his The Analysis of Beauty

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 The Indian Emperor or The Conquest of Mexico. c 1732/3.

Engraving 406×540 (16×21 1/4) on paper, 466×603 (18 3/8×23 3/4); cut to plate-mark

Writing-engraving (with some losses through damage to the paper) ‘Painted by W^m Hogarth|Engrav'd by Rob! Dodd|THE INDIAN EMPEROR,|Or the Conquest of Mexico; Act 4. Scene 4.|As perfor [...]r 1731, at M^r. Conduit's, Master of the Mint, before the Duke of Cumberland & c|[...] the original Picture in the Collection of Lord Holland.|Publish'd Jan.^y 1 1792, by J. & J. Boydell, Cheapside, & at the Shakespeare Gallery Pall Mall.’
Transferred from the reference collection 1973.

The scene, the original painting for which is still in the collection of Lord Holland's descendants, shows a private children's performance of Dryden's The Indian Emperor or The Conquest of Mexico, produced by John Conduitt, Master of the Mint, at his town house in Hanover Square, and repeated at the Duke of Cumberland's request at St James's Palace before the Royal Family on 27 April 1732. Conduitt commissioned Hogarth to commemorate the occasion with a conversation piece ‘of the young People of Quality that acted at his house’. Hence Boydell's much later key to the sitters, which identifies some of the grown-ups whose heads are averted, is unlikely to be accurate (see below). In Boydell's Catalogue of Plates, 1803, Dodd's print is described as a companion to Blake's engraving of ‘The Beggar's Opera’

This key to the print above is not to be trusted! 

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 Assembly at Wanstead House.

Philadelphia Museum of Art, The John Howard McFadden Collection, 1928.

The Assembly at Wanstead House by William Hogarth painted between 1728 & 1731. The Child family has gathered for tea drinking and card playing in the ballroom of Wanstead House. The painting probably records the celebration of the 1728 25th wedding anniversary of Richard Child and Dorothy Glynne Child, Lord and Lady Castlemaine. Dressed in rich red velvet, Lord Castlemaine is seated on the far right at an ornate silver tea-table with his twin daughters whilst his wife, playing cards in the centre, turns towards her husband and shows him her winning card, the ace of spades, alluding to their winning partnership. The couple's other children stand at the far left.

For a very full and thorough explanation of this painting see -

http://www.philamuseum.org/collections/permanent/103800.html

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Miss Mary Edwards, 1742.

Oil on canvas, 126.4 x 101.3cms.

Frick Collection, New York.

Mary Edwards (1705 – 43), one of the richest women of her time, inheriting at more than £50,000 a year and extensive properties from her father Francis Edwards of Welham, Rutland. She repudiated her hasty Fleet wedding in 1731 to an extravagant, spendthrift husband Lord Anne Hamilton a son of the 4th Duke of Hamilton, although this was tantamount to declaring her son, Gerard Anne born 4 March 1733 illegitimate. She was Hogarth’s friend and arguably his most significant patron during the decade 1733–43.

She holds a copy of Queen Elizabeth I speech to her troops as they set sail from Tilbury to fight the Spanish.

Detail with the busts of Elizabeth I and King Alfred after Rysbrack, in the Hogarth portrait of  Miss Mary Edwards.

Marble Bust of King Alfred by Rysbrack, dated 1764.

signed Michl Rysbrack Sculp 1764

Given to the National Trust along with the house, its grounds, and the rest of contents by Sir Henry Hugh Arthur Hoare, 6th Bt (1865 – 1947) in 1946.

http://www.nationaltrustcollections.org.uk/object/732917

Another version in Portland stone in the Temple of British worthies at Stowe House. Buckinghamshire.

The following engravings are based on a portrait of Alfred the Great (above) commissioned by Thomas Walker Master of University College Oxford in 1661 - 2.

Now in the Masters Lodge.

Mezzotint John Faber 1712.

Plate size - 259 mm x 198 mm.

NPG.

George Vertue. circa 1730

184 mm x 108 mm.

NPG.

George Vertue. 

1733.

288 mm x 206 mm.

NPG.

Giles King pub. James Mechell. 1733.

36 x 23 cms

British Museum.

illustration to Rapin's "History of England" (1733

Terracotta bust of Elizabeth I, Royal Collection.

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Elizabeth I by Rysbrack Portland stone by 1732.

Temple of worthies with 16 busts by Rysbrack and Scheemakers, designed by William Kent and built 1735.

Images of Stone busts :"Temple of British Worthies  by Philip Halling. Licensed under CC BY-SA 2.0

Crispian de Passe (Crispijn van de Passe) 1592.

7 x 5 ins.

Folger Shakespeare Library.

Francis Hayman - Sculpture in his Paintings.

Busts in a drawing and paintings by Francis Hayman.

Anonymous lady with bust of Shakespeare on the bookcase.

 Oil on Canvas 61 x 49 cms.

Sold Lot 18, Sotheby's 4 Dec 2008.

Sothebys say - "we are grateful to Dr Brian Allen for pointing out that the presence of the bust of Shakespeare in this portrait might suggest that the sitter was a member of the Shakespeare Ladies Club. Set up late in 1736, at a time when the popularity of pantomine and foreign opera was threatening to almost banish Shakespeare's works from the London stage, the aims of the club was to persuade theatrical managers to bring to the stage many more of the bard's plays. The club was astonishingly active in the next couple of years. In February 1737 King John and Much Ado About Nothing were re-introduced to Covent Garden and in March a letter from the ghosts of four great dramatists including Shakespeare, in the Grub Street Journal proclaimed; "Tis a Great Pleasure for us to hear, that the Ladies have begun to encourage Common Sense; which makes us hope that the theatres will follow their example." The result of their efforts was to make Shakespeare fashionable and thus to prepare the ground for Garrick's debut in 1741 as Richard III".

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Dr Charles Chauncey

Oil on Canvas 63.5 x 43.2 cms. signed F Hayman 1747.

Yale, Paul Mellon Centre for British Art. 

The eldest son of Charles Chauncey, a London citizen, son of Ichabod Chauncey. He went to Benet College, Cambridge, in 1727, and graduated M.B. 1734, M.D. 1739. In 1740 he was elected a fellow of the Royal College of Physicians, and became a censor in 1740; portraits of Samuel Garth and of Richard Mead at the College of Physicians were given by him.

Chauncey was elected Fellow of the Royal Society, on 29 January 1740. His main reputation was as an antiquary and a collector of paintings and prints, coins and books. He died 25 December 1777, and was buried at St Peter's, Cornhill.

see -http://collections.britishart.yale.edu/vufind/Record/1666784

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Life size plaster of a vestal attrib. John Cheere. possibly c. 1745 - 50, but the definition of this bust is not very good.

In the Loggia, West Wycombe Park. Bucks.

Note: Malcolm Baker in The Marble Index says lead but I have inspected this bust closely and it is definitely plaster.

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Arthur Devis - Sculpture in the Paintings

Sculpture in the Portraits paintings of Arthur Devis (1712 - 87).

Mr Mrs Richard Bull

Oil on canvas, 67 x 54 cm

Harris Museum and Art Gallery, Preston.

Another portrait of the Bulls -

Signed and dated at Right - ADevis fe 1747.

Oil on Canvas, 107.3 x 87cms

Metropolitan Museum. New York. Lent by New York University.

see - Mr Devis and Mr Bull, dowloadable PDF

by Katherine Baetjer and Josephine Dobkin of the Metropolitan Museum, New York

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Lascelles Raymond Iremonger.

Oil on canvas, 65.5 x 58.5 cm

National Trust, Uppark, West Sussex

John Tomlinson and Family

Oil on canvas, 24 x 40 1/8 in. (60.9 x 101.9 cm)
Inscribed at lower left: A Devis fe 1745.

Art Institute of Chicago.

http://www.artic.edu/aic/collections/artwork/2169

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Children in an Interior

Oil on Canvas. 99.1 x 126.4 cm.

Yale, Paul Mellon Centre for British Art.

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Mr and Mrs Robert Dashwood of Vellow Wood, Stogumber, Somerset.

Oil on Canvas, 111.8 x 96.5 cms. Signed and dated 1750.

Sold Lot 50 July 16th 1975 Sotheby's London

Formerly with Leger Gallery.

Current location unknown.

Robert Dashwood married Mary Sweeting (23 Feb. 1749 in Taunton), and died in 1769 (buried 2 Dec. in Bicknoller.

Son - Vice Admiral Sir Charles Dashwood (1765 - 1847), Daughter Sarah Hay (b.1751), Hannah Ogilvie (1753 -1833): Robert Dashwood. 1756 - 1824) Indian Civil servant. 

Note - Not of Stamford Park, Nottingham which was acquired after the death of Robert Dashwood senior.

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The Family of John Bacon.

Oil on Canvas 76.2 x 131.1 cms.

Yale, Paul Mellon Centre for British Art.

Provenance by descent John Bacon, Sir Percy Loraine, purchased by Paul Mellon from Spink and Son, London 1968.

John Bacon elected 1750 Fellow of the Royal Society. d 26 Jun 1752 at Bath and buried in the Abbey Church.

son of William and Margaret Bacon - Married 23 August 1732, Catherine, daughter of Richard and Mary Lowther.

John Bacon of Staward Peel, Northumberland and Newcome Cap, Durham son of William Bacon

Governor of Bridewell and Bethlehem Hospitals

I include this painting, certainly on of the finest by Devis because it includes the grisailles or portrait reliefs either side of the doorway. Sir Francis Bacon, Sir Isaac Newton, John Milton and Alexander Pope. with a portrait of Edmund Halley in the room behind the arch. Also in the window a transit quadrant, reflecting telescope, air pump and bell jar, small compass microscope on the table and  celestial and terrestrial globes underneath.

John Bacon d. 1752.

Newspaper cutting from Bath in Time

Phillippe Mercier - Busts in the PaintingsBusts

Busts and Statues in paintings by Phillippe Mercier (1689 - 1760).

Dimensions: 74.5 by 61.5 cm.

Sold Lot 161, Sotheby's 27 November 2003.

Description: SIGNED AND DATED (MAKER'S MARKS)
signed in monogram l.r.: PM
 

This painting dates from circa 1745. It was painted in York where the artist had settled in 1739, concentrating his efforts on fancy pictures. Mercier's stay in York was very productive, working for important patrons such as the Duke of Leeds, Sir Robert Hildyard and Thomas Worsley, and was able to take 'a convenient sash'd house with a large garden, Coach-house, and Stable' within the precincts of York Cathedral.

Provenance: G.M. Scott, by whose executors sold, Christie's, 28th November 1838, lot 9, bt. by Drummond for £88-4-0;

W. Grindlay, sale, Christie's, 8th January 1887, lot 70.

   Literature: John Ingamells and Robert Raines, 'A Catalogue of the Paintings, Drawings and Etchings of Philip Mercier', Walpole Society, 1978, Vol.XLVI, p.54, no.231; illustrated plate 10c

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A Boy drawing from the Antique, Phillipe Mercier. c 1745.

Oil on Canvas -75.5 x 61.8 cm

 Cannons Hall Museum, Barnsley Museum Services, Yorkshire.

The bust appears to be the same as in the previous painting suggesting perhaps that it was a personal possession of Mercier

Charles Phillips - Busts and Statues in the Paintings

Busts and Statues in the Paintings of Charles Philips (1708 - 47).

Strong Family 1732

Oil on canvas 72.4 x 94cms

Metropolitan Museum, New York.

The inscriptions on the frame indicate that the family is that of Edward Strong, master mason of Saint Paul's Cathedral.

George II in the library at St James Palace,

Oil on canvas, 112 x 86 cms.

English Heritage, Marble Hill House,

Purchased from Agnew's 1971.

 Two Gentlemen

Oil on Canvas 73 x 61cms

Signed and dated on the base of the bust Philips/ Pinx/ 1736.

Sold Sotheby's Lot 7, 9th July 2009.

Charles Lennox 2nd Duke of Richmond. c 1750.

Oil on canvas 76 x 63 cms.

Society of Antiquaries, Burlington House, Piccadilly, London.

The Portrait Bust in mid 18th Century Conversation Pieces.

Conversation pieces by Gawen Hamilton (1698 - 1737),

showing the display of busts and statues in English domestic situations in the mid 18th century.

George Vertue (1683-1756), writing on Hamilton's death in 1737, praised his 'easy graceful likeness' and claimed that it was the opinion of several artists that in some instances he 'outdid Mr Hogarth'.

An Assembly of Virtuosi. attributed to Gawen Hamilton.

Oil on canvas, 61 x72 cms.

Ashmolean Museum Oxford.

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An Assembly of Virtuosi at the Kings Arms, 1735.

Oil on Canvas - 87.6 x 111.5cms.

National Portrait Gallery, London.

Gawen Hamilton -2nd from the right with blue turban next to Michael Rysbrack 3rd from right..

Bernard Baron (1696-1762), Engraver. 

Charles Bridgeman (1690-1738), Landscape gardener. .

      Michael Dahl (1659-1743), Portrait painter.

James Gibbs (1682-1754), Architect.

Joseph Goupy (1689-1769), Watercolour painter. 

    Gawen Hamilton (1697?-1737), Portrait painter.

Hans Hysing (1678-1752 or 1753), Portrait painter.

William Kent (1685?-1748), Architect, painter and landscape gardener.

Matthew Robinson (1694-1778), Artist. Sitter in 1 portrait.

John Michael Rysbrack (1694-1770), Sculptor.

William Thomas (1676-circa 1765), Architect.

George Vertue (1683-1756), Engraver and antiquary.

John Wootton (circa 1682-1764), Painter of sporting subjects and landscapes.

Painted in 1734-5 to 'promote his interest' (the completed picture was raffled, each sitter paying four guineas). 

More detailed information on this portrait is available in a National Portrait Gallery collection catalogue, John Kerslake's Early Georgian Portraits (1977, out of print).

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Conversation Piece probably the Raikes Family.

66.0 x 91.8 cms.

Yale, Paul Mellon Centre for British Art.
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The Brothers Clarke taking wine with others, c. 1730 - 35.

Oil on canvas 

82.6 x 115.6 cms.

Yale, Paul Mellon Centre for British Art. 

Nicol Graham of Gartmore (1695 - 1775) and two friends.

63.5 x 60.5.

National Gallery of Scotland. Edinburgh.

https://www.nationalgalleries.org/collections

The du Cane and Boehm Families.

Oil on Canvas, 101.6 x 127.0 cms. 

Tate Gallery. London.

They say -

"This large and imposing group portrait, which celebrates the dynastic conjunction of the financially powerful Huguenot families of Du Cane and Boehm, is arguably Hamilton's finest. It was very likely commissioned by Richard Du Cane (1688-1641) as a visual demonstration of his family's success and future fortune, to which Hamilton has responded impressively. Born in Scotland but working in London by at least 1728, Hamilton was held in high regard by contemporaries. 

George Vertue (1683-1756), writing on Hamilton's death in 1737, praised his 'easy graceful likeness' and claimed that it was the opinion of several artists that in some instances he 'outdid Mr Hogarth'. Here, working at what must have been the peak of his artistic maturity, Hamilton comes very near to Hogarth (1697-1764), skillfully handling a composition of great complexity.

The Du Canes were a Huguenot family originally from the Spanish Netherlands, who in the late sixteenth century had fled to England to escape religious persecution. Likewise, the Boehms left Strasbourg and settled in London in the 1680s. Both families were powerful forces in the City, with extensive mercantile and financial interests (several members of both families were Directors of the Bank of England). In 1730 the families were united through the marriage of Jane Du Cane (b.1711) to Charles Boehm (1699-1769) and it is this dynastic alliance, and continuity, that the painting celebrates. Richard Du Cane stands in the centre of the picture, at the heart of what is a hierarchic composition. Above him, on the wall to either side, are ancestral portraits of his father Peter Du Cane and his mother Anne Booth (holding in her arms the infant Richard); slightly to his right is, most probably, his second son Richard; while below sit his daughter and son-in-law. At their feet is their heir, Clement, to whom his father points and to whom his mother is linked by a skein of thread. The distinguished figure, seated in black on the far right, is most likely a posthumous representation of Clement Boehm the Elder (1660-1734), the founder of the Boehm fortune in London. He holds a piece of paper dated 1734, probably his Will, which no doubt was to the positive benefit of the assembled crowd.

Directly above the group, surmounting the overmantel, are the married couple's armorial bearings (Boehm quartered with Dilke impaling Du Cane). They appear again on the very high quality carved and gilded frame, of contemporary 1730s English craftsmanship, possibly by a Huguenot craftsman. Richard Du Cane had taken great care to have the Du Cane arms anglicised and registered at the College of Arms in 1731, and the picture seems to stress his great pride in his family and its direct and demonstrable lineage.

It is unlikely that the space the sitters occupy is a real interior. The arms above the chimneypiece would indicate a Boehm property, either in London or Twickenham, although the portraits on the wall represent Du Canes. It is more likely an imagined space created by the artist, conjured to reflect the fashionable taste of his patron. Indeed, Hamilton has altered the décor, from an initial Palladian to a more up-to-date and dynamic Rococo (the straight edges of the frames of the ancestral portraits are still faintly visible below their new decoration). The extremely flamboyant overmantel is an elaborated version of the one Hamilton created for The Brothers Clarke of Swakeleys, circa 1730-5 (Yale Center for British Art)".

from Tate website - http://www.tate.org.uk/art/artworks/hamilton-the-du-cane-and-boehm-family-group-t07505/text-summary

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Sir James Thornhill  showing his Poussin to his friends.

Oil on canvas, 62.9 x 75.6 cms.

Beaverbrook Art Gallery, Fredericton, New Brunswick.

Gift of Sir Alec Martin.

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The Card Party.

69.7 x 58.4 cms.

National Museums Liverpool.

I am including this intriguing painting because of the details of the black servant boy, the cat and dog and the possibility that it includes a self portrait of Gawen Hamilton (in the blue turban).